Imogen Crabb

See it if you like plays with LGBTQ+ themes, don’t mind weeping in public, or want to see some truly terrific ensemble work

Don't see it if you aren’t interested in LGBTQ+ themed plays, want to see something light, or two-part plays aren’t your thing

Also The Inheritance does a remarkable job at helping younger generations understand the AIDS crisis on a human level. Terrific ensemble work. Riveting performances, especially from the actors who have been with the show since the beginning. Simple but immensely effective staging. Gorgeous all-around design. Characters that I felt instantly connected to. This is the first two-part play I’ve seen in a while that made me excited to come back and finish the story. It’s an emotional rollercoaster, but a worthwhile one.

Tip: break up the two parts into two sequential nights if you can. While I was eager to continue the story, I was grateful for the 24hr break in between because doing it all in one day would have been far too much for my emotions.... Read more Read less

See it if you enjoy contemporary retellings of classic plays, are a fan of any of the actors/creatives involved, or enjoy edgy productions

Don't see it if you don't like the sight of blood, are triggered by suggested violence, or would rather see a new play vs an adaptation of a classic story

Also Stunning performances by both Rose Byrne and Bobby Cannavale. I also greatly enjoyed Victor Almanzar. I wasn't the biggest fan of Madeline Weinstein - she read a little young to me for the role. I also found the specific modern references a tad annoying (did we really need to name drop famous tiktok users?). These small annoyances aside, this is a riveting production. The all-white set creates a sense of claustrophobia that heightens all the danger within the play. The video projections aide the production well. Simon Stone has done a terrific job at bringing this classic tragedy into the modern era. A must see.... Read more Read less

See it if you enjoy parodies and/or are knowledgable about the current (well, last year’s) Broadway season

Don't see it if you prefer seeing an actual show to musical sketches

Also The pre-show speech encouraged the audience to “go to Show Score and please leave us a review because we have limited advertising money.” I have great respect for the York Theatre, but begging for reviews is tacky. I was very disappointed by this pre-show speech, and I was also greatly disappointed in this iteration of Forbidden Broadway. I’ve been a fan since the beginning, but this new edition felt clunky. The performances were mostly good. Jenny Lee Stern was stellar as always, and Immanuel Houston and Chris Collins-Pisano were lovely. Aline Mayagoitia had her moments but was lacking. Joshua Turchin is grossly miscast - why do we need a child actor in this show, and if we do need one, can we at least get one that’s funny? Some parodies worked better than others, mainly the ones based on older material. (Loved the Woke-lahoma! number, not so much the Harry Potter, Prom, or DEH parodies) It just didn’t feel as fresh or as fun as it used to. Perhaps it’s time to retire FB for good.... Read more Read less

See it if you like plays that deal with relevant issues, plays with strong characters, and inventive storytelling

Don't see it if you don't want to see a play about hot-button issues, are easily triggered by mentions of abuse/death, or you can't understand Irish accents

Also Fishamble has created a beautiful small show. I walked out of the theatre truly caring for both Maz and Bricks and wanting the best for them. The solo moments are written in verse, which takes a little time to adjust to, but as the play goes on you don't notice it as much. The simple set/overall design was stunning - it really allowed the two actors to set the scene for us, and both of them did a great job. I like that it ended without tying up all loose ends. Stunning vulnerable acting. The 80 min fly by. Highly recommend this one.... Read more Read less

See it if you’re curious how Sorkin’s adaptation differs from the original, or you want to see a play that deals with (sadly) relevant issues

Don't see it if you’re in the mood for a musical or a lighter-themed play, or are easily triggered by hate speech (the n word is used a lot)

Also Aaron Sorkin’s adaptation is strong and much more theatrical than other versions of this play. The performances are uneven. I didn’t care much for Nina Grollman or Nick Robinson, but I greatly enjoyed Ed Harris, Lisagay Hamilton, and the always wonderful Taylor Trensch. The design and the staging is nice, but nothing to write home about. The production has a slight air of preciousness/pretension which was irksome. That being said, I do love that they’ve founded the Mockingbird Project in order to foster change in the criminal justice system. It’s lovely to see a Broadway show using its power for good. Ultimately I think it’s worth seeing, I just wish it were a little better in quality.... Read more Read less

See it if for the inventive staging/set design or if you’re looking for something family friendly

Don't see it if you are opposed to any dramaturgical changes (Jack Thorne has taken liberties with the Belle storyline which I personally hated)

Also I wanted so badly to enjoy this. Matthew Warchus is a wonderful director, and the set design on this production is stellar. The ensemble is good, save for Campbell Scott failed to make me feel anything from his Scrooge. There’s also no real reason for Andrea Martin or LaChanze to be there. They’re wonderful, but it’s very misleading to have their names receive top billing for this ensemble show. I liked the costumes save for those hideous outfits for the ghosts of past/present/future. From far away they looked gawky and bloodstained. As for the script...Jack Thorne sure has a talent for taking a well-known story and transforming it into something overwrought and lacking heart. Not even the inventive staging/design can distract from Throne’s weak adaptation. Even community productions of this story manage to warm my heart, but I left this one feeling rather glum. I blame Thorne.

