meccentric

See it if just do.

Don't see it if just see it.

Also there’s a single light cue in this that entirely took my breath away. For some reason, based mostly on the title, I expected this to feel like a lecture, but it’s anything but that. It is inviting, delightful, communal, and speaks from the “I.”... Read more Read less

See it if no reason not to.

Don't see it if I didn't enjoy this, but I still think it's worth supporting on principle.

Also every punchline in this script operates on stereotype. Every character is a cliche to a cruel degree. The dialogue is impossibly empty and stilted. The actors' physicality is borderline commedia dell'arte, but the subject matter is not farcical. I feel like a lot of non-black audience are laughing AT blackness here.... Read more Read less

See it if you like elevated stand-up with a narrative and point of view.

Don't see it if you won't enjoy the subject matter.

Also could probably shave off about 15 minutes, but overall it is surprisingly insightful and fun.... Read more Read less

See it if you are in proximity...no reason not to see it.

Don't see it if see it.

Also while the new ending feels much more palatable to 2021, it does feel a little bit shoe-horned. I don't think this would have been the first play I would choose to revive for this moment, but it was an absolute joy to watch for the sheer fact that it was first and the cast was spirited. The audience was...chewing the scenery...... Read more Read less

See it if I mean at this point you should see everything.

Don't see it if no, see it.

Also Icke's adaptation forces this into a bit of a needless dichotomy, but eh, I had a blast, who cares?... Read more Read less

See it if you’ll love a smart, ridiculous comedy with brains. You have a working knowledge of absurdist theater.

Don't see it if you think physical comedy is the best kind of comedy.

Also this is an absolute riot.

See it if you enjoy a suspenseful drama.

Don't see it if you would hate a political sneak attack.

See it if you're interested in principles of authorship and identity in modern American theatre.

Don't see it if you often complain about being "preached" to.

Also effortlessly charming and legitimately funny.

See it if you're starved for an original musical.

Don't see it if really no reason not to.

Also this came together in the last scene for me. Quite lovely.

See it if you’re willing to do work and are willing to give up narrative ease for a vicarious experience.

Don't see it if you’re sleepy. If you're going to immediately assume monotone delivery isn't intentional or is "bad acting."

Also at the precise moment that I thought “I don’t know if this is working” it started working. And really working. This is the strongest acting ensemble of the year. About a dozen really fierce, dazzlingly committed, yet elegant acting highlights.... Read more Read less

See it if you’d like to see the theatrical baby of What the Constitution Means to Me and Hundred Days.

Don't see it if you must have theatrical conventions.

See it if you love and expect realism and respectability.

Don't see it if you’re looking for something more than old-people-have-sex-too the sitcom.

Also it’s a shame talents like Michael Urie and Ashley Park can’t be fully showcased here. Characters are all entirely one-dimensional.... Read more Read less

See it if you like the total reframing of classical archetypes/don’t take things too seriously/you enjoyed what Simon Stone did with Yerma.

Don't see it if you know how this ends and can’t bear to see it.

Also this worked even better than Yerma for me. Yerma’s staging was more grand, perhaps making it more of "an event," but this script did a better job of reframing and modernizing its central character (Medea) as an archetype. Cannavale was reliably strong, but Byrne was a total revelation. The event of the season so far, for me.... Read more Read less

See it if you like skillfully written, plot-driven drama.

Don't see it if you can’t stand the conventional, formulaic, and/or predictable.

Also dynamite, unforgettable performance by Edmund Donovan.

See it if you’re in the area and able to rush.

Don't see it if no reason not to.

Also in New York City, it’s extremely rare for acting to be a noticeable detractor, but here it is. Dialect work and acting in general feels labored and under-rehearsed aside from Martin and Lachanze. Warchus’s staging is so terrific that it still manages to be a memorable and magical outing.... Read more Read less

See it if you like The Crucible and enjoy a happy medium between fresh and traditional.

Don't see it if you can’t sit through a three hour play.

Also I love the aesthetic of the on stage chairs (which I was so privileged to sit in), but bring a cushion.

There are a couple acting and directing missteps, but the hits hit so hard that I'm sure I'll only remember the positive. The on stage action was engaging throughout.... Read more Read less

See it if you’re open to see any adaptation of this classic/want to see Dinklage live.

Don't see it if you have high standards for new musicals.

Also Dinklage is an excellent actor, competent singer. The underscoring for the book scenes is quite effective. The music otherwise feels unnecessary.... Read more Read less

See it if late 00’s sitcoms are where you live.

Don't see it if you’re hoping for something sharp.

Also there’s a fascinating and illuminating commentary on the incompatibility of capitalism and art (albeit a toxic artist) in here but it’s hiding underneath an over-directed, indicative, and "palatable" production that strangled the life out of its playwright and cast almost the same way that Rodriguez’s character does to Esparza’s. And lets not even mention the magical race trope at play here.... Read more Read less

See it if you are interested in experiencing foreign culture via theatre. If you’re interested in pure theatre as artistic expression.

Don't see it if you are particularly sensitive and/or triggered by hyper realistic depictions of sexual violence.

