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See it if you want to utilize an outdoor, open air show to ease your way back into theatre. Half the cast is exceptional. Show cut short by rainstorm.
Don't see it if you have zero familiarity with the story/show. The cuts make it difficult to follow at some points, and half the cast overacts/hams it up.
See it if you enjoy insightful stories reflecting lives lived outside the mainstream. Once again, Majok shines a light on those who can go overlooked.
Don't see it if you cannot follow plays that jump around a lot. The clipped, start-stop pacing lasts quite a while and delayed my ability to connect.
See it if you are interested in an abstract, sometimes eye-opening representation of what it means to be black, queer, and HIV+ in America.
Don't see it if you are looking for a story with a traditional narrative. This is deliberately abstract, and sometimes breaks the fourth wall.
See it if you're interested in learning aspects of another culture through music and quirky storytelling. Strong singing, fun performers.
Don't see it if you have a very low tolerance for occasionally hokey jokes. They sometimes push the punchlines, but the music and harmonies hold their own.
See it if you are ready to dive in and go along for the ride. It's lengthy, but I was fully engaged and invested in the characters throughout.
Don't see it if you simply cannot make the investment of your time and focus. It's definitely not for everyone, but it's one of my favorite plays of 2019.
See it if you enjoy Alanis Morissette's music and are keen to see it set to an original storyline. Lauren Patten's "You Oughta Know" is a highlight.
Don't see it if not necessarily a reason not to see, but be aware that the show tries to tackle too many issues, and therefore glosses over most of them.
See it if you're intrigued to see decent actors try to give life and depth to an often outright painful script. An interesting set is enough for you.
Don't see it if you're not obligated. I simply could not get over how disjointed and stilted the script is and I cannot help but wonder why it's being done.
See it if you want to watch a solid cast, led by Brian Cox. Or if you enjoyed "All the Way." Impactful storytelling, with some very powerful moments.
Don't see it if you're looking for a broader context for the storytelling. It's very much through the LBJ lens and MLK Jr's death is almost an afterthought.
See it if you want to see a solid cast play off each other well. Peter Dinklage is captivating. The story itself feels dated, but overall enjoyable.
Don't see it if you need to come out of a musical with a song stuck in your head. I couldn't tell you how any of the songs went, even right after I left.
See it if you're interested in an examination of a quirky group of friends during a snapshot in time, brought together on this night by a book club.
Don't see it if you have a low tolerance for awkwardness. Ultimately, very little truly happens, and we get a flash forward to their adult lives at the end.
See it if you are interested in seeing a family drama and watching characters fumble along, skirting happiness and (sometimes) decency.
Don't see it if you want to see something uplifting and fun. Some genuinely funny moments, but uneven writing, and I somewhat missed the overall point.
See it if you are interested in seeing a well-balanced (both comedic and affecting) play featuring three fantastic actresses.
Don't see it if you really struggle with accents (requires some focus at the outset), or you are sensitive to stories relating to the loss of a loved one.
See it if you want to see a play that will stay with you and give you a lot to think about for hours and days afterward. Unsettling, and impactful.
Don't see it if you're looking for light-hearted fluff. This piece is intense, uncomfortable, and important. Set far away, but unnervingly close to home.
See it if you are uniquely predisposed to loving all modernizations of Chekhov. Conceptually similar aims to Aaron Posner, but lesser execution.
Don't see it if you'll dislike a vapid, inconsistent adaptation of Chekhov's work that seems to dismiss (and grossly underserves) the original material.
See it if you are interested in seeing a relevant, timely topic explored through a new lens. Surprisingly funny, and very moving. Strong performances.
Don't see it if discussions relating to sexual assault are particularly triggering for you. It's handled well, but it may hit very close to home for some.
See it if you're a fan of Mary Elizabeth Winstead - her performance is a foundational piece holding several other elements of the play together.
Don't see it if slow pacing is an issue for you. 90 min, but started to feel long. Problematic for one actor to play twin brothers, as didn't always work.
See it if you enjoy improv and appreciate the skill set involved with creating a full story on the fly set to music. Audience suggestions hit or miss.