tip: if you sit in the balcony, aim for the sides of the rows instead of the center for a clear view!... Read more Read less

See it if you love Shakespeare, are a fan of this theatre company, or want to see this classic play done extremely well

Don't see it if you’re put off by the length (it doesn’t feel like 3 hours, trust me) or Shakespeare isn’t your thing

Also One of the best performances of this play, or any other Shakespeare play, that I have ever seen. Chillingly designed set. Gorgeous, timeless costumes. Incredible work from the entire company, led by the remarkable Aaron Monaghan. I couldn’t believe the physical work being done - the actors who had to play dead, especially Marty Rea who played Clarence/Catesby, were remarkable in their limp vulnerability. The three hours flew by. I honestly would have scored this higher had it not been for the slew of metal detectors and insane amount of police officers that you encounter upon entering the theatre. I realise the performance is taking place in a college and they have to abide by any security that the school has, but it was beyond unnecessary. Set such a nasty and unsettling tone for what was truly a remarkable evening of theatre. Either they need to tone it down a touch, or Lincoln Center needs to do a better job at informing their audiences of this.... Read more Read less

See it if you want to see a new ORIGINAL musical, like seeing diverse theatre, or are in the mood for a moving and fun night at the theatre

Don't see it if you are easily confused (although they handle the alternate musical universe very well so I don’t really see how you could be confused)

Also Soft Power is the new musical we need right now. Relevant and fresh. Yes, it centers around the 2016 elections, but it does so in a way that doesn’t make you squeamish or exasperated. Seeing a stage full of extremely talented Asian American performers in a production that wasn’t King And I or Miss Saigon was beyond refreshing. Billy Bustamante was on for Xue Xing and he was terrific. There wasn’t a weak link in the cast. The story is unconventional for a musical, but it works surprisingly well. It's simultaneously funny and deeply moving. I hope a transfer or some sort of other life is in store for this show.... Read more Read less

See it if you enjoy history/political plays, saw All The Way and want to finish the story, or are an LBJ fanatic (many were in attendance)

Don't see it if you are not a fan of lengthy works (act two is very long) or political plays don’t interest you

Also I had heard so many good things about this play during the run in Ashland, and I couldn’t help but feel a bit disappointed. The writing felt a little bloated in comparison to All The Way, making the historical events not as compelling to watch. Granted, they had a lot more time to cover than ATW did, but there really could have been some cuts made - especially to the second act. There were stellar performances from the entire ensemble. Unfortunately, the size of the set gave them little to no playing space, and made me painfully aware of the small number of people onstage (the protest scenes lost some impact because of this.) Perhaps I’m just feeling overloaded with politics right now, but it didn’t feel like this was the right time for this play. Perhaps if it had come a season or two earlier, it would have made more of an impact. Also, the voting booth in the lobby is pointless. You cast a “vote,” get sneakily signed up for the show’s email list, and get a free button. Dumb.... Read more Read less

See it if you like plays with strong female roles or like supporting new plays/playwrights

Don't see it if you are sensitive to gore/gruesome imagery, strong language and sexual situations, or aren’t interested in stories about teenage girls

Also A promising NYC debut for Ms Scheer as a playwright. Beautifully designed. Strong/messy/tragic/funny/layered characters that were believable and very well acted. It’s certainly a powerful and thought-provoking play. However, it was almost ruined for me within the first ten minutes. I found the murder of the stray cat completely unnecessary. Only seriously deranged people murder animals. By introducing this element right at the start, Ms Scheer sets her quad of beautifully complex teenage heroes up to fail. It’s hard to rally behind young sociopaths, and I personally found it difficult to move past this moment and get behind any of the characters until much later in the piece. Also, putting the animal sacrifice at the start of the show takes the oomph out of the gruesome ending act. It might have been more effective to save all the gore until the end. This detail aside, it’s a show worth seeing and I look forward to what Ms Scheer will write next.... Read more Read less

See it if you enjoy Shakespearean adaptations, new musicals, or campy/quirky shows that don't take themselves seriously

Don't see it if you are looking for something a little more serious or want to see a more polished new work

Also Shakespeare meets Little Shop with a few screws loose...and ultimately half-baked. It's very cute and has promise, but needs serious trimming and focusing. The show is campy, but the campiness wasn't taken far enough to fully work. The songs are fun but ultimately forgettable. The "witches" characters are horribly undefined, which is unfortunate for how much of a role they play in the story. Strong performances from Jay Armstrong Johnson, Megan Lawrence, and Will Meyers. I found both Ryan McCartan and Taylor Iman Jones incredibly lacking in their leading roles, making me not as invested in their character's journeys. With some more work, this has the potential to be something great. As it stands now, it's fun but flawed.... Read more Read less

See it if you like edgy theatre, plays that explore the topic of race, shows that evoke discussion, or don’t mind feeling uncomfortable at the theatre

