See it if you like Baroque music and Mark Rylance, and if you can forgive a slightly subpar play for the wonderfully committed performances.
Don't see it if You're not interested in Baroque music or this period in history; you're unable to look past a play that needs some pruning for a good story
See it if you'd like to see a masterfully delivered Sweeney with a stunning cast, including Carolee Carmello and Hugh Panaro. Great staging/ensemble.
Don't see it if you don't want to see a dark show with wide implication; you don't want to be touched/sung directly at. A few small liberties w/ the score.
See it if you'd like to see a well-acted piece with nice story and some funny moments, but the unfortunate need for a great deal of editing.
Don't see it if A rather dry production and extremely rambling script would get in the way of enjoying a well-acted show. Celia Weston is particularly fine.
See it if you'd like to see a well-written, brilliantly-conceived history play given a tremendous performance by an excellent ensemble cast.
Don't see it if your feelings about the Jewish-Palestinian conflict might prevent you from seeing both sides, or seeing either side made light of.
See it if you want to see a Dolly Levi for the ages in Bette Midler, as well as an extremely talented supporting cast, well-directed in a classic show
Don't see it if you expect perfection in the lead--or if you don't like Bette on spec. Her voice isn't always perfect, but her performance is spot-on.
See it if you'd like to see a stripped-down production of one of Sondheim's under-performed masterpieces, with excellent performances all-around.
Don't see it if You dislike John Doyle's minimalism and would prefer this piece done in a kabuki style; you dislike seeing the West portrayed negatively.
See it if you'd like to see a touching and well-told story about one of the oddities of the historical Broadway stage, and of Yiddish theatre.
Don't see it if you dislike shows with intensely Jewish themes; dislike pieces that discuss the Holocaust; dislike plays that have short fragmented scenes.
See it if you want to see Kevin Kline and a very fine ensemble give excellent, if occasionally over-dramatic, performances in this wonderful comedy.
Don't see it if you want Coward to be performed as lightly and fleetly -- as it might have originally been spoken. The pacing ought be picked up a bit.
See it if you'd like to see an excellent performance from the leads, as well as a very fine ensemble cast, of this grand story from the 90s.
Don't see it if male nudity would offend; if you don't like sort of grand, indulgent, "Bonfire of the Vanities"-style writing and production style.
See it if you'd like to see the latest from this very fine playwright, you like interesting and well-done sets.
Don't see it if You want to see fine writing marred by clunky acting and erratic direction. No one seems to quite know what they're doing with the material.
See it if you'd like to see a tremendously well-executed, beautifully crafted, very funny musical take on the film. Andy Karl brings much to the role.
Don't see it if you're looking for something very profound, or you dislike adult language. Otherwise, (for the incredible sets, acting, music), a must-see.
See it if shows with slightly unusual plots don't bother you; if you don't mind minimally-staged shows with small casts; if you like dry humor.
Don't see it if you want a show with a coherent musical voice, you don't like shows with a lot of very snappy writing where not every joke is obvious.
See it if you have an appreciation for the history of theater in both London and NYC; you want to see some original props, costumes, footage.
Don't see it if you don't care about the history of the art form, or the people who made it what it is today.
See it if you'd like to see Roger Miller's gorgeous score beautifully performed by a great cast, accompanied by the Encores orchestra.
Don't see it if you cannot divorce the words, writing, and time period of Mark Twain from more contemporary ways of addressing racial and class issues.
See it if you are willing to take a fairly entertaining adaptation of a Chekhov play at face value, and not look deeply at why anyone does anything.
Don't see it if you need to look beyond the entertainment, where you find that there's no plot and everyone just complains about everything!
See it if you like well-acted ensemble pieces and want to see one of August Wilson's best achievements. The dialogue is tight; the cast superb.
Don't see it if you're unable to draw parallels between the struggle of these jitney drivers in the 70s, and the difficulties that face us all today.
See it if you want to see Ben Platt give the performance of a career; you want to hear and see a brilliantly-conceived and -executed musical.
Don't see it if you're looking for something fluffy-there are lighthearted moments, but more heartbreaking ones; you tire quickly of similar-sounding music.
