SarahJ

See it if you like old-fashioned musicals updated with modern messaging. Could be renamed "The Irrepressible Beth Malone;" her energy carries the show

Don't see it if you're looking for something fresh and original. The music is largely forgettable and the messages a bit too pat.

Also I never saw the original version, but the unmistakably modern social commentary is a bit heavy-handed. The play's last moments, in particular, made me grimace. In today's fraught political climate, where America looks grimmer every day, the simplicity of the show's closing moments take wish fulfillment too far. If only it were that simple; but it never is and never was.

That said, Beth Malone is truly impressive. At age 51, she convincingly plays 18, with all the energy and optimism of youth and an impressively acrobatic opening number. The ensemble, as a whole, are talented and likable, and the small cast works hard to play many roles.

I also appreciate that Molly is portrayed as flawed; while she's an admirable figure, she's far from infallible. The production might have benefited from more acknowledgement of her faults.

Overall, an enjoyable but not brilliant production.... Read more Read less

See it if you feel the need to see this season's cutting-edge revival to be in the know.

Don't see it if you're looking for an adaptation that clicks. The pieces don't fit together here; the music feels out of place with the show's aesthetic.

Also As others have noted, the overuse of onstage cameras to film and project the actors onto a giant screen is distracting. With close-ups onscreen, it's almost impossible to focus on the actual people acting/dancing live onstage.

Then there are parts of the set that *cannot be seen at all* by the audience, and our only access to the actors in those moments is through what's projected onscreen. If I wanted to see a movie, I wouldn't have paid Broadway prices.

The actors playing Tony and Maria sing beautifully together, but the classic songs feel out of place with the modern, edgy aesthetic of this production.

I loved the recent Oklahoma, and wish this show's interpretation were even a fraction as effective as that one was. Overall, a disappointment.... Read more Read less

See it if you're a Fiddler fan who's been hoping for a new twist on an old favorite. Or you've never seen Fiddler before. It's a classic for a reason!

Don't see it if you're hoping that the Yiddish iteration will feel significantly different than the original.

Also Fiddler is a show I know fairly well and like, but it's not my favorite show. This production is entertaining and well done, but I didn't feel that the Yiddish materially changed it.

As a Hebrew speaker, I was able to decipher bits and pieces of the dialogue, and was disappointed to note that the translations projected for the audience retained the original book and lyrics, rather than reflecting the differences in what was being spoken aloud.

While the acting was good across the board, from the second row I was able to see heavy age makeup on several characters that made the whole thing feel slightly more amateurish.

The staging and choreography are effective and quite original at points, and the songs as good as they've always been. The show is definitely enjoyable, but it didn't quite meet my (perhaps unreasonably) high expectations.... Read more Read less

See it if you're ready for a totally fresh take on the classic show. Ingenious and original staging and performances.

Don't see it if you want to keep on the rose-colored glasses and the toe-tappin' happy ending that doesn't acknowledge the show's inherent darkness.

Also Without changing a word of the book or lyrics, Daniel Fish has managed give this show the 2019 makeover it needed. Curly and Laurey are grittier & more complex, their desires sharper & more real. Ado Annie (Ali Stroker, whose joyful recklessness lights up the stage) is not comic relief, but a woman who knows what she wants & takes it. Jud, the story's villain, is anything but simple: both victim & aggressor, an incel liable to snap at any moment.

The new musical arrangements are invigorating & nuanced, bringing a fresh sound to Rodgers & Hammerstein's gorgeous songs. And Circle in the Square is the perfect space for the show: it's intimate & homey, immersing the audience in this all-too-American world.

The show's final reprise of the title song is no longer a joyous ode to a beautiful, idealized country, but the desperate cry of citizens just trying to hold it together in the face of a violent & changing world. In today's political climate, I was ready to stamp & shriek along.... Read more Read less

See it if you're interested in learning more about LBJ and the historical events of 1964-65. The play is informative and the staging effective.

Don't see it if you're not interested in history; you're looking for traditional plot/drama. The material is a bit dry.

Also I'm in my 30s, and I found it worthwhile to learn more about an era I didn't personally experience. However, I saw it with a friend in his 60s, and he was not impressed. He wanted to leave at intermission, and convinced me to go with him, so I only saw the first half of the play.

