Imogen Crabb

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 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 are a die-hard Harry Potter fan, value spectacle over substance, or if you win the ticket lotto (so expensive!)

Don't see it if you aren’t a die-hard fan of the franchise, or if you can’t commit to two days or one long day of theatre

Also The process to get into the theatre is awful. The door security rivals the airport TSA and is super uncomfortable. Really leaves a nasty taste in your mouth before the theatrical marathon even begins. This is a gorgeous production, but not a good play. There’s little to no resemblance in terms of substance to the wizarding world that I grew up reading about. Which is not to say that the performances are bad. It’s a mostly terrific ensemble (it was a treat to see the OLC members, especially Jamie, Noma, and Anthony) doing what they can with an overwrought, ultimately lacklustre script. The thing that saves Cursed Child is the team of John Tiffany and Stephen Hoggett, who can work their theatre magic on nearly any show. It’s too bad that their brilliant work and the good work of the company is tainted by a miserable check-in process and a sometimes groan-worthy story. I’d argue further that this is not theatre, but rather fandom panto. Only see if you’re a huge HP fan or win the lotto.... 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 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 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 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

See it if you like modern adaptations of classic stories and/or supporting small theatre companies and new plays

Don't see it if you aren’t fond of Chekov in any format or are expecting a play about the actual Beyoncé

Also Eliza Bent has done a fine job at adapting and modernising this Chekov short story. It’s a quirky tale with a relatable and strong heroine at its center (a delightful Regan Sims). I also particularly liked Roger Manix and Maggie Low. It’s a mostly strong ensemble, with two woefully miscast exceptions, but they all function well together to tell this 75 min tale. The Beyoncé references are cute, and the Russian folk-a-fied versions of her songs provide charming accompaniment. It’s an uneven evening, but an ultimately humerous and thoughtful one. Worth taking a chance on.... Read more Read less

See it if you want to see an original musical and/or are looking for a fun night out

Don't see it if you are expecting something deep/life-changing or are easily offended (very mild dirty jokes)

Also What a pleasant surprise! The set and costume design immediately sets up the world of the show, and the cartoonish acting style fits the material well. There’s definitely still problems (act one finale a hot mess/please don’t have the lead producer make the curtain speech anymore - a little creeped out by that), but the rough parts pale in comparison to the strong comedy work being done by this talented and hilarious ensemble. I rarely audibly laugh at the theatre - and this show prompted more than the occasional chuckle from me. I wouldn’t say it’s the most memorable new musical I’ve seen in years, but I left feeling surprisingly happy and thoroughly entertained. A lot of laughs, and a lot of heart. I wouldn’t miss it!... Read more Read less

See it if you like the music of the Go-Gos, silly stories with a lot of heart, and shows that celebrate the LGBTQ community

Don't see it if you are easily offended by queer themes or raunchiness, can’t understand Shakespearean language, or are looking for something deep

Also Head Over Heels is entertaining, silly, and ultimately a happy evening out. Andrew Durand and Bonnie Milligan are doing fantastic work. Their comedy skills are off the charts. I also particularly enjoyed Peppermint, Rachel York, and Jeremy Kushnier. It’s a mostly strong ensemble.

I added the tag of “disappointing” because I just think that such a unique, happy, relevant story deserves an original score. I found the go-go’s music to be slightly stupid and a little boring, even with the great orchestrations and strong acting. I also found the story to be a little all over the place, I think it may need more focus? There’s a lot of wonderful factors at play here that somehow don’t come together to make a strong show. (And maybe, if you’re going to use Shakespearean-esque language, make sure all your actors are trained in that style? It makes a difference). You’ll have a good time, but don’t go in expecting brilliance.... Read more Read less

See it if you like retellings of Shakespeare and dark comedies

Don't see it if you prefer your Shakespeare pure or want something feel-good

Also Teenage Dick is full of surprises. I know the plot of Richard III well, but I think you could walk into this knowing very little of its source material and still get something out of it. It takes you on an emotional journey, cycling between hysterical laughter and feeling flinchingly uncomfortable. The small ensemble of 6 is incredibly strong. And without spoilers, the final moments will leave you breathless. Run to this one.... Read more Read less

