See it if You like to see good actors looking confused, want to sing along to The Internationale.
Don't see it if Even if you equate Trump to Hitler to the Devil, Kushner can't explain it. The world is a mess. Ditto this play!
See it if You can be entertained by well choreographed numbers, nicely danced, stylish production, no book to speak of and only two memorable songs.
Don't see it if Flimsy book would disappoint, or dance doesn't entrance, tho a fine mix of ballet, ballroom and tap.
See it if You like plays about assimilation. Pakistani families in US.
Don't see it if You dislike bland family dramas, punctuated by bizarre pirate pageant, a lecture about accepting people, but good samosas for those on aisle
See it if You like big sprawling plays with real people tumbling onto the stage. A blend of O'Casey, Friel and McDonagh!
Don't see it if Well, I must admit to reservations afterwards about the logic of some of the action, but it didn't lessen the enjoyment of watching the play
See it if You don't want to miss one of the world's great actors grow old, lose his wits, find wisdom in an uneven but well-spoken cast.
Don't see it if You can't handle the language or sit for over three hours. But it's worth a trip to Brooklyn for the best Lear you're likely to see.
See it if You like sit-com level humor, can stand battle of sexes jokes, Italian stereotypes, think Alexander and Testa belong in the same play.
Don't see it if Are put off by easy Trump jokes, like Seinfeld understated humor, this is very broad in parts. George Costanza wandered into the wrong play.
See it if You can take stripped down Bard, can ignore substandard diction, audience participation, 4th wall shattering, you'll have a lot of fun!
Don't see it if You can't ignore the above cavils or aren't already familiar with the play. Not for introducing it to first timers.
See it if You like family conflict, Miller, sibling rivalry, da Vito doing shtick, Shaloub is very good.
Don't see it if You find long discussions of family history ponderous. Miller has addressed these themes before more gracefully.
See it if You want to see a great ensemble riffing on gritty reality, including more major themes than you think would fit into one grubby cab office.
Don't see it if Well, if you're a show-score member you love theater and if you love theater you Should see this!
See it if You can penetrate London working class accents and care about gormless youths in the projects.
Don't see it if You want to understand the dialog. I couldn't decide if it would be any more interesting if I could understand what these yobs were saying
See it if You've lived thru Levittown, writing classes, the 60's, appreciate sharp characterizations, authentic dialog, want to know how all end up.
Don't see it if You prefer action to being read to. Aren't amused by somewhat broad satire of Levittown ladies.
See it if You like expressionistic theater and absorbing impressions via symbolic characters, dialect, music, dance, shapes, poetry, you get the idea.
Don't see it if You value plot and coherence over impressions. Not sure how much is accessible to non-black audience members.
See it if You like to catch references, to Shakespeare, to musicals, like silly stuff, and are not too demanding about wit or cleverness.
Don't see it if You want something mildly entertaining to be more- sharper wit, more exploitation of musical tropes, nearer rhymes.
See it if You like old-fashioned plays, a few quirky performances, a few stereotyped ones, some good lines. Nathan Lane and bit by Robt. Morse fun!
Don't see it if Every journalist cliche' drags out first act. See the Roz Russell film version instead.
See it if Like riveting acting and have always been fascinated by conflict in Ireland and the themes of reconciliation vs. revenge.
Don't see it if You have trouble with accents or like to sit in the front row- too close to some violence.
See it if You like great acting, even if the material is not very riveting. Some good moments.
Don't see it if You wonder during one person shows whom the character is talking to and why??? I can't always accept this convention.
See it if You want to have fun with your iPhone in public. Part cyber magic, part public service warning.
Don't see it if You don't like audience participation or want plot more than learning about our cyber exposure.
See it if You like extremely competent British Shakespeare, want to see the comedic side of Merchant brought out without losing the pathos.
Don't see it if You think the whole play should be dark because of its main theme. You don't like audience participation or breaking the 4th wall.
See it if Wonder what an Ayckbourn play would be like without the humor, but still with set pieces and cardboard characters.
Don't see it if You don't know what's going to happen when you see a rifle in an early scene. You want more than soap opera plots, revelations, characters.
See it if You're a history buff and enjoy seeing the machinations behind the scenes of an unusual accord and can tolerate some slow stretches.
Don't see it if You have no interest in behind the scenes Middle East negotiations and tend to nod off during talks about talks.
See it if You like workplace drama, want to see real people in real situations, speaking real dialog, and excellent ensemble work.
Don't see it if You have no interest in the lives of blue collar people or have a lot of trouble understanding black accents.
See it if You want to see Strindberg's modern take on the battle of the sexes, with an amazing performance by John Douglas Thompson.
Don't see it if You can't stand that the whole mishegoss could have been avoided with one DNA test. Where is Dr. Phil when we need him?
See it if you are interested in mental disorders and can stay awake during slow exposition to get to the real ,not realistic, action.
Don't see it if finally making a human connection does not make up for slow beginning and having to sit through an endless country song.
See it if You like the theme of laughing through your tears enough to put up with the negatives listed below.
Don't see it if You don't like jokes about cancer or vibrators, would rather not be exposed to a lengthy simulated sex scene, or want believable characters.