His feelings were: I know where this is going. I get it. I've seen enough. Also, he didn't think that the characterizations of LBJ and MLK were all that compelling; that the actors were not as imposing as the men they portrayed. I'll defer to him on that, since he actually lived through it all.

Though I enjoyed the parts that I saw, the play does lack drama. Though the stakes couldn't be higher, there are so many characters coming in and out and events happen so fast that each piece doesn't get fully developed, narratively.... Read more Read less

See it if you're interested in an in-depth exploration of a black actor's feelings about Othello and being a black Shakespearean actor in America.

Don't see it if you've seen a lot of plays about race recently. While Cobb's perspective is insightful, the show itself could be trimmed/edited.

Also Though Cobb cannot speak for every black actor, I have no doubt that he speaks for many. As a white woman in the audience, for me the simple act of listening -- hearing about his feelings and experiences -- felt valuable.

With that said, the show could be shortened from 90 minutes to an hour, as it gets somewhat repetitive. Cobb has a powerful onstage presence, but some of his techniques become less effective and startling as they are repeated.... Read more Read less

See it if you have the chance. It's well-executed and all the pieces click. Emotional, funny, great staging, effective music, terrific ensemble.

Don't see it if you want to see a show with elaborate production values. Sets and costumes are relatively spare for a Broadway show, but all done well.

Also This show lives up to the hype. It's a tight piece: all the actors and components work together to produce a piece of art that tells a central story (composed of many small stories) creatively & effectively.

Actors play multiple roles and do a great job distinguishing their characters and shifting on a dime. The music exists in service of the story: these are not meant to be songs that stand on their own independent of the show, but they blend with the content seamlessly.

This is what I hoped The Band's Visit would be like (I thought that one fell short). It tells small human stories that pack a big punch. I was also thrilled to discover that almost everything is true: these are the stories of real people. And while the prevailing story is about humanity's ability to act with tremendous kindness in a crisis, there are also moments that demonstrate less flattering aspects of human nature.

This show is more than the sum of its parts and is ultimately an emotional achievement.... Read more Read less

See it if you're a teenager or enjoy musicals about teens. You like upbeat, rocking scores. You enjoy the quirky and original.

Don't see it if you're looking for real substance. You're sensitive to loud music.

Also I recently saw The Prom, and this one was much better. I'm surprised how many people don't seem to agree!

Unlike The Prom, which felt cliched and stale and tonally off, Be More Chill was fresh and original and fun. It was weird in ways that worked, creating a unique Broadway experience.

One note: the music is way too loud. Unless you're a rock-concert aficionado, you might want to bring ear plugs.

Overall, a high-octane good time at the theater!... Read more Read less

See it if you've never seen Much Ado before or can't get enough of it. This adaptation is fun and original in a lot of ways. B&B are great to watch.

Don't see it if you'll be bothered by a production that doesn't succeed in every sense. Some characters/scenes are stronger than others.

Also The frame for this production generally works. The all-black cast and modern setting bring a freshness and allow for some original interpretations.

Danielle Brooks as Beatrice and Grantham Coleman as Benedick are dynamic and wonderful, and sparks fly as they spar. They are standouts among a cast that, otherwise, ranges from totally fine to cringe-worthy.

The production is more successful in light moments than dramatic or poignant ones, with the exception of the night watch scenes, which don't work at all. The director's choice for Dogberry's character seems inexplicable, as it removes all the humor from the pompous and idiotic head of the watch. The best thing to be said about those scenes is that they're relatively fast.

Still, this is a fun and snappy production overall, with an attractive set and costumes. Most of the audience stayed until the end, despite a downpour that caused a 20 minute pause, and continued drizzle throughout. We left damp but in good spirits!... Read more Read less

See it if you're a fan of A Doll's House Part 2 (also written by Hnath); you want to see great actors doing their thing; you aren't sick of Clintons

Don't see it if you don't want to see a talky play where not much happens; you're hoping for something that will change your mind or heart.

Also I loved A Doll's House Part 2, so I was excited to see Lucas Hnath's newest play. Unlike that one, this play didn't feel like more than the sum of its parts. I left trying to puzzle out what its aim was.

Ultimately, this play is all about the relationship between Hillary and Bill. Despite the conceit that it exists in an alternate universe, it feels pretty close to our own throughout. Metcalf's portrayal of Hillary is nuanced and well-done; I felt that I got a glimpse into the psyche of a complicated and imperfect -- but ultimately admirable --woman. Lithgow's Bill is also great, but an interpretation that doesn't attempt to ape the real-life Clinton.