Also I wept throughout this piece, sometimes inexplicably. The acting across the board had a magic quality to it; it was effortless, but also an astonishing feat to witness.

The staging was entrancing. Its use of multimedia never feels like a gimmick. The viewpoints-esque movement breaks were starkly different from the narrative, but their emotive quality was completely sound, thematically. The aesthetics of this production are as equally cathartic as the narrative. This is a real privilege to behold and if you're at all interested, I highly recommend it.... Read more Read less

See it if you cannot get enough of John Doyle’s organic staging.

Don't see it if you, like me, have seen dozens of productions of this text and want to see something daring and fresh.

See it if you love old-fashioned super roles for actresses.

Don't see it if you are a plot person, not a theme person.

Also while the young lovers are painfully underwhelming, Tomei is dynamic and luminous. Her performance keeps the evening clipping along and never loses touch with the audience.... Read more Read less

See it if you're East Asian.

Don't see it if you're the worst.

Also I'm East Asian and I wish it were better.

There's a lot of potential here and quite a few individual moments that are brilliant, but as a whole, something about this doesn't quite connect. The majority of the satire worked for me, it was when Hwang's book became overtly heartfelt that I felt a disconnect.

Quibbles aside, seeing the all-Asian ensemble enter dancing, backed by a 21 piece orchestra brought me to tears. Seeing them perform in white-face (though they seemed to perform black-stereotypes at certain moments which is...whew) felt right. I'm so very happy this show exists and will likely see it again since Ricamora was out. Billy Bustamante was splendid though.... Read more Read less

See it if educational theater and real-life political intrigue is of interest to you.

Don't see it if narrative drama is a necessity.

Also powerhouse performance from Emily Davis. Should be nominated for awards.... Read more Read less

See it if you love literature, love plays, are a writer, like Mary Louise Parker, are an adult.

Don't see it if you can only secure rear mezzanine seats and you are 7 feet tall.

See it if you have any interest in theater practice or expanding your mind’s vision of what theater can be.

Don't see it if you’re willfully ignorant.

Also Dionysus, Brecht, Shakespeare, and Olivier are smiling on this one.

A NOTE IF YOU'RE ATTENDING: a "proper" curtain call occurs after the initial "bow." Don't bother wearing yourself out with clapping as the cast exits the space. They have made their playing space sacred and yes, they must exit that way; no need to get impatient with your western eyes. And please don't leave during the curtain call. This will all make sense once you're there. Enjoy!... Read more Read less

See it if you have means.

Don't see it if you have bitterness towards the current movement for black lives.

Also there is both everything and nothing to say about this. Extraordinarily moving, performed with precision, never been done before, should absolutely have majority black audiences at every performances and PH is not doing enough to ensure that.... Read more Read less

See it if no reason not to.

Don't see it if no reason not to.

Also a lot is being asked of these actors and they're delivering. There are still some shaky transitions, but the ones that go well are really spectacular. Lighting and sound design are excellent (and much better in the mezzanine, fyi).... Read more Read less

See it if ...

Don't see it if ...

See it if ...you are alive

Don't see it if ...you...are dead?

Also this was such a perfect reintroduction. The moment the cast walked on stage was absolute magic and the finale even more so. Seeing a stage full of people is something else.

I felt that the text was maybe 10% over-adapted. The design and delivery was doing the work and the modification of the text didn't really seem to serve the momentum much. But overall, this was fantastic.... Read more Read less

See it if the premise intrigues you.

Don't see it if you want to see a new and topical play.

Also Underwood carries the show quite competently, but Grier is spectacular and makes this a worthwhile evening.... Read more Read less

See it if you're at all fascinated by true crime or extraordinary performance art.

Don't see it if you're triggered by descriptions of graphic violence.

Also an unbelievable, indescribable, tour de force. This is lightning in a bottle. I feel like my body is still recovering.... Read more Read less

See it if you love Bob Dylan and live music in general.

Don't see it if the premise doesn't thrill you.

Also yeah, you'll find a review with a much more favorable score for the Public run of this on my page, and I'll be honest, it has hardly changed at all. For some reason, I found myself forgiving of this mostly plot-less misery play with Bob Dylan songs rammed into it, at the Public theater, probably because the intimacy of the space made the musical numbers feel more avant-garde. On the Belasco stage, they feel pretentious and utterly pointless.... Read more Read less

See it if you’re open to a play with music about genocide.

Don't see it if you’re extremely resistant to the subversion of genre tropes.

Also it’s a little contrived, but ultimately it balances its tragic/comic tone very well.... Read more Read less

See it if you love Shakespearean tragedies and powerhouse acting.

Don't see it if you can’t sit still for three hours.

Also I think this is my favorite Hamlet I’ve seen in New York. Ruth Negga’s small frame makes her adolescent rage (and the ensemble’s reaction to it) natural and seamless. Her Hamlet is reactive, inconsolable, but not without logic. She takes an appropriate amount of liberties with the iconic speeches, but is still able to conduct the evening at a pace that isn’t needlessly laborious. Yaël Farber’s direction is relatively straightforward, but makes use of some particularly haunting music cues. The visuals are especially appealing in the first few scenes. Once she has our attention, she allows the text to take center stage, and luckily the cast is up to the task.... Read more Read less

See it if you like classic music theatre.