Don't see it if you’re looking for a pleasant evening out, or are triggered by nudity, extreme sexual situations, or strong language

Also This was not fun to sit through, which is not to say it wasn’t enjoyable or a “good” play, but I certainly didn’t leave with a smile on my face. It’s not without humour - portions of the second “act” are extremely funny. (Act is in quotations as there is no intermission) There is some brilliant acting being done, particularly by Mr. Cusati-Moyer and Mr. Blankson-Wood. It just left me feeling...unsettled, and I don’t think in the way that the playwright intended. In the third “act,” the character of Kaneisha keeps referring to white people as demons. Every time the word “demons” was uttered, red lights would flash onto the audience. It, partnered with the mirrored wall set, felt like the playwright was trying to slap that label on any white members of the audience. Point taken, we are not welcome. Worth seeing? Probably. It will certainly be one of the most-talked about plays of the season and the play presents a lot of timely ideas. Just don't expect to feel great afterwards.... Read more Read less

See it if you like improv shows, casual/non-traditional entertainment, don't mind audience participation, and are a fan of any of the artists involved

Don't see it if you're expecting a traditional-style show, are not a fan of rap, or are only going to see Lin (no guarantees on guest performers)

Also It's tricky scoring this like any other piece of theatre because it isn't a "show," but it certainly is a fun evening out. FLS is brimming with positivity and creative energy. Their enthusiasm is infectious, and they clearly have fun performing and playing. All performers were fantastic - the guest was James Monroe Iglehart who is always a delight to watch. The Booth maybe isn't the best theatre for this - I was in the mezzanine and felt a little excluded despite all their efforts to include the whole audience. Perhaps they should have stuck to a longer Off-Broadway run in a more suitable space. The prices are also ridiculous considering no "star" performers are in the regular cast. Highly recommend, but stick to rushing or playing the lottery.... Read more Read less

See it if you're a fan of the playwright and/or are interested in stories about dysfunctional families

Don't see it if you're not interested in family dramas, don't want to watch just children act for so long, or if you're triggered by implied child abuse

Also Make Believe is a beautiful short play. Beth Wohl has created tragic, funny, and complex characters that keep the audience engaged for the entire 90 minutes. The story leaves a few unanswered questions, but this was a rare instance where I didn't mind not knowing all the details. The family dynamic and the wonderful work of the actors was compelling enough. The kids were a bit theatrical - although I suppose it's hard to strike a balance when most of their actions were based around playing pretend. Terrific performances from the adult actors - particularly Susannah Flood. I was especially impressed by the way the older counterparts took on the mannerisms of the young actors. Wonderful set design. Certainly not a show for everyone, but I enjoyed it a lot.... Read more Read less

See it if you enjoy thought-provoking comedies and want to hear some top-notch writing coupled with a superb ensemble.

Don't see it if you’re not a fan of satire, provocative comedies, or plays about current events

Also Eureka Day is one of the best plays of the year. Topical, hilarious, upsetting, and truly terrific. Jonathan Spector has written a beautiful and compelling play. All of the controversial topics are handled extremely well. It never becomes preachy or tells you which side of the argument is “right.” The characters are believable and layered. All the actors are remarkable - I especially enjoyed Elizabeth Carter and Kate Cullen Roberts. Elizabeth is a grounded force of nature, while Kate has crafted a villain that will make you want to hurl things at the stage. Their final scene in act two was just fantastic. And the final scene in act one is beyond hilarious. Minor quibble: the stickers on the prop laptop were not accurate (I have spent a lot of time in the Bay Area and that sticker combo was a bit cringe). Apart from that, the set design was spectacular. The sound design too - amazing pre-show song choices. An absolute must-see!... Read more Read less

See it if you want to see terrific character work, are a fan of Fleabag-style stories, and want to see some brilliant acting by a raw young talent

Don't see it if you are sensitive to the topic of suicide, very graphic descriptions of sex and violence, loud noises, or strobe lights

Also Suicide is a tricky subject to dramatise without glorifying it or preaching to not go down that route, but somehow Milly Thomas has found the sweet spot. Dust is an emotional rollercoaster of a solo show. The story jumps around a bit but is easily followable. Alice is a bit of a frustrating narrator, but ultimately the best one to take us on this journey. Milly Thomas is an incredible actor who seamlessly shifts between Alice and all the supporting players in her life. The transformation into Alice’s brother Robbie was especially brilliant. She’s a gifted physical actor, and her imaginary prop work was stunning. A terrific study for anyone planning a solo show. The design is simple yet effective. Perfect length. It’s a heavy hitter, especially for anyone easily sensitive to the subject matter, but well worth a visit.... Read more Read less

See it if you want to see fantastic puppetry and a committed ensemble of performers

Don't see it if you are expecting anything meaningful. this is pure spectacle for spectacle's sake.