There are many funny moments -- the actors' timing is excellent -- as well as moments of real poignance, as we consider the complex relationship of two people who have been through so much together. So though I left wondering what it all added up to, I was absorbed and entertained throughout the tight 90-minute run time.... Read more Read less

See it if you love the messiness of family life. You want to see a well-staged drama. *I was unable to attend, so this review was provided by a friend

Don't see it if you're expecting a direct imitation of the original, or if you don't have the patience for a long show (2.5 hrs).

See it if you just can't get enough of this play or have never had the opportunity to see it before. There's nothing particularly new about this one.

Don't see it if you're looking for a production that provides a fresh new take or impresses with its acting. This production is just totally fine.

Also The last Mobile Unit show I saw (Twelfth Night) really fit its niche -- it was bright and accessible and a lot of fun to be a part of. This Tempest has the same aims, but doesn't meet them as capably.

The production's aesthetic works fine but is not ingenious. Most of the actors are not particularly adept at making the text clear, and Prospero, in specific, falls short, with bouts of sudden anger that don't feel entirely justified by the text or character. With audience on all four sides, it was also difficult to hear the actors when they were facing away from us.

I applaud the Mobile Unit's vision and goals, but this particular production, though perfectly adequate, doesn't really bring anything new to the table.... Read more Read less

See it if you want to see a fresh, funny adaptation of a classic play, which grapples with life's complexities but remains inventive and engaging.

Don't see it if you don't have patience for a talky play. This could have been maybe 15 minutes shorter.

Also Better than Posner's Seagull adaptation, Stupid F***ing Bird, which I saw a few years ago, Life Sucks is a delight. Despite its dour title, it is anything but depressing. The dialogue is smart and the theatrical gimmicks work well, almost universally. The actors have great comedic timing, providing both wry chuckles and real laughs in abundant supply.

The characters are a motley bunch but eminently likable, and their struggles with love and disappointment, desire and self-hatred are entirely relatable. There's a fair amount of whining and sighing in this show, but characters are called to account for it. Ultimately, the show is a celebration of life in all its complexity. See it!... Read more Read less

See it if you appreciate Sondheim's genius and enjoy unconventional staging. If you've never seen this show before, it's worth seeing.

Don't see it if you're interested in seeing only the most robust version of a show.

Also I previously saw MWRA when Encores did it in 2012 (with Lin Manuel Miranda as Charlie). That version was so good that this one pales a bit in comparison.

With just six actors playing all the roles, there are some creative choices made to accommodate. But this limitation ultimately feels more detrimental than beneficial. Yes, they do a good job working around it, but why choose to do the show that way in the first place? There are certain scenes and songs (e.g. The Blob) that really need a crowd to convey the full effect.

At a run time of just 1hr45min, the story has also been pared down, and therefore packs less of an emotional punch.

The music, arranged for an eight-piece orchestra, also felt a bit anemic, and some of the songs that require the most precision in the timing of the music with the patter (e.g. Franklin Shepard, Inc) don't hit every note.

Still, the songs and music are so good and the performers so capable that this show remains effective and moving. Glad I saw it!... Read more Read less

See it if whether you're a die-hard fan of TKAM or haven't read it since middle school. This is a successful and well-executed adaptation.

Don't see it if any changes to the original text will make you clutch your pearls. It doesn't take undue liberties, but Sorkin definitely gave it a polish.

Also For the first half hour or so, I was skeptical. It took some time to pull me in; at first it felt disconcerting to have adults playing the children. But by the end, this play packed a powerful punch.

The script has definitely been Sorkined. It plays with time and structure and gives previously infallible Atticus Finch a lesson to learn about checking his privilege. Atticus, it turns out, is a bit naive in his conviction that there is good in everyone, and it takes Calpurnia, the family's beloved black housekeeper, to tell him so. Though it departs from the original, this update feels right and timely, and mostly not too heavy-handed.

Celia Keenan-Bolger is impressive as six-year-old Scout, getting the physicality of a child just right, and Jeff Daniels' Atticus provides a worthy central figure.

The play ends with a brief but powerful call to action, a demand that we fight injustice in our time. The message echoes loudly: it is all too clear that our country needs to hear it.... Read more Read less

See it if you want to see the next big hit. This play is gripping, entertaining, and thought provoking.