See it if You like anything scientific, even if it doesn't make sense. ... You don't mind not knowing which actor is playing which character.
Don't see it if A blend of Oliver Sachs, neuroscience and quantum theory, thrown in a blender and spewed out in random, repetitive chunks doesn't intrigue.
See it if Can't really think of a good reason. If you're there stay for that 2nd act Robbins number. Usually reliable Urie working too hard.
Don't see it if You like hardly any book, not funny gag lines, non-Robbins choreography repetitive and unoriginal.
See it if You like mash-ups. It did nothing to illuminate either play, however.
Don't see it if You don't like either of the plays, or you like either of the plays. Bedlam sometimes does not expand beyond the basic concept.
See it if You'd see Glenn Close reading the phone book. You know nothing about Joan of Arc.
Don't see it if You already know peasants are the salt of the earth; Joan was just a typical teen-age girl. You like phonebooks.
See it if You like plays about people living lives of quiet desperation and want to share their feeling for two hours.
Don't see it if You want to see non stereotyped characters and care about what happens to them.
See it if You're interested in Irish history, want to see a well-staged, well-acted production of a Friel play. Moore uses her small stage well.
Don't see it if You have trouble with accents (various), aren't interested in the intricacies of Irish/English relations in the 19th century.
See it if You like great acting, want to know what happened to Nora over all those years, though her talky disquisition didn't convince me.
Don't see it if You think Hnath might not have greater insights into feminism than Ibsen. That slammed door said more than her 90 minute harangue.
See it if You want to see an enfant terrible grown up but still playing with toys, only now it's a huge box of tricks engineered by his Ex Machina Co.
Don't see it if You don't like one-person shows, or toys or don't think Canadians can be egotistical, political and charming!
See it if You like clever rhymes, word play, demanding but rewarding verse, silliness, conscious anachronisms, silly complex plots, actors having fun.
Don't see it if You want to understand the plot, aren't very silly.
See it if You like realistic dialog and characters, which reflect what's going on in our lives today. Nelson has developed his own brand of realism.
Don't see it if You don't use a hearing device. Unfortunately Nelson equates a conversational level of speaking with naturalism, a big mistake as his first
Also Concern should be with allowing us to hear his dialog!
See it if You like quirky premises, loose plots, musical pastiches, high-energy somewhat amateur performances, but inventiveness tops all.
Don't see it if You're not up on many musical genres so you'll have trouble telling clever satire from just bad take-offs. I liked Ukrainian folk parody,
See it if You like coming of age drama, well-staged by Doyle. Sudeikis does not erase memories of Williams but is charming in his own way.
Don't see it if You really loved the movie and want a thrilling experience rather than a pleasant night at the theater.
See it if You're interested in the role of faith in shaping lives. When does it take over one's entire life? Unusual treatment, well acted.
Don't see it if The theme doesn't interest you or you like neat endings.
See it if You've seen a lot of Chekov and want to see if a modernistic approach retains the beauty, humor and pathos. ( It doesn't.)
Don't see it if You're unfamiliar with Chekov lest you think this is how it should be done. You believe characters should relate to each other.
See it if You like all thing British or plays about dysfunctional families, no matter how forced.
Don't see it if You can't believe that Maggie Thatcher is responsible for the breakdown of the family for a generation. Social commentary in England often
Also Seems ten years behind the times.
See it if You think food, family, memory and intimations of mortality make a tasteful stew.Meditations on food and dying abound, a little overcooked.
Don't see it if You are totally indifferent to food and antagonistic to overly pat endings.
See it if You like the classic trope of servant ( or slave) outwitting master. A little stiff at first but legal and personal sparring engages.
Don't see it if You feel humor has no place in an exploration of race relations.
See it if You're up for a summer divertissement with good acting by veterans Parsons and Ivey.
Don't see it if You like comedy with more wit, bite or relevance.
See it if You like Aychbourn and know what to expect- some funny scenes, stock characters, cartoonish acting. Still two out of five are quite funny.
Don't see it if You've seen enough Britcoms. It's fun to see the actors in many different roles but still the material is rather thin.
See it if You like exuberant original staging by an engaging cast. True to Austen while delightfully playful.
Don't see it if You only accept Masterpiece Theatre productions of Austen.
See it if You've never seen the play, it will give you a good idea of the themes, but not of why Nora makes her profound transformative decision.
Don't see it if You've seen more vital, engaging Doll Houses and don't want to see J D Thompson mostly wasted . See The Father instead.
See it if You like circuses, cross-dressing, broad humor, and don't much like Shakespeare.
Don't see it if You like Shakespeare and don't see how varying accents, women dressed as men, Trump satire and the kitchen sink illuminate the Bard.
See it if You like plays about a dystopian future, even though ideas are limited and without foundation.
Don't see it if You like to see a fully realized future where you can understand how we got from now to there. And some of the action is predictable.
See it if You like good English acting, are fascinated by Oscar Wilde and how a brilliant writer can make bad life choices.
Don't see it if It will be a big minus that it's hard to hear and the motives for Bosie's and Wilde's actions are not satisfactorily explained.
See it if You're interested in Yiddish theater history, like original staging, but it's hard to see why the play this is about was worth the trouble.
Don't see it if History of Yiddish theater is of no interest to you.