Janet from Long Island

See it if you are interested in feminist issues presented in a folkloric context.

Don't see it if you have a problem with melodrama or with some very heavy-handed acting in minor roles.

Also This play about slut-shaming and double standards for men and women, set in a small Irish village, reminded me of a favorite novel, Thomas Hardy's Tess of the D'Urbervilles. I read almost nothing of the reviews beforehand and was glad to be fresh going in. There is nothing like taking in the events and ideas of a play in the order the playwright wanted to present them! Ending was abrupt and could have been played out/picked apart more, and there is some very heavy-handed acting in the minor roles. But the two main actors playing Bairbre (a rural lass returning from a decade in the city) and her father-in-law (a hidebound yet smolderingly perverse patriarch) are magnificent as they go head to head. I've never been disappointed at the Mint Theater, and this is no exception.... Read more Read less

See it if you like plays with a nasty bite. This is drawing-room comedy on a collision course with "Who's Afraid of Virginia Woolf."

Don't see it if you would get bored by constant dialogue with little physical movement. All the movement is in the parry and thrust of the conversation.

Also This is my third encounter with a Yasmina Reza play. I saw the original London production of "Art" and then both stage and film versions of "The God of Carnage." I enjoy her work in general. This plays a bit as an exercise or experiment - the same scene three times with some variations - but I relished all the nuances. All four actors are adept comedians and bring out the colorations in the writing. Apparently the 2003 NY production of this was a dud - I'm certain this one is better, so grab the chance to see it in this short run. Bonus: Dir. Jerry Heymann's return to stage after 25-year hiatus. A few quibbles: 1) characters are French people in Paris, so why do actors use British accents? 2) note to costume department - a "dressing gown" is a bathrobe 3) scenes offstage with a child happened too quickly to be realistic, would have been better to act them in real time 4) child's voice sounds more like 18 months than 6 years 5) in translation, word "suppliant" should be "supplicant."... Read more Read less

See it if to witness Elaine May's return to Broadway after 50 years (!), if you like Kenneth Lonergan's plays, or if you're interested in dementia.

Don't see it if you can't handle a quicksilver change of tone. Like dementia itself, this play moves quickly back and forth from comedy to tragedy.

Also I feel privileged to have already seen two of this year's likely Best Actress Tony perfs: Janet McTeer in Bernhardt/Hamlet and now Elaine May in The Waverly Gallery. Although in previews she occasionally seemed to be reading from a script (she was sitting at a table much of the time with her eyes downcast), her perf is riveting and when she's not on stage the fascination dwindles. Other best thing about the show: scene changes, with gorgeous (original?) piano music and the movement of light across the exterior of a building to show the passage of time. Joan Allen and David Cromer are also strong, but the two younger men were disappointing. I hope they find more in their characters by opening,... Read more Read less

See it if you're naturally inquisitive and appreciate personal history and found objects.

Don't see it if you like your theater straight up. This combines acting with multimedia, object display, and poring over documents in a classroom setting.

Also Because of the title (especially the exclamation point), I expected a louder, campier show. This experience has more of a study/learning emphasis. The performer guides you through listening to a tape and reading a transcript, occasionally punctuating the piece with bits of performance. Having grown up on Long Island and recently lost most of my older-generation family members, I was moved by the material, which sounded like my mother's family in Queens (warmth and humor blended with bickering and several conversations going on at once). The show produces a sense of exploration and excavation, with both sad and funny moments. On the negative side, the performer doesn't have an interesting presence when not acting. She is a little too much on the perky side. Also, the device assigning each audience member a character falls flat since we are given nothing to do. I suggest rethinking that aspect if the show is mounted again.... Read more Read less

See it if you would like to encourage a new talent.

Don't see it if a half-baked attempt at a great topic will frustrate you.

Also Reminiscent of the work of Anna Deavere Smith, this show features one actor playing all the characters, providing different perspectives on the same set of events. Depicting a world in which no woman is raped in twenty years (making this really a work of speculative fiction), Kadwani relies too much on textbooky lecturing rather than the sci-fi-type worldbuilding this story requires. If she took Handmaid's Tale or Children of Men as a model, she would be more successful in putting this across. She should also get much closer to the story by portraying characters closer to the events. This is the second disappointment I've had at St. Luke's, and I'm not sure I'll go back.... Read more Read less

See it if you have an academic interest in sainthood and the Catholic church.

Don't see it if you expect something timely, lively, or revealing.

Also I should have stayed away when I saw the low scores here, but the connection with Bedlam Theater made this show irresistible. The play is picaresque or episodic---reminding me at times of Candide, The Canterbury Tales, and even The Little Prince---and is too piecemealy to find a consistent characterization or tone. The first act meanders and contradicts itself; the second one is too broadly comic. I loved Jason O'Connell in Wanda June but not as much here, where the real standout was Timothy Doyle, especially in his role as a pilgrim (with the red hat). Perhaps a different approach to the main character, making her a beautiful and voluptuous naive (who is also elaborately dressed, as the other characters keep stating), would have worked better and wrought more meaning from this play.... Read more Read less

See it if you like traditional musicals with big, colorful production numbers.