Don't see it if you can't sit still for over three hours. It's a long play, though it doesn't feel like it.

Also Jez Butterworth's new drama is adeptly directed by Sam Mendes and hits every mark. The play's scope is staggering: it is alternately funny and touching, dramatic and humorous, joyful and tragic. The acting is astounding; each character feels like a real person, including standout performances by Paddy Considine and Laura Donnelly as the leads. Matilda Lawler is a child actor to watch.

The play's ending left me literally breathless, gasping for air, though with some unresolved questions. This is a play I want to talk about, a show to ponder and unpack. The issues it addresses are both intensely personal and broadly political. It might help to have some knowledge of Ireland's "Troubles" going into the play, but even without that knowledge, you can figure it out.

Three hours and fifteen minutes flew by. This play is going to win all of the awards, so get your tickets before the Tonys: you'll be glad you did.... Read more Read less

See it if you're easily impressed by anything unconventional and not hoping for a "Sleep No More" type of immersive experience.

Don't see it if you're looking for the next big immersive hit. This isn't it.

Also This little show tries hard, but ultimately amounts to not-much. An immersive show about J. M. Barrie is not a bad idea, but even at only 65 minutes, this one drags. The actors solicit far too much from the audience, practically begging them to tell stories and fill in gaps. But with the steep $85 ticket price, no one has come to the show hoping to hear about a fellow audience member's hometown.

The show's attempt to create "Neverland," is a valiant effort (complete with Tinkerbell on an aerial hoop), but the result is more shabby than magical. And the forays into Barrie's darker personal life also feel strained. There's a fair amount of overacting (though not from all of the players), and not nearly enough actual content to sustain a show.... Read more Read less

See it if you can focus on the impressive choreography and singing and ignore a dated plot and lyrics.

Don't see it if you want to be drawn into a story with relatable characters. This show has not been updated, and much of it feels uncomfortable today.

Also It's surprising to me that they chose to revive this musical in the #MeToo era without giving it an update. Billy Bigelow, the male protagonist is, by today's standards, a wholly unsympathetic character: a man who uses women and abuses his wife. Even after he goes to heaven, he fails to learn his lesson; the show's ending did not resolve any of the issues it raised for me.

When Julie sang "What's the Use of Wond'rin?", a song whose message is "Who cares if he's good or bad? You love him, so you have to stay with him and do whatever he tells you to", I felt incapable of applauding at the end, despite the fact that Mueller's singing was beautiful.

The show deserved its Tony for the choreography, and Richard Rodger's music is memorable and melodic, even if some of the lyrics are disturbing. I'm glad I had the chance to see it before it closed, though I still wonder what motivated its creators to stage it at this particular political moment.... Read more Read less

See it if you're open to a simple story, a brief glimpse into a time and place, resonant with universal human emotions.

Don't see it if you want something splashy or terrifically exciting. This show is well done but low-key.

Also My expectations may have been too high because of how this show swept the Tonys, but I was surprised by how slight it felt. An opening slide declares that the event depicted "wasn't very important," and this is ultimately true. In a quick ninety minutes, the play shows a brief overlapping of lives, a single night in the lives of the characters, and not much else.

Yet, in that single night, we come to know these people -- their emotions, particularly an overriding sense of loneliness -- that is very poignant.

The music and lyrics, though not super catchy, are skillfully done.

Sasson Gabay, reprising his role from the movie, feels too small for the part. He doesn't have many lines, and his presence isn't big enough to fill the role. I imagine Tony Shalhoub was more effective. Katrina Lenk, as the other lead, is completely absorbing, making Gabay's blandness even more stark in comparison.

Though it didn't blow me away, this show's simplicity and beauty make it worth seeing.... Read more Read less

See it if you want to see incredibly talented actors in an emotional and affecting tour de force.

Don't see it if you don't like belting or the song styles of Pasek and Paul. You don't want to see a show that deals with mental health challenges.

Also I won a lottery ticket to a Wednesday matinee. Front row, side, for $42. I wasn't expecting to love the show that much, since it's not my favorite style of musical, but it exceeded my expectations. I was truly impressed.

Though my seat was officially partial view, there are significant benefits to the front row. I was able to clearly see each actor's face (including the tears that frequently poured down their cheeks) and I was astounded by the rawness of their emotion.

