Johnny Pomatto

See it if you love puzzles, scrabble, crosswords, magic, and having your mind challenged while being entertained.

Don't see it if you want the shame of sitting quietly in your seat while you see smarter audience members around you figuring out the solutions to puzzles.

Also I absolutely love magic and mentalism. Always happy to see a new take on the genre. David Kwong is a very charming and entertaining puzzle nerd who does a pretty good job of translating his skills to the world of magic. I enjoyed the pre-show puzzles that each audience member gets to attempt, though I lament that they don't let you in until 30 minutes before showtime. We only completed 3 of the 4, due in part to the crowded lobby and getting close enough to each puzzle. But no matter. The show is still tons of fun. It implements a lot of standard "magic" tricks, but frames them around an interactive presentation of brain teasers. The audience isn't in as much control as Kwong wants you to think, but that's ok. It's still great fun. Sometimes the nature of the play had my brain working too hard when I should have turned it off a bit more and simply enjoyed the show, but that's more on me. This was great fun, and not the mindless kind.... Read more Read less

See it if you like to curl up with a good novel from time to time, or simply want to see the best work from Mary-Louise Parker in a decade or more.

Don't see it if you like when plays are loud, overly dramatic, and full of major events.

Also I had heard many people recommend this to me but I didn't know anything about it really. I wondered what the big deal was. I don't always respond to Rapp's work but this is one of his very best plays. The last few times I saw Mary-Louise Parker I was so bored by her performances that I questioned if I had ever really liked her as an actress in the first place. Whatever lazy habits she may have once exhibited are not apparent here. She gives quite possibly my favorite performance of her career. The entire weight of the play is on her shoulders, as she delivers first person prose as if she's reading a great novel. It's all presented in beautiful simplistic fashion by David Cromer. This is closing soon and I almost missed it entirely. I'm very glad I didn't. Really lovely play, the kind that we don't see enough of on Broadway, though I do feel this might have fared even better off Broadway in a smaller, more intimate space.... Read more Read less

See it if you're up for another Crucible production and want to see Bedlam's unique take on the classic.

Don't see it if you have a little Crucible fatigue and don't have another 3 hour session in you.

Also When you go see a Bedlam show, chances are you're going to see a classic play unlike any previous production you've seen. This is no exception. Beautifully sparse, this production is in an intimate venue where the actors barely need to speak above a whisper. At first there are some odd choices that I though were a bit too out there for so early in the production. But things begin to even out as it becomes a showcase for the very talented cast, rather than an excuse to get weird with Arthur Miller. This is one of my favorite plays so I rarely miss it, even if a bad production can feel like homework. This one does not. I enjoyed the stripped down nature of the play, with all the focus on the words of the piece. It's a clear, concise telling that simultaneously feels fresh and classical.... Read more Read less

See it if you're a fan of the works of Horton Foote and you know that whenever one of his works is performed it's worth seeing.

Don't see it if this is your first experience with one of his plays. This may not be the best entry point.

Also In my opinion, every Horton Foote play is a gift. I never miss an opportunity to see one of his plays. They are perfect little time capsules into a time and place that feels like a visit home. This is not my favorite of his plays. It features characters from previous plays that I love, but this finds them in a tragic place, and while I think the work is excellent, it's an especially sad experience to see these family members struggle. Signature's production is very nice. Aiden Quinn is particularly good in a role that makes me wish he'd return to the stage more often. Kristine Nielsen is also good, though an odd match opposite Quinn. But her performance is still fine inside a bubble. The rest of the cast is full of Foote regulars who are pros at this material. I think to fully appreciate this play, one may need the context of these characters from previous works. It may not always be accessible, but it's lovely.... Read more Read less

See it if you're fascinated by European history and are eager to tie it into the modern political climate.

Don't see it if you enjoy having every play today transformed into a lens for current politics, even as that extends to plays written over 30 years ago.

Also I sense that Eustis & Kushner thought they would have the most talked about event of the fall season with this revision. It's a fascinating idea. Kushner has taken his first play & written himself into it as a character, commenting about what he thought never worked in it, & how it plays today in the modern political climate. There are individual moments that achieve a powerful transcendence, bridging two worlds of burgeoning fascism, but these moments are fleeting. Too often it feels like Kushner is talking down, needlessly explaining history, & ultimately making the play & its themes less impactful. The original play might have been imperfect, but it spoke for itself, & I am able to watch a play about fascism without someone spelling out ifs relevance. I didn't hate this but I would have preferred the original text. It's simultaneously not as great or as bad as you've heard. Some strong performances, particularly Nikki M. James, Linda Emond, Crystal Lucas-Perry, & Jonathan Hadary.... Read more Read less

See it if you want to see a bold, inventive play, with a fine score, acted & sung by a fantastic cast of nearly all Asian performers.

Don't see it if you just hear "New Jeanine Tesori Musical" and feel like that's the show's biggest appeal. It's worth experiencing, but expect imperfection.

Also When I got home from the Public my wife asked me to describe the show. I had trouble covering everything that's going on. This is a show so full of fascinating ideas, & using impressive devices to get those across, but they sadly still feel a bit half baked. Many of the jokes (Golden Gate Bridge) are over-explained & repeatedly referenced. The political metaphors feel incomplete. The music is nice but I actually preferred Hwang's play before the orchestra was introduced. The climax finally comes real close to hitting home a really powerful idea of western vs. eastern politics & culture. It's a very effective moment, but it's also a bit too late and the road to get there has been rocky. The cast is uniformly excellent, & it's nice to see these Asian performers front & center, but I wish this were a more worthy production for them. This is absolutely worth seeing. It should be seen. I'm glad I saw it. I only wish I liked it more. I think it's ultimately a failure, but a spectacular one.... Read more Read less

See it if You want to see a stripped down Macbeth with some stellar performances that make more with less.

Don't see it if this is your first experience seeing the play. The cuts are generous and the abstract approach and actor doubling could confuse novices.