Don't see it if you care about character development.

Also I knew very little about this show aside from having sung a medley of its songs in high school chorus and having heard Louis Armstrong's rendition of the title song. Bernadette Peters was overmiked and sucking on a lozenge in the first act, most of her acting consisted of wagging an index finger, and she tried to make Victor Garber laugh during one of their scenes, which the audience loved but which I found unprofessional. I like the show's messages, songs sung by Kate Baldwin and Gavin Creel, and Charlie Stemp's dancing, but was put off by the meta aspect of the show, the Barbie Dream house palette of the costumes, and all the holes in story and character. Reading about the story's origins in Roman comedy and Moliere, as well as the concept of the monstreuse, helped a bit, but I still don't entirely understand what the fuss is about. I'm considering seeing Donna Murphy in the role for comparison but not sure I should subject myself to this again.... Read more Read less

See it if you'd enjoy a competent but by-the-numbers mashup of Guys and Dolls and West Side Story.

Don't see it if you want something fresh and original, a genuine coming-of-age story.

Also A Bronx Stale. Considering that this is putatively someone's life story, there is little originality here. It's basically Black Mass meets Guys and Dolls meets West Side Story, as a young man must choose between the influences of his straight-arrow father and a paternalistic gangster, with a forbidden interracial romance along the way. The blueprint even includes a set featuring fire escapes and a song about throwing dice. A few poignant moments and some very good choreography don't redeem the material. Great work from Frankie Leone as young C. and Christiani Pitts as the love interest. Chazz Palminteri doesn't sing well but nails the attitude and the show's best song, the Sinatraesque song, "One of the Great Ones." An interracial romance is not believably developed, and the second act is too crammed with incident to have real impact. On the plus side, the action-driven story makes this an excellent choice for international tourists who don't speak English.... Read more Read less

See it if you like classic, fast-paced comedy with two sparring actors.

Don't see it if you have a problem with sexual humor.

Also Cuckoldry theme, a staple of European comedy since the middle ages, is still alive and kicking in this cleverly written and crisply acted two-hander. Seeing the type of jokes prevalent in Moliere's time reworked for a setting of cell phones and banking offices makes for an interesting cultural experience, enhanced by the theater itself ---an elongated space made to resemble a courtyard with windows. Another theatergoer surmised that it was once a fire station. A fun evening. Will definitely return.... Read more Read less

See it if you're interested in an intense exploration of the multigeneration legacy of sexual abuse, and the lasting effects of a parent's suicide.

Don't see it if you're squeamish about dark psychological topics. You prefer a conventional theater setting to a small setting with smallish folding chairs.

Also Powerful exploration of the emotional turmoil of a young man whose choices are driven by a family legacy of suicide and sexual abuse, and how he attempts to break the cycle and lead a healthier life. The occasional bit of on-the-nose dialogue is mitigated by superb direction and highly invested actors. Excellent use of the bar space; action moves about the room so that every seat has a good sightline. The attachments, rejections, and failures in the story are evocative and command empathy. I found myself thinking about people and situations from my own life and left with a sense of hope and connection. Three of the four characters are gay, making this an excellent addition to your Pride weekend. Last show tonight, 6/23!... Read more Read less

See it if you want to learn more about the nine teenagers who integrated Central High School in Little Rock despite mobs, threats, and violence.

Don't see it if broadly written and played characters will ruin the show for you.

Also Well-staged show with music and projections reminded me a bit of "X: Or Betty Shabazz," because of its use of news stories and speeches/interviews by national figures. I learned quite a bit from the show, for instance, that Louis Armstrong (like Muhammad Ali) refused to represent the US abroad while his own people were being mistreated. The major flaw is overly broad characterization. Each of the students is given one major personality trait rather than a nuanced persona ("I love Shakespeare"; "I want to be a doctor"). They remain two-dimensional until the playwright devotes more time to some of their stories in the second act. The arrangements of gospel songs and civil rights songs are exquisite and could be longer. More care should have gone into making the limited cast of actors resemble historical figures. Mike Wallace, complete with cigarette, is spot on, but Eisenhower with a full head of brown hair? I don't think so. Sit towards the back to get the most from the projections.... Read more Read less

See it if Just to see Condola Rashad's fresh, riveting, and contemporary performance as Saint Joan. Or if you like talky plays such as Travesties.

Don't see it if You are bored by static tableaux of people (mostly middle-aged white men) talking to each other.

Also The play is written as a series of deciding moments in which important people talk to each other. Fine, but these scenes could be animated more by some props, movement, different voices and accents that would provide detail and make the male characters more specific. As it is, only a few characters emerged as unique; actors are for the most part blandly playing their place in history. On the plus side, especially with Rashad in the role, the conclusion of the play resonates with contemporary issues such as gender conformity and failures of the justice system.... Read more Read less

See it if you would like a fast-paced, intellectual play that deals in literature, politics, and the history of ideas.