Michael Lee Brown, the matinee alternate, played the title role, and he was amazing, as was Rachel Bay Jones. Their song together near the end made me ugly cry.

I don't personally love Pasek and Paul, and though the songs were effective, they were best when they were specific -- often, I find their lyrics tend toward the generic.

Overall, I was blown away by this show's intense story and powerful performances. The experience had substance.... Read more Read less

See it if you've never been to a CTH summer show. You'll wonder why you didn't know that such high-quality theater was happening for free in Harlem.

Don't see it if you don't have patience for a show that is overtly connected to modern political issues. Also, Antigone's performance is a bit one-note.

Also This was my second CTH show, after Three Musketeers last year. This play feels very different, with a far more serious tone.

The production design is impressive, with an elaborate set and gripping and original lighting and effects. The stark, dystopian aesthetic of the show leaves a strong impression.

One of the most surprising things about this production is its running time: it clocks in at just about one hour. Given the numerous songs and dance numbers (the latter more striking and effective than the former), this is very short! I was almost taken aback when it was suddenly over. A little bit more dialogue might have helped flesh out the plot and characters, but a slim play is certainly better than a flabby one, in my opinion.

Despite the play's grim tone, there are also moments of comic relief (mostly provided by one character), which are enjoyable but don't really fit with the rest of the play.

Overall, this interesting (free!) show is well worth an hour of your time. See it!... Read more Read less

See it if you like old-fashioned, wordy British plays with politics and romance. This one is charming.

Don't see it if you want something modern or action-packed.

Also If you like Shaw, you'll probably like this play. As in much of Shaw, it's largely upper class Brits talking about ideas. Clearly drawn characters and dry wit. Gender issues, class-based clashes, sex, romance, progressive politics -- what's not to love? Unlike Shaw plays, though, this one doesn't leave you in any doubt about what it wants you to believe.

All the actors are creditable. It's a very small, intimate theater, so you're up close and personal no matter the seat.

All in all, a very enjoyable and somewhat substantive two hours. This was my first Mint production, and I'll be going back for more.... Read more Read less

See it if you're looking for a traditional staging of Othello with strong performances.

Don't see it if Shakespearean language confuses you; you want bells and whistles.

Also Though I've seen dozens of Shakespeare plays performed, this was my first Othello. So, without any point of comparison:

The acting was strong throughout. Corey Stoll gives another standout performance as a charming Iago, and gets a surprising number of laughs for such a villainous character. Heather Lind creates a believable and sympathetic Desdemona. Chukwudi Iwuji's Othello has a few melodramatic moments, but I was mostly along for the ride. The climactic bedroom scene is chilling.

The set was one of the simplest I've seen at the Delacorte, and the period costumes were beautiful but not particularly notable. The production is carried by the strength of its text and its actors, but I imagine that it might have felt long (at 2hrs 50min) for someone less conversant in Shakespearean language.

On the whole, this felt like a loyal interpretation of the text, and as my first Othello, it will serve as a point of comparison for productions I see in the future.... Read more Read less

See it if you enjoy farce and clever wordplay with a madcap plot.

Don't see it if you're looking for something truly substantive.

Also Metromaniacs was an enjoyable treat, light and frothy from beginning to end. David Ives' rhymes and puns exceed the usual fare; he's earned his reputation as a master of language.

There's nothing real or serious about this play, but amusements abound. You have to keep your wits about you in order to keep up with the plot: false names and mistaken identities fly past in a blur, as allegiances and adorations shift at the same rapid pace.

The actors are energetic and capable, and this show never drags. I left the theater speaking in rhyming couplets (no joke. I couldn't help myself)!... Read more Read less

See it if you're a fan of the bard's plays and also enjoy puns and silly humor. Knowing Shakespeare well helps; there was lots to pick up on.

Don't see it if you know little about Shakespeare and have no interest in a play that takes nothing seriously.

Also This was fun. The three actors are versatile and have a seemingly inexhaustible store of energy.

Some jokes landed better than others, but on the whole, I had a great time.... Read more Read less

See it if for the music and dancing. If you don't mind a show with some uneven stitching.

Don't see it if plot and narrative construction are your most important factors.

Also Though the show's framing device (Mack looking back on his life) is somewhat clunky, the musical numbers are memorable. Alexandra Socha sings beautifully as Mabel, and though some of the songs start to sound alike, each one is effective, with clever lyrics.... Read more Read less

See it if you know the genre being parodied (early 20th century melodrama) and enjoy camp even when it's cliched.