See it if you are a fan of The Civilians/Michael Friedman, you appreciate the Encores! series, or you want a short but touching evening of theatre

Don't see it if you aren't a fan of the Encores! format (script in hand), or you're looking for a traditional storyline instead of small vignettes

Also A perfect example of "less is more." Simple, fun choreography and staging. Memorable scenes in-between. Terrific performances by all 6 cast members - I was especially choked up by Taylor Mac singing "Lost Horizon." The piece takes on a new meaning near the end when you remember the unfortunate passing of Michael Friedman. It also oddly fits on the vast City Center stage. It's a small show, but it's spirit is big.... Read more Read less

See it if you are a Sondheim fan or a fan of the show itself

Don't see it if you prefer seeing quality performances

Also Follies is a criminally underproduced show. For such a low ticket price, I suppose it’s worth it to see APAC’s production...but only if you truly love the music and maybe if you know someone in the show and feel obligated to support them. You can barely hear the performers over the messy orchestra, and there’s very little quality work being done on the stage. Off-key singing, hammy acting...I found almost none of the performers to be truthful or believable. There were a few ensemble ladies and a couple of the secondary principals who had nice moments, but the biggest standout was LaDonna Burns, whose Stella was delightful and stole act one. Overall though, uneven performances and bad acoustics left this theatregoer unsatisfied. Honestly, unless you’re a die hard Follies fan, skip this one.... Read more Read less

See it if you enjoy black box productions, shows that honestly portray those on the autism spectrum, and small but mighty ensembles

Don't see it if you aren't interested in truthful portrayals of those with autism or you want to see a big-budget production

Also Pure theatre magic is happening in Theatre B at 59E59. The entire ensemble + musicians have crafted a tale that informs without preaching, and breaks your heart without emotional manipulation. Alex Brain's portrayal of Katy is raw and endearing. You usually only see autistic behavior like this with young men in plays/movies/tv, so to watch a young woman go through this is refreshing and much needed. The fact that they accomplish so much in the 90 min run time is remarkable. Don't sleep on this one.... Read more Read less

See it if you enjoy non-traditional theatre, multi-genre scores, and raw, honest storytelling performed by a terrific ensemble

Don't see it if you are only a fan of traditional theatre or prefer standard showtunes to folk-rock

Also You truly are one of the lucky ones to get to experience this story. The Connelly feels like it was designed for this piece. Abigail and Shaun Bengson have crafted a tale that may or may not be entirely based on truth, but it is a fascinating story of family nonetheless. You are taken on an emotional journey without overindulging in the sentiment. The performances are electric. Standouts include the Bengsons and the always-wonderful Damon Daunno, but the entire ensemble works together beautifully. Another triumph from Ars Nova.... Read more Read less

See it if you want a one-of-a-kind theatrical experience, don't mind participation, and feel comfortable with sexual topics

Don't see it if you want a traditional sit-down experience, are intensely uncomfortable participating, or don't like plays with sexual themes

Also Prurience isn't for everyone. Admittedly I'm not the fondest of participating verbally in any kind of performance, but I was happy to silently participate. The beauty about it is that you don't have to if you don't want to, you just have to have an open mind. I found Chris Green's process and writing to be fascinating, and his portrayal of the group leader was the perfect balance of acceptance and come-drink-the-koolaid. The other actor plants were less successful. The second the one woman started to talk I could tell she was acting, which although we knew there were actor plants going into it, made it feel less sincere and effective. Go if you want a truly unique evening out, and maybe go alone instead of with friends. It adds something to the experience.... Read more Read less

See it if you are a fan of McDonagh’s plays, like plays with strong ensemble, and don’t mind a bit of gallows humour (pardon the pun)

Don't see it if you have difficulty with Irish accents or prefer your comedies to be on the lighter side

Also Superb writing and performances all around. It’s such an ensemble piece, but if you have to pick someone out, then Johnny Flynn would be that person. His portrayal of Mooney is one of the most magnetic performances I have seen to date. The set change in act one is stunning. If you can get a ticket, do go. Its not to be missed.... Read more Read less