Don't see it if you want some pathos to go with your logos. You don't want characters reciting history at you as if they are a walking book or newspaper.

Also I've liked Tom Stoppard's work in the past (The Real Thing and Arcadia) but found this one lacking. The play works well on an intellectual level, with a barrage of information and situations, but fails to engage the emotions. I don't know if that is a result of the writing or the production. At any rate, it can't be James Joyce's fault, because his work is steeped in feeling. Women characters are written as amanuenses, lovers, and followers. Does not pass Bechdel test. Do better.... Read more Read less

See it if you like loose, improvisational monologues with a bit of audience interaction. Puppetry, oddly, is not THAT much of a feature of this show.

Don't see it if you dislike meandering philosophical conversations; if you prefer very structured entertainment or shallow, fun topics.

Also Randy the Australian puppet does some fairly standard comic shtick (where are you here from?) and tells some funny stories but keeps returning to a kind of existential discussion about art and meaning; specifically, whether he should finish writing his novel. As he incorporates some give-and-take with the audience, this seems like the show "Overheard at Joe's" wants to be but doesn't measure up to. Despite some profanity and discussion of sexual situations, the puppet's persona is kindly, solicitous, and sympathetic. The main drawback is unevenness. A saggy section about 2/3 of the way through, about being a vegan and a Buddhist, was not that entertaining or original, and the audience became restless. If we're paying for a show, what we're getting has to be better than what our friends give us for free, and that's not the case at some moments. Still, I would gladly have continued the main part of the conversation for another hour. Well done!... Read more Read less

See it if you'd like a funny show about dating in NYC; you're a fan of Sex and the City or HBO's Girls; you're a woman who's done online dating.

Don't see it if you only appreciate very polished productions.

Also My high score is partly due to the subject matter. I too went on scores of dates through Match.com and Craigslist, and I found a lot to relate to. They way men misbehave or misrepresent themselves was accurate, in my book. In addition to the humor is some very moving backstory about how Rachel's family or origin affected her ability to form healthy relationships. A few flaws: some of the men portrayed are too similar in face and voice; I was unclear on whether this is an autobiographical show or a fictional piece; Ms. Kasper muffed a word several times (perhaps she's rushing too much); and her singing is not great. Still, I laughed, I cried. I recommend the show for groups of women looking for a fun girls' night out.... Read more Read less

See it if you'd like to see an RSC actor bring a little-known but relevant historical character to life; if you're interested in racial justice.

Don't see it if you dislike historical plays or one-man shows.

Also As a true labor of love, Royal Shakespeare Company actor Paterson Joseph researched, wrote, and acts this one-man play about the first black person to vote in England. An episodic story of being born on a slave ship, given as a "pet" to a household of wealthy sisters, trained as an actor, and eventually painted by Thomas Gainsborough gives way, in the last five or ten minutes, to a scene that could be torn from today's headlines about voting rights and #BlackLivesMatter. Joseph's acting on opening night was sometimes too big for the space, but I expect he'll calibrate it quickly. The historic theater, with an octagonal skylight, Art Deco facade, and African carvings, is a must-see. An exhibition on gerrymandering and voting rights opens in the lobby on April 20.... Read more Read less

See it if you like a new twist on a classic; if you like Shaw. If you want to see one of the best performances by an actress this year.

Don't see it if you prefer shows with a large cast and lavish production.

Also This streamlined version of the play hits most of its marks but fumbles here and there. A scene in which three actors play multiple characters requires too much work from the audience and drags down the energy. Too much time is devoted to Alfred Doolittle's "middle-class morality" at the expense of the main story. We could have used more about Freddy and more about Eliza becoming an indispensable right hand to Higgins, which is discussed more than shown. In this production Eliza is Indian rather than Cockney, and New Delhi-born Vaishnavi Sharma slays in the role. Edmund Lewis, playing Mrs. Higgins without makeup or wig, is also outstanding. Eric Tucker as Higgins is a little too bland and (irony of ironies) his accent is inconsistent. The staging is intimate, making good use of a small space; the action begins immersively outside the seating area, and once in the theater the actors sometimes sit in the audience. Eliza's costumes are exquisite. I plan to compare this with the musical.... Read more Read less

See it if you like thoughtful one-person shows about growing up in unusual circumstances, as well as some exploration of race and class.

Don't see it if you find personal reminiscences boring.

Also Charming and unusual memoir about growing up in an apartment above the NYC library where Washington's father was the caretaker. Much of the story is light and amusing, but she delves at times into race and class inequities as well as the family's struggle with alcoholism. The actress is so calm and self-possessed that I felt some of the darker and more painful elements were underplayed. I would like to see more ups and downs in the the tone and intensity of the piece. However, part of my reaction may be due to race (I'm white); some of the African-American members of the audience reacted strongly to aspects of the story that I thought were treated too lighthandedly. The wonderful set includes rows of books that the actress sometimes pulls from and reads, and leaded windows that change color to suit different scenes.... Read more Read less

See it if you're interested in how large entertainment companies select films to adapt for Broadway, and how the show is "positioned" for the audience

Don't see it if the "Mean Girls" movie is too lowbrow for you.

