Johnny Pomatto

See it if you're up for a challenging play with difficult subject matter featuring some top notch acting.

Don't see it if three hours sounds like a long time to just feel bad about yourself and the state of the world by the end of the night.

Also During the early scenes of this I thought, "Wow. This is a surprisingly straight forward play for Suzan-Lori Parks." Then at about the 45 minute mark the other shoe drops and it drops hard. With a single key line of dialogue I thought to myself, "Ah. Here we go." From there, things escalate quickly. Perhaps a little too quickly, as the second act has enough developments for a trilogy of plays and sometimes the play moves on from plot twists before they even have time to get fully explored. But the play is nonetheless very compelling. Often very funny too, although you don't necessarily feel like laughing because you can sense exactly where this is going. All four cast members are excellent, particularly in their extended monologues they each get an opportunity to perform. This isn't my favorite Parks play. I think that it sometimes takes some simple turns to make it easy for the audience. But Topdog/Underdog did too and I still really like that play. This is a good night out.... Read more Read less

See it if you like non traditional approaches to theatre with changing variables that make things fresh.

Don't see it if you want a more traditional experience without gimmicks and with more plot.

Also I held off on seeing this for quite some time. The rotating nightly guest star sounded like a gimmick and not one I wanted to roll the dice on. But my wife loves Tracy Letts so we went to see it on the night he was guest. I'm so glad we did. I was surprisingly moved by the approach and format used in this play. I don't think the guest feels like a gimmick. In fact, I think they're a little incidental. I don't think one's enjoyment of the show is dependent on a guest star who you like. It's really about shared discovery. The line readings evoke a lot of emotion and surprise out of the audience. I was genuinely moved by the final minutes of this show. I would actually kind of like to see what it's like with another participant. I don't want every play to look like this, but sometimes it's a real refreshing change of pace to see something like this.... Read more Read less

See it if you would like to see a unique musical experience, different from the usual fare typically offered on Broadway.

Don't see it if you prefer more traditional show tunes found in classical book musicals.

Also I waited quite a while to see this. I saw the film when it was released and thought it was fine, but didn't move me all that much. I like David Yazbek as a composer and this seemed off brand for him. But I ultimately enjoyed it very much. David Cromer's staging was masterful. Very subtle but the simplicity of movement within the locations is rather beautiful. The play takes a bit to get going. I wish the band were better established as a group before they split up, which is when the play starts to shine. Lovely vignettes, with some beautiful songs. This might have remained more successful off broadway, as i think it thrives on its intimacy. But the performances remain strong and the ending provides quite a catharsis. I wish we got more musicals like this these days.... Read more Read less

See it if you're a fan of Sam Shepherd, this play, and Ethan Hawke.

Don't see it if you tend to run a little hot and cold on Paul Dano.

Also I've always been a fan of this play. I didn't know if a production could ever eclipse the 2000 one with Philip Seymour Hoffman & John C. Reilly. This production doesn't do that, but it does do some very inventive things I haven't seen done with the play before, and I think it has a truly great performance within it. Ethan Hawke is the best Lee I've seen. He's funny & frightening. Charming & seductive. Childish but not stupid. He does things with the role that I've never seen before. In some ways, I think this is a better directed production than the 2000 but what that one had was an evenly matched pair. Sometimes I like Paul Dano, and he has some strong moments here. But I think that he's too internal, so when he finally does snap and have his turn, I didn't completely believe it. It's an ok performance. Even a good one, but Hawke is outstanding. He's the reason to see this production. I only wish he were playing opposite someone like Sam Rockwell or Josh Hamilton in the role of Austin... Read more Read less

See it if you want to see a refreshing take on a new classic.

Don't see it if you prefer your Little Mermaid musicals to feature cumbersome costumes and wheels in the heels of the actors' sneakers.

Also I remember seeing the original production of OOTI as a kid and being enchanted by it. It was the first Broadway musical I had seen to incorporate a kind of world music I wasn't yet familiar with. The years went by, and the show became a staple in high schools, no matter how lily white the student body was. I didn't know how well the show might age. But this is a stellar production. Endlessly inventive with a unique set filling the center of Circle in the Square, with a cast and director who know how to play in it in creative ways. The show moves briskly, almost to the point where you wish it were longer. Sometimes the acoustics got absorbed by the sand, though maybe it was just mic problems. This is a joyous production of a play that's somehow even better than I remember it being. This one really caught me by surprise.... Read more Read less

See it if you like very new spins on old classics.