See it if you want to see brilliant writing performed by top notch actors who have been expertly directed

Don't see it if you aren’t an Albee fan or if you want to see something that’s more of a spectacle

Also This is Albee performed brilliantly. Lila Neugebauer‘s direction is superb. All three actors are brilliant in their simplicity. The set is stunning. There’s really nothing bad to say about this 2 hour evening. Get a ticket if you can.... Read more Read less

See it if you appreciate shows that shock you/entertain you, then make you think, you want to hear truly great singers tackle a brilliant score

Don't see it if you are easily offended

Also I would have rated this higher, given the talent of the performers and my passion for this show (I saw the original UK production and have been a fan ever since) but I found this iteration with its updated references and new musical numbers to be not as impactful. The direction is sloppy - certain dramaturgical details are blatantly overlooked, and I just wasn't a fan of staging such a big show in a tiny space like the Linney. I don't think it works to have the ensemble be as tiny as it was - it loses the magic when I saw certain people creep out of the "studio audience" to become their featured roles and then reappear in those costumes. The sound balance in that space was atrocious.

I realize, of course, that a majority of my complaints come from my familiarity and love for this show. And despite them, I still had a good time. The piece holds up for anyone not familiar, and I do recommend seeing it because it's a perfect piece for the times we are in... Read more Read less

See it if you are a fan of Enda Walsh, plays with abstract settings, or plays that make you think

Don't see it if you are looking for something straight forward or with a happy ending, or if you can’t understand Irish accents.

Also I was so surprised at how funny it was. Ballyturk took me on an emotional roller coaster. I loved the comedic antics of One and Two that were beautifully executed with the 80s pop soundscape (stellar music choices). The set was stunning when it opened up, and Three’s entrance into the space was something I will never forget. Powerful and gorgeous. It probably could have been a little shorter, but it never felt long. Really glad to have caught this one.... Read more Read less

See it if you are a fan of the original story, enjoyed Kate Hamill's previous adaptations, like superb physical comedy and ensemble-driven productions

Don't see it if Austen stories aren't your thing or you dislike quirky adaptations of classic works

Also Most of the positive points I gave this productions are credit to two ensemble members: Mark Bedard and John Tufts. Disclaimer: I have been a fan of their work for many years having seen them both up at OSF, so it's only natural that I would gravitate towards them in any show. In this case, my praise for their work in this show is well deserved and bias-free. Mark Bedard has one of the funniest physical comedy bits I have seen in a while onstage, and John Tufts steals the show in his alternating roles of Mary and Bingley.
I have always thought of Pride and Prejudice as a very feminist story. Despite being trapped in a very-antifeminist time, Lizzie is one of those characters that modern women identify with, and the women in the original tale radiate. After seeing this production however, I walked away only remembering the men. Was it the way Kate Hamill played Lizzie? (I was not a fan) Was this the director? Was this the result of fine male performances? A combination? Who knows.... Read more Read less

See it if you are a fan of the avante garde and enjoy extremely non-traditional theatre

Don't see it if you are scared of anything non-traditional, don’t like being in total darkness or flashing lights, or prefer standard melodies

Also Thomas Paine in Violence is unlike anything I have ever seen. I am not sure I understood a word or the point of the piece, but that didn’t take away from my enjoyment! It’s defintely quirky and in your face - and not for the straight-laced theatre goer. But there’s something special about watching several talented performers (especially the man chorus) utilise their skills to create art. I saw specificity and dedication on that stage, and I’ll take that over a traditional piece where the actors phone it in any day. It’s worth checking out.... Read more Read less

See it if you want to see a tour-de-force performance by a strong, powerful woman, edgy stories don’t scare you, and you like epic new plays

Don't see it if you are sensitive to stories about addiction, don’t like foul language, or are irritated by loud noises and flashing lights

Also The hype is real. Denise Gough is giving a performance for the ages. The entire ensemble works seamlessly to tell a story that will keep you on your toes from beginning to end. I had read the script prior to seeing it, and I was still surprised by the twists and turns. Don’t miss this necessary production.... Read more Read less