Don't see it if you will be outraged at book revisions.

Also David Aron Damane as JJ is the standout. He has a remarkable baritone.

See it if you are open to a thematic destructuring of the classic.

Don't see it if you’re unwilling to engage with silence and minimalism.

Also Rob Morrison’s on stage scoring was brilliant. Stephanie Berry also gives one of the season’s best performances. It’s a shame this isn’t playing on a college campus where it would be embraced. My matinee audience mostly refused to engage.... Read more Read less

See it if you have an open mind. Are a patron of theatre with an ‘re.’

Don't see it if you are a prude, stubborn, and pessimistic traditionalist.

Also police brutality and 21st century tribalism are the star here. It doesn't always hit its mark, but the boldness is thrilling either way. The bleak staging is wonderfully fresh and effective. Choreography is modern and dazzling. Powell's acting through song is astonishing.... Read more Read less

See it if you'd like to see this rarely produced text and a terrific Kathryn Hunter performance.

Don't see it if you typically find Shakespeare difficult.

See it if you love Hnath and/or would like to see something suspenseful.

Don't see it if you don't like to be startled.

See it if you’re troubled by the question “what is an appropriate way to tell a specifically black story?”

Don't see it if you are unreasonably frightened by the bucking of theatrical conventions

See it if six hours of the subject matter has you intrigued.

Don't see it if you've set out to hate it. No need to spend six hours watching something you've already made your mind up about.

Also The Inheritance is far from perfect. In fact it's far from even deserving its whispered comparisons to Angels in America.

Kushner's Fantasia on Gay Themes it is not. What it is, is a deeply flawed, but earnest character study. It is not a generation-defining, important work, but it is a uniquely personal and vulnerable work. It doesn't need to be nearly as long (and self-referential) as it is to address the social themes it sets out to address, but none of the time spent developing the principle characters is wasted and the unanimous sniffling of the audience is evidence; even if there's some manipulation at play. Script aside, Daldry's direction is dazzling and consistently elevates the material.

Even if one (for good reason) doesn't like this play, sitting amongst an audience of New Yorkers, many (seemed to be the majority at my performance) over the age of 60, through the Part 1 finale is a sacred experience. One of the more sacred of my life.... Read more Read less

See it if you like the film or spectacle musicianship.

Don't see it if you are hoping for something deeply complex or moving.

See it if you’re invested in Edouard Leon.

Don't see it if you don’t like a break in theatrical conventions.

Also after learning of this companion piece to History of Violence’s existence, I had to see it immediately. While it filled in many gaps and I find the author very interesting, it’s not nearly as exciting as a piece of theater.... Read more Read less

See it if you enjoy the Bard. Pretty simple.

Don't see it if you...don’t like the Bard.

See it if you are okay with non-narrative, thematically tied vignettes.

Don't see it if you must see narrative.

Also it would be a shame to miss your opportunity to hear Sasha Allen's world class (hell, universe class) voice in such a small space.... Read more Read less

See it if you are intrigued by the dark and kooky premise.

Don't see it if you'd be triggered by an abortion on stage. Not to be messed around with.

Also a period piece set in 2008 made me feel older than I cared to, but the political metaphor therein was rad.... Read more Read less

See it if you like big ideas, philosophy, theater at its Greek-est.

Don't see it if you can’t stay engaged in a plotless, intense character study.

Also having grown up in an extremely religious household and attending a religious university, this was unbearably close to home. Brilliant, heavy writing; spectacular acting.... Read more Read less

See it if you love Borle and/or Groff and are fine with paying exorbitant fare for the most ordinary of stagings.

Don't see it if you feel that the problematic racial dynamics of this material has to be addressed.

Also I realized mid-way through that I'd rather see a production that takes more risks with less-skilled performers than this all-star cast in the safest possible staging. Still a lovely night out though.... Read more Read less

See it if you'd like to see a short play with some social themes of multi-cam, sitcom quality.

Don't see it if you want a robust and extremely deep examination of interracial, queer families in American suburbs.

Also the script needed much more workshopping. One character pays another to use a work bathroom to collect their feces...something they certainly could've done at home. One character pays another character for "lessons" that entail listening to Lauryn Hill on shared headphones as if the internet doesn't exist.

Contrivances aside, it was watchable and entertaining the whole way through. Some of the cultural references (Annie Hall) are quite witty. Particularly endearing performances from Crystal Finn and Javier Munoz.... Read more Read less

See it if you enjoy powerhouse acting/haven’t seen any other Zeller plays.

Don't see it if you didn’t enjoy The Father or The Mother.

Also Pryce is magnificent; Tony-worthy work. An actress of Atkins' caliber and prestige deserves a better showcase. The play is shockingly similar to The Father, it’s just slightly more digestible. In any case, it’s a privilege to see two British treasures in New York City.... Read more Read less