See it if you want to see a show with a story that's both funny and heartbreaking, great music, fantastic singing, and a wonderful production.
Don't see it if you're uncomfortable with slightly 'edgy' topics such as homosexuality; you voted for Donald Trump <evil grin>.
See it if you like good set design and costumes; you can appreciate the brilliance of the writing even without the necessary dramatic arc of the story
Don't see it if you want to see Liev Schrieber succeed. He's disappointing (no fire or passion), and is unable to transition from rake to lover with clarity
See it if you like a capella vocals, or off-beat musicals that are by turns funny and poignant. The writing really hits its marks; cast is fantastic.
Don't see it if you don't feel you could sit through 100m of Pitch Perfect/Glee style a capella. It does fatigue one's ears more quickly than instrumentals.
See it if you like slightly raunchy pieces that are both old and new at the same time, you'd like a star-studded evening with great performances.
Don't see it if you don't like shows with a lot of fast-moving dialogue, you don't like period pieces (even well done), you don't like Nathan Lane.
See it if you like Shakespeare re-contextualized. You like strong leads but can tolerate a somewhat wooden ensemble and occasionally-stiff direction.
Don't see it if A sadly one-note performance from Spinella; some gimmicky production tricks, and modern-language asides from the ensemble distract.
See it if you'd like to see a light-hearted show with moments of profundity; you like bare-bones productions that place all demands on the actors.
Don't see it if you're looking for a deeper exploration of the nature of love, strangers, loss. The show has its moments but focuses more on light and funny
See it if you enjoy Bock and Harnick's arresting score and gorgeous tunes beautifully rendered by an excellent cast in a visually rich production.
Don't see it if your tastes don't run towards one of the more musically-sophisticated scores (short of Sondheim) that Broadway has to offer.
See it if you want to experience the "granddaddy" of immersive theatre in NYC. The incredible production and carefully crafted story are a can't-miss.
Don't see it if if you haven't read Macbeth, or if you require communication or a linear plot in order to be entertained. SNM is less linear, more subtle.
See it if you like Albee, and would like to see his earliest play-and the prequel he wrote later-beautifully acted and sensitively staged.
Don't see it if you don't like plays with strong adult themes, discussions of difficult topics, or (some) violence.
See it if you enjoy Third Rail's other productions like the brilliant "Then She Fell". While the plot here is not quite as defined, there is a story.
Don't see it if you don't like immersive theater, or are hoping to actually get onstage -- you're everywhere in the theater, it seems, but there!
See it if you'd like to see a too-rare performance of one of Stephen Sondheim's most brilliant (and esoteric) pieces.
Don't see it if You don't know the story and how the non-historical characters fit into the plot. The explanation for their inclusion was slightly muddled.
See it if you can look past a directorial ego trip, a miscast male lead, banal and directionless music, and a badly-written book to find a good story.
Don't see it if you're hoping this piece is polished or makes a good case for itself: it doesn't. Mr. Cott's aping of characters from "Grease" doesn't help.
See it if You want to hear live songs from the Disney film. Alas, the book is unfunny/ clunky, new music directionless, and there are casting issues.
Don't see it if You'd rather remember the lovely if odd Disneyfied story or the more realistic Ingmar Bergman film; you want jokes that land and good music.
See it if you want to see two giants of the stage, Christine Ebersole and Patti LuPone, give their all to make a tepid, substandard piece better.
Don't see it if you've seen Ms. LuPone or Ms. Ebersole live in another musical. Unfortunately all of their excellent work doesn't make this worth seeing.
See it if you wonder what happened to Nora: in the span of the century she became quite the feminist; you want to see a great ensemble performance.
Don't see it if you dislike profanity or want this to be in the same vein as Ibsen. While the original was a good jumpoff point, parts are quite a leap away
See it if you can get over the hype--it's not the "great undiscovered Miller play", though it is good Miller. DD and MR are excellent; TS is typical.
Don't see it if your expectations are too high, or you want a more than one-dimensional performance from JH. Her motivation in the piece is solely money.
See it if you're prepared for a night of way over-the-line humor with great writing and singing.
Don't see it if you want a professional looking production or want to hear original sounding music. A lot of the score sounds ripped off from Wicked.