Also Well-run event in the attractive small cinema at the School for Visual Arts. Program opened with Mean Girls movie trivia; the interlocutor threw candy to the people who gave correct answers. Then the show's press agent and a producer from Paramount Films talked about the process of adapting a movie for Broadway and what elements were kept or changed. Substantive discussion from people in the know. We concluded with a screening of the film. I was never a fan of the film; I admire Tina Fey for her work on SNL taking down Sarah Palin's vice-presidential candidacy, and I think her movies are beneath her stature, appealing too much to the lowest common denominator. However, I saw "Mean Girls" with new eyes in a crowd of serious fans. Great way to spend the afternoon.... Read more Read less

See it if you appreciate subtle acting with lots of dialogue (a game of wits); if you are interested in geopolitics.

Don't see it if you prefer plays with a lot of action.

Also Elegant from start to finish. Well-written and beautifully acted play shows the months (if not years) of thought and preparation that went into creating these two characters. Topic of nuclear arms is especially relevant right now, with the current U.S. administration speaking of a preemptive strike against North Korea. Sound, set, and effects (play spans four seasons) are simple yet beautifully detailed, with birdsong and falling leaves. There is a very slow stretch early in the second act during which I got sleepy; more movement should be added. Full disclosure: I missed the first few minutes because I went to the Barrow Street Theatre instead of the Barrow Group. Dang!... Read more Read less

See it if you are a fan of Hayley Mills or if you like broad, sitcom-like comedy.

Don't see it if you like much wit or subtlety or expect to learn anything about Ireland.

Also Formulaic story includes the Big Revelation/Truthtelling moment about three-fourths of the way through that causes everyone to Empathize and Heal. If playwrights find such moments important, why don't they put them at the beginning and work from there? I would have the sociology brought out more for an American audience (and perhaps for the actors): renovated kitchens are key to the story, but what are they replacing? Also, do any of these women have jobs? And finally, people just out of the hospital and on psychiatric meds can't really drink that much without interactions.... Read more Read less

See it if you're looking for light entertainment, especially strong physical comedy.

Don't see it if you want a serious presentation of Chekhov.

Also Charming little show. The two romantic leads do an elegant job with the title story; they're encircled by the rest of the cast doing humorous sketches, songs, and dance numbers, giving this production the feel of a vintage variety show. The cast includes a couple of very good actors, a few gifted physical comedians who really push the envelope, a vibrant dancer, and a pianist; all play to their strengths. Staging is simple and evocative, with some pretty effects. Significant number of Russians in the audience adds to the atmosphere. Drawbacks: set design (a pier) sometimes blocks the action, some singing is off-key, and I would prefer a more realistic-looking dog. Title is clunky.... Read more Read less

See it if you enjoy satirical works about African-American culture and race relations.

Don't see it if you expect a completely polished play.

Also The show is a series of skits, some more successful than others. The writing is good throughout, but this cast does better with the harder, cooler, more biting scenes than the warmhearted ones, which get a little slack. I especially liked the first bit, about a passenger airliner that operates as a modern-day slave ship (the actress reminded me very much of Betty Gabriel in the movie GET OUT) and a very funny scene between two talking wigs. I like the fact that this theater shows several plays in rotation (on Saturdays only) and that tickets are always $25. I'll continue to support them.... Read more Read less

See it if you're interested in political revolutions and enjoy immersive, participatory theater.

Don't see it if you aren't interested in geopolitics, or if you like to stay in your seat.

Also Exciting and educational piece of "immersive" theater for the playgoer who likes a nontraditional experience. The action is happening all around you and you get pulled into it rather than being a passive observer. Innovative staging and video effects, gorgeous music, and pierogis for everyone. Be sure to wear your grungy clothes (e.g., jeans and sneakers) and carry very little with you (no purse or backpack) so you can be ready to sing, dance, brawl, and mourn. Highly recommended.... Read more Read less

See it if you don't mind seeing something in which the character has no flaws.

Don't see it if you want a strong concept and story.

Also When we got to intermission I was still wondering what the story was about. There is no central conflict and the main character is too perfect and doesn't change. His acting is also fussy and business-y. The supporting actors are good.... Read more Read less

See it if you're interested in the topic of gay marriage, or marriage in general. A bookend to Bright Colors & Bold Patterns, though goes beyond that.

Don't see it if you can't handle a show that takes a turn for the dark and agonizing. Audience was engrossed. I ate it up!

