See it if you're hesitant to see something by a This Is Us writer, but are willing to give a small, well-acted play a chance.
Don't see it if you dislike small theaters. Can't think of another reason. This play is worthwhile.
See it if you want to see a fast-moving production of a pared-down Macbeth, with a twist, performed by an excellent cast of young female actors.
Don't see it if you're looking for a stick-to-the-Shakespeare productions.
See it if you want to see Susan Sarandon and Marin Ireland in a well-directed, well-written, Broadway-quality production in an intimate theatre.
Don't see it if you're looking for light-hearted comedy. There are plenty of laughs here but, well, it's not a light-hearted piece.
See it if you're interested in learning more about refugees and the response to them by France and the UK.
Don't see it if you want to be entertained and comfortable. Most of the acting, except for one gut-wrenching scene, is shouting.
See it if you want to get a better understanding of the multi-level emotional effect that abandoning Iraq has had on its immigrants.
Don't see it if you're hoping to see an updating of The Doll's House. Only clear connection is the name of the lead female character.
See it if you’re ready for a suspenseful play featuring terrific performances by three actors who’ve completely become their characters.
Don't see it if you’re expecting a comedy. Theresa Rebeck has saved the jokes for other projects.
See it if you want to see a terrific performance by Midori Francis and don’t mind sitting through a muddled production.
Don't see it if you’re hoping to see a revelatory and thematically consistent play about the emotional and sexual deveopment of women.
See it if you want to see a plot-filled piece with well-sung unusual arrangements of Dylan songs -- and an amazing performance by Mare Winningham.
Don't see it if you're looking for a straight-ahead things-are-so-clear musical or want to hear only Dylan's hits.
See it if you want to see one of this year's two Horton Foote award-winning plays.
Don't see it if you expect to see a thoughtful play about the struggle between generations — traditions vs. new-era independence.
See it if you’re ok with listening to a clever, non-linear, self-revelatory story shared by the excellent Michael C. Hall.
Don't see it if you’re not ok with a script filled with wordplay that zips along faster than you might be able to decipher fully.
See it if you're a Todd Solondz fan and want to see what he does in another medium
Don't see it if you're expecting a heartfelt and affecting comedy. This thing gets uncomfortably dark in the final segment.
See it if you want to see a young cast shine in a well-plotted piece about characters hoping to change the world without any effective strategies.
Don't see it if you're expecting to see something which praises the glorious efforts of sixties-era activists.
See it if you want to see a cleverly-plotted comedy that, unfortunately, you may have to work very hard to follow --because accents muddle dialogue.
Don't see it if you think you will be seeing another "One Man, Two Guvnors."
See it if you'll enjoy a well-acted plot-driven relatively-short play. Cannavale was excellent (as usual) and Radcliffe was absolutely fantastic.
Don't see it if you're only going because you're a Potter fanatic.
See it if you are a Rebecca Naomi Jones fan or you think you need to see every production in the city that features non-traditional staging
Don't see it if you're expecting to be moved by either the characters or their situations.
See it if you are a Kristine Nielsen fan and/or are interested in seeing a Tennessee Williams play that's new to you
Don't see it if you can't stand being a step (or ten) ahead of plot reveals while watching a straight-ahead timeline play
See it if you want to see an exceptional performance by Elaine May in a sad yet funny play about struggling with dementia from many points of view.
Don't see it if you only want feel-great entertainment.
See it if you would like to join the performers on stage for a (wet) scene or you want to see several women bare their breasts for no apparent reason.
Don't see it if you want to be reminded of the worst shows you've ever seen at The Flea and want to pay five times what those amateur-hour shows cost you
See it if you want to be entertained, upset and hopeful by a quartet of enthusiastic and talented young actors.
Don't see it if you are unwilling to experience the inner turmoil and frustrations of someone with autism who is struggling to live her life.
See it if you would like to watch a young actor tell you and a dozen-or-so other people her hour-long story -- in a small set-less, fully-lit space.
Don't see it if you're expecting to see something about a female surfer based on the Southern California coast. It's nothing like that.
See it if you’re interested in considering both positive and negative effects of affirmative action — and you want to see the great Jessica Hecht.