Also I'm not always a big fan of John Doyle's "home by 10:00" approach to his CSC productions. Even when not much is sacrificed in actual text, they sometimes feel a bit empty & underdeveloped. But in this case, the simplicity was mostly an asset. After a somewhat muddled opening with the witches, the play becomes clearly focused & intimate. Most of the textual cuts aren't missed. Corey Stoll is excellent, refreshingly playing Mac as a weak coward, almost eager to reach his deserved inevitable fate. Nice to see an actor who doesn't go too over the top with the sinister evil side of the character. Nadia Bowers is also quite good, though I do feel Lady M suffers the most due to the cuts. The rest of the ensemble works beautifully together, with a noteworthy standout being Barzin Akhavan. His heartbreaking moment of learning of his family's deaths is stunningly beautiful. The fight choreography is also quite intense, practically performed in the laps of the audience on a bare stage.... Read more Read less

See it if you love epic theatre, classic literature, and plays that feel like they are reflective of our current times.

Don't see it if 7 hours seems like a bit long for an E.M. Forster retelling.

Also As a big Howards End fan I was eager to see this play and was not disappointed. The adaptation is meticulously crafted, filling in details of the novel in clever ways. It's not a 1:1 adaptation. Characters are often combined and split between multiple actors. Several emotional gut punches (the Part 1 climax is unforgettable) but also quite funny. I slightly preferred Part 1 to 2 only because I really enjoyed the ensemble structure and the multiple storytellers. Part 2 is a bit more plot heavy, with more scenes just between a few players. The entire ensemble is excellent, with Andrew Burnhap & Kyle Soller being notable standouts. The great Lois Smith swings by at the end to steal a grand 20 minutes. There were many ways where this play might have misstepped but I'm pleased to say that it's an appropriately epic and complete experience that did not leave me wanting. It's rare for a modern play to feel so current yet expect it to stand the test of time.... Read more Read less

See it if you are a huge fan of the original movie (anybody?) or if you see and enjoy every musical out there, in spite of its quality.

Don't see it if No "if." Just don't see it.

Also Not every hit movie should be turned into a musical, and that goes double for every indie movie with a cult following at best. I enjoyed Billy Morissette's 2001 movie. Kinda fun premise & a great cast, but that's about it. Nothing about it screamed "I should be a musical." What's worse, this adaptation has been stripped of its personality & flavor. The film is set in the 70's, & tone was provided by its vintage "Bad Company" song score. This is also set in the 70's, but the generic score has nothing within it to set itself apart from any modern musical today. The songs are competently written, but empty. Price's direction is stiff, working with an ugly set that restricts action. I got so tired of watching those flat panels migrating across the stage to reveal entrances. The cast is fine. A few standouts are wasted. The comedy mostly falls flat. The audience was polite at best, with several walking out. I considered leaving myself. I wish I had. What was Roundabout thinking?... Read more Read less

See it if you enjoy mystifying magic and brain-testing puzzles.

Don't see it if the threat of possible audience participation frightens you to the core.

Also It's hard to review a show like this. How effective it is may be dependent on your tolerance for this kind of entertainment. I, being a bit of a magic geek, think Derren Brown is one of the best and most inventive magicians (or mentalists, if you will) working today. His act feels personal, and you may find yourself believing that he's speaking just to you at times. Of course, these are all tricks. But they're good ones. You can go in believing, or you can be like me and accept the challenge of trying to decipher Brown's methods. I think I got about 90% of it figured out, but that never detracts from my enjoyment. On the other hand, my wife had no desire to know how anything was done and had a blast pretending Derren's abilities were 100% real. If this is the kind of thing you enjoy, you can't go wrong. It's a far cry from some of the other cheap, needlessly flashy magic crap that Broadway gets occasionally. See you soon, The Illusionists. Ugh.... Read more Read less

See it if your love of Meat Loaf outweighs coherent storytelling and narrative sense.

Don't see it if you want to walk out of this show understanding what happened and why.

Also Admittedly, I am not a big fan of jukebox musicals, but I had hopes for this because I think Meat Loaf's music actually has a certain theatricality already so perhaps it would lend itself to this format. The music is sensational and the cast is talented & game, but that's the end of what works. My friends who had seen it warned me that the book & story was almost impossible to understand. I scoffed at this. Of course I can understand the plot of a musical. I owe my friends an apology. Almost out of the gate this is a head scratcher. Any time they stopped singing, I counted the minutes waiting for them to start again. The story is simultaneously thin & needlessly complicated. It's a weak Peter Pan retread, but it's an hour in before "Wendy" even leaves for "Neverland." During some of the best songs, I was able to turn off my brain & have fun, but the show is still too long. City Center was half empty & the audience was hardly raucous. This needed to be a party. It was a slog.... Read more Read less

See it if you are a Sondheim completist and didn't see the initial and superior Public Theatre production.

Don't see it if you're expecting something on the level of any of Sondheim's other plays.

Also Let's face it. This show has never really felt complete. Through all its incarnations, what we're left with is a fascinating little piece with some occasional great music, but one that leaves (at least me) a bit unsatisfied. I thought the production at the Public several years back as probably as good as it could get, & I still think that. Encore's production feels a bit misguided. The radio drama setting is initially interesting but never really justifies itself or makes sense. As the play progresses and it fades away, I wondered why we ever needed it in the first place. It feels muddled. The cast is fine. Raul Esparza didn't quite eclipse the memory of Michael Cerveris from the Public, and Brandon Uranowitz was good but the book doesn't give him the chance to flesh out the character in ways I know he's capable of doing. Best for me was Mary Beth Peil, who sings my favorite song of the show. I'm glad I saw this little weird Sondheim show one more time, but don't think I need to again.... Read more Read less

See it if you enjoy seeing Encores revisit shows from yesteryear that may never see the light of day again in a Broadway adjacent theater.

Don't see it if you prefer Encores to preserve a classic show as it was presented in the day, without trying to reinvent it.

