See it if You like derived Shakespeare. A fantastic take on what caused the feud between the Montague's and the Capulet's.
Don't see it if you don't like elevated language or classic themes.
See it if imaginative, well crafted and engaging derived theater could interest you. Well acted and written, this piece will entertain and enlighten.
Don't see it if Shakespeare derived theater sounds like homework. This show is conjecture and theatrical; it is not a documentary.
See it if you like edgy, reality based theater. This is an examination of tribal relations in modern life with a number of twists
Don't see it if you don't like "actors studio' plays. That is plays with an edge: gun shots sex and drugs. Or, you want the playwright to commit to an end.
See it if you find immersive theater entertaining, regardless of chance to miss the plot by being in the wrong rooms. The action is hit or miss
Don't see it if you want a story, plot or through line. Or if you would be upset because you missed all the acting because of wandering into the wrong rooms
See it if You love everything about Josephine Baker. Nice recreations of her dances, especially the banana dance and the fan dance
Don't see it if You want first rate cabaret. It's well done but it misses. Too much conjecture and BS, not enough performance. Painful if you sit too close.
See it if you want a funny and insightful evening, which should resonate, regardless of politics, gender, age, etc. It is written and directed well.
Don't see it if you want a diatribe or a manifesto. This play is about humanity, not ideology
See it if you missed it and you have out of town guests. It is still fresh, funny and relevant. I forgot it won 3 Tony's in 2004 including Best Mus.
Don't see it if mocking sesame street with irreverent humor could be offensive
See it if you want to revisit the mistakes of the Second Gulf War through the lens of a cabaret show using a theory from an article in the L.A. Times
Don't see it if you find political theater in New York City to be difficult because of the theater community's narrow points of views--it's the CIA's fault.