Don't see it if you fear change.

Also OKLAHOMA is not my favorite R&H musical so I questioned if even a truly original fresh take on it could grab me. This was quite the success. Does every chance it take pay off? No. But it makes some bold moves that simultaneously celebrates the original play while layering it with new ideas. Frankly, I might have liked the production to be even more abstract, with perhaps trimming a bit of the book down to make room for more surprises, but that's a minor complaint. The cast is exceptional, with Patrick Vaill & Ali Stoker being notable standouts. I hear rumblings that this may find itself at Circle in the Square someday, which might be better, because while St. Ann's uses its barn-like space well, it's a long room and sitting at the either edge may make you feel far away at times, as well as hard of hearing the mostly un-mic'd show. I don't know why Oklahoma is the show we've chosen to do progressive productions of, (3 & counting this year), but it worked very well here.... Read more Read less

See it if you're obsessed with snooker and puns.

Don't see it if you like plays with endings.

Also A few friends recommended this to me as enjoyable fluff. I only wish that were true. I thought the subject matter at least sounded unique for a Broadway play so I expected to get more enjoyment out of it. The first act is a very long-winded set up full of exposition, which I could forgive if it ever actually went anywhere. The promise of live snooker played in the second act was pretty dull. The jokes are horrible and repeated constantly. A running gag involving a character who says the wrong words is never once funny and never pays off with an ultimate punchline. Speaking of not paying off, this play ended, I turned to my wife & said "Is that it?" There are so many loose threads. I was grateful that we could leave 10 minutes early, but how about give your play a damn ending? I don't mind a slight comedy, but this was a major bummer. The cast was ok & deserved better. I only lament seeing this so late in the run so all of the good "nap" puns have already been made. Audacious title.... Read more Read less

See it if you're a devoted Glenn Close fan and want to see her give it her all in an intimate venue.

Don't see it if you're a little tired of New York theatre companies going to the Joan of Arc well a bit too often.

Also Jane Anderson's ambitious new play starts with an interesting idea. It essentially takes some of silent film melodrama out of the Joan of Arc tale & portrays its characters how mothers & daughters act with each other universally. It feels rather modern. You half expect Close to say "No being a martyr for God until you clean up your room, young lady." This injects some surprise humor into the play that doesn't always read. I feel like the audience often didn't know to laugh or not. This yields an interesting tone, but doesn't completely commit to it. Later when the play turns more serious & hits the beats we expect from a play about Joan, it becomes more conventional but also more compelling, with Close doing some excellent work here. She's really the reason to see this. A nice idea but it didn't really work for me. But it's still much better than that god awful Joan of Arc musical The Public did a few seasons ago, or MTC's misguided Saint Joan production from last year.... Read more Read less

See it if you're a fan of Lonergan or any of the excellent cast. Lovers of New York based family drama should be especially swayed.

Don't see it if you don't like plays that ask you to meet them halfway and do a little work to get to the meat of it. The play requires some patience.

Also I'm such a devoted Elaine May fan so this was a highly anticipated production for me and it did not disappoint. May is exquisite in her role. At first her familiar patter in her unmistakable voice seems right in her comfort zone. But this is an incredibly demanding role for this 86 year old actress and she's wonderful. The rest of the cast is as well. Lucas Hedges is on his way to becoming one of our great actors. Michael Cera, in a small but memorable supporting role becomes more at ease with Lonergan's words & characters with each collaboration. Pleasure to see Joan Allen & Cromer again. Some audience members seemed to get impatient with the occasionally tedious by design structure. Patience is greatly rewarded in the 2nd act. I saw an early preview so the cast could refine their rhythm in some moments, but this is a pretty special & all too relatable play for many. Funny, emotional, & powerful. I may return to see it again.... Read more Read less

See it if you love the music so much that you'll see absolutely any production of it. Being a Joshua Henry fan will make this essential viewing.

Don't see it if you want to see a production with a stronger point of view and more consistent direction.