Also I was reticent about seeing this show. I love attending Encores, mostly to see shows that I might never get a chance to see again. But when I heard that they had revised the play & personalized it to City Center. What's the point of preserving a forgotten classic if we're going to rewrite it? But the changes are actually quite sweet & effective, and occasionally genuinely moving. Not every song in the show (penned by numerous contributing composers) are winners. Some sound awfully repetitive. But the great ones are rather wonderful. Highlights include "It's an Art," "Millwork," "A Very Good Day," and "Joe" performed beautifully by David Garrison. The entire cast is excellent, with Andréa Burns & Javier Muños as standouts, but I was also rather impressed by Helen Hunt in her first musical. Her voice may not reach the rafters but it's soft and gentle. The show could use a stronger through line but I was charmed by the City Center material. I was charmed by the whole show.... Read more Read less

See it if you want to hear a rather incredibly coming of age story, beautifully scored.

Don't see it if you're looking for a more traditional musical. This is not that.

Also For the first 10 minutes or so of this solo show, I thought it was rather lovely but regrettably wondered what I was honestly going to get out of it. David Cale seemed like a lovely man, but I was wondering how I would relate or be affected by his story. The songs don't sound much at first listen. Cale doesn't have a conventional singing voice, (sometimes sounding slightly strained), and yet there's something about it that begins to sound hauntingly beautiful. And as the story progresses, Cale's saga begins to match that tone. By the end of the play, I was nearly in tears, with a few lines of text staying with me long after I left the theater. As a meditation on death, it affected me strongly. This one really sneaks up on you.... Read more Read less

See it if you are a Sam Shepherd completist.

Don't see it if you want to see an ideal presentation of his play brought to you by a cast who fully has a hold on it.

Also I had only ever read this play and seen the film adaptation, so I was eager to see it live. Signature used to be a reliable venue for plays old & new, but this is another disappointing revival of their season. As one of Shepherd's more surreal plays, it's nice to see it presented in a live setting, but I feel like the cast was at odds with one another and not always communicating. Some feel like they are in completely different plays. Maggie Siff is ok but a little too together for a Shepherd mother character. David Warshofsky fared much better in the father role, a performance that Shepherd himself would likely endorse. I felt the play was too grounded for too long, so when things start to turn more surreal, it's a jarring shift. I always felt that the play was pretty abstract throughout, at least on the page. This production was adequate but doesn't rank with the best Shepherd shows I've seen.... Read more Read less

See it if you like to see unique musicals that challenge you and give you a lot to think about.

Don't see it if you don't care for a cappella singing or musicals that go to some strange places.

Also Dave Malloy continues to deliver on his promise of perhaps the most unique musical composer working today. This mediation on technology addiction really spoke to me. There were a few lines that hit me right in the soul, and the play's subject affected me enough to make me question whether or not I should even still frequent websites like this. But here I am. The play itself reminded me a bit of the work of The Mad Ones or Annie Baker, only set to music. I was wary of the a cappella singing going in. While an impressive art form, I don't always respond to it. But Malloy adapts to the style beautifully, still delivering an intensely full sound of his beautiful, moody, sometimes very funny score. It's a strange show but a beautiful one. I'll be thinking about it for quite a while.... Read more Read less

See it if you didn't get the chance to see Glenda Jackson last year in "Three Tall Women." Or if you simply must see her again.

Don't see it if you want to see a competent production of Lear. Her performance is just about the only thing working in this show's favor.

Also KING LEAR is arguably Shakespeare's greatest tragedy, but it works best when directors leave it alone. I don't know why directors are endlessly trying to put their stamp on this play, which more than most Billy Shakes plays, succeeds best on its words & performances alone. Glenda Jackson is more than just the sole redeeming element of this production. She gives a magnificent performance. Genuinely one of the best Lear's I've ever seen. Sam Gold's production is otherwise a disaster. Actors I usually love (Jayne Houdyshell, Liz Marvel, Matthew Maher) give bizarre performances that seem to be from entirely different productions. They don't communicate with each other at all. Sam Gold's direction ranges from lazy, to needlessly elaborate, to just plain ugly. Speaking of ugly, the hideous gold set is such an eyesore that I actually envied Gloucester when he got his eyes gouged out. No lighting can make it look good. Jackson is wonderful, but is the only reason to see this show.... Read more Read less

See it if you've never seen the play. It's a good one to see once. Also if you're a fan of either of these two sensational actors.

Don't see it if you've seen the last few Broadway productions and felt like you got your fill, in spite of fresh new takes on the roles.

Also This is a very good play, but I didn't know if it was one that absolutely had to be revived annually every 10 to 15 years. It has a timeless quality but if you've seen one production, you likely have seen what it has to offer. Fortunately both Audra & Shannon's performances are so excellent they almost at times make the play feel brand new. This is some of the best dramatic acting Audra has done. Johnny is usually played as aggressively charming, but Shannon doesn't shirk his usual odd qualities, thus by making his Johnny sometimes strange & unsettling, and changing the dynamic between him & Frankie considerably. When she says he's weird, she means it. No longer is the play about her uncomfortable in her skin as a suitor dotes on & seduces her. She bravely stands up to him and holds power more over him in ways I've never seen another Frankie play the role. Totally worth seeing for these performances. But the play itself is still the same play I've seen now a few too many times.... Read more Read less

See it if you want to see a strikingly feminist take on dealing with male toxicity for about 40 minutes.

Don't see it if you want the remaining 40 minutes to follow through on its initial promise and stick the landing.

Also I've been a big fan of Halley Feiffer as an actress, and her first two plays showed a lot of promise. In fact, this play continues to show a lot of promise but ultimately left me disappointed. The opening scene (1 of 3) starts off great. Feiffer has created the kind of toxic male character that Neil LaBute founded his career on, but only now with more self awareness & a point of view from the target of his advances. Feiffer & Hamish Linklater are outstanding in this opening. This might be my favorite Feiffer performance to date. But the play begins to suffer in its next two scenes, with time jumps spanning 8 years that only left me feeling like there was so much more to this relationship that the play's short running time was able to depict for me. I could forgive a few of the middle scene's missteps if the play had really stuck the landing, but the final scene just felt like Feiffer was giving up or at least introducing a new concept without time to fully explore it. A real shame.... Read more Read less

See it if you want to see a delightfully strange play that will challenge you and leave you with plenty to think about & theorize for days.