See it if you are a Dave Malloy fan, appreciate non-traditional storytelling and a superb score

Don't see it if you have issues being in complete darkness, want a more linear story

Also I only took one point off for the floor cushions - they weren’t the comfiest. However, I’m glad I decided to sit there as it provided a great view of the action - and I got to play an instrument!
Ghost Quartet is not meant to make complete sense. It is a circular story, and keeping track of who is who at every moment can be befuddling at first. But you forget all of this as each of the four performers work their musical magic. Dave Malloy and Brent Arnold are skilled musicians and performers, but it’s the ladies who shine the brightest. Gelsey Bell and Brittain Ashford demonstrate astonishing vocals and musicianship, and break your heart at the same time.
This was my third time seeing it (caught it twice at the McKittrick two years ago), and this incarnation is not to be missed. For those Great Comet devotees - don’t expect a similar experience, but you won’t be disappointed. Nab a ticket if you can.... Read more Read less

See it if you have kids, want fun for the entire family, enjoy short and quirky shows, and if you loved the cartoon short film

Don't see it if you aren't a fan of kid shows or Carole King music, you like more traditional musicals, or you want a thought-provoking evening.

Also It's always tricky when you have shows that mostly or only contain children. Children, even if they have a few Broadway credits, are still children. They don't articulate well (I had major issues understanding many of the performers). And children's unbroken voices don't always sound so harmonious when singing notes that are pushing the top of their ranges. The only two performers who escape this criticism are Taylor Caldwell in the title role, commanding the stage brilliantly, and Anthony Rosenthal, a standout in the star-studded Falsettos, again proving he is mature beyond his years. This Rosie feels long - are all those scenes necessary? Tempos could be picked up, and some dance breaks could have been shorter. Leigh Silverman's direction is messy, sloppy, and difficult to follow. It may have worked in a smaller theatre, but on such a wide stage it was distracting. It was delightful to see so many families at the theatre, but I wish this had been cleaner.... 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’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 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 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 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 are curious as to what all the hype is about, if you are a parent to a teen, or love contemporary musical theatre

Don't see it if you are sensitive to loud shows (this one is very loud) or prefer traditional musical theatre to contemporary pop/rock shows

Also Having read the book it was based on (a disappointing insight into an incel-ish teenage male), I was hoping the musical would take the story and transform it into something better. And in some ways, it succeeds. But a tiger can’t entirely change its stripes, and despite a somewhat endearing performance by Will Roland, the lead character of Jeremy is still as unappealing as he was in the pages of Vizzini’s novel. I did enjoy the score. It’s too bad that it has to be paired with a clunky book and confusing direction. I personally didn’t find it too loud, but there were times that the sound balance got a little too much for the theatre. There wasn’t a lot that felt honest and organic about the acting, save for Stephanie Hsu as Christine who was nothing short of delightful. Others stood out (Smith, Canonico, Tam), but on a whole the ensemble seemed to be phoning it in. Not that the rabid fan base seemed to care - and pleasing them seems to be the only thing the show cares about. Shame.... Read more Read less

See it if you want a beautiful evening of theatre, don't mind moments of silence, or like short but impactful shows

Don't see it if you like your musicals big and flashy or you have a short attention span (show is 90 min but there are lots of quiet moments)

Also I can't remember the last time I went to see a Broadway musical and listened so much. The entire audience was in rapt attention for 90 min - rare for a show with so many quiet moments. It's beautifully staged, acted, and sung. Such a strong ensemble and the musicians are fantastic. Nothing terribly important happens, but there are touching moments and performances I will be thinking about for a while. Not to be missed.... Read more Read less

See it if you are a fan of the TV show, want to see something that doesn’t require thought, or want a nice family outing that adults can enjoy too

Don't see it if you want to see something serious or TV show adaptations genuinely don’t interest you