Also Carousel has my favorite R&H score, yet i had never seen it live in person. I wish this production were stronger overall. Sometimes it's transcendent. Josh Henry sings the hell out of Soliloquy, and that song was worth the price of the ticket alone. The show is undeniably dated, with a clunkier book than many other R&H shows of the era. But with masterful direction, it's possible to forget this. Jack O'Brien doesn't succeed with this. The staging is inconsistent, with the set sometimes getting in the way of the pastiche. Henry is outstanding, but the colorblind casting here has an emphasis on "blind." His race is in no way acknowledged & so much of the play lends itself to commentary on Billy's status in the community. Feels like a missed opportunity. The music is gorgeous, choreography is good. Most I've ever liked Mueller, & I'm not always her biggest fan. Mendez I found a bit grating, tonally in a different play. I'm glad I saw this but wanted much more.... Read more Read less

See it if you enjoy social satire and modern family drama with an air of comedic realism.

Don't see it if If you're expecting a laugh riot or a play without its share of imperfections.

Also I first saw SWM at The Public a few years back and absolutely loved it. I found it incredibly emotional, profound, & relatable. The writing of the family dynamic was one of the finer modern examples I had seen. I was wary when I heard Lee had caved to pressures of diversity to include an introduction hosted by 2 transgender performers. They were great & the intro was well written, but it was wholly unnecessary. It doesn't add much and you might find yourself forgetting all about the device once wrapped up in the drama of the actual play. 5 years ago, some might have appreciated outside characters explaining the themes of the play, but times are changing fast and I don't think many in the audience won't get what Lee is trying to do with her story. I really love this play. I don't think it needed improving. Josh Charles & Paul Schneider are outstanding, Hammer does a fine job for the most part. I enjoyed Stephen Payne but missed Austen Pendelton's performance from the original.... Read more Read less

See it if you love visual spectacle, creative staging, and inventive design.

Don't see it if you want to see a cohesive musical geared towards adults.

Also I'm not generally a fan of the sorts of theatrical productions Disney presents these days and I feared that this would feel as empty as those sometimes can for me. But Lila Neugebauer's direction made this a completely different experience than I was expecting. The sets & costumes gave this a personality all its own that was at once a loving tribute to its source & also an original, unique vision. Every scene had a new device or set piece that delighted me. I only wish the show matched the creativity of the design team. It's fine, but never stellar. None of the songs are bad, but none ever really thrilled me either. The book was appropriately pun-filled & geared to children, which is fine, but I wish it were wittier. I kept thinking that someone like Greg Kotis of Urinetown could have really been a great fit here. I really enjoyed this production but the play itself was simply nice. Great for kids, just was hoping for a richer experience overall.... Read more Read less

See it if You are a die hard Jason Robert Brown fan, and love classic song cycles.

Don't see it if you require your musicals to have a plot or if you don't want to see a show drowned out by an over-enthusiastic audience.

Also I was only familiar with a few songs from this show, which I've heard at various cabarets over the years. I was looking forward to seeing the whole show and hearing the songs in context. Encores did a beautifully simple production with a magnificent cast. But to be honest, the evening was nearly ruined for me by a far too vocal audience. I want an audience to be enthusiastic, but this one treated the show like an inside joke just for them. I'm talking 5 applause breaks within a single song just because the actor would change key or rhythm. Applause would die down and people would repeatedly try break the silence with one more loud "Woooo!" Some people were even singing along with songs. That's not showing fandom. That's bad theatre etiquette. This is not a critique of the production, but the experience was tainted and I feel like I still haven't seen this play in a pure form. I wanted to join the cult of this show, but the audience seemed determined to keep it for themselves.... Read more Read less

See it if You're a fan of Stephen Adly Guirgis' exquisite writing.

Don't see it if If you're such a fan of his that the sight of an imperfect production might disappoint you.

Also The original LAByrinth production of OUR LADY, directed by Phillip Seymour Hoffman, is one of the great theatrical memories of my life. Guirgis took his masterful dialogue to a somewhat cliché Altmanesque collection of characters, and made their interactions feel fresh and unexpected. Part of what worked so well with that production was its pitch perfect cast. Signature's new production isn't bad, but I feel like the cast isn't always in tune with one another. They feel as if some of them are in different plays. Some are appropriately broad, while others hold back too much. Key lines and character moments feel thrown away. They just don't always seem to be speaking Guirgis' language. Some are quite good. Hill Harper is great, though can't eclipse Ron Cephus Jones' original. Quincy Tyler Bernstein is also excellent. This isn't a bad production. It sometimes lacks punch. If I hadn't seen the original I might not have felt what was missing so much. I do love the play though.... Read more Read less

See it if -You're a fan of vintage musicals with a reverent modern spin. -You love Christian Borle. -You're nostalgic for the 80's revival.