Don't see it if you want to leave a play definitely knowing exactly what it was about and what everything means.

Also PLANO packs a lot in its brisk 75 minute running time. What begins as a witty, if slightly surreal, tale of three adult sisters quickly becomes a bizarre and sometimes rather frightening parable. To summarize would defeat the purpose, because the play is full of surprises and much of what comes at you isn't easy to define or explain. But that's part of the fun. My mind was racing during this production, so much so at one point that I feared I missed a half a minute of dialogue while I was working out a theory in my head. This reminds of a play like Annie Baker's JOHN, only filtered through an absurdist sieve. There are big laughs as well as some chills. The cast is uniformly excellent, particularly Crystal Finn, delivering some of the biggest laughs, and Susannah Flood, who has one particular scene of haunting physicality. It's hours later and I can't get the show out of my head. I may need to see it again.... Read more Read less

See it if you are at all interested in politics & history with a human face applied to it.

Don't see it if you prefer to keep politics out of your theatre.

Also I turned down a few opportunities to see this. I just thought it didn’t sound appealing. I like political theatre, but in the past few years I don’t generally like to be lectured to, pandered to, talked down to, or overall treated like a nostalgia cheerleader for a better time or an outrage machine for a dire present. I didn't want to see this, but I'm so glad I did. Almost instantly this was not what I expected. I was sure there would be a humorous element to it, but Heidi Schreck brings such a warmth to this subject that I never felt upset or annoyed. In fact, I truly did feel inspired by this work. It goes to so many surprising places. Just when I got used to the rhythm, it will change formats and become something new. I was riveted for every moment of these 2 hours. It might be my favorite piece of theatre I've seen all season. It may not be for everyone, but I would encourage you to give it a chance. I believe I'll be returning to see it again.... Read more Read less

See it if you like your history & politics to go down smooth with the aide of music, colored lights, and a pair of excellent performances.

Don't see it if no amount of spectacle can make you care about this subject, or if you are one to easily lose patience for broad theatrics in your dramas.

Also When I heard there was a new play about the rise of Rupert Murdoch's media empire, I wondered if this meant we were never going to get a revival of PRAVDA. Sure, a profile of real life people are allowed to have multiple interpretations, but maybe you too would bat an eye if someone claimed to write a new play about Motzart and another rival composer. Fortunately, INK is quite a different beast from PRAVDA, though not always an improvement. The real focus is on Larry Lamb (Miller) who works to appease his overlord (Carvel, just as cartoonishly ghoulish as he was in MATILDA). This isn't a dry journalism piece though. It's a dazzling spectacle, somewhat akin to ENRON from a few years back but not quite as abstract. It all makes for an entertaining evening, though sometimes beyond the gloss, it can feel a bit hollow. Some more serious scenes in Act 2 made me consider that the writing was not always stellar. I don't think this is a very good play, but it's an often entertaining production.... Read more Read less

See it if you want to see a musical with a plot that's just vaguely familiar enough to never once surprise you.

Don't see it if you're not interested in seeing talented stars phone it in with a weak script & score.

Also Admittedly I often don't like musical adaptations of movies because too often they are safe retreads of stories I already know too well, but David Yazbek's shows usually have bucked this trend by reinventing their source material with new characters, settings & subplots. This is definitely the case with TOOTSIE but his choices ultimately work against him. I'm a big fan of the movie but don't consider it sacred. Changing the setting from a soap opera to a broadway musical could have worked, but here the changes muddle the messages & characters' choices. It just doesn't quite work. The score is pretty forgettable. Show opens with a parody of a bad musical, but then uses the very tropes & tunes it makes fun of throughout the rest of the show. Santino Fontana is miscast. Cast members like Julie Halston & Michael McGrath are completely wasted. Sarah Stiles & Andy Grotelueschen fare the best but still don't have much to do other than reprise their only song a few times. A disappointing thud.... Read more Read less

See it if you are thrilled and moved by spectacular physicality and complex, intense music.

Don't see it if you are prone to sensory overload. Despite the New Victory setting, it's not for real little kids.

Also I was brought to this by someone who saw it at the Edinburgh Fringe and was so taken with it that he insisted I came in knowing nothing about it. That was definitely the way to do it, as watching it unfold naturally was quite beautiful. The story is done almost entirely in pantomime and dance. Essentially the story is about dementia and Alzheimer's, but the action takes place inside the head of a man struggling to grasp the memories of his past. For the most part, the piece is stunning. The live music performed provides a gorgeous backdrop for the piece. I do think that some of the movement and scenes can be a bit repetitive. There are only a few props and set pieces and they get re-used a lot, so it can sometimes be hard to decipher what the scene you're watching is about. It can be a bit abstract, but that's also what makes it so beautiful at times. This is probably a little too dense and confusing for real little kids but I recommend it for anyone interested in wordless storytelling... Read more Read less

See it if you enjoy the time machine aspect of Encores that allows you to see a show from another era that would otherwise never get another revival.

Don't see it if the idea of seeing an incredibly dated and sometimes clunky musical doesn't sound like a fun time.