Also It was hard to compile my thoughts because the night I attended the audience was so poorly behaved it was hard to concentrate on what little story there is in this show. Bootleggers, children screaming...and the ushers were doing nothing! In fact, all of the front-of-house staff I encountered were incredibly rude. So, if you want to be treated like dirt, visit this theatre.
There is no doubt that the puppetry work is fantastic, but unfortunately the impact starts to fade when the puppet actually has to do more than make facial expressions. Christiani Pitts was woefully miscast - she just doesn't have the power to lead a show. The staging of the boat scene was magical, as was the staging of the spectacular in Act 2. I just wish the entire show had that same magic. And what was with the Windows 98-esque projections and the weird techno remix of Queen of New York? Felt like a cut scene from Spider-Man. Went in with low expectations. Still was disappointed.... Read more Read less

See it if you like rock musicals, Meat Loaf/Jim Steinman’s music, and want to see a totally committed and talented cast

Don't see it if if you’d prefer to see a non-jukebox musical and or aren’t the biggest rock music fan

Also I can’t remember the last time I saw a matinee that had so much dedication and energy. These performers are living and giving 1000% and its truly spectacular. Andrew Polec is a star, and he and Christina Bennington have electric chemistry. Not a weak link in the entire cast. Superb vocals - all the singing felt organic and like it came from a real place vs riffing for the sake of being able to do so. (can that trend please die). Other casts on Broadway should take note and perhaps step up their game. Innovative staging, strong characters, choreography that had purpose...there’s so many strong elements in this show. I was completely unfamiliar with the music and I still loved it. The close-up camerawork wasn’t always my favourite, but that’s a minor quibble. I only wish that this engagement were longer. Worth a return visit.... Read more Read less

See it if you like Sondheim, seeing shows that are never done, and/or like concert-versions of shows

Don't see it if you would rather see a full-blown production or you aren’t a Sondheim fan

Also Utterly charming. The choice to stage it like an old-timey radio show was brilliant. Superb casting. Brandon Uranowitz and Jin Ha were delightful. Raúl Esparza was perfection. Chuck Cooper was commanding. Mary Beth Peil was heartbreaking in her final solo. The ensemble was lovely. Musically it reminded me of a cross between Merrily and Assassins. I wish they’d transfer this production, or at least record an album so that more people could hear this imperfect but ultimately wonderful show. One of my favourite Encores productions to date.... Read more Read less

See it if you like supporting new works, shows with LGBTQ+ themes, and are curious about all the hype

Don't see it if you are sensitive to heavy language/sexual situations or would rather see a show with a more traditional plot

Also Bold, unapologetic, and mostly entertaining. The acting and singing are spectacular. Larry Owens is giving 200% - it’s a joy to watch such a committed actor lead a show like this. All 6 ensemble players are remarkable in their various characters. The harmonies are gorgeous. The design is strong. The story is refreshing but at times confusing, and the direction is a bit of a mess. The music is mostly exciting. Oddly, the final solo number and its staging reminded me of another poorly-directed Stephen Brackett show - Be More Chill. Perhaps it was the fluorescent outlines on the set, or maybe it was the delivery of Usher’s solo “discovery” song that was very much reminiscent of the atrocious “Loser, Geek, Whatever”. Regardless of the exact reason, I couldn’t help being disappointed that after an evening full of surprising & refreshing musical sequences, we yet again ended up in very stereotypical musical theatre land with another person scream-emoting at us. I expected better.... Read more Read less

See it if you want to see two world-class actors give a masterclass in how theatre should be done

Don't see it if you are sensitive to nudity/strong language, you want to see something with a more exciting plot, or you’d rather see a musical

Also This production of Frankie and Johnny should be required viewing for all acting students, and really for anyone. I felt like I was a voyeur into the lives of these broken but beautiful people. All hail the intimacy director, Claire Warden. Her staging was gorgeous, and it made all the sex scenes feel so natural that you barely noticed they were happening. Audra and Michael were superb. The set was realistic and magical. The story is lovely. It’s a sweet, emotional roller coaster of a play that would have been sleepy in the wrong hands. Thankfully, both the cast and the design are top notch, and it feels so alive. I don’t understand why people aren’t flocking to see this. Everyone should while they still can.... Read more Read less

See it if you like Cher’s music or aren’t expecting anything brilliant, and you don’t mind sitting through a brainless skit

Don't see it if you want to see actual theatre, not a glorified costume parade/concert with “dialogue” in between

Also This is the saddest excuse for a biographical jukebox musical I have ever seen. Cher deserved better. They turned her life story into a snooze fest with a few fun numbers. The actors are mostly ok - Blaine Alden Krauss has a lovely feature in act 1 and Stephanie J Block was fabulous as always. Teal Wicks was incredibly pitchy and disappointing. The Top Of The Pops host had a terrible British accent. The dancing was fine but nothing spectacular. Apart from Cher’s various outfits, I have no idea why Bob Mackie won the Tony for costume design because the clothes were boring. The set looked cheap. The sound balance was awful. The book writing, if you can even call it that, was beyond sophomoric and a 2nd grader could have penned more believable dialogue. I nearly left at intermission. Also, the behaviour of the audience and the ushers was abysmal. If you want to waste some money & see a few people sing good songs well while wearing Bob Mackie clothes, go ahead. I wish I’d skipped this one... Read more Read less