Also Well-thought-out play on the meaning of marriage that explores both cultural and legal implications. Lots of eye candy with appealing actors in a beautiful mid-century- decor home (main character is successful architect). Some very funny lines. Takes a serious turn and becomes a cautionary tale about the decisions we make in life. Some sections fall flat due to on-the-nose dialogue, but mostly well written. Ideas explored are top-notch. Two parallel soliloquys are interesting. Somewhat misogynist because only female character is a harridan but perhaps that's unavoidable for the play to work. I particularly liked the character of Trip, who seems lightweight at first but reveals depth as show goes on (played beautifully by Leland Wheeler, who resembles a younger Jimmy Fallon). Not sure what was going on with a painting actors kept referring to (on the fourth wall) but may see consider seeing this a second time to really get it. Definitely a meaningful night at the theater.... Read more Read less

See it if you like British plays with lovely costumes, flirtations, clever lines, or you relish Shaw's timeless morality

Don't see it if you can't sit in your seat for 3 hours, or if you need acting/tone to be really consistent

Also Picked this up on the spur of the moment walking around the Theatre District after work. Very pleased with my choice. Lincoln Center video crew was there filming it for the archives, which is always a great endorsement. The play posits solid burgher morality, with its emphasis on superficial decency, against the whims and license of bohemian aristocracy, to great effect. Shaw's stock-in-trade cultural critique includes trenchant philosophizing about love, fidelity, money, business. Very strong cast, but tone varies. Three wonderful female characters, with Karen Ziemba (nimble and nuanced) and Alison Fraser (comical) as aristocratic sisters and Kimberly Immanuel as a poor young ingenue. Immanuel is well cast but her voice is too rich and confident. She seems to be emphasizing projection over showing changes in her character. You'll be handed too much paper---three programs. Read the narrow one first.... Read more Read less

See it if you're a fan of Janet McTeer, enjoy behind-the-scenes history of iconic Shakespeare productions, want to see women breaking down barriers

Don't see it if I saw it in previews. If you can't reshape the pieces of this show in your head, don't see it in previews; wait till it opens.

Also *Spoilers* I'm a fan of both the magnificent Janet McTeer (so charismatic in the film Albert Nobbs) and of Theresa Rebeck (What We're Up Against at Women's Project Theater last fall), so I was really looking forward to this. Unfortunately, McTeer's diction and projection were weak. Perhaps she's erring too far on the side of naturalism, but few people could hear her opening line. Story proportions are off. A party scene in Bernhardt's dressing room is a scene of static talking heads, goes on way too long at the expense of the concluding scenes, which are undeveloped. Audience needs to know at least 1) Did Bernhardt eventually do Hamlet on the stage, or only on film? and 2) Did Coquelin abandon Bernhardt's Hamlet to do Cyrano, or did he do both? Enjoyed costumes and sets, entire milieu of creative Parisians. Reminiscent of Travesties in that it shows the simultaneous process/struggles of several well-known artists in one milieu (in this case, Bernhardt, Rostand, and Mucha). High hopes.... Read more Read less

See it if you're interested in historic plays with strong female leads.

Don't see it if you don't speak Spanish and need to rely heavily on English subtitles.

Also A noblewoman who has been seduced and abandoned dresses as a man to track down the one who harmed her and even the score. The show is beautifully staged. Costumes are as opulent as the set is spare. Theatergoers who speak Spanish will lose themselves in this play. English subtitles are poor, so if you need them just skim them for the key words and phrases and return your eyes to the stage as much as possible. This is the second play I've seen at Repertorio Espanol and you've got to put this neat little theater on your list if you haven't been.... Read more Read less

See it if you want to support emerging women playwrights and can be *very* indulgent about a play's flaws.

Don't see it if you want all the pieces to add up to a whole pie.

Also In the setting of a pie shop run by two mysterious sisters, the playwright stirs together themes of sexual trauma, workplace sexual exploitation, and a form of water contamination that makes people unable to speak - possibly representing the silencing of sexual abuse survivors. A neat group of actors begins the show in an intriguingly stylized manner - a mix of Jean Genet and the Coneheads - but which oddly, disperses in the last half hour of the play along with any sense of focus, tension, or sustained conflict. With some reworking this could be a winner, but right now it goes in too many different directions to hold one's attention.... Read more Read less

See it if you enjoy mime and "physical theater," you have attentive kids aged 8-12, or if you would like Symphonie Fantastique with no sound.

Don't see it if you have a short attention/concentration span. This show works best if you take a deep dive into it, achieving an almost meditative state.

Also Iconic Swiss mime/physical theater troupe uses oversized puppets, constructions, and objects to create a series of short scenes in a variety of moods, with no music and very little sound. The performers wear velour bodysuits and never show their faces until the curtain call. Instead, we see or imagine expression in, for instance, a trash bag or a giant Slinky. "Physical theater" is not a phrase we hear in the United States, and the whole show is as European as Marcel Marceau. Most scenes are about conflict, cooperation, and competition, in keeping with the theme of "you and me." I wanted to see this show because the group is famous, and some parts are delightful and even thrilling, but I fought off sleep for about fifteen minutes during the slower parts. Above-average children who can sit still would enjoy this, perhaps finding inspiration to do similar projects at home. A girl age 10-12, sitting beside me, loved it. I think smarter marketing would have sold out this run.... Read more Read less

See it if you like silly, campy, over-the-top musicals with a royal or Elizabethan setting. If you liked Spamalot or Into the Woods.