See it if you'd like to see a touching story well-told by a very good ensemble, and you can forgive the sometimes clunky writing (both book and music)
Don't see it if you really want this to be perfect. It says a lot that the most memorable tune in the show is, "My Heart Will Go On" from Titanic.
See it if you know the piece and have a good idea of the context. This production removes any context; unfortunately, context is king in this piece.
Don't see it if you don't like SF. She plays her character well if a touch hesitantly--but doing a wonderful slow burn towards the climax. JM is very fine.
See it if you'd like to see one of Kander and Ebb's enduring classics; you get to see it with a cast of Broadway hands who can make the material sing.
Don't see it if You're drawn in to seeing it with leads who can't dance or aren't Broadway stalwarts; you don't like minimal stagings or Kander and Ebb.
See it if you adore one of Sondheim's best scores, are open to seeing versions of the leads that are different (in a good way) from Bernadette/Mandy.
Don't see it if you don't like Sondheim. There's literally no other reason not to see the show: Gyllenhaal and Ashford give very compelling performances.
See it if you can divorce the tepid rehash that is ALW's score from the fantastic acting of a wonderful ensemble lead by Glenn Close. Great staging.
Don't see it if you think the film is perfect. I was skeptical that music would add to the story; it doesn't, but the piece is worthy as a GC vehicle.
See it if you're willing to be made uncomfortable with some very direct subject matter, you like smaller-scale musicals, you like John Kander's music.
Don't see it if some flabby writing (jokes that don't land, dialogue that feels awkward) and some underdeveloped characters would hinder your enjoyment.
See it if unusual but incredibly well done theatre appeals to you. The piece is a must-see and is very unique. The staging alone is worth the ticket.
Don't see it if a few small casting issues or a healthy dose of whimsy don't appeal to you. The piece moves freely between history and current-day milieus.
See it if you like sort of third-rate burlesque acts. This isn't immersive theatre at all; it's burlesque with immersive feints. Don't expect a plot.
Don't see it if You're expecting immersive theatre-this isn't that and shouldn't be advertised as such; you like high-quality burlesque-this also isn't that
See it if you're a fan of Chazz Palminteri or have your mob-boss cousin in from Long Island; you need to hear everything Alan Menken writes.
Don't see it if a book that needs lots of work, appalling lyric writing reliant on cliches, and largely anonymous music (a few nice tunes) aren't for you.
See it if you like a cabaret-style revue from one of Broadway's greatest and most versatile stars. The song selection shows her range beautifully.
Don't see it if you don't like Kristin Chenoweth. That's really the draw here, and if you don't like her voice or personality, you ain't gonna like the show
See it if you like community theater; you're ok with a mixed-ability cast performing a score that occasionally seems beyond them (Amy was fabulous).
Don't see it if technical issues with sound design and near-constant balance problems between singers and orchestra would frustrate, you want a star cast.
See it if your ability to enjoy good source material is not inhibited by rather tepid acting (from Rachel Weisz) and an incoherent directorial vision.
Don't see it if you're unwilling to overlook problems with production and actors in order to see the bones of a fine play (if not a fine script).
See it if you don't mind seeing a weak male lead carried by the ensemble; you don't mind long dance breaks and a fluffy story, you like Irving Berlin.
Don't see it if You're turned off by tap-dance, need a strong lead to appreciate a show, or were hoping for anything more than a well-arranged jukebox.
See it if You don't mind enduring a somewhat overblown staging of one of Shakespeare's justifiably less-loved plays, or if you love John Glover.
Don't see it if You prefer Shakespeare to be more traditionally staged, or have trouble following a somewhat muddled plot delivered in Elizabethan language.
See it if you like a tight, well-cast ensemble piece and enjoy an exceedingly well-crafted story and about an uncomfortable and complex topic.
Don't see it if you might have difficulty living the stories of these women. The excellent writing leaves many raw nerves and could be upsetting to some.
See it if you're unable to miss Alan Cumming's seminal portrayal of the MC. This lovingly crafted production of the piece speaks across generations.
Don't see it if you're looking for an easy-listening, enjoyable night at the theatre.