See it if you like supporting new work, new work with an all-female creative team, or experimental musicals

Don't see it if you want to see a traditionally formatted musical or you don’t care about the source material

Also A completely unique piece of theatre. Grace McClean has created a refreshingly-experimental musical that is unlike anything else currently running. The all-female company is strong. They all have beautiful voices - especially Hannah Whitney and Mia Pak. And the harmonies are gorgeous. McClean’s score in general is surprising, beautiful, and haunting. The story starts off compelling, but loses steam near the end during the epilogue. Unfortunately, I caught this one early in previews and one of the actors had new pages in her hand for the last 5 minutes. It was so distracting after such a riveting hour, and spoiled any lasting effect that Ms McClean had been aiming for. It’s an ambitious show, but needs a lot of work.... Read more Read less

See it if you missed the initial Soho Rep run, or if you don’t mind theatre that makes you uncomfortable

Don't see it if you aren’t into plays that explore the topics of race and privilege, or don’t like it when the fourth wall is broken

Also So happy they decided to revive this masterpiece. Fairview is a mindf**k of a play. I left the theatre simultaneously floored by the work of the artists and also emotionally gutted. It’s uncomfortable, but the uncomfortableness is necessary. Fantastic performances from all cast members. The set is gorgeous and the sound design is unbelievable (joyous pre-show music choices). No spoilers, but I encourage anyone who goes (especially those who identify as caucasian) to be open to the ending. It only enriches the experience.... Read more Read less

See it if you enjoy campy, race-centric shows, shows that make you think, or shows with connected vignettes rather than one plot line.

Don't see it if you don’t wish to be confronted with issues relating to race/privilege, or would rather see something not so serious

Also Thought-provoking evening that had you laughing one minute and ashamed of yourself the next. Standout performances by Fedna Jacquet and Marchant Davis. The strongest “sketches” were the prison release and Real Housewives-inspired scenes. This play was not designed for mostly-white audiences, but audiences members of every colour would benefit from taking in this important work.... Read more Read less

See it if you love the source material, love musicals with strong female leads, or want something that’s family friendly while still slightly raunchy

Don't see it if you aren’t a fan of the source material, are offended by mild sexual humour, or if the supernatural aspects are too weird for you

Also The show should really be called “Lydia,” as it belongs to show-stealer Sophia Anne Caruso. She’s grounded, intelligent, and brings a lot of depth to her character. Alex Brightman is good as the titular character, but his portrayal feels tame. Wish it had been a little raunchier. Lovely performances by Rob McClure and Kerry Butler. The ensemble is strong, Dana Steingold is a standout. The design is spectacular, although the costumes are a little messy (why aren’t all of Beetlejuice’s costumes striped in some way? when he appears in the game show suit/red wedding suit it was confusing. I expected better from William Ivy Long). The book is tedious but the songs are surprisingly fun. Overall a messy but enjoyable evening.... Read more Read less

See it if you’ve never gotten a chance to see this classic play or if you like plays that feature LGBTQ+ stories

Don't see it if you aren’t into LGBTQ+ themed plays, the length puts you off, or you’d rather see something fluffy

Also Well designed. Well directed. Mostly good performances. Michael Urie does a great job in leading this show. However, the breakout star is Jack DiFalco. He stole every scene he was in. The pace dragged a bit and at times it did feel slightly dated, but it wrapped up nicely. The third act was the strongest for me.... Read more Read less

See it if you enjoy cute satire that makes you think, intelligent comedies, and want to support plays by POC playwrights

Don't see it if you don’t want to be confronted with your own privilege or are in the mood for a serious play

Also The Thanksgiving Play is incredibly smart. You’re cringing and laughing at the same time, but it never crosses the line and becomes offensive. I can’t believe that those transitional skits and songs were lifted from actual school presentations! All members of the 4 person cast were strong, but Margo Seibert greatly impressed me with her comedic skills. A truly delightful evening that left me pondering a lot on the journey home.... Read more Read less

See it if you enjoy Brecht’s works, are a fan of Raul Esparza, enjoy social satires, and like the previous productions of CSC

Don't see it if you aren’t a fan of Brechtian theatre, would rather see a musical, or don’t want to see a dictator-centric play

Also CSC’s production is near flawless, and perhaps the finest modern example of classic Brechtian theatre. The ensemble works exceptionally well together. It’s hard to pick a standout in this fine company, but you can’t not applaud Raul Esparza for his work in this show. It’s a terrific opportunity to see him in such an intimate space, and watch in horror as he transforms from a comical gangster a terrifying, Hilter-esque dictator before your eyes. The rose petals with the swatstikas on them will haunt me forever.... Read more Read less

See it if you enjoy seeing new plays, shows with strong direction, and quirky family dramas

