Johnny Pomatto

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

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 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 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