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See it if you enjoy what might be called "observational" theater pieces that gussy up the mundane to pass if off as profundity.
Don't see it if you're ready to throw your hands up at yet another play filled with labored quirkiness.
See it if you enjoy the Temptations' (and other Motown singers') songs and somewhat hyped-up versions of their dance routines.
Don't see it if you need more than the predictable dramatic developments that musical "biographies" offer.
See it if you enjoy plays about language used for subverting political repression.
Don't see it if the combo of absurdity (DH) & mostly realistic action (CM) might seem labored & tenuous (I believe an argument can be made.)
See it if a play popular from several years ago, overpraised and overrated but amusing, witty, occasionally touching, and never boring nonetheless.
Don't see it if you want to support a new (three-years-old or so) worthy theater company and pass two hours pleasantly ..
See it if you want to experience a great score from the golden age of musical comedy.
Don't see it if you won't abide even the somewhat updated-for-the-pc-era book about "taming" a woman who doesn't really need taming.to begin with.
See it if you would be moved by a story of racial injustice in South Africa that has metamorphosed over 50 years into one of existential survival.
Don't see it if you demand action and have no patience for untranslated lines spoken in Afrikaans as well as sometimes hard-to-understand English accents.
See it if you’d root for (mostly) sympathetic women to achieve fulfillment at a convent, an ironic setting for this spiritual/quasi-religious retreat.
Don't see it if Don’t see it if you’re skeptical of EST and all the other spiritual/quasi-religious retreats that people pay a lot of money to go to.
See it if you don't want to miss the chance to see two intriguing plays.
Don't see it if Churchill's sometime-mannered writing or Norman's cool and almost clinical writing about so stark a subject will turn you off.
See it if you want to see great musical theater performed at a level commensurate with its music, lyrics, and book.
Don't see it if you (mistakenly) think this warhorse has is outdated and has nothing to say to contemporary audiences.
See it if you enjoy fictional constructions of events that didn’t happen but conceivably could have .
Don't see it if you demand more historical accuracy and a plot with strong internal logic.
See it if you want to see or support an admirable troupe that often converts prose into plays and/or are interested in Chekhov's sensibility.
Don't see it if seeing a not entirely coherent and well-integrated presentation of several stories will leave you disappointed or frustrated.
See it if you want to see a presentation of the hopeless, trapped, violent, cop-controlled, expendable lives of young African-American men.
Don't see it if you’re looking for a drama (as opposed to a presentation) about those young African-American men.
See it if you want to see a great and moving play. I like it more than Long Day's Journey Into Night.
Don't see it if the usual characteristics of O'Neill's play-length (4 hours), repetitiveness, windiness, speeches in dialect-you deem to be insurmountable.
See it if you want to see a play epic in its scope and its examination and critique of America and its politics past and present.
Don't see it if you are a Republican or a Morman, and certainly not if you are both.
See it if you enjoy contemporary wit applied to an 18th Century comedy, replete with disguises, secrets, and hidden identities.
Don't see it if wordplay isn't exciting enough for you or you feel if you're going to see an 18th Century comedy, you might as well see a real one.
See it if you want to see an ensemble presentation of an important time in pre-Restoration England.
Don't see it if you're expecting or hoping for a history play anywhere along the lines of one of those by Shakespeare.
See it if you go to plays by Shakespeare.
Don't see it if if you are put off by Elizabethan language and can’t abide the likelihood that you won’t be able to hear or make out everything that’s said.
See it if you want to see one of Shakespeare’s strangest yet transcendent plays.
Don't see it if you’re a purist about the staging and casting of Shakespeare or are frustrated about not getting all the language when spoken rapidly.
See it if you want to see one of the greatest of all musical comedies-music, lyrics, & book. Not a bad note in the score.
Don't see it if your standard is the original & you’ll be disappointed by the invidious comparisons to Rex Harrison, Julie Andrews, Stanley Holloway.
See it if you want to see an often scathing portrait of an old woman; or one or more of the actresses; or Albee's most personal work.
Don't see it if you've had enough of Albee's bitter humor and caustic perceptions.
See it if you want to see a (mostly) naturalistic play about family dysfunction.