Also It's hard to believe that only a few years ago an Encores show was still just a spiffed up concert with minimal staging, let alone choreography. Now they are full on productions. The level of dance in this production is so impressive that you'll be amazed that the actors only had just over a week of rehearsals. I MARRIED AN ANGEL is an old fashioned show that barely holds together, but it can be a lot of fun. The plot is paper thin. The jokes might make you roll your eyes. But just go with it. You'll never see it again. The cast is very strong. Sara Mearns is an outstanding dancer. Mark Evans is very funny, in his second recent Encores outing. I look forward to seeing him again. Nikki M James & Hayley Podschun also do nice work. The dances are very impressive & elaborate. What surrounds them isn't deep but it's an entertaining diversion. If you enjoy seeing obscure shows at Encores, this is a fine production. Just don't expect a masterpiece.... Read more Read less

See it if you're a fan of Guirgis' plays. You'll know it if you are by now. This is an unmissable entry in his canon.

Don't see it if you don't want to see the kinds of loud, angry, aggressive people that you might avoid on the street now portrayed onstage.

Also I've now been seeing Guirgis' plays for over 20 years and I always cherish the experience. This is right at home with plays like "Jesus Hopped" or "Our Lady." A depiction of real New Yorkers that typically don't have plays written about them. It's often funny, often devastating. There's no rules as to which plot points might land on which side. The extensive cast is outstanding. Guirgis tends to work with a lot of the same actors, so you'll see many familiar faces here. They understand and speak his language. They're like a family. And there are plenty of excellent new additions to that family that I hope to see in subsequent works from the playwright. The play is long and often relentless. Won't be for everybody. I don't know if this the play of Guirgis' I would recommend be your entry point into his career, but it's a fine example nonetheless.... Read more Read less

See it if you're a Lucas Hnath fan and are eager to see his take on the ghost story genre.

Don't see it if your stunted imagination needs high production values in order to enjoy a play.

Also I had no idea what to expect with this play. It really catches you off guard. Almost the entirety of the play is done in full light, (including house lights), with its lead actors primarily sitting in chairs and speaking directly to the audience. Such a thing doesn't sound like it could be so effectively unsettling but this one really sneaks up on you. To describe how would be cheating, but Hnath's sharp dialogue lulls the audience into almost banal comfort, only to catch them off guard and shock them later. I really enjoyed this play and highly recommend you check it out.... Read more Read less

See it if you never miss a Daniel Kitson show and want to see what he's got cooked up this time.

Don't see it if you've never seen Kitson. This shouldn't be your first. It's rambling & tedious, but may still appeal to you. It's a one of a kind.

Also I took my wife to see this because she had never seen a Kitson show, and I'm a big fan. I almost instantly regretted bringing her. Almost immediately Daniel starts to merely list items in his home, which quickly devolves into nonsensical rambling without much of a purpose. If it sounds like I'm complaining, I'm not. This show is hypnotically fascinating but certainly not for everyone. I worried my wife would be bored but afterwards she told me she enjoyed it, even though she found it challenging. That said, I still say a new Kitson play is unmissable. If you're willing to roll the dice on something weird, be brave and give it a go.... Read more Read less

See it if you love Broadway musicals but don't consider them so precious that they don't occasionally deserve to be taken down a peg or two.

Don't see it if you thought Tootsie, Beetlejuice, Frozen, Moulin Rouge, & Dear Evan Hansen were perfect and to suggest otherwise is blasphemy.

Also There was a time about 20 years ago when I wouldn't consider a Broadway season complete until I had seen that year's installment of Forbidden Broadway. Amidst recent hiatuses, I've thought recent productions of the spoof series were a little soft & stale. It doesn't always help that I don't see many Broadway musicals anymore. A lot of those movie adaptations & jukebox stuff just doesn't appeal to me, but to each their own. Gerard Alessandrini's latest batch is pretty sharp, with only a few exceptions. Not having seen some of the shows being lampooned does not diminish the humor. The cast is generally strong. I don't know if I needed the kid in there. He's got a fine castrati singing voice, but he's not all that funny. But whatever. He's fine. The "Wokelahoma" spoof is one of the series' best in years. A few other nice surprise numbers. I miss not having routine appearances from Liza, Ethel, and Channing, but I guess I'm an old man now. The show is a blast. Hope Gerard keeps 'em coming... Read more Read less

See it if you're a fan of Richard Nelson's "family plays" or enjoy drama unfolding at a leisurely pace through character development.

Don't see it if you prefer your plays to be heavily plotted or if you like your actors to shout loud enough to reach the 2nd balcony.

Also I absolutely adore Richard Nelson's family plays. I look forward to them every season at the Public. The latest installment appears to be a stand-alone play, but I do hope Nelson continues to explore some of these characters in subsequent installments. The one has all the signature elements. A family gathering on a specific day, onstage cooking, laughter and tears. This play, about a dying choreographer and the generations of influenced students is unique in that it includes another layer of performance through dance. This performance within the play is integrated quite well amidst the real life drama. The performers all around are excellent, with Jay O. Sanders & Maryanne Plunkett standing out, per usual. I found it a little difficult to identify all the characters' relations to each other more than in previous Nelson plays, but I figured it out before long. I love these plays. They're like warm visits home. This is maybe not my favorite but I still crave more. Highly recommended.... Read more Read less

See it if you are a fan of Will Eno's work and if you enjoy human dramas with relatable content.

Don't see it if you're looking for more extremes of comedy and tragedy. The slight tone asks the audience to find the drama within their own lives.

Also Although it's still a little shaky in the preview process, I found Eno's new play to be quite beautiful. It takes a similar approach to 2nd Stage's recent production of "Mary Page Marlowe" but has an entirely different tone. This tells the life story of an individual from birth to death, but using multiple actors for different life events along the way. At first it feels a bit dry. But as time went on, I found myself getting incredibly introspective about my own life as I watched these seemingly inconsequential events define the life of this character. It's fun to fill in the gaps between the years & identify clues to what we miss seeing. By the end of the play, I got quite emotional. I may even see this again, once it's opened and the play feels more complete. Some excellent performances all around, particularly from Michael Countryman, Howard Overshown, & Lenne Klingaman. This might do best with Eno fans, but it's brisk yet deep and I would recommend it.... Read more Read less

See it if you enjoy sharply written debate, new points of view, and superb performances.

Don't see it if you like your politics and religion in theatre to come from more of a place of satire.