Don't see it if you get confused by non-linear plot lines or would rather see a musical

Also It’s not my favourite play of Sam Chanse’s that I’ve seen/read, but there was enough there to keep my attention. Terrific performance from the always wonderful Thom Sesma. Shelley Butler’s direction was sharp and whimsical. The set was a delight. All the Marin/Bay Area references felt real and non-stereotypical. Not entirely sure what the message was, and it probably could have been a little shorter, but all in all it was an enjoyable evening.... Read more Read less

See it if you enjoy new takes on classic stories, non-traditional musicals, and innovative direction/staging

Don't see it if you prefer traditional song/dance musicals, or the ticket prices are too high (seriously, $129 for the back of the mezz? come on now)

Also I think I’m in the minority that preferred the NYTW production, but there’s no denying that Hadestown is a great musical. It’s gotten a little slick, but there’s enough downtown energy to satisfy fans of the original. The story is timeless and Anais’s music is sweeping and touching. The set/sound/costumes are beautifully designed. Andre De Shields, Amber Grey, and Patrick Page are giving terrific performances. The chance to see Andre is a gift, he’s a magical performer. The ensemble is strong. I saw understudy Jessie Shelton as Eurydice and she commanded the stage with a lot of heart. The weak link is Reeve Carney, and he’s the reason I can’t justify scoring this one higher. He’s got the stage presence of a wet noodle, and never once do you believe his relationship to anyone onstage. The ending is almost ruined because of this. It’s unfortunate that the team decided to put their trust in this “actor” to drive the show because it’s such a damper on the experience.... Read more Read less

See it if you are a fan of Dave Malloy’s work, like shows with strong ensembles, and want to support new musicals

Don't see it if accapella musicals are not your thing, or you don’t want to sit through a “deep” musical and would rather just be entertained

Also Octet has set the bar high for all future Signature-commissioned musicals. It’s complex, honest, moving, both heart-warming and heart-wrenching, and an auditory delight. Annie Tippe has expertly directed a remarkable ensemble. You forget that it’s all accapella because it’s so engaging. Dave Malloy is a genius and never disappoints. I’ve got lyrics and thoughts still buzzing in my head. Thank goodness they are making a cast recording, and let’s all hope that this masterpiece transfers so more people can see/hear it.... Read more Read less

See it if you want to see a classic musical reimagined, love the original show, or if you missed the original run at St. Ann’s

Don't see it if you think the classics shouldn’t be messed with, or if you are uncomfortable with guns onstage/heavy sexual situations

Also The slight tweaks from the St Ann’s production work nicely for Broadway (brilliant choice to make the dream ballet a solo). The choice to have full blackouts and the revised ending still don’t entirely make sense to me, but they work better on Broadway than they did in Brooklyn. The performances have only gotten better, especially Damon Daunno, Mallory Portnoy, and Patrick Vaill. I’m still not the craziest about Rebecca’s interpretation of Laurie. I find her to be the weakest actor, but she has wonderful chemistry with the rest of the ensemble, especially Mr. Daunno. The orchestra is stunning, and it’s a joy to go and hear the play/music. It’s a flawed, but ultimately outstanding production.... Read more Read less

See it if you enjoy black comedies, shows with strong ensembles, and/or plays based on true events

Don't see it if you prefer fictional plays, don’t like “newsroom dramas,” or would rather see a musical (there are musical moments in this though!)

Also If a play based on true events makes me want to research the topic afterwards, then it’s a winner in my book. Ink is slick, biting, funny, and thought-provoking. Terrifically directed. The set is spectacular. The sound design is delicious. A talented tight-knit ensemble - Bertie Carvel more than deserved the Tony, and why Jonny Lee Miller wasn’t nominated is beyond me as he is delivering a fantastic performance. Andrew Durand steals the show in his bevvy of comic supporting roles. The more musical sequences are better than most of the musicals currently running this season. The only downside is that you have to deal with the regular patrons of the Friedman, who, let’s just say, may be mature in age but sure don’t act it. (I had a group near me who were beyond rude and should never set foot in a theatre again). But that shouldn’t deter you from catching it. It’s not to be missed.... Read more Read less

See it if you are a fan of Mike Birbiglia or theatrical standup shows in general, and/or you are also a new parent

Don't see it if you’d rather see a proper play/musical or the subject matter doesn’t appeal to you

Also Surprisingly more theatrical than I was expecting it to be. Beowulf Boritt’s set was brilliant. It was a charming story, and Mike is an engaging performer who benefited from strong direction.... Read more Read less

See it if you enjoy plays that tell fascinating stories and contain strong ensemble work.

Don't see it if you are put off by the length (but I promise you, the 3hrs fly by), or would rather see a comedy or a musical.