Don't see it if -You require a musical to be very polished and well rehearsed. -You can't forgive some dated sensibilities and primitively classical music.

Also The very first Broadway musical I ever saw was the 80's revival of ME AND MY GIRL with Robert Lindsay. I have had a very nostalgic soft spot for it ever since. I have hoped Encores would revive this for years now. I'm happy they did. It was a joy to see this show again. The songs are simple but delightful. I am not always the world's biggest Christian Borle fan. He can be a bit much. But he was so much fun in this role. Not enough to forget Lindsay, but that's ok. I was a little disappointed that Encores changed a few moments (particularly the ending) to update some dated and non-P.C. sensibilities. I don't think anyone sees this 1930's show as a mirror to our modern society, so its dated moments could probably stay in tact. The dancing in the show was top notch. Some other moments seemed a little rushed or underrehearsed. But I was still so happy to see this show again, even if it wasn't a perfect production.... Read more Read less

See it if you are a fan of Charles Busch and old Hollywood melodramas.

Don't see it if you don't enjoy an afternoon watching old movies on TCM.

Also I've been seeing Charles Busch's plays for as long as I've lived in NYC. This is one of his best I've seen, and easily his funniest since The Divine Sister. Busch once again plays his signature troubled woman hit with obstacles while trying to make it through life. This borrows many elements from some of your favorite classic films. Mildred Pierce, Gigi, Pollyanna, Cabaret, Caged. It's full of huge laughs and hilarious one liners. Charles Busch is peerless when it comes to this sort of thing but he surrounds himself with a perfect cast, with Nancy Anderson, Howard McGillin, Jennifer Van Dyck, and Christopher Borg all committing fully to their parts. I had an absolute blast at this play and would like to see it again. It is a hair long at over 2 hours, but the whole evening was a delight. Hopefully Busch will get a commercial run out of this one.... Read more Read less

See it if you want to see something different than the usual Broadway fare and want to see a heady riff on obscure Shakespeare.

Don't see it if you have a low tolerance for shtick, bawdy humor, or have little or no interest in the play it is lampooning.

Also I very much appreciate what Taylor Mac is trying to do here, but it comes across as a bit thin. After a very amusing opening, I started to wonder at the 20 mark if the whole play was going to be Nathan Lane making corpses fart & piss. But the play has loftier goals, and sometimes is rather lovely & thought provoking. But not every aimed bit of profundity & metaphor feels well earned. It's amusing & brisk, but ultimately a bit forgettable. What it is though is a great showcase for its three stars. Lane is great, doing classic clowning reminiscent of Bert Lahr, Henry Travers, with plenty of Monty Python flourishes. Best of all is Kristine Nielsen, who learned the part in only a week. I was disappointed to miss Andrea Martin, who I adore, but Nielsen does not disappoint and she dominates. This was a fun watch for a low price. It may get tighter with more previews. And at the end of the day, it's still probably better than the real Titus Andronicus, am I right?... Read more Read less

See it if you enjoy Colin Quinn.

Don't see it if you don't enjoy Colin Quinn.

Also Colin Quinn has always been a reliable mainstay in the New York alt comedy scene. More than just a stand up comedian, he crafts excellent solo shows that highlight what makes him so unique and insightful. No matter your political affiliation, you are almost certainly going to be entertained by Quinn. He's not polarizing or alienating. He's a rational and gentle equal opportunity offender. The audience I saw this show with seemed to universally enjoy it. This is one of Quinn's stronger plays. It's focused, sharply written, and frequently hilarious. It doesn't ramble as much as some of his previous work. If solo comedy shows aren't your thing, this won't win you over. But for anyone else, this is a lot of fun.... Read more Read less

See it if you enjoy seeing classic musicals of yesteryear.