Also After seeing only two recent plays (Plano and this), I'm starting to get very excited by playwright Will Arbery. Not only is he proving himself to be a wiz at crack dialogue, but his plays offer a surreal, dreamlike intensity, as if we're catching a glimpse of a world that we're not meant to see. This play, set amidst a deeply Catholic school for conservative thinking, refreshingly shows little judgement towards its characters. It's rare in this day and age to see a play tackling conservative politics not played for broad satire. There is debate & infighting amongst its characters, but the play comes from a place of understanding and almost respecting some of their personal views. It's a potboiler, with no intermission or breaks to catch one's breath. The performances are all excellent. The play is challenging & often upsetting in the best ways. I can't say you'll always enjoy yourself as you watch, but I'm not able to get much of it out of my head. Can't wait for more from Arbery.... Read more Read less

See it if you're a fan of Tracy Letts and his signature brand of colorful characters & sharply written dialogue.

Don't see it if you don't like seeing plays about characters exhibiting bad behavior & poor decisions.

Also I've never seen a Tracy Letts play that I didn't find something to love in. This is less epic than a play like "August: OC" or "Bug." Rather, this is a smaller tale, not unlike the also criminally unsung "Superior Donuts." An excellent but small play that audiences seem to be avoiding. Though the premise feels out of a sitcom, the dialogue & acting is not. Even if you think you know where the story is going (and you may), Letts guides his characters through complex channels with moments of hilarity & profundity. I laughed out loud frequently, and was shaken when things took a darker turn. Ian Barford gives the kind of performance that looks so simple you think he must not be working too hard. He is. A Letts regular, Barford anchors this production, though supported by an excellent ensemble. This play doesn't sound like much on paper, but I really loved it. I'll never pass up the chance to see a new Letts play. You shouldn't either. This might not be the best for the uninitiated though.... Read more Read less

See it if you're a history buff who enjoys seeing great actors perform a by the numbers pageant.

Don't see it if you already weren't bowled over by "All the Way." This isn't necessarily a step up.

Also I love political history and rather enjoyed "All the Way" a few years ago, but I didn't think it was necessarily a great play. It was compelling & entertaining, but wasn't crying out for a continuation. "All the Way" was also a play specifically about something, LBJ's fight with MLK for Civil Rights legislation. GREAT SOCIETY doesn't have the same narrative focus. It's just the story of the 2nd term. A little Civil Rights, a little Vietnam, etc. Brian Cox is commanding as LBJ, even if he doesn't resemble him all that much, but I don't mind that. I would rather a good performance than a detailed impression. The rest of the cast is excellent but also mostly wasted. So many great characters from history are reduced to bit roles in brief scenes. Most of the talented cast is forced to be in the background in various wigs. The writing just doesn't support what this cast is capable of and the production feels claustrophobic & crowded on the thrust of the Beaumont.... Read more Read less

See it if you're a big fan of the 90's Disney movie and want to see an epic fantasy produced in small scale style with a large scale cast.

Don't see it if you're looking for a polished, complete show that ends up amounting to above average children's theatre.

Also Even if it's "lesser Disney," I've always enjoyed the original HERCULES film. Public Works' adaptation is pretty close to the plot of the film, but style is completely different. The "do it yourself" style props & costumes hardly feel slapped together and really work, particularly during some of the action sequences. The large cast is both an asset & detriment, as it's exciting to see 200+ people onstage, but sometimes an overwhelming, crowded distraction. The cast is generally great, with Krysta Rodriguez & the Muses standing out. I wish the irreverent humor from the film were a bit more present. I chuckled a bit but rarely laughed. Some of the added material was fairly weak. None of this is ready for a commercial broadway run, but that's ok. I prefer the rough edges to the blandly slick polish of Frozen or Aladdin. It could use a bit of work, but as a Public Works production, this is a big win. Though maybe better for kids than adults. If only kids could enter the ticket lottery.... Read more Read less

See it if you want to see a rising star of comedy discuss typically taboo subjects in a sharply written treatise.

Don't see it if you were thinking of taking a parent to see it, or anyone else you might be uncomfortable to sit near throughout this spicy subject matter.

Also It's a bit strange to "review" stand up comedy. The format is by definition, wildly subjective. So many factors can affect one's enjoyment. Are you amused by the jokes? Do you like the performer? Does the subject matter speak to you? I can't speak for everyone or recommend this to all, but I very much enjoyed Jacqueline Novak's show. I was familiar with her name but don't think I had ever seen her perform. This show, which is primarily about her relationship with fellatio, is incredibly well thought out, plotted, and directed by John Early. Although the material is adult, it never comes across as salacious or dirty. It's far too personal to Novak's experiences to just be mere raunch. She's incredibly funny and her delivery & presentation feels unique. Sometimes I feel she would trail off from a set-up or move on from a joke too quickly, but that never interfered with my enjoyment. Things always turned around in a minute or so. She has a hit on her hand here. We need more like this.... Read more Read less

See it if you're compelled by current immigration politics as well as classical Greek tragedies.

Don't see it if you don't like the classics messed with, or if you are unfamiliar with Medea. A few too many people in the audience surprised by the ending.

Also I had really enjoyed Luis Alfaro's OEDIPUS EL RAY a few years back, but wondered if transplanting Medea to a modern setting might prove a bit more difficult. For the most part, I thought Alfaro's telling of the tale was fairly seamless, and didn't seem all that forced with the modern backdrop. The play is generally compelling, due in part to the topicality of the subject matter. I was undeniably more moved by the plight of the characters, given that I've been reading far more about immigration in the news each day. Two extended monologues about the border crossing process are especially harrowing. The light & sound design are first rate & do a lot to intensify this small play. A lot of what kept me going in the play was the curiosity of how it would all be pulled off. I think it struggles a little with the narrative towards the end, but I still found it quite absorbing. An excellent performance from lead actress Sabina Zuñiga Varela. I overall preferred Oedipus but am glad I saw this.... Read more Read less

See it if you enjoy satire that doesn't exhaust itself after a few minutes with a one joke premise.