Don't see it if you'd find a play that has cancer, child abuse, sexism, and misogyny overwhelming or overwrought.
See it if you'd like an ensemble (as opposed to character-driven) play that presents its subject from an off-the-beaten-path angle.
Don't see it if you might be frustrated watching kids (whose speeches aren't always easy to hear) or are tired of plays about dysfunctional families.
See it if a worthwhile opportunity to see 3 short but related plays written in a repressive regime.
Don't see it if you don't like or have had enough of political plays, or would find a mix of absurdity and realism incompatible.
See it if you want to see an enactment of Molly's monologue from Ulysses; you are interested in or curious about Ulysses; you like excellent acting
Don't see it if Ulysses or a one-person show or an adaptation from the chapter of a novel doesn't interest you
See it if you want a chance to see a famous play in the early style of French theater of the absurd.
Don't see it if you don't have patience for a sometimes slow play that veers between absurdity and melodrama.
See it if you'd appreciate a modern version of an old-fashioned type of play w/a large cast (no doubling of parts), a lot of text, & 3-hr running time
Don't see it if another play about "The Troubles," the IRA, and the attendant violence doesn't appeal to you.
See it if you want to see a play, more symbolic than dramatic, about empowering women, especially women of color.
Don't see it if you prefer a more traditionally designed drama rather than a more metaphorical one.
See it if See it for the moving depiction of a woman in treatment (hopelessly) for cancer.
Don't see it if you’re averse to seeing (yet another) play that brings together quirky family members to air out their mutual complaints and resentments.
See it if you would enjoy a play where the history of medicine and the history of slavery intersect in America c. 1850.
Don't see it if you object to history plays that take significant liberties with the history they’re presenting.
See it if you want to see relatively brisk production of a Chekhov play.
Don't see it if you are not enamored of the type of play (Chekhovian) that unfolds like a slow-burn of several interior dramas.
See it if you want to take a chance on a small theater & a very interesting early play by Camus, with eerie parallels to today’s political climate.
Don't see it if you insist on seeing only highly polished productions.
See it if a timely story about African-Americans-some who are honest & caring, some who are not-trapped in a ghetto-like neighborhood appeals to you.
Don't see it if you blame a play for its lack of coherence & cumulative effect on the playwright rather than on yourself for not getting or buying it.
See it if a melodrama concerning shades of blackness, black slave ownership, & voodoo in 1813 New Orleans at time of LA Purchase interests you.
Don't see it if you're not prepared for some lines garbled by accents or unarticulated pronunciations & for loud hip-hop before Act 1 & at intermission.
See it if you have wondered how a meeting between the family of a heart donor and the recipient might go.
Don't see it if you don't speak Spanish and are not prepared to read the translated lines on the screen on the back of the seat you are facing.
See it if you want to see the first, and still pretty good, play about the gay subculture of pre-Stonewall NY (and urban America).
Don't see it if you find self-hating gays too retro or simply too depressing.
See it if the murder of a child by another child in a small town arouses your interest.
Don't see it if you're looking for a coherent examination of a senseless murder and its after-effects.
See it if you want to see a clever, farcical counterfactual "history" play enacted in the unreliable mind of one of the characters.
Don't see it if you want to see verbal and conceptual ingenuity produce a dramatic payoff.
See it if the worthiness of the subject of elementary schoolers committing suicide is enough to make you attend.
Don't see it if you want a compelling drama to deal with this sensitive subject.
See it if you want to see one of Rodgers-and-Hammerstein’s best musicals well sung and well-acted.
Don't see it if you can’t countenance the redemption of a ne’er-do-well wife abuser, no matter how beautiful the music & occasionally uplifting the lyrics.
See it if Worth seeing for its subject, energy, wit, & mostly successful melding of humor and grim seriousness. Fine acting, nicely staged.
Don't see it if you find a woman’s struggles, failures, and self-abasement in the pursuit of love too depressing or annoying.
See it if what appears to be a reasonably interesting relationship between an eager American and a jaded Russian appeals to you.
Don't see it if you look forward to fireworks, tension, suspense, or much in the way of conflict.