Also I was worried going into this that I wouldn’t be able to connect to it in any way, given that I have never seen a single episode of the animated series. And I found that to be true somewhat. I felt excluded from a lot of the humour, and that kept me from getting seriously invested in the established characters. That being said, what drew me in was the theatre artistry set in place by the masterful Tina Landau. The staging is superb. The production design is an utter delight. Those sets and costumes are divine. The musical numbers are for the most part forgettable, but Squidward’s tap number and the pirate song were favourites of mine (I loved the pirates so much). And the band was wonderful! (Special shout out to the conductor and the sound effects man). I had a lot of fun, more than I expected to have. A pleasant surprise!... Read more Read less

See it if you want to see strong women (and men) playing authentically written adolescents, or you are a fan of Dance Moms satire

Don't see it if you prefer your plays to be less abstract or you are easily grossed out by topics like periods

Also I added the tag "disappointing dancing" not because I was expecting SYTYCD level moves, but because the dance that the whole story centers around (the Ghandi number) just felt so anticlimactic. By contrast, the edgy number where all the young dancers were expressing their sexuality was so full of life. I wish that same energy had transferred into the Ghandi number.

Clare Barron has written a mostly-powerful play. I will be thinking about Ashley's "math" monologue for a very long time, but I could have done without the moments where the characters suddenly jump to speaking from their older perspectives - I'm a little tired of that dramatic choice. The raw-ness of the changing room scene and the first period scene was greatly appreciated. Grittiness like that from "teenage girls" hasn't been seen on stage that often, and I'm thankful that this play went there.... Read more Read less

See it if you are a fan of any of the creatives, are interested in plays that make you think, and like theatre that centers around complicated women

Don't see it if you are easily confused by out-of-order plots or are looking for something uplifting

Also Tracy Letts does a fine job at presenting the story of this seemingly ordinary woman. The plot happens non-chronologically, but isn't difficult to piece together. I think it almost makes it more fun to learn Mary Page's secrets when you hear them out of order. Lila Neugebauer once again does a superb job at directing this tight ensemble. Superb performances by Tatiana Maslany and Blair Brown. It's almost remarkable how they were able to fit so much into 90 minutes. Not sure I was sold on the ending, but I did appreciate how there wasn't a "button" to wrap it all up.... Read more Read less

See it if you are interested in international productions, like movement-driven pieces, or like shows that fully utilize the given space

Don't see it if you have a hard time with subtitles or are opposed to nudity

Also There were some nice moments of theatre magic (the gigantic light-up globe being passed around and the life-size bird) but it felt mostly disorganized. They utilized the whole of St Ann's nicely with the trees and bird-calls - I really felt the energy of this mystical avian paradise in the space. The nudity wasn't necessary, some of the treatment of the women was incredibly uncomfortable, and for heaven's sake can we stop infusing pieces of theatre with references to the current president? I go to the theatre to escape this political nightmare - not to be confronted with a bunch of Greek actors chanting "grab her by the _____". That moment took me out of the piece and made me want to leave. I genuinely loved some aspects of this performance but was overall disappointed.... Read more Read less

See it if you want to support new plays, want to see something 90 min long, and aren’t bothered by plays about topical issues

Don't see it if you are sensitive to the topic of school shootings or would prefer to see a musical or a less heavy play

Also I was wildly disappointed by this play. The title intrigued me. I’m a huge fan of Rebecca Taichman’s direction. I love Playwrights Horizons. And this play fell “flat” for me, for lack of a better word. I totally get why they felt it necessary to cast true-to-age kids as Julie and Xander, but these two (more so Ms Kennedy Davis than Mr Saint-Germain) were not suited for the show or the caliber of Off Broadway theatre. I had issues understanding their diction, and I was in the 5th row. Because I wasn’t a fan of Ms Kennedy Davis, and she was the protagonist, I had no one to rally behind. She was never believable for me, not for one moment. Maybe it’s the jaded times we’re living in, but I have a seriously hard time believing that a 13 year old in this day and age has never heard of a school shooting happening before. It didn’t ring true. The one saving grace for me was the work of the always wonderful Cassie Beck. Her performance alone saved this show for me. But overall, meh.... Read more Read less

See it if You love good theatre. This is darn good theatre. Also if you love ensemble pieces and plays featuring strong and messy women.