Don't see it if you're hoping for excellent performances and great comedic timing. I was not impressed by Busch's acting or Andress's direction.

Also Having gotten a sense of what the show was like, and having had (more than) my fill in the first hour, I left at intermission. There were a few laughs in the first half, but not nearly enough to justify staying. I could imagine this show being much better with improved timing and direction. As it was, it fell somewhat flat.... Read more Read less

See it if you're a fan of classic Motown hits and great dancing. You don't mind a jukebox musical that is exactly what it says on the box.

Don't see it if you're looking for a show with a well-developed plot and narrative arc.

Also From the opening number, the show's energy is contagious. The audience's enthusiasm enhances the viewing experience; they clapped (and occasionally sang) along and practically danced in their seats.

With that said, come to this show for the great music and amazingly coordinated 60's dancing; everything else is secondary. Because of the positive reviews, I had hopes that this show would offer more than a typical jukebox musical, but it doesn't really. Plot-wise, it basically presents a Wikipedia-page overview of the Temptations' history, and the main character's narration feels a bit stagy at points.

But go in knowing what to expect, and you can have a great time!... Read more Read less

See it if you're interested in a political play that throws you into the deep end. You're ready to hear another (deeply scary) point of view.

Don't see it if you've had it with politics and just want entertainment. This play is incredibly compelling but not fun. You're sensitive to loud noises.

Also The world of this play is dark -- both literally and figuratively. It is night time, and four young Catholic conservatives are sitting in the backyard talking about life, their souls, and the state of politics in America. Each character is distinct, but all have faith and all have fear. The play's writing is sharp and philosophical, and over the course of two hours, these characters' world views come starkly into focus. The picture is not pretty.

The acting in the play is intense and raw; there are a lot of big personalities and tense moments. For much of the play, it feels like we're on the brink; when the play ended, I exhaled, realizing I had forgotten to breathe for the past half hour.

You may not walk out of the theater feeling optimistic, but Heroes certainly leaves you with a lot to think about.... Read more Read less

See it if you still have the capacity for wonder buried somewhere inside you, even if you think you can't be impressed by a mentalist act.

Don't see it if you hate the very idea of a magic/mentalism show on Broadway and abhor anything with audience participation. But you still might like this.

Also I didn't have tremendously high expectations, as I fell in the eye-rolling camp, thinking of semi-professional mentalists I've seen at community events. But this show blew my mind.

Derren Brown has a charismatic presence onstage, and you'll find yourself laughing almost as often as you gasp in amazement. In the moment, I found myself totally in his thrall, (almost) fully believing that he can read minds, plain and simple. I still can't really think of another explanation.

Obeying his injunction to keep the contents of the show a secret, I will only say that this is literal jaw-dropping fun that you don't want to miss.... Read more Read less

See it if you enjoy erudite stand-up comedy, parodies, and freestyle rap. Turner is talented, charismatic, and self-aware.

Don't see it if you don't have patience for stand-up that is funnier in some moments than others. Freestyle raps & patter are stronger than the songs/poems.

Also Turner seemed to be having fun up there, and the audience also had a good time. Turner's freestyle rapping, using suggestions from the audience, is truly impressive. His straight stand-up bits are also funny and well-delivered. He has good comedic timing and a friendly rapport with the audience. The first 10 minutes had me settling in for an uproarious show.

Unfortunately, most of Turner's prepared songs and poems are not as funny as I'd hoped. They include clever lines and puns (some of which take a moment to land), but given how good his freestyle raps are, you'd expect the prepared raps to be better.

Overall, this show is enjoyable and unique. It was well worth the $5 Showscore tickets I got, but I probably wouldn't have paid the full ticket price of $39. Turner is a talented performer, and I hope that he'll learn to play to his strengths in the future, spending more time on freestyle and straight stand-up routines. He has a well-defined, likeable persona and a unique style.... Read more Read less

See it if you've pregamed. If you're in the mood for a silly show that's not above lowest common denominator humor. Fun energy.

Don't see it if you don't like profanity or lots of sex jokes.