Don't see it if you want those musicals to perfectly match your memories or ideals.

Also I love seeing shows at Encores. The more obscure & older the show the better. I love seeing something that I know will never get a full revival so these are special nights for me. While I enjoyed CALL ME MADAM, I don't think this particular play holds up all that well, and this is not one of the better overall productions that Encores has offered. While the play itself is a little stale, that would be forgivable but something about the production lacks the usual energy that Encores puts out. Things get better when the show gets sillier, but as a political satire, a lot of the material isn't too compelling. Conflicts would appear & get resolved without me even noticing. But I did enjoy it for the superb cast. Perhaps Carmen Cusack is too good an actress to play what should be a caricature, but her unique voice was lovely. Most the supporting cast was great as well. I'm very glad I saw this so I could check off another musical box, but I wish I fell in love with the show itself more.... Read more Read less

See it if you are already a fan of this show to some degree and want to see a unique take on it.

Don't see it if this is your first exposure to the play, because let's face it, it was never very good to begin with.

Also Every time I see MERRILY I hope that it will be better than I remember it being. It never is. I'm fond of the show because of its oddball Sondheim score, but it's always been a mess of a show. I love FIASCO and they have a great track record. Their INTO THE WOODS succeeded by taking a huge show and scaling it down. But MERRILY is already scaled down so there isn't much further to go with it. The cast of 6 is generally strong, though some of my favorite FIASCO company members aren't entirely comfortable in their roles. Some of the staging is very creative, & the revised score works well. But the book has always been pretty weak, & although they try to add some flourishes, they can't save it. The audience was quiet because there's not much to laugh at. As the play progresses & the story gets happier, the actors & audience get a little more energy. That helps. I'm glad I saw this. It was a fascinating take, but they may need some more time working out some of the kinks.... Read more Read less

See it if you like Mike Birbiglia.

Don't see it if you don't like Mike Birbiglia.

Also I never miss a new Mike Birbiglia show. More of a storyteller than a stand-up comedian, he has the ability weave around seemingly trifling non-sequiturs and sneak around to a poignant conclusion that ties everything together. His shows are all pretty similar this way, and if you haven't enjoyed him in the past, THE NEW ONE isn't likely to change your mind. Some of his tropes are so predictable and familiar that one could probably parody his style to great effect. But for those who do like him, this may be my favorite of his shows to date. He just gets better and better with more practice. It's a simple story told in a simple way. Few frills, although there is one very impressive and hilarious moment of stagecraft that I wouldn't dream of spoiling for an unsuspecting audience. This is a cool 80 minutes and flies by. Birbiglia is so engaging that I can't really imagine someone not falling under his spell. This may be a small show for a broadway house, but it's still a great one.... Read more Read less

See it if you're a fan of theater of the surreal, the works of Kurt Vonnegut, and some really stellar acting.

Don't see it if you like things to be a bit easier to digest.

Also I was not familiar with the fledgling theatre company Wheelhouse, but after this production I will actively seek out anything they do from now on. I read this play when I was very young and it went right over my head. It's still pretty out there but this production goes far beyond the text alone to deliver something truly unique. The cast is superb, but Jason O'Connell dominates the show as its lead menacing force. I had seen & enjoyed O'Connell onstage before but he's unforgettable in this role. Constantly engaging with the audience, even just subtly, in ways that demand your attention. He's altogether funny and frightening. The production is richly detailed with a colorful and creative set and overall design that made this play feel entirely different from the one I read so many years ago. It can be a challenging watch, but a rewarding one.... Read more Read less

See it if you're a Harvey Fierstein fan and his particular brand of poignant comedy, as well as these fantastic performers.

Don't see it if you want a less personal and more broad portrait of the gay experience, though why would that matter to you?

Also I've always wanted to see this play. I'm a fan of the film, which Harvey completely reworked in his adaptation, but it was a treat to see its origins. Really a trilogy of 3 linked plays progressing through time, this play is a bit dated but in the best possible way. It's a perfect little time capsule of New York gay life in the 70's, pre AIDS, but not entirely lacking in crisis. But Fierstein doesn't hit tragic beats too hard. He keeps it intimate & personal. Michael Urie is the best I've ever seen him. He somewhat lacks Harvey's original aged weariness, but he makes it his own. And Mercedes Ruehl is revelatory. She's one of my favorite actresses and I only wish she had had a more prolific career onstage and screen. Hopefully this will give her the bug to appear more often. The play is lovely. A little long, which I only felt because the matinee audience was full of elderly people with malfunctioning listening devices putting out feedback. Not the play's fault though.... Read more Read less

See it if you're a fan of large scale ensemble dramas that take you on a journey.