Don't see it if you don't want to work a little for the meaning within the play's madness.

Also This play has a lot going on in it. It starts off with some big laughs with some broad, silly humor. I wondered if it would be able to sustain itself or if it would rise above its initial one joke premise. Fortunately it does. It gets surprisingly deep and surprised me at almost every turn. It reminded me a bit (in tone) of "Monty Python's Life of Brian," in that it uses a historical backdrop to present some insightful points about modern society, but does so in silly and sometimes broadly juvenile ways. The gender flipped cast of 7 women and 1 man are all excellent, with notable standouts being Crystal Finn and Jennifer Ikeda, as two warring adversaries. The play left me a bit confused at times but always under its spell.... Read more Read less

See it if you want to see an original musical that will make you laugh, cry, & even hum a tune on your way home brought on by an outstanding ensemble.

Don't see it if your first question you have when attending a Broadway musical is "What movie is it based on?"

Also I don't know why it took me so long to see this. I thought this sounded like a bit of a mess. A mash-up of two stories that don't quite fit together. And maybe they don't, but that's what makes this show so charming. I absolutely loved this. I was so swept up in it. The best Broadway musical I've seen in the last few seasons. Astonished crap like "Tootsie" won awards that this was far more deserving of. I do worry though about the show's future. I think the plot about narcissistic actors is sometimes a little too "inside Broadway" to play the community theatre circuit or high schools. Which is too bad because this is otherwise a perfect show for teens. The message is beautiful, but the show is still upbeat, hummable, danceable, & hilarious. It's the anti "Dear Evan Hansen." The cast is universally excellent, and I appreciate seeing some older, larger, unconventional types in a musical. I found this show delightful and expect to see it again. I can't believe I just wrote that.... Read more Read less

See it if you're a teenage, YA fan or if you think Pasek & Paul are the greatest composers that Broadway has ever seen.

Don't see it if Aw... don't listen to me. I guess you should see it. I recognize I'm squarely in the minority on this one.

Also I'll preface this by admitting that I am clearly not the target audience for this show. Or at least I thought I wasn't, but it has been enjoyed by people of all ages. I don't completely hate it. In fact, I thought the first act of this show was quite good. But personally, the plot developments in the second act really lost me. I felt like little Evan gets himself in quite a predicament, and then proceeds to learn all the incorrect lessons in Act 2, but is handsomely rewarded for his efforts. The play depicts what is a growing fantasy among teens: gaining viral fame through a selfless act. I'm not the world's biggest Pasek & Paul fan. I think there's a few songs in this that I really like, but then so many other songs start to sound the same after a while. This extends to some of what they've written in projects since this play. This show was not entirely for me. It's good for the teen crowd, and I won't fault those who love it, but I didn't connect to it in the way that I had hoped to.... Read more Read less

See it if you enjoy first person accounts of difficult times, that also touches upon true crime & stories of support in a horrifying situation.

Don't see it if the subject matter or actress don't appeal to you. There's not much there beyond that.

Also I've been a fan of Maddie Corman's work as an actress for many years, & was eager to see this when I saw she had a new one woman show. I didn't know the subject matter. Then I read the NY Times profile on her & I was a little less enthusiastic to see this delightful actress recount a hardship. I wondered if the Times article told a little too much of the story, but Corman does a fine job of telling this gut wrenching tale. I don't think I would have missed some of the omitted details if Corman didn't call attention to the redacted lines so often. I think there was probably a way to write around that without highlighting missing information. But I was quite moved by her journey and impressed by her performance. It's not always a pleasant watch, but I was ultimately glad that I saw it.... Read more Read less

See it if you want to see a truly impressive & energetic production with inventive use of live video.

Don't see it if you want to see theatre, because this too often feels like you're watching a live taping of television.

Also I am truly awed and impressed by Ivo Van Hove's direction of NETWORK, but that doesn't mean I always enjoyed it. The live video element often gives a real sense of urgency, upping the stakes of an otherwise dulled adaptation that loses a lot of the satire from the film. But though the multi-media element leads to thrilling sequences, sometimes it felt too much like the performers (many of them excellent) were acting more for the cameras than for the audience. Cranston is an exception most of the time, but your eye is often drawn to the screens instead of the actors, & that shouldn't be the case. Worse, several audience members near me seemed to think they were at home watching television so felt comfortable to talk out loud frequently. Though I was riveted by the pace of the direction, I didn't feel much. And this is a story that is designed to make you feel so much. I applaud the effort but it just couldn't match the film for me.... Read more Read less

See it if you enjoy seeing relics from the past that would otherwise never see the light of day again. Being a Urie fan will work in your favor.

Don't see it if you're expecting this classic to hold up or even hope Encores will deliver their usual loving qualities to weaker material.

Also I absolutely love seeing any Encores show, if for nothing else than the time capsule nostalgia that seeing a forgotten classic show can give me. But I was quite disappointed by HIGH BUTTON SHOES. The show just hasn't aged very well. Michael Urie is working very hard (and looking like a dead ringer for Harold Lloyd) as a shyster con man, & I appreciate his enthusiastic performance. But the jokes just aren't in the text. Some of it is stale writing, but also the overall energy & preparedness of the cast is not up to the usual Encores standards. This is the first Encores show I've seen in some time that I felt was under-rehearsed & not ready. There's a madcap, cartoonish dance number in Act 2 involving going in & out of doors that was so well done, I wondered if they spent all their rehearsal time on that. But even that scene was zany but for little purpose. I was impressed with it, but wasn't caught up the way I hoped to be. It's fun to see these old shows but this one was rather bland.... Read more Read less

See it if you like to see a loose story told through character interactions, crafted by a stellar cast.

Don't see it if you can't stand awkwardly squirming in your seat while waiting for a story arc that will never come.

