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See it if you'd like to see a production of a Jacobean classic and can put up with uneven casting and problems with tone and pace.
Don't see it if you have little interest in Jacobean drama or have little tolerance for less than ideal casting and direction.
See it if you are a fierce fan of Baldwin or Pinkham and can enjoy their performances even in mediocre material.
Don't see it if are looking for fresh sounds and thoughtful writing.
See it if you like male a capella singing and historical Christmas stories and can put up with unfortunately over blown amplification..
Don't see it if you think the Christmas truce has been overplayed or you prefer to hear a capella singing in an intimate space without amplification.
See it if you want to check out the work of a talented Native American Playwright even in a work that should be a lot sharper and funnier.
Don't see it if you expect satire to be a lot more pointed and insightful
See it if you are fans of the actors who here deliver excellent performances in a piece that's more a debate than a play.
Don't see it if you are looking for character complexity and a dramatic plot or if you feel that 85 minutes of journalistic debate does not make a show.
See it if you like theater that combines the personal and the political and enjoy pieces that are more monologues than plays.
Don't see it if you are looking for plot and drama.
See it if you can get a (very) cheap ticket and are looking for a "What were they thinking?" evening.
Don't see it if if you think an "original" musical should actually have some fresh ideas and some good music, direction and choreography.
See it if if you respond to great music and great musical performances, especially if you are a fan of both opera and Broadway musicals.
Don't see it if you have no interest in musical theater.
See it if you enjoy the work of the Mint and the revival of excellent, forgotten plays from the early half of the 20th Century
Don't see it if you have no interest in political plays from an earlier time.
See it if you like great actors in a traditional but gripping and vibrant performance of one of the world's great plays.
Don't see it if you're sure you don't like Shakespeare and don't want to try again even with a very clear and persuasive production.
See it if you are such a fan of Lois Smith and the other actors (who are excellent) that you can endure an overlong, irritating and aimless play.
Don't see it if you like family drama to feature deft drama and an interesting family.
See it if you can appreciate moments of insight in a work that is often dramatically inert and makes little use of its eccentric casting.
Don't see it if you're looking for a strong narrative or a thoughtful and pointed exploration of adolescent competitiveness.
See it if you want to see a beautiful, intelligent, vital and confident revival of one of Broadway's greatest musicals.
Don't see it if you have no patience for long shows or little interest in classic musicals.
See it if you are a fan of the books or movies and you enjoy magical stagecraft.
Don't see it if you no prior familiarity with Harry Potter and/or prefer intimate character-driven plays.
See it if you're interested in three very good performances in a good play, marred by a lazy, mannered star turn in the leading role.
Don't see it if you have a low tolerance for Michael Cera's mannerisms.
See it if you are interested in the history and meaning of theater or are a fan of any members of the fine cast.
Don't see it if you are impatient with a show that still feels like a work in progress.
See it if you are really, really interested in the Ballets Russes and its creators and don't mind lots of exposition and very little drama.
Don't see it if you want to see a genuinely dramatic story with strong dialogue and fully realized characters.
See it if you like character driven plays and have ever experienced the horrors of endless staff meetings.
Don't see it if you want a strong plot or if you have a committed belief in the value of staff meetings.
See it if you are interested in Friel's work and are willing to put up with unconvincing acting and inconsistent direction.
Don't see it if you have a chance to see a better acted and directed production.
See it if you are interested in the history of the Public Theater and if you've enjoyed Nelson's conversational plays.
Don't see it if you have little interest in theater history or if you're looking for highly dramatic scenes and conflicts.
See it if you are a fan of the performers and you like stage comedy antic and played at maximum volume.
Don't see it if you value subtlety in writing and performance.
See it if you relate to plays about the struggles of young mothers dealing with exceptionally adverse conditions.
Don't see it if you've already seen more than enough plays about young mothers coping with adversity.
See it if only if you are intent on seeing every work written by Sarah Ruhl.
Don't see it if you expect interesting characters, dialogue and situations or if you want a play that really has something to say about Peter Pan.
See it if you'd like a fresh, intense and intimate staging of one of the greatest English plays.
Don't see it if you think the Fortinbras scenes are the key to the play.