Also The Ferryman is one of the best plays in years. Superb direction and design. The ensemble works together perfectly. Strong child actors (special shout-out to Matilda Lawler who is one of the funniest and grounded young actors I’ve seen on any stage). The story is compelling, educational, and emotionally devastating. Believe the reviews - the last ten minutes are truly astounding. I went twice and would have gladly gone many more times. A masterpiece that truly deserved every Tony it won.... Read more Read less

See it if You love revivals, want to see fun dancing, love this score, or are a fan of any of the actors involved.

Don't see it if You prefer contemporary musicals or revivals that actually have something new to say (this one does not).

Also This is the tamest shrew I have ever seen. Sadly, by trying to update Kiss Me Kate for the #metoo era, it has stripped away all the fire and spirit from the leading lady in both the play and the play within the play. Kelli O’Hara sounds glorious but has no spark. It’s a depressingly lame portrayal of Lilli/Katherine. Stephanie Styles was miscast. Corbin Bleu charms with his tap skills. Understudy Preston Truman Boyd was on for Frank, and frankly the role should be his. He infused this lifeless revival with a necessary spark, and his voice was stunning. The ensemble was okay. The direction was all over the place. The design was cheap-looking and incredibly disappointing. It cheapened Cole Porter’s marvellous score. This revival is not doing that music justice. And the #metoo changes to “I Am Ashamed...” are just atrocious and make the ending make no sense whatsoever. In short, too darn meh.... Read more Read less

See it if you are a long-time fan of this show and aren’t expecting to gain anything new or special from seeing it.

Don't see it if you are expecting anything new from this revival, you prefer contemporary musicals

Also This revival offers nothing new or special. It’s a nice chance to hear this gorgeous score sung well, particularly by Ms Benanti. But it just feels like it’s lacking something, and the nonsensical ending left me with a sour taste in my mouth. I have no idea what it meant. All attempts to make it more of a “feminist” tale failed, in my opinion. Leave it as is, some tales can’t be punched up and should serve as period pieces.

Side note: during “get me to the church on time,” I noticed a male ensemble number with several cupping bruises on his back. It was highly distracting. Does the production manager not care? Do the wardrobe staff not care? Does the actor not care? I expected a lot more for highly-regarded revival at Lincoln Center. Major points off for this alone.... Read more Read less

See it if you are a fan of any of the artists involved, like new plays, and aren’t easily offended

Don't see it if you plan on bringing the family (lots of anatomically correct mannequins)

Also This is a perfect show to go in knowing nothing about. Avoid all spoilers if possible. I must admit I was missing the presence of Andrea Martin, but if she hadn’t left we wouldn’t have been blessed with Julie White’s kooky Carol. The direction is beautifully specific. Bill Irwin did a fine job with all the clowning. The all-around design is genius. The show itself doesn’t always make sense, but it doesn’t need to. It takes you on an emotional journey and you walk out of the theatre with a grin. There’s not much more you could want in a 95min show.... Read more Read less

See it if you’re a fan of campy material, female-led shows, and new musicals

Don't see it if you are easily squeamish (the gore is minimal but very present) or if you prefer classical musicals vs contemporary ones

Also Uneven is the word that sums this one up for me. Mostly good score. A few strong performances (Mimi Scardulla is a standout). Messy direction and choreography. I kind of wish it had been a one act? Nice design, but it felt out of place in that quirky little theatre. The sound balance was jarring and made everyone sound too over-produced. It is riding the fine line of angst vs camp and I just wish it was more of the latter. The conclusion was a let down. This show could use some more work. However, the strongest parts of the show make me look forward to seeing what Preston Max Allen does in the future. All in all, worth checking out as long as you keep your expectations low.... Read more Read less

See it if you want to see a classic musical reimagined, love the original show, and don’t mind it when theatre makes you uncomfortable

Don't see it if you think the classics shouldn’t be messed with or if you are uncomfortable with guns onstage/heavy sexual situations

Also Daniel Fish has done a fantastic job at returning Oklahoma to its roots by almost making it a play with music. Dialogue I have heard a million times before felt fresh and came alive with new colours. Terrific performances from most of the cast (especially Damon Daunno), a delightful band, and exciting orchestrations (the tight four part harmony in Many A New Day was especially fun). However, I wasn’t quite sure what the message was with this reimagined Oklahoma. I picked out several moments that seemed to comment on modern views of sexual harassment, violence, and resistance to change, but overall I left confused by what the production was trying to say. Also, the blackout moments were entirely unnecessary. The smokehouse scene was effective enough with their delivery and close proximity - it didn’t need a pretentious video display. The ending left me unsettled, but again I wasn’t sure why. Glad I caught it, but I don’t think it was entirely deserving of so much hype.... Read more Read less

See it if you love the music, don’t have high expectations, or if a particular “celebrity” you enjoy happens to be in the show

Don't see it if you want performers to care about giving a good performances or you have high expectations on what makes good theatre

