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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?
See it if you want to enjoy two weighty, thought-provoking plays, separated by a communal dining experience.
Don't see it if you can't invest the full 3 1/2 hours, logistically or psychologically.
See it if you are interested in a moving examination of grief, especially for someone at a young age. Clever dramatization of raw emotion.
Don't see it if you want to see something escapist and fun. For anyone who has experienced the loss of someone close to them, this may stir up some things.
See it if you have the patience to sit there for 90 min before the play starts to get its legs. You are fine with nudity and depicted sexual acts.
Don't see it if nudity, sex acts, and deliberately inflammatory (followed by patronizingly clinical) language are not what you're looking for in a play.
See it if you want a fun show rife with raunchy humor and familiar visuals. Holds true to aesthetics, and nods to signature elements from the movie.
Don't see it if you’re a purist about the movie, or you’re looking for a family night activity with kids. Even crasser than the movie. Not for all ages.
See it if you enjoy well-executed re-imaginings of classic works. The cast is stellar, with too many fantastic performances to list them all.
Don't see it if you abhor minimalist staging. The only thing I didn't get was the lengthy interpretive dance at the top of Act II. Phenomenal dancer, but...
See it if you have any interest in other cultures and the ways they are all "American." Insightful examination of the sense of "other" in our society.
Don't see it if in its more abstract sequences, the show can be a bit confusing to follow. Lots of tie-ins to pirates and not all of them work equally well.
See it if you can get tickets. Sold out, but occasionally seats have been released. Edie Falco is on fire, and Sharr White's writing is incisive.
Don't see it if you are appalled by biting language. Falco's character swears extensively, and her sharp-tongued bluntness may be off-putting to some.
See it if you are interested in a deeply personal, eye-opening look at the US Constitution and how key amendments and clauses have shaped our society.
Don't see it if you want a traditional, fictional plot/story arc. If you want something escapist, this won't work. Unnervingly relevant to current events.
See it if you are interested in work that pulls together a broad variety of features - sci-fi, technology, 90s nostalgia, and deliberate cheesiness.
Don't see it if youth culture, social media, and dependence on technology put you off as subject matter. Enjoyable for all, but targets younger audiences.
See it if you are interested in diving into a lesser-known aspect of history through the framework of a dysfunctional family drama.
Don't see it if you tune out when there are elements that are more mystical in nature, such as ghosts, possession, séances, etc. Integral to the story.
See it if you want to see a semi-modernized piece inspired by one of Chekhov's short stories that does a good job capturing the sense of ennui.
Don't see it if you want to see a connected, coherent, thought-provoking play. Some solid moments, but overall disjointed and ensemble lacked cohesion.
See it if you enjoy Tracy Letts' work, or you're interested in an examination of one woman's life and how experiences inform later choices/actions.
Don't see it if you dislike non-linear structure and do not want to be following a single character through various life experiences and stages.
See it if you enjoy quick banter and want to see an examination of timely and relevant topics.
Don't see it if you are easily offended, do not enjoy occasional bawdy humor, or want shows to be neatly wrapped up at the end.
See it if you enjoy O'Neill's plays and are ready to hunker down for almost 4 hours. David Morse is exquisite and understated; Denzel oozes charisma.
Don't see it if you can't sit still that long. In the age of cell phones, DO NOT be the person who gets restless and takes out their phone. Just don't.
See it if you liked Hundred Days; very similar structure and semi-autobiographical setup. Engaging storyline and solid vocals.
Don't see it if you cannot embrace the tagline "Everything in this story is true. Even the parts that didn't happen." That murky area is the crux of it.
See it if you want to see a play that is a relevant, thoughtful examination of race and class in America. In 1992. Not sure why its not present-day.
Don't see it if you are easily flustered by heated discussions around race and entitlement, as well as economic disparity. This would push your buttons.
See it if you appreciate a light yet incisive storyline and characters whose stereotypes have driving purpose. Solid choreography/dancing in ensemble.
Don't see it if you're a purist about the movie. A few changes have been made, and you have to be willing to come in with an open mind and let it unfold.
See it if you want to be surrounded by middle-aged, half-drunk concertgoers singing along and conducting the classical sections from their seats.
Don't see it if you have anything better to do than sit through gimmicky, self-indulgent, self-aggrandized karaoke. Cool concept, poor execution.
See it if you want to examine today's school shooting epidemic from a different perspective. Inventive, fresh concept; uneven execution.
Don't see it if the weighty topic is a deal-breaker. And I personally found that the neighbor's final foreshadowing undermined the piece's broader impact.
See it if you love the music, or love Jessie Mueller, Joshua Henry, Lindsay Mendez, and/or Renée Fleming. Strong vocals, amazing dance sequences.
Don't see it if you find "woman needs a man" storylines dated and frustrating. You need characters to earn the ending. You dislike lengthy dance numbers.
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 want to see Michael C. Hall in an engaging, intimate space. Though the script itself leaves much to be desired, he is captivating.
