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See it if Your love of Sara Bareilles conquers all. (NOTE: I saw the usually wondrous Mueller in the lead). The show as written and staged is a mess.
Don't see it if You have fond memories of the indie film at its source, or if you cherish realism in performance. Underwhelming on all fronts.
See it if You have interest in the exploration of the surprising history of the underlying work. Or if you don't. It works well either way.
Don't see it if You expect the writing to be at the level of Vogel's best work. The dramaturgy is a bit stodgy; the staging and performances are surely not.
See it if You enjoy top-quality actors working with material as relevant today as when Hellman wrote it. (I saw both Reginas; LL has the edge).
Don't see it if ...You prefer a melodramatic take. Here, the play is presented with realism -- and comes off all the better for it. Masterful direction.
See it if ...you enjoy classic plays dusted off and given immediacy by a committed group of absurdly talented actors and a confident director.
Don't see it if ... you don't enjoy minimalist stagings. What are on display here are the text and deeply felt performances; there are no trappings.
Also One of the highlights of the past theatergoing year. Do not miss this.
See it if you enjoy a show that winks at absurd conventions of musical theater and mid-century suspense-melodrama with great affection and wit.
Don't see it if you want to see top-tier talent. The casting and direction are sub-par by NYC standards, and the show's humor falls flat due to pacing.
See it if You like theater that provokes and dazzles in equal measure. Superlative staging.
Don't see it if You don't like the idea of spending a couple hours inside the mind and experience of an autistic youth.
See it if You enjoy badinage, verbal dexterity, humor derived from character, and some of the best songwriting craft ever applied to the musical stage
Don't see it if Uneven tone annoys you: in previews, this production has yet to find its rhythm and often feels forced. The material doesn't need pushing.
See it if You enjoy seeing what a brilliant director can accomplish with two top-flight actors, artful projection and superlative sound design.
Don't see it if You are looking to be lightly entertained. This is potent and deeply moving stuff.
See it if You are entranced by unconventional and inspired takes on the classics.
Don't see it if You believe Miller should only be staged as kitchen sink.
See it if You enjoy the show and score. Both are front and center. Uninspired concert staging by Lonny Price.
Don't see it if You want a great singer as Norma (Close isn't), or your fond recollections of the massive original staging will detract from your enjoyment.
See it if You enjoy the more-is-more approach to musical theater. DOLLY is not subtle, and this presentation does it no favors.
Don't see it if ....you don't want to be bombarded with garish costumes and caricatured, hoary performances.
See it if you're willing to forgive a less-than-inspired staging of a mildewed mid-century classic, in order to enjoy deeply committed performances.
Don't see it if you already have concerns that the play has lost its luster. It has. It is a snapshot of its dramatic era. Inge's great work was to follow.
See it if You enjoy shows with rich, enigmatic characters drawn with great care, performed by an able cast.
Don't see it if You are impatient with plays which develop characters slowly (but with great care) and which jump around chronologically.
See it if You like Timbers' unique style of staging for energetic ensembles; you appreciate a creative musical spin on the work of Eudora Welty.
Don't see it if Spending a night listening to bluegrass-inspired character comedy numbers is so not your thing.
See it if Great acting and direction can carry you through a play with remarkably less to say than meets the eye and ear.
Don't see it if You are expecting this decade's entry in the pantheon of dysfunctional-family-holiday-dinner plays. (I was, and it's not.)
See it if You enjoy Lonergan's way of tunneling into complicated psyches and relationships; you appreciate work that doesn't telegraph its ending
Don't see it if You prefer your comedy and drama siloed; you like your plays plot-heavy over dialogue-rich
See it if You enjoy fresh takes on Shakespearean soliloquies and clever, often insightful, pairings with dramatic songs.
Don't see it if You like your Shakespeare regimented and unsung