Don't see it if spending 3 hours plus with Irish dialects sounds like a bit much.

Also I saw THE FERRYMAN almost a year ago to the day in London & I've been thinking about it ever since. I went to the first performance after Paddy Considine and a few other original cast members left so I was determined to see it again. I liked it even more this time. This is the kind of large scale epic drama we don't see on Broadway as much as we used to. It's a slow burn that ratchets up full of a large ensemble of characters, all richly developed with subplots of their own. All the performers are strong, with Considine, Laura Donnelly, & Dearbhla Molloy being standouts. Even with a 3 hour running time & a cast of 20, this never feels overstuffed. In fact, I wished that we got even a bit more from a few side characters. I was so thrilled for the entire evening that it flew by. If you were a fan of Butterworth's Jerusalem, you'll likely enjoy this. It doesn't have a breakout Mark Rylance performance but I think it's generally a stronger play.... Read more Read less

See it if you like Irish plays about Americana featuring gorgeous arrangements of familiar songs, sung by a fresh faced cast.

Don't see it if you prefer your jukebox musicals to be biographies featuring safe soundalike reproductions of classic songs w/ meaningless filler in between

Also I'm a big fan of Conor McPherson & a casual Bob Dylan fan. Was cautiously optimistic for this show. This is not a Bob Dylan jukebox musical, and thank god for that. It's a dramatic play (echoes of Brecht & Wilder) that happens to feature classic Dylan songs. These songs are beautifully arranged, often sounding nothing like you remember them. The play around it is ok. Was a bit disappointed. There's such a large cast (overall fine) & so many subplots that I felt like I never got to know all its characters well enough to care about them. I actually wished the play were longer, which is a complaint I rarely have. It could use some fleshing out. I appreciate the story but it goes by in a flash. But the songs are often transcendent. I don't think they would work sung in this style in another play, and i don't think this play would totally work without these songs. It's a mixed bag but I'm ultimately glad I saw it. I just wish it all felt a bit more complete.... Read more Read less

See it if you appreciate historical dramas presented in a unique way.

Don't see it if you like your history lessons to be a bit subtler.

Also There will always be studies of segregation because it never doesn't seem relevant. Although some of the metaphors in this are a bit on the nose, the story is effectively presented and very well staged with a simulated basketball game. The choreography of the players is very well done, and the seating of the audience makes you feel like you're part of the action. The performances across the board are quite good. There are some very powerful moments, even if you may find yourself a bit ahead of them. The ending might take things a few beats too far. I kept wanting them to cut to black before piling on 2 or 3 more shocking events. Still, for an 85 minute play, this is compelling stuff.... Read more Read less

See it if you are a die hard Harry Potter fan and want to see the spectacle of the magical production.

Don't see it if If you don't care about Harry Potter and if you like your money right where it is in your bank account.

Also Let me preface this by saying that I am not the target audience. I read the first four HP books, saw all the movies once (twice for the few that I liked) but have never invested much in it more than that. My wife is Potter obsessed, so I got her tickets to the show. She was overjoyed. And I... liked it. The staging is exquisite. The lighting is masterful, especially in hiding some of the magical secrets. It's often a thrill to watch. But to listen to? Well, the dialogue can be a bit repetitive & redundant. There are several scenes that grind the play to a screeching halt. But then another magic moment happens and you forget about it. I firmly believe that this could have been cut down into one long (albeit more affordable) 4 hour show. I lament that families, who this show is really for, will have to shell out several thousands for this just to see both parts. If you love HP, it may be worth it for you. I'm glad I saw it, but I never need see it again. My wife may want to.... Read more Read less

See it if you love limited, inventive storytelling brought to you by a talented ensemble.

Don't see it if you prefer a more linear narrative.