Don't see it if You aren’t interested in plays centered around women or you prefer comedies. This has comedic moments but ends in a gut punch.

Also 100 is almost too low to rate this phenomenal piece of theatre. This is a top rate ensemble, and Billie Piper is giving a performance that you will never forget. It’s a play about connection and obsession, and it’s heartbreakingly devastating. There is no bad seat in the house. This is expertly staged with beautiful sets/scene changes (how do they do them so seamlessly in the dark?) The translation feels fresh and timeless. The direction is wonderful. And I must again mention Billie Piper because she is the heart of this piece and her performance is outstanding. It’s profound, it’s powerful, and it’s almost inexcusable to miss it if you are in town during the run. An absolute must see.... Read more Read less

See it if you are a fan of any of the name actors, love the play, or are curious about the hype

Don't see it if you can’t commit to almost 8 hours of theatre over two days or the themes don’t interest you

Also I think it’s a poor representation of the piece as a whole. If you know Angels, maybe only go see Part Two. If you are unfamiliar, skip it and rent the HBO miniseries. Despite some lovely work from Pace, Lane, and Stewart-Jarrett, it’s too messy and uneven for that much of a time commitment. Andrew Garfield is dripping in pretension and Denise Gough is one note. I was honestly ready to write it off after Part One. It was overwhelmingly clunky and those sets were some of the worst I have ever seen on a Broadway stage. Stupid, creaky turntables. Thankfully they were gone in Part Two. I greatly preferred Part Two to Part One, mainly because of the lack of sets, but also because the stakes somehow were much higher. The play suddenly got relevant in Part Two. In Part One it felt severely dated. The relationships made more sense in Part Two and the desperation was much more palpable. It’s both a hit and a miss.... Read more Read less

See it if you love the music, are fans of the lead actors

Don't see it if you prefer musicals with scripts that match the quality of the music, you want something more contemporary

Also This revival feels like it has been placed in a spacebag - all of the air and heart has been sucked out. Act one speeds by, only breaking its pace for what feels like a 5 hour dance break by the male ensemble. Act two isn’t quite as quick but still feels rushed.

The music is gorgeous and the actors find some nice moments, but overall it’s just a little “meh.” Hated the angel costumes and the angel balletic opening (didn’t care for most of the choreography, really, apart from the act two pas de deux - that was beautiful). The book is incredibly dated and so terrible in comparison to the gorgeous music. Why was “give it to them good, Carrie” cut? Did we really need an extended whaler dance number? My main criticism lies in the first point I brought up - it just speeds by far too quickly for any emotion to set in. Didn’t buy the relationships. Joshua Henry and Renee Fleming sound great. The acting is sub par. It’s mostly a miss, not a hit. I’d skip it, honestly.... Read more Read less

See it if you appreciate great storytelling and are looking for a unique experience

Don't see it if you are claustrophobic and want a night of "proper" theatre

Also It's hard to score this like a regular show because it's far from it. It's definitely not theatre, but its very theatrical and the storytelling is superb. I never once lost focus. It's not for everyone, but if you enjoy expanding your theatre/art boundaries, I suggest taking it in.... Read more Read less

See it if you are a fan of Enda Walsh, tortured teen romance, or bleak comedies

Don't see it if you can’t understand Irish accents (extremely thick in this piece), are offended by vulgar language and imagery, or want a happy ending.

Also A quirky and devastating portrait of teen romance. I love the writing in this play. The chemistry between Evanna and Colin was believable and palpable. They work nicely together and feed off each other much like their severely codependent characters. I had slight volume issues with Evanna though. It’s hard enough understanding Pig and Runt with their thick accents and clever and unusual verbosity, so straining to hear her took me out of the action. The energy was uneven - I wish it had been more consistent. Because of this I guessed the ending early in the action, which was disappointing. Not mad I saw it, just wished it could have been a little better.... Read more Read less

See it if you want to see great story-telling, avant-garde theatre that isn't theatre but is also theatre, great musicians, and want a unique evening