Don't see it if you want an easy-to-follow narrative, or defined sense that this is a "play." Delivery is direct-to-audience, and sometimes interactive.
See it if you just want to see great theatre. The ambitious reframing of the narrative, the inventive, minimalist set - all effective and exceptional.
Don't see it if you are a purist or elitist about the book or movie. The piece is deliberately restructured to tease out parallels to today.
See it if you want a fun evening, filled with laughs, but not devoid of meaningful content. Cleverly framed, and well-executed.
Don't see it if you don't want to see what is effectively a stand-up comedy show on Broadway. I'd challenge you to give it a shot anyway, but I get it.
See it if you are keen to see something relevant, tightly written, and well-acted. The final tableau is predictable, but beautiful nonetheless.
Don't see it if you need a break from past-as-present parallels. Set in the 1960s, it's unnerving how many of the themes and struggles still resonate today.
See it if you are a Mike Faist fan. He shines as idealistic but flawed Spence. And the set creates an authentic world that is utilized fairly well.
Don't see it if you want to see something truly relevant, instead of just aiming to be. SO much potential, but never fully lands. Unsure of its purpose.
See it if you enjoy the power of an engaging storyteller. Jomama Jones is charismatic, fierce, vulnerable, relevant, and witty. Enjoy the ride!
Don't see it if you want to see a traditional show. This is more like a structured cabaret performance with fabulous storytelling than a standard musical.
See it if you enjoy good performances. Though I was not enamored with the play itself, I can appreciate that it has a solid cast who dive right in.
Don't see it if you're bored of the cheating spouses arc. While not the only thing happening, it is central to the play and brings nothing new to the table.
See it if you want to check out something edgy/stylized but not too avant garde. Solid performances by all five actresses. Some very funny lines.
Don't see it if all five women being named Betty will be way too confusing for you. Or if you are sensitive to explicit language and sexual discussions.
See it if you enjoy seeing how things unfold, even if the end result is rather predictable. One of the highlights is the live snooker play.
Don't see it if maybe this is a spoiler (I don't remember seeing the signs that are usually posted), but the gunshot was very loud. If problematic, be aware
See it if you want to have a fun night. It's silly in all the right ways - just go along for the ride. Several fantastic supporting performances.
Don't see it if you really hate silly, somewhat campy humor. You have to just take it for what it is - a fact I think most critics missed. Underappreciated.
See it if you enjoyed the movie but are not a purist. Karen Olivo and Aaron Tveit lead a solid cast. Sets, costumes, and choreography are gorgeous!
Don't see it if you expect the show to be exactly the same as the movie. Changing to another format warrants some changes, but if you hate that, skip it.
See it if you want to see a show that aims to examine the Studio 54 party kids culture in a way that seems influenced by RENT/Michael Greif.
Don't see it if you take issue with content and choreography that is often highly sexualized, and scenes that represent a particular subset of drug culture.
See it if you want a grab bag evening - with three different shows in one night, you never know what you're going to get!
Don't see it if you dislike that this is truly three separate works. If there is any underlying theme or content connecting them, it does so loosely.
See it if you want to see work that is ambitiously staged in a new way, you like parallels to Bible tales, or you have an interest in ASL.
Don't see it if you are easily distracted - I needed to tune out the shadow cast. A Deaf friend who saw it left at intermission and said it was inaccessible
See it if you want to experience something different and have an interest in participating in (or observing) what's really a facilitated conversation.
Don't see it if you want a standard show. The success of this concept is completely reliant on those who participate, and their level/depth of engagement.
See it if you are a big Wicked fan and want to learn more about life behind the scenes from people who work on the show. Or if you're about to see it.
Don't see it if you do not do well with large groups in rather small spaces. I did not anticipate being crowded in with a high school group of 100+ teens.
See it if you want to see a piece that highlights the complexity of a mother-daughter relationship, as well as the uncertainty of immigration status.
Don't see it if you want to see something that feels like all the kinks have been worked out. This has a rawness and a messiness that may not work for all.
See it if you want to enjoy some incredible singing - all three women who play Donna (at various stages of her life) have powerful voices.
Don't see it if great singing and a generally interesting bio are not enough. Structurally flawed. And something 100 minutes long shouldn't feel long.
See it if you'll go in with an open mind and you find the concept interesting. Julia Knitel stands out vocally. Be willing to go along for the ride.
Don't see it if you want to see something polished. The premise has potential, but the execution is uneven. That applies to the book, lyrics, and the cast.
See it if you enjoy solid writing, realistic dialogue, conflicted characters, and situations that make you think. A little slow to start but picks up.
Don't see it if you want something light and fun. While funny, it definitely goes to some uncomfortable places. And TV actors don't always cheat out well.
See it if you're willing to invest the time and go along for the ride. It's not short (2 1/2+ hours), but engrossing. The narrator is exceptional.
Don't see it if you have to like the protagonist. He is deliberately unlikeable. In the end, it works for the piece but you have to stick it out to see how.