Don't see it if you can't handle the unrehearsed, inconsistent aspects of an improvised musical. Some moments don't land, some pacing is off. That's improv.
See it if you are interested in work that addresses timely, hot-button topics in a deeply personal way. Heartfelt, authentic, and raunchy, all in one.
Don't see it if you cannot follow a layered structure - the "strange loop" of writer, lead character, and antagonist of the show that character is writing.
See it if you're open to various forms of performance. This is a fascinating dive into an album, track-by-track, with live vocalists layering over it.
Don't see it if you're looking for and expecting to see a traditional play or musical. This is not that format, and you'll need to go in with an open mind.
See it if you enjoyed Stupid F*ing Bird and want to see a similar adaptation of another Chekhov work, this time of Uncle Vanya. Quirky and engaging.
Don't see it if you hate plays that are self-aware and directly engage the audience. There are direct-to-audience moments, and effectively audience polling.
See it if you are interested in examining the before/during/after arc of a school bullying/shooting situation through the interactions of the parents.
Don't see it if topics relating to school bullying and guns are triggering or overwhelming for you. For reference, violence is discussed, not depicted.
See it if you appreciate Sean O'Casey's writing and would be interested in what is now effectively a period piece set amid conflicts in Dublin.
Don't see it if you want to see something upbeat and light. This is Irish drama - while there are comedic elements, it has a tragic thread throughout.
See it if you are at least generally acquainted with the Alice in Wonderland story. This retelling has an assumption of some baseline familiarity.
Don't see it if you are not willing to let your imagination take hold. It has captivating physicality and stunning visuals - be willing to surrender to it.
See it if you enjoy the slower pacing and the unraveling of what I could best describe as an O'Neill play with Dylan's music. Muted, and haunting.
Don't see it if you are looking for a spectacle. No flashy sets or large-scale song and dance numbers. Strikingly Midwestern, with universal elements.
See it if you enjoy timely, relevant, effective storytelling. You are ready to go on an emotional roller coaster. Searingly funny and heartbreaking.
Don't see it if you need light, escapist humor for the night. While the first 30 min or so are bitingly hilarious, their lives take a turn and tone changes.
See it if you have an open mind and an open heart to embrace reimagined Shakespeare. Bioh artfully crafts this joyful adaptation. Loved it!
Don't see it if you are a traditionalist and have specific views about how Shakespeare is "supposed to be."
See it if you enjoy work developed from real people and actual events. Some storytelling elements similar to Come From away. Steve Earle music a plus.
Don't see it if you struggle to piece together intertwined narratives. This follows the storylines of several different people linked to the mine explosion.
See it if you want a visceral, multi-faceted, poetic perspective on the lives of Samoan women facing various challenges and formative experiences.
Don't see it if you want a singular narrative arc. This is pieced together from interrelated stories, similar to "For Colored Girls." Sometimes confusing.
See it if you are interested in the transcript-based representation of the government response to the release of confidential information to media.
Don't see it if you need scripted language with better flow. Typical human conversation isn't put onstage because it's generally boring. Still, timely piece
See it if you want to see a piece that is non-linear, visceral, and thought-provoking. Solid cast, and a powerfully raw piece of work.
Don't see it if you struggle to follow vignettes and non-linear structure. There's not a "plot" so much as a series of stories, accentuated by song/dance.
See it if you are a fan of Will Eno's work, or want to see a play that pushes the boundaries of standard play structure and convention.
Don't see it if you want to see something simple to follow. This piece has a central character "Chris" who changes gender and race as the story progresses.
See it if you're looking for a fun, quirky musical that targets tweens but has moments any age group can appreciate. Not a "wow," but worth the time.
Don't see it if you're looking for a show that will really blow you away. The cast is solid, but it's deliberately cheesy at times, and never fully shines.
See it if you want to see a minimally-staged, thought-provoking musical about a relevant topic. Strong cast vocally, and Josh Henry is fantastic.
Don't see it if you need a neat or happy ending, or are particularly put off by repetitive, pop music-inspired songs.
See it if you are looking for a break from "PC culture" and want to embrace a funny, sometimes crass, sometimes witty night of theatre.