Also Tracy Letts' new play is a beautiful telling of the life of one woman by showing 11 selected scenes throughout her life. She is portrayed by 6 actresses at these various points. The story is effectively told out of sequence so that you can piece together the events, gradually learning new information little by little. But it never feels like it exists to be a puzzle box for you to solve. The reveals don't come across as surprise twists or anything like that. Sometimes the play is funny, and sometimes it's tragically poignant. There's a lot of gaps to fill in, but it's these empty spaces that actually make the sometimes mundane moments of Mary's life all the more enriching. What helps even more is this terrific cast of performers, with Blair Brown, Tatiana Maslany, and Kellie Overbey being standouts. But the cast is expansive, with some actors only appearing for a scene but they all still make a strong impression. This is a lovely play and I was very happy to see it.... Read more Read less

See it if You like stripped down and streamlined musicals, and new interpretations of old classics.

Don't see it if you like a little more flash or aren't fond of operatic musicals.

Also One of my biggest complaints about seeing things at Classic Stage Company is that they don't always know what to do with their space. John Doyle's direction of CARMEN JONES uses the space rather well, presenting the play on a large bare stage, with minimal sets and props. This really showcases the performers well, with only a few sequences that I thought felt a little stiffly staged or repetitive. The cast is all excellent. Their powerful voices fill the room completely. My biggest complaint about this production is that due to understandable limitations, the orchestra is small and doesn't provide much sound. I know we're not at the Met here, but sometimes the music can barely be heard over the actor's voices. One moment when the actors sang without underscore actually sounded better than the rest of the show. Still, this is an effective revival of a classic, with top notch performances from Anika Noni Rose, Clifton Duncan, and a fine ensemble. I was happy to see it.... Read more Read less

See it if you're a fan of Albee's mind benders and of outstanding acting from three top actresses.

Don't see it if you're not a fan of indulgent, introspective memory plays, or don't have the patience Albee in general.

Also If I could have only seen one play this entire season, this would be it. It was a rare Albee play I had never seen live, though I did read it years ago. Mantello's direction made it feel as if I were discovering it for the first time. It's transcendent. Laurie Metcalf is typically excellent and Alison Pill, once she gets into her groove, is the best I've seen her live, but Glenda Jackson, making a triumphant return to acting (stateside), is simply extraordinary. For much of the first half, she's confined to a chair. I actually worried that in her old age if she had slowed down a bit and required minimal action. HA! Once Jackson lets loose she dominates the whole stage. Her voice demands an audience. It's the performance of the year and it is not to be missed.... Read more Read less

See it if you like heady historical dramas with a playful sense of humor.

Don't see it if you prefer a tightly plotted story or a playwright that holds your hand while you take your journey.

Also I'm a big Tom Stoppard fan. I read TRAVESTIES in school many years ago but had never seen a live production. This is a pretty heady play, drifting through history as if it were a dream, or an Oscar Wilde play. My date said she was pretty at sea for the first 20 minutes of the play, but once she got into the rhythm she really enjoyed it. It's often laugh out loud funny and the staging is top notch. There are a couple delightful musical numbers which were more creative than any new musical I saw on Broadway all year. Tom Hollander was fantastic, and the rest of the ensemble is fine too. This play certainly isn't for everyone. It can be challenging and even having read it years ago, I sometimes got a bit lost. But it's a fun challenge and it really worked its magic on me by the end of the evening.... Read more Read less

See it if If you're a Conor McPherson fan, this is one of his most entertaining yarns. The ensemble is quite strong and it's a fine production overall

Don't see it if If you saw the original Broadway production, this won't eclipse it. I enjoyed it being so fond of the play, but I missed the original cast.

Also Irish Rep does typically fine work with limited resources. Their (relatively) newly renovated space is superb and the set for the play is excellent. Much has been made over Matthew Broderick's performance. I will concede that he's somewhat miscast in the role, but I think the production uses that interesting casting to justify a new take on the role. Broderick is especially strong in the second act. While the rest of the cast didn't make me forget David Morse, Jim Norton, of Conleth Hill, they do a fine job. I lamented that this production wasn't as funny as the original. While the performers are quite good, they lose a lot of the humor in McPherson's script. There was only the occasional audible laugh from the audience. But the story is still compelling and provides a strong payoff. I love this play so I was happy to see another production of it, even if it didn't achieve perfection.... Read more Read less