Don't see it if you're uncomfortable with sexual jokes and characters exploring/questioning their sexuality. Theme contributes to the show's energy.

Also "O brave new world, That has such people in't!" Madcap, spiritually generous jukebox musical transcends its genre in a winning production that overlooks no detail. Top-notch colorblind and sizeblind casting features Aidy Bryant-like Bonnie Milligan as a spoiled princess and Alexandra Socha as her plain little sister. A visual feast with so many delightful moments I may need to see it again. Everyone in the ensemble has interesting hair. Be sure to stay for the full finale and curtain call. Three quibbles: Peppermint's singing voice lacks richness compared to rest of cast - can improve by opening night? Some of the choreography is repetitive (one actor standing in front with the ensemble lining up behind them). I believe one of the costumes (a cape with Adam and Eve on the back) is patterned too closely on the work of a couture designer. I'm quite sure I saw it in the "Heavenly Bodies" show at the Met Cloister. Put this show on your list!... Read more Read less

See it if you liked "Hindle Wakes" at same theater, you're interested in economic inequality, you'd appreciate a strong character arc for female lead.

Don't see it if you don't want to concentrate on following a slowly developing story. Most of the physical drama is in the opening.

Also Compelling, well-focused story of former university classmates with diverging political views mirrors recent U.S. discussions of wealth distribution and "the one percent." Droolworthy sets/costumes and one ingenious set change. Jeremy Beck is putative lead but his responses are too muted in second half; instead, actress Jessie Shelton rivets as a sheltered aristocratic woman becoming politically woke. Props to Mint for casting Jasmin Walker, an actress of color, as her smooth and worldly best friend. A worthwhile evening at the theater.... Read more Read less

See it if you'd like to see how Jewish music and experience created the American musical. Lecture is accompanied by PowerPoint slides, video clips.

Don't see it if you don't like taking classes. I love that Show Score offers these.

Also Substantive and well-paced class stuck to the topic and made a couple of key points that I still remember a week later. Other Show-Score classes have sometimes gotten railroaded by student questions, but that was not the case here. Instructor is knowledgeable, personable, and humorous. She should have used the podium so she didn't have to hold her notes in her hand the whole time. I would have liked a handout with suggestions for further reading/viewing.... Read more Read less

See it if you like tense, explicit, uncomfortable dramas and are interested in how cultural values cause teen girls to be sexualized at an early age.

Don't see it if you can't handle a play that keeps you on edge for two hours with very few laughs to ease the tension.

Also When a fifteen-year-old girl loses her mother and has no one else to provide support and guidance, she goes looking for love (and power and value) in all the wrong places---mostly, by offering her sexuality while completely out of touch with any desires she might have. Although I would have liked to know more about where Charlotte is getting this information from (peers? Internet porn?), the societal messages seem accurate, and I think this kind of conditioning occurs even earlier (by age 13). The production keeps you on your toes, going from reality to fantasy with no signal such as a lighting change. Acting is strong throughout, and actors are believably cast. I especially liked James Goodnight in a quirky supporting role as a guidance counselor. See it while you have the chance. Tip: Buy your tickets online in advance, since purchasing at the door is time-consuming.... Read more Read less

See it if you're interested in programmatic plays about money, such as Junk.

Don't see it if you care whether the storyline holds together.

Also Another play about money from the same director as Lincoln Center's Junk. In the same fashion, characters are mouthpieces for ideas, but at least here they come alive. Story was gripping through first act but fell apart in second. Weak spots/spoilers: More should be at stake at the end of the play (i.e., Cara should be at risk of losing her house, not at risk of losing a rental). The whole strategy of getting Angela into Vassar was off. She would have had a higher class ranking at the poor-performing school than at the wealthy school, and could possibly have gotten a scholarship. On the plus side, it was nice to have a gay character in a play that isn't about being gay. But this very desirable (smart, good-looking, wealthy) man would have his choice of partners. In fact, I thought at first that Geoff, in the party scene, was his partner. Having lived in Massachusetts for most of my life I appreciated the acting and accent of Roxanna Hope Radja as a townie.... Read more Read less

See it if you like Middle Eastern music, great singing and innovative staging. If a mood of romance, yearning, and melancholy appeals to you.

Don't see it if you're bothered by a problematic sound system. You like shows with big song/dance numbers. (This cast COULD dance but generally doesn't.)

Also When an Egyptian military band is marooned in a small Israeli town, their interactions with locals explore loss, thwarted ambition, and missed romantic connections. Casting includes many Arab and Israeli actors. Neat musical concept: some characters play instruments and some both play and sing, and you don't know for sure which until their song begins. Shalhoub, on hiatus, was on stage for the perf I saw. But Katrina Lenk, as a restaurant owner charmed by Shalhoub's quiet band conductor, is the show's powerful center. She sings movingly while remaining in character, complete with accent. Unfortunately the great vocal performances are marred by a sound system that, in the rear mezzanine, makes them sound disembodied and electronic. Show does not pass the Bechdel test, and several secondary characters were hard to keep straight from my high perch (do three of the women really have to have the same hair?) Would be interesting to compare this show to the similar-themed "Come from Away."... Read more Read less

See it if you like classic American works by Miller, O'Neill, Wilder and would enjoy seeing a flawed but ambitious new play along such lines.