Don't see it if you are claustrophobic and hate complete darkness (15 min in the pitch black - you are warned several times), want a traditional evening out

Also I have sat through many shows on the quirkier side that have pitch-black moments. This was the first time I ever had a panic attack in the darkness. Perhaps it was the length of the blackout, maybe it was the intensity of the music during the darkness...who knows. That being said, Heather Christian has created a truly stimulating evening with Animal Wisdom. Her stories and the characters from her life are fascinating, and her voice is stupid fantastic. She has assembled a fine group of musician actors. It's a show steeped in religion, but never feels preachy. It's accepting and inviting. There's also a massive choir of assorted people that enters near the end...I almost felt cheated out of the intimacy that had been established for 3/4 of the evening. That and the darkness were my only negatives. I feel lucky to have caught this piece and certain moments will haunt me forever (in a good way)... Read more Read less

See it if you like productions from the Globe, classical arias, masterful acting, or Mark Rylance

Don't see it if you like modern plays only, dislike classically staged plays, or if you are looking for an overly dramatic piece of theatre

Also Mark Rylance once again is giving a masterclass in acting. He's worth the price of admission alone, but I strongly recommend seeing this because of it's heart and simplicity. The language is modern so there should be no translation issues. The music is gorgeous (that countertenor!) and the whole ensemble shines. Not to be missed for fans of superb acting.... Read more Read less

See it if you like supporting new work/small theatre companies

Don't see it if you aren’t a fan of edgy subjects, drug use, nudity, or foul language

Also PROS: superb set design, a mostly-talented ensemble, great music soundscape, funny, messy, and beautiful script

CONS: excessive nudity (is the nudity even necessary?) and the length (3 hours is too long. too too long).

MINOR QUIBBLE: when you have so much nudity and other graphic elements but decide to mime food and have no fake blood, it seems inconsistent? maybe that’s just me, but it was offputting to have a stark contrast of real and fake elements in such an intimate space.

Do the pros outweigh the cons? Ultimately they do. It’s worth seeing. Less Than Rent is an exciting theatre company that is doing daring work. And despite my quibbles, it’s a beautiful piece. Messy, but beautiful.... Read more Read less

See it if you crave honest portrayals of those on the spectrum, don't mind ugly-truthful moments onstage, like theatre that thinks outside the box

Don't see it if you aren't interested in seeing a play about people who aren't neurotypical, prefer more straight-forward dramas

Also It's clunky at times, and I felt the ending needed a bit of a "button," but there's some beautiful work being done at the Sheen Center. There's some true moments of theatre magic (I won't give them away), and it's surprisingly funny! It's also informative about the different ways autism presents itself in various people without being too preachy. And you can't beat a 90 min run time. Definitely worth seeing.... Read more Read less

See it if you want to support NYC's oldest LGBTQ+ theatre company, you like plays with stock characters, you're looking for an entertaining evening

Don't see it if you're not interested in LGBTQ+ history, you don't find drag queens funny, you don't want to visit a leather bar for your theatre

Also Uneven performances. A mostly entertaining evening. The script has its moments, but some of the bits dragged on a bit too long. Longer than the run-time that was provided. I'm not sure I'm the target audience for this show (and that's ok), but I don't regret seeing it and supporting a small theatre company.... Read more Read less

See it if you love immersive theatre, want a completely unique theatrical experience, like "choose-your-own-adventure" stories, and enjoy Macbeth.

Don't see it if you want a traditional night out, don't want to walk around or potentially run up stairs for 3hrs, don't like nudity, or are claustrophobic.

Also It's a must-see for theatre-lovers unless any of the "don'ts" above apply to you. Definitely be brave and venture out on your own. The one negative was when huge groups would form around some of the action, it began to feel less comfortable and special - the best moments I had were when I found myself completely isolated in the rooms, or when I would discover an actor at random and begin to follow them. The actors/dancers are remarkable. They take their movement and storytelling to great heights (literally) and push boundaries. I could have done without the full-frontal nudity given that we were so close, but it was justified. I will definitely be back to have a brand new adventure - it's something I don't think I could ever tire of.... Read more Read less