See it if you like older plays which focus on ideas and avoid tidy resolutions. The play is more interesting than the production.
Don't see it if you are primarily interested in contemporary characters and problems and/or want only the highest level of performance and direction.
See it if you want to check out a rare revival of a classic play, even in an uneven production.
Don't see it if you have little interest in classic Irish theater or have trouble with accents.
See it if you are interested in a young contemporary writer looking at the radical youth politics of the late 60s.
Don't see it if you have no interest in political plays or don't want to revisit the turmoil of the 60s.
See it if you enjoy cabaret entertainment with a mild social and political bent.
Don't see it if you are looking for a full-scale theatrical experience or really biting social commentary.
See it if you like British comedy with a quirky set of characters and would like to become acquainted with the peculiar culture of snooker.
Don't see it if you have little patience with English eccentricity or you prefer more serious or thought-provoking fare.
See it if you are a fan of NAATCO and would like to see a satisfying if variable performance of a rarely staged Shakespeare work.
Don't see it if you are not willing to spend 6 hours to see one of Shakespeare's lesser works.
See it if you're interested in seeing a very large cast present a very small story, albeit a well crafted one.
Don't see it if if you have trouble with non-chronological plays or if you are expecting to see more than a few minutes of performance from any cast member.
See it if you love the Go-Go's music and want to see a talented cast perform the songs in a wacky reinvention of a renaissance romance.
Don't see it if if you dislike the music or have no patience for Fringe-style zaniness.
See it if you enjoy Fringe style shows with an extraordinarily talented trio of actors creating an over the top spoof of spaces movies.
Don't see it if you are averse to silliness and are not satisfied with a show clocking in at less than an hour.
See it if you feel obligated to see every production from the Elevator Repair Service
Don't see it if you're looking for an insightful, witty or astute engagement with the Albee play.
See it if you are really curious about the early works of Churchill and have patience for a rambling piece that becomes ever more inert.
Don't see it if you're looking for something dynamic or dramatic.
See it if you can forgive awkward casting and direction in order to enjoy the well-sung score and great dancing.
Don't see it if you want your Rodgers and Hammerstein shows to be grounded in convincing human interaction.
See it if you have enjoyed Ives' earlier French adaptations and delight in endlessly inventive rhymes.
Don't see it if rhyming couplets drive you crazy or if you are looking for a serious dramatic narrative.
See it if you are willing to put up with a meandering, repetitive piece in order to see some really fine acting.
Don't see it if you don't have a lot of patience for a lot of patients.
See it if you like well-acted political plays with good dialogue even when they cover overly-familiar territory.
Don't see it if you want sharp insight and a fresh perspective.
See it if you love Broadway rarities and can accept a clumsy, piecemeal approach.
Don't see it if you are looking for a Broadway revue with well-chosen material and a coherent approach.
See it if you'd like to see a conventional plot in an unconventional setting with some very good acting.
Don't see it if you are looking for something really fresh, insightful and challenging.
See it if you are a fan of Mark Rylance and/or baroque opera and are willing to accept an interesting but flawed play to enjoy great performances.
Don't see it if you don't like historical plays and don't respond to baroque music.
See it if you're game to see some talented performers utterly flummoxed when confronting a classic text.
Don't see it if you are more interested in the play than the performers.
See it if you find plays about teachers and troubled students are particularly interesting.
Don't see it if you are tired about works dealing with troubled teens and/or if you hate loud gunshot effects in the theater.
See it if you've liked Dave Malloy's other shows or enjoy eclectic music styles and intimate but eccentric theatre performances.
Don't see it if you prefer a structured story with characters and plot or if you don't respond to Malloy's music.
See it if you've always wondered how a community theater's "Best of Broadway" revue would play if it had a giant budget.
Don't see it if you've seen the original productions or good revivals of any of the shows featured in this random compilation.
See it if you are a fan of the playwright and want to see a first class production of one of her lesser works.
Don't see it if if you have little patience for Brechtian affectations.
See it if you enjoy short plays and subtle character studies in a good but unevenly performed production.
Don't see it if if you want a substantial full-length play acted with nuance and sharply directed.