Don't see it if you have high standards for playwriting.

Also With similarities to "Death of a Salesman" and "Our Town," and nicely staged with much care given to set, sound, and lighting, this family drama falls flat because both writing and acting are too explicit in some places and underdeveloped in others. The core rule of writing: show, don't tell! Don't tell us how characters relate, show us through gesture and scene work. Don't have one character say, "You never pay any attention to me." Let us see that character making a bid for attention and being ignored. Underdevelopment: References to a family business are too vague; we never entirely find out what industry the business is in (real estate?). The main character, Eric, is a musician who is strongarmed into joining his wife's family's business and gives up his music career. Both the music and the work seem arbitrary and unreal. We should see him doing both, and although his personality is understated, he should be more of a focus even when the more extroverted characters are onstage.... Read more Read less

See it if you're interested in families dealing with mental illness or disabilities; you like shows with a single tour de force performance.

Don't see it if you prefer a show with a balanced ensemble of performances; you are a proponent of casting actors with disabilities.

Also Beautifully staged show with terrific music, sound effects, and visual effects features Alexander Brain in a no-holds-barred performance as a girl with autism. But while the perf captured me at first, it threatened to swamp the show in the second half because, with the exception of her imaginary dog, the other performances lack that level of detail and nuance. A budding romance seemed to come out of nowhere and I was not sure how each would-be lover viewed the other. Additionally, while other productions are moving toward inclusive casting of people with disabilities (Children of a Lesser God, Amy and the Orphans), this one features a non-disabled actor playing a person with disability. The play also verges on "disability inspiration porn": another character holds up the autistic girl as a role model because she is honest, direct and always "says exactly what she thinks." For more on these issues see "Critics Question the Representation of Disability in ‘Wonder'" at slj.com.... Read more Read less

See it if you want a living, detailed picture of how, why, and where the U.S. detains undocumented immigrants.

Don't see it if you want lighter fare; if you believe in building a wall and are not willing to change your mind.

Also Two families---a mother and daughter from Venezuela and an Iranian-Canadian couple with teen boys---are held in a Texas detention facility for illegally crossing the U.S. border. The play explores their interactions with each other and with two corrections officers who are essentially in good cop/bad cop roles. The horror sets in within the first five minutes when you realize that an autistic boy will have his comfort object confiscated with the rest of his family's possessions. And even moody, neurotypical teen behavior in this tense, repressive setting is pure gunpowder. Acting is uneven, with the two Equity actors being the standouts, and a love story subplot seems unnecessary. But seeing this one day after the IRS deadline made me think much more vividly about what's being done with my tax dollars, in my name. Practical note: the A train, which is closest to the theater, is unreliable; curtain was held 30 minutes for an actor who was stuck on the train. Take the 1 instead.... Read more Read less

See it if you want to experience a classic, extravagantly produced Broadway musical that is heavy on singing and dancing.

Don't see it if you prefer older works to be updated for contemporary times. Other than the first of a black actor in the lead role, not much is new here.

Also Having lived in New England (and like the lead characters, fallen in love there) I enjoyed all the NE details and sets. The changing sky and the sparkling sea with boats on it were captivating. Joshua Henry is charismatic and heartbreaking as Billy Bigelow. Jessie Mueller is mousy and unremarkable as Julie and says her lines too quickly, though her singing was lovely. Lindsay Mendez as Carrie is a standout--vibrant and engaging, funny and natural, and sings with a New England accent! The story slayed me and I sobbed through the last ten minutes. I went in mindful of the controversy about whether it condones domestic violence. To me, the final word is in the God character (the Starkeeper), who is the highest authority on stage, and who calls Billy out for hitting Julie. I'm not as big on ballet as some people, and I found the dances a bit repetitive. I would rather have seen more variety and more folkdance-inspired movement---for instance, a sailor's hornpipe in the wharf scene.... Read more Read less

See it if you're interested in visual art, puppetry, or classical music.

Don't see it if you come to Show-Score for plays only; if you need a plot, story or narrative to make your evening worthwhile.

Also In this genre-expanding puppet show, a team of five unseen puppeteers moves cloth, feathers, tinsel, and other objects through a water tank to the accompaniment of piano music and constantly changing lighting and colors. The tank is set up like a movie screen, complete with curtain. Although the mood, and the combining of visuals and music, is similar to Disney's Fantasia, there is no narrative other than what you make up in your own mind. My only complaint is that the tank is too small for the theater (or the theater is too big)---from the last row I strained to see depth, details, and textures. Afterwards you can go backstage and see how the tank is set up and how the performers move around it. The performance I saw was sold out. A remarkable and unusual experience that felt very French.... Read more Read less

See it if you like A.R. Gurney, Old Boston, or Henry James's story "The Beast in the Jungle."