Also I saw The Mad Ones' MILES FOR MARY last year and it was one of the most brilliant stage comedies I've seen in years. The unique group continues what they started here with another show that is light on story but deep in character. To describe this show is almost useless. You really have to see it for yourself to understand its appeal. There's almost no story. Just a situation. But you learn so much about the characters from their simple interactions. A passive aggressive motion or an awkward glance across the table says much more than mere dialogue might in another show. The cast/creators are perfect, most notably Brad Heberlee, Joe Curnutte, January LaVoy, & Stephanie Wright Thompson. The only reason I didn't rate this show higher is because I thought that MILES FOR MARY had a stronger build & more satisfying catharsis at the end. But I love what this team does and I will see whatever they put together next. I can't wait for their next project.... Read more Read less

See it if you want to see a genuine piece of theatrical history and hear Marc Blitzstein's masterful score sung by some talented performers.

Don't see it if you want to feel an ounce of what this piece would have meant to the masses who heard it in the time of its creation.

Also I was very curious to see this production, having had familiarity with Blitzstein's score and the history of this play. I was however quite disappointed by John Doyle's production. It is presented almost entirely without context, so that if you had no idea of the importance of what this play once meant, you'd be hard pressed to feel it. My companion knew much less about it than I did and she didn't understand what the big deal was. Worse, Doyle's production has little passion or energy. This is not a knock on several of its talented performers, most noteworthy being Tony Yazbeck, Laura Pulver, and Eddie Cooper. Those with strong voices shine to the extent of which they're allowed to. But the staging is so dry and empty. Doyle's minimalist style has served him better in the past, but this feels like an empty room where even the audience feels absent. The talented cast just isn't able to rile people up. Quite a disappointment as I was really looking forward to seeing this on its feet.... Read more Read less

See it if you are a particular fan of Chekhov, specifically Uncle Vanya, and are up for seeing it played with a bit.

Don't see it if you don't like people getting precious with the classics.

Also I was excited to see Aaron Posner's STUPID FUCKING BIRD a few years back, but once I did, I thought it amounted to a really clever idea with a great title that didn't have much else going on. It was kinda fun but kinda empty. I much prefer LIFE SUCKS, which not only follows the VANYA thread successfully, while still being its own thing. I preferred the play when it wasn't offering us a 1 to 1 recreation of the originals plot. I liked when the actors would break into monologues that more seemed be examining the themes of the play rather than retelling it. The cast was excellent, particularly Jeff Biehl, Nadia Bowers, and the great Austin Pendleton. I really enjoyed the play, but it didn't shake me. It's still a bit of a cut and paste job, albeit a clever and entertaining one. I'm glad I saw it. It's my favorite Aaron Posner play to date, but i think it's time for him to stop going to the Chekhov well.... Read more Read less

See it if you want to see a classic play by Lanford Wilson headlined by an unforgettable performance by Adam Driver.

Don't see it if you want this to be a flawless production of said play. But see it anyways. The play and Driver are too good to pass up.

Also BURN THIS has always been one of my favorite plays so I was eager to see it again. When I heard Driver was cast as Pale, I thought that was one of the most perfect casting moves I'd ever seen. And he doesn't disappoint. He's electric. His intensely physical performance is hypnotic. You can't look away. The rest of the production? It's fine. Russell is the biggest disappointment. This play is essentially about 2 broken people finding love, but Russell feels far too in control & never suffering from grief. We understand completely why Pale needs Anna, but Russell doesn't make us understand why she falls for Pale. Her performance isn't exactly bad, it's just wrong for the character. She's a great actress, but doesn't nail the role. Better are David Furr, doing a very different take on Burton than I've seen before, & Uranowitz, who avoids the stereotypes of the 1980's gay character to give Larry some dimension. I love this play. Driver is extraordinary. Glad I saw it. Wish it were better.... Read more Read less

See it if you're fascinated by ancient philosophy and enjoy masterful performances.

Don't see it if you think you're seeing Public's modern take on Socrates through the guise of a hip new musical, as the couple behind me expected to see.

Also A lot is being made about how topical the Socrates story is in light of our current political climate. While comparisons are unavoidable, they're also not necessary. If this play had premiered 10 years ago, it's not like people wouldn't see connections to that era as well. The story is timeless, but Tim Blake Nelson's play works best as a detailed portrait of the philosopher's life and ideas. The 1st act is a bit long & scattershot. Scenes drift in & out of each other in jarring ways. The thread can be difficult. But the 2nd act, about Socrates learning & accepting his fate, is beautifully done. Michael Stuhlbarg is outstanding in the title role. The remaining cast is reliable but rarely get a chance to stand out in a sea of doubling of characters, with the exception of Teagle F. Bougere as Plato. This is a dense play not for all tastes. It can be slow going at times but I'm very glad I saw it for Stuhlbarg's performance & Nelson's exquisite writing.... Read more Read less

See it if you're a fan of Lucas Hnath, Laurie Metcalf, John Lithgow, political dramas, or all of the above.

Don't see it if you want a bit more literal take on the 2008 Hillary Clinton or are looking for some comedic sketch featuring wigs & broad impressions.

Also Even with the pedigree of the cast & creative team, I was reticent to see this. I didn't want some lame political comedy going for cheap laughs with actors doing bad impressions of public figures. From the opening moments of the show, I instantly knew I was in good hands. This ditches the caricatures of the Clintons and leaves us with a riveting portrait of their marriage & campaign during the 2008 NH Primary. It doesn't go for winks to the audience & doesn't play too much on the nostalgia or ire that one might feel for these people. Instead we get an honest conversation that feels incredibly plausible yet deeply poetic. Often funny too, though the comedy isn't gut-busting. Hnath continues to establish himself as one of the great new playwrights. Metcalf is extraordinary, per usual. Lithgow gives us a very human side of both Bill & himself. Zak Orth & Peter F. James provide excellent support. I wasn't convinced I would enjoy this but it's one of the best plays I've seen this year.... Read more Read less

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