Also “Long as you keep em way off balance, they’ll never spot you’ve got no talents”...unfortunately, this current cast of Chicago is so lifeless that all flaws are glaringly on display. I will say that Bianca, the current Roxie, is at least attempting to infuse this tired revival with spark, and her choices are refreshing. Raena, the current Mama Morton, should also get a shout out for approaching her role with energy and heart. The same cannot be said for the rest of this cast. I mean, the Velma Kelly can’t even do a proper split. They all seemed to be sleepwalking through their choreography, and goodness do they all need diction lessons (and a few need acting lessons). The fact that this is considered Broadway caliber is embarrassing. Chicago is a good musical with a fantastic score, but this may as well have been a local community theatre production. Tourists don’t seem to mind, as the house was packed with plentiful applause. I only wish they had spent their money on something better.... Read more Read less

See it if you like new musicals, comedies, or Shakespeare adaptations

Don't see it if you want to see something more serious or deep

Also Mostly strong ensemble (Lauren Molina and Conor Ryan were standouts. Sarah Parnicky is wooden and grossly miscast). Fun but ultimately forgettable melodies. A cute book that seems to dither on a bit. Knowing the Shakespearean text it’s based on is a plus, but not necessary. The thing that saves Desperate Measures is the fact that it doesn’t take itself seriously. You can tell the cast is having a ton of fun, and that makes the audience have fun too. And there really are some genuinely funny moments. It’s not the best show, but it’s an entertaining evening.... Read more Read less

See it if international translations of musicals intrigue you, you are a fan of the show

Don't see it if you struggle to pay attention to supertitles, or you’re not interested in hearing a show not in English

Also While I understand why they put exact translation English supertitles on the screen, I must say I missed the original lyrics. Because I know this show by heart, it felt very confusing seeing words that seemed to be spit out of a google-translator. Once I adjusted to this, it became less distracting. Not sure if the acoustics in this space aren’t the best or if the cast isn’t projecting, but I was in the front row and could barely hear some of the actors. Grey’s direction is simple and lovely - and I noticed some Emcee-like impishness in some of the lighter comedic moments. It’s a mostly nice ensemble, some are definitely stronger than others (and a few feel like they were plucked from community theatre), but Steven Skybell as Tevye is fantastic. His goodbye to Chava near the end was so heartbreakingly gorgeous - a moment I’ll remember for a long time. I don’t think this production is for everyone, but it certainly has some nice moments that the average theatregoer can appreciate.... Read more Read less

See it if you missed it in its initial run, you enjoy biting comedies, or are a fan of female-led plays

Don't see it if you’d rather see a musical or a play that’s longer than just over an hour

Also I actually can’t see why the average theatregoer wouldn’t like School Girls. It’s incredibly accessible despite it being set in a different country. It’s fast-paced, has relatable and layered characters, some hysterically funny moments as well as a few scenes of utter devastation. The ensemble is tight-knit and outstanding. The direction is sharp. It’s only 75 min. There’s no reason not to see this if you can get a ticket.... Read more Read less

See it if you are a fan of the playwright or enjoy British comedies

Don't see it if you find English accents confusing (although if you can’t understand a Sheffield accent...I’m sorry), or would rather see a musical

Also Richard Bean manages to make snooker an exciting sport to watch, which is a feat in itself. The Nap may not be as side-splittingly funny as Bean’s last Broadway foray (One Man Two Guvnors), but it has the same quick wit and eclectic memorable characters. You get a transgender character that isn’t used as a prop, Americans doing fantastic accent work, and a real-life snooker champion onstage. And most importantly, it’s nice to sit in a theatre and laugh. The Nap will give you all of this and more. Its’s fresh, funny, and surprising. Not to be missed.... Read more Read less

See it if you like supporting new plays, plays with LGBTQ themes, and non-stereotypical portrayals of people on the autism spectrum

Don't see it if you want an uplifting evening, aren’t interested supporting new works, and don’t want to spend 90 min in cramped seating

Also Agnes does a beautiful job at making the fact that Charlie is on the spectrum a secondary issue. It’s certainly an important plot point, but this never becomes an “autism play.” It’s a play about people, and one of them just happens to be autistic. All of the characters were engaging and felt completely real. There wasn’t a weak link in the cast acting-wise. The time flew by. I only wish my fellow audience members had been as receptive to the show as I was - the couple to my left were audibly cringing any time someone got intimate, and although I think this is a play for everyone, the way it was presented seemed to irritate the over 50 crowd. But never mind them. This was a beautiful show and I feel lucky to have caught it.... Read more Read less

See it if you like new plays, plays that make you think, and if you don’t mind being slightly uncomfortable

Don't see it if you want something happy/feel-good, or aren’t interesting in being made to think about things

Also I call BS on the critics saying the pre-show was “deafening” - it was loud, but not as ear-splitting as the entirety of Be More Chill or a dance club. The use of both the pre-show and the Persons in Charge was smart, but I didn’t quite get the follow through that I would have liked. Concept started strong then kinda dwindled away as the main action took over. The actual play had its moments, I particularly loved the dance sequence in the second “act”. Not sure I totally understood the meaning of the show, but I found the characters engaging and there was terrific work being done by the whole ensemble. Glad I caught this one.... Read more Read less