Don't see it if you have no interest in old-money New England WASPs.

Also Touching and amusing high-concept play by WASP chronicler Gurney depicts a group of people in their 50s and 60s, choosing who they will be in the next stage of their lives. Beautiful lantern-lit set is immediately recognizable as a rooftop on Boston Harbor. Having lived in Boston, I enjoyed all the local references. Laurence Lau is fully believable as Austin, the repressed main character, whose desire to do the correct thing is sometimes paralyzing. Liam Craig and Jodie Markell are enjoyable in multiple roles (particularly Craig's depiction of Austin's best friend), though a few characters verge too much on cartoons. Barbara Garrick as the love interest bellows her lines in an odd monotone, erasing any sense of a real person. Smart cross-promo talkback with director and the directors of two upcoming Gurney plays included personal anecdotes about the playwright. Will put more Gurney on my 2018 calendar. A quibble: vodka tonics are not served in a wineglass.... Read more Read less

See it if you're interested in LGBT rights (sometimes known as human rights), gay history, coming-out stories, and generational differences.

Don't see it if clunky lyrics and an inconsistent tone would ruin the night for you.

Also Slight, tender 90-minute musical lacks conflict and focus for the first hour, making us wonder what we're watching and what sort of plot points we should be looking for. The audience needs to know Harvey Milk's significance going in; perhaps a dramaturg's note in the program would help. There are too many songs crammed in, many of them with unearned big endings, and they become repetitive. Some lyrics are too literal or too closely tied to the
situations. Others use cliches (e.g. "our hands fit together like peas in a pod, like pieces of a jigsaw puzzle") or belabored rhymes. Performances are fine. Adam Heller is winning in a role that requires him to be onstage every minute. Julie Knitel is sincere and coltish, like a younger Laura Dern, and convinces as a writing teacher. Cheryl Stern is funny (almost show-stoppingly so) as the deceased wife but is often onstage with nothing new to do to deepen her character. Reference to Twinkie defense revives an urban legend (see snopes.com).... Read more Read less

See it if you are stimulated by updatings of classic Greek plays.

Don't see it if you prefer something lighter or have a problem with graphic violence.

Also In this updating, Troy has been destroyed by a nuclear blast. Playwright Charles Mee retells Euripides' story using his own words and speeches/writings taken from contemporary blog posts and other sources. Director Nicholas Martin-Smith further adapted the play. Some of the material (commentary on dating and relationships) seems too light for the context, but perhaps this was true of the original also. Songs have been added, putting this on the line between straight play and musical. Play is well staged with lots of movement and fighting. The production begins with a pre-show as actors are already in character onstage, in very good postapocalyptic costumes and makeup. Roxann Kraemer leads the cast with a terrific performance as Hecuba; some of the other actors are a bit callow and stagey. Opening night talkback with Martin-Smith and Mee yielded a substantial discussion of their process. A worthwhile evening.... Read more Read less

See it if you enjoyed Lena Dunham's GIRLS or other plays/movies/TV shows about single professionals in Brooklyn.

Don't see it if you're hoping for new insight or an intense theatrical experience.

Also Lots of creative and clever parts don't add up to a satisfying whole. The play is too unstructured and there is no real climax. Some threads, such as one character's alcoholism, are simply dropped. Julia Sirna-Frest is engaging and sympathetic in the lead role, but knowing more about her (her job, her family, her marriage) would have helped. The play deals with important issues but still feels slight. Various pairings among the characters seem random; more nuance in the acting would have helped with that.... Read more Read less

See it if you are interested in the plays of Adrienne Kennedy and like stark, contemporary staging.

Don't see it if you prefer traditional staging and the cadence of conversation.

Also Very short, gripping two-character play about how racism destroys a love story. The staging and the deliberately stilted way the actors spoke reminded me of works by Robert Wilson at the American Repertory Theatre in Cambridge in the 1980s. Haunting. A winner.... Read more Read less

See it if you're interested in mental illness, mysteries, and detective stories, and you like one-person shows.

Don't see it if mental instability holds no fascination for you.

Also Anne Stockton, an actress/psychiatrist who often works with police departments, is appealing and fun to watch in this monologue, which takes the form of a police interrogation over some stolen jewelry. Her perf borders on a comic tour de force as you watch the character fall apart before your eyes. And are we witnessing a sociopath at work, a person with borderline personality disorder, or...?Marred by being overlong; ten minutes could be cut from the middle.... Read more Read less

See it if you want an evening of song and dance similar to what would take place in your own living room.

Don't see it if you want fresh context for popular song.

Also Well-intended revue blends progress in American women's rights with a slide show and popular songs from each decade of the last century. Some great moments and a couple of knockout singers, but the book/storyline lacks sophistication and currency. The show suggests that women have triumphed (mostly in taking power in personal relationships), but in real life we're reading accounts of sexual harassment in nearly every industry, and we've still not had a woman president.... Read more Read less