Don't see it if you’ll likely be annoyed by an overlong monologue, as well as asomewhat shorter speech, screamed incessantly by an unnuanced young performer
See it if you’re interested in seeing a production of this Kurt Vonnegut play and you can handle lots of loud-volume dialogue.
Don't see it if it wouldn’t bother you if some of the actors appear younger than the characters they’re portraying.
See it if you want to see a well-staged contemporary play by, and featuring, a talented young writer.
Don't see it if you need to avoid on-stage violence. This play contains a very realistic and bloody assault.
See it if you wish to be absorbed by and sympathize with the plight of several immigrant women living together in near-desperate situations -- in NYC
Don't see it if strong accents and broken English bother you while trying to concentrate during a wordy play
See it if you want to see (and hear) an amazing cast sing a catchy and clever score: either solo or en masse.
Don't see it if you hated Book of Mormon -- or you want to see an opera.
See it if you think seeing a terrific performance by a young actor (Sarah Chalfie) is worth wasting an evening.
Don't see it if rapid-fire/loud sequences by several actors switching characters every five seconds or actors moving in slow-motion sequences will bug you.
See it if you’re up for an interesting, well written, terrifically acted, superbly directed, and very funny (at times) study of adult group dynamics.
Don't see it if you have never been part of a “team meeting” either for work or volunteer project — and won’t be able to believe the absurdity involved.
See it if you need to see everything that gets promotional features in the NYT and/or want to hear a couple of Noel Coward songs from "Bittersweet."
Don't see it if prefer plays at whose end people seated near you won't be asking "What the heck was that?" or "Is that really all there is?"
See it if you’re up for a fast-paced, light, and amusing 90-minute play featuring a couple of standout performances.
Don't see it if you believe that “30 is the new 20.” The playwright does not.
See it if you are interested in seeing a performance by the Fiasco Theatre troupe and can withstand an over-loud yet difficult-to-understand Sir Toby.
Don't see it if you dislike slapstick or over-the-top comedic performances inserted into an otherwise even-toned play.
See it if you'd enjoy a well-acted, plot-driven, not-preachy play about sexist challenges a talented young woman faces in a professional workplace.
Don't see it if you think there's nothing more to say about sexism in the workplace.
See it if you want to see a quick-paced intimate show about two complicated young people struggling with a situation they'd rather not be in.
Don't see it if you need to have a clear resolution at a play's end. This is about each character's inner life, revealed mostly via intersecting monologues.
See it if you wish to see complicated issues thrust into the inner worlds of young people, most of whom are unprepared for that experience.
Don't see it if you don’t wish to listen to young people talk about what really interests them, in phrasing that they actually use.
See it if you don’t want to miss a creative production imported from London and centered by the excellent Denise Gough and fabulous sound-lights-set.
Don't see it if your night will be ruined by a lengthy, even though abbreviated, group therapy session that seems endless.
See it if you want to see the winner of the next round of Off-Broadway acting awards: Peter Friedman. (A prediction.) His performance is exceptional.
Don't see it if you've had your fill of edge-of-dementia themed plays.
See it if you would like to see the struggles of the civil rights movement from new perspectives.
Don't see it if you have a short attention span or have hearing issues. The complicated, fast-spoken (at times), accented dialogue may be too difficult,
See it if you want to see an excellent performance by Peter Friedman. Oscar Isaac is excellent, of course, but Friedman stands out.
Don't see it if you are considering paying scalper prices.
See it if you haven't seen the play before and can ignore the advice that it "can't be separated from its time."
Don't see it if believe its historical context is relevant to appreciating the current production (as NYT's Jesse Green insisted you must).
See it if you want to see a terrific Jonathan Cake performance in a complicated, but fairly easy to follow, Shakespeare production.
Don't see it if you strongly dislike Shakespeare plays.
See it if you want to see a traditionally-staged production with terrific acting and an amazingly-detailed set.
Don't see it if you think older plays are boring unless they get an Ivo treatment.
See it if you want to see a late-arriving character bring a flat production to life. Frank Wood does just that -- amazingly!
Don't see it if you remember loving the playwright's "Becky Shaw" and are looking for a similar experience.
See it if you want to tell your friends, when it wins Tony awards, that you saw it.
Don't see it if you don't get a decent seat in the center section. Otherwise, you're probably going to miss a bunch of the dialogue.