Don't see it if you are easily offended or will fixate on the presence of toxic masculinity. Sometimes uncomfortable. Has two explicit sex scenes.
See it if you want to see a representation of the ways life in a refugee camp (and the experiences that led them there) affect two young Syrians.
Don't see it if you are averse to violence and blood, or the subjects of rape and prostitution are triggering for you. Deliberately unsettling.
See it if you're interested in what is effectively a "where are they now?" story about four siblings, from a pivotal time in childhood, to adulthood.
Don't see it if you're particularly sensitive when it comes to issues like abandonment, drug abuse, and sexual assault/molestation.
See it if you particularly want to see one of Shakespeare's lesser known, seldom produced plays. You're interested in the mechanics of a striking set.
Don't see it if uneven casting/performances, nonspecific post-apocalyptic era, and occasionally grating sound design/audio are an issue for you.
See it if you're interested in the stories of lesser-known historical figures. While not entirely accurate, the play is based on a real woman.
Don't see it if you can't follow a narrative that jumps around quite a bit. Toni acknowledges her mind is non-linear, and thus her story is much the same.
See it if you want to be blown away by incredible singers and heartfelt performances. The talent onstage in this show is breathtaking.
Don't see it if you need a big dramatic payoff. There's tension, and there are challenges and disturbing parallels to today, but it's all pretty "almost."
See it if you are interested in intimate, raw storytelling. I went in knowing very little, and am grateful for the unveiling of the story. Impactful.
Don't see it if you only want polished singing onstage. David Cale has a distinctive character voice, and I found it appropriate to this, but not all do.
See it if you are interested in exploring the notions of "truth," albeit in an unnecessarily complex structure that loses some of the impact.
Don't see it if multi-layered plot structures (esp in a 90 min show) put you off. Worth noting that a 90 min show probably shouldn't feel long...
See it if you don't mind overtly sexual and sometimes raunchy humor. The show is hysterical, but it's definitely not a brand of humor for all.
Don't see it if you shy away from open, sometimes off-the-cuff conversation about sex, bodies, race, and society. Though I feel it's necessary uneasiness.
See it if you like stylized, sometimes absurd plays set in an otherwise realistic world. The play can't quite decide what it is, but it has moments.
Don't see it if you dislike absurd elements, or you don't want to listen to phrases like "blowjobs without reciprocation" with bizarre frequency.
See it if you love the show and want to see a solid production of it. The cast is great and there are a couple vocal stand-outs. Clever tech elements.
Don't see it if you want to see something uplifting. While there are some very funny moments, the structure lets you know immediately how broken they become
See it if you simply want to see Isabelle Luppert in a sometimes frenetic role. Her performance, for me, was the only highlight by the time it ended.
Don't see it if sadly, there are lots of reasons. It ran less than 90 min but felt agonizingly long. Disjointed structure. Stilted, dreadful characters.
See it if you want to experience raw, visceral performances. The characters are predictable in some ways, but are portrayed with openness and truth.
Don't see it if you want to see something truly inventive. Some of the big moments are rather predictable, but there is still beauty in the telling of it.
See it if you want to see a taut, powerful, well-crafted and finely acted piece that is deeply relevant. I would see it again in a heartbeat.
Don't see it if you're not open to delving into difficult, current issues and watching two characters try to navigate a significant night in their lives.
See it if you are keen to check out a trio of one-acts that are meant to be a little uncomfortable in the sense of provoking thought and conversation.
Don't see it if you want to stay far away from hot-button topics like mass shootings, race, PC culture, and white supremacy/Adolf Hitler.
See it if you want to embark on a magical journey of the imagination, cleverly repurposing an existing set from another show. Quirky and inventive.
Don't see it if you cannot be in an audience surrounded by 3-7 year olds. Truly a children's show. Some over-acting, even for the genre of theatre for kids.
See it if you enjoy mythology set in fresh environments. The gods are an engaging element, and a couple of them are vocal standouts.
Don't see it if you are sick and tired of "girl gives up everything for boy" stories. The mythology framework helps, but what are we meant to take away?