Also One of the show's tag lines is "We're a drinking club with a Shakespeare problem," and that's pretty accurate. Shakespeare is really not the point of this show. The plot of Macbeth (and some of its text) lends the structure for all kinds of jokes that aren't really about the play at all. There are some genuinely funny moments, but most are just silly. The show relies on the gameness of its audience, including a fair amount of forced audience participation for those siting on the lower tier around the playing space. The actors certainly give it their all and seem to be having fun, but it's not as original or exciting as it could be.... Read more Read less

See it if you want to see great performers, including some famous names, doing brief monologues and singing songs in various styles. Poignant moments.

Don't see it if you're looking for a show with a plot. You're averse to sentimentality. You feel no connection to NY City Center as an institution.

Also The cast of this show was stellar, each performer a standout. I was particularly impressed by Tracie Thoms and Andrea Burns, neither of whom I'd seen before.

As a huge Lin Manuel Miranda fan, I was excited to hear his new songs, but they actually didn't blow me away. They are emotional, but not as tight or clever as much of his other work.

The redone book for the show included interviews done with actual members of the NY City Center staff, which I found effective. My friend, who had never been to City Center before, felt it was weird and too much like an ad for the theater.

As a paean to the American worker, this show has moments of bitterness, pathos, and humor. Parts made me tear up, but I'm a sucker for that kind of thing. The show felt slighter than I had hoped for, but overall, it's a lovely and poignant night at the theater, showcasing brilliant stars of the stage.... Read more Read less

See it if you want to see a modern-day Hairspray-style musical with no surprises. Some charming moments.

Don't see it if you're hoping for feel-good Broadway that totally clicks. Cheesy wins out over charming in this one.

Also With bright colors, upbeat musical numbers, and an inevitable happy ending, this could have been one of those frothy, fun Broadway shows that leaves you grinning. Unfortunately, it falls short in a number of ways.

The songs are largely forgettable, with occasional clever lyrics, but more cliches. The characters are mostly caricatures, and many aspects of the plot strained even my suspension of disbelief, particularly in the second act.

The cast includes some great singers, and the hip-hop style dancing is exuberant. It just doesn't come together quite right. With more originality and a bit more heart, this could have been a better show.... Read more Read less

See it if you're up for a Jekyll & Hyde that's fun, lowbrow, low-tech, creative, diverges wildly from the original, and yet is somehow still poignant.

Don't see it if you're a purist about the novella and would want the show to retain the text's original tone and pacing.

Also As an English teacher who teaches the Stevenson novella, I was delighted by this production. It supplements the original plot with new twists and characterizations, and yet still retains (and even enhances) the power of the original.

Grinstead and Stromberg are a power couple, and their adaptation makes the two person cast and bare bones set an asset, rather than a liability. Stromberg in particular, playing all but the titular characters, is a marvel, effortlessly transitioning back and forth between characters in mere seconds and making it look easy.

While the production plays much of the story for laughs, by the last scene, no one is laughing. That this little show pulls off such a drastic tonal shift is once again a testament to the creators. If you have a chance to catch this show before it closes, go! Blanket Fort is a company I will keep my eye on.... Read more Read less

See it if Glenda Jackson's impressive performance, solid acting overall, and some interesting staging and directorial choices. Lots to think about.

Don't see it if you don't have the patience to focus on Shakespearean language for 3+ hours. This one's not for the faint of heart.

See it if you like great music, spectacular dance numbers, stellar performances, and a feel-good ending.

Don't see it if you'd be bothered by a show that's a bit light on character development and doesn't care too much about realism.

Also Roundabout has effectively adapted this show for a modern audience. The misogyny that characterizes the original is nowhere to be found -- though I wouldn't say that this version makes any kind of grand, relevant statement about women either.

Instead, come for Cole Porter's melodic tunes and clever lyrics, for Kelli O'Hara's gorgeous pipes, and for the incredible dance numbers (including Corbin Bleu tap dancing *on the ceiling*).

One disappointment was the rendition of Brush Up Your Shakespeare, which was not clearly articulated, making it difficult to catch some of the funniest lines.

Overall, Roundabout provides a great opportunity to catch a classic adeptly executed.... Read more Read less

See it if you want to be well-informed about the works of influential modern playwrights. You appreciate broad humor and caricature.

Don't see it if you're expecting something deep or masterful. This piece feels slight, and is almost universally overacted.

Also This was my first Lynn Nottage play, and while she's celebrated for her thoughtful and relevant works, I was disappointed that this play stays very much on the surface.

Almost every character is played as a broad caricature or stereotype. The script might have worked better if it had been directed with more subtlety, but every joke was played as big and broadly as it could be.

The one exception is Jessica Frances Dukes' performance as older Vera in Act 2. While her first act performance is as broad as the others, in Act 2, her character is played with nuance and realism, demonstrating that her capabilities as an actress are not fully realized in the first act.

On the whole, Act 2 is more interesting than Act 1, but still feels like it doesn't as much explore issues as merely point toward them. And the play's closing moment is one more hugely unsubtle gesture from director Kamilah Forbes. This play may not be Nottage's finest, but it might have been interesting in more capable hands.... Read more Read less

See it if you're a die-hard Ethan Hawke fan. His performance was solid.

Don't see it if you have a different Broadway choice or you're a Paul Dano fan.

Also I've never seen True West before, so it's hard to know how much to blame the script and how much to blame the production for the loose, confusing play I saw last night.

The first half was especially boring, with dialogue that didn't amount to much and little real conflict. Paul Dano's performance was excruciating; it felt like watching the drama club president in the high school play. Ethan Hawke gave the role his all, but because Dano offered so little to work with, he came off as a bit over-the-top.

In the second half of the second half, it starts to get more interesting, as things onstage begin to unravel and Shepard's themes of civilization vs. man in the wild (a truer state, perhaps) come to the fore.

Yet, I found the play mostly unfunny and not that interesting. I saw it in previews, so it's possible that the actors will grow into their roles, jokes will land better, and props won't be constantly flying off the stage (it happened 3 times!). Still, I say this one's missable.... Read more Read less

See it if you're looking for a fun, inexpensive show to see with kids that adults can also enjoy.

Don't see it if you don't have a high tolerance for cheesiness.

Also This is a show that, luckily, doesn't take itself too seriously. Every joke is over-the-top, offered with a huge wink to the audience. Characters are played loudly and broadly. The singing is fun, though not every number has a classic barbershop sound. Some of the lyrics are clever, with rhymes like, "Just one more refrain, please / Then back to your main squeeze."

I definitely laughed aloud a few times, though some of the humor didn't quite hit its mark. I think I would have enjoyed it more in the company of kids; children aged 7-12 might like it a lot, even though there are jokes that would go over their heads.

There's no need to rush out and see this show, but if you're looking for a family-friendly activity, this is a very pleasant way to spend 75 minutes.... Read more Read less

See it if you want to learn more about Bette Davis's life and don't mind a show that feels like it's trying a bit too hard.

Don't see it if you want to see something polished and professional.

Also There were entertaining moments in this show, but on the whole, it fell a bit short.

Jessica Sherr works hard and gives it her all, but the role doesn't feel entirely natural on her. Her accent comes and goes, and in her attempt to mimic the fast-talking actresses of the '40s, it's often hard to understand what she's saying.

Still, Davis's life story is interesting, and while it was somewhat exhausting to watch Sherr putting in so much effort without commensurate results, I came away with more knowledge about an important entertainer of the past.... Read more Read less

See it if I wouldn't recommend it. The actors tried hard but couldn't compensate for poor directing. This production does not do Shaw justice.

Don't see it if you don't have patience for some amateurish choices. Full disclosure: I was there for the second performance. And I left at intermission.

Also I love Shaw, and have seen some wonderful productions of his work. This was not one of them. For the first time in my life, I left at intermission.

They've chosen a cheesy and contrived framing device, which also sticks the cast with a set that has nothing to do with the play itself.

Five minutes into the show, one of the actresses got lost in the middle of a monologue, then collapsed dramatically. It was not part of the play. The director came onstage and stalled for 5 minutes, then they resumed. Apparently, her corset was too tight. That rocky start may have thrown all the actors off.

The cast did not seem to know their lines well, and I was constantly worried that someone would get lost and embarrass him/herself. The pacing was slow and much of the humor was lost in delivery. Almost every directorial choice was poor.

I was really looking forward to seeing this play, and was disappointed in what I saw. I do anticipate that it will improve at least somewhat as the run continues.... Read more Read less

See it if you want to see a darker "10 Things I Hate About You."

Don't see it if you're hoping for realism or Shakespeare.

Also This play did some interesting things. The dialogue was often clever and entertaining, and the riff on the Shakespearean themes intriguing.

This play puts disability front and center, and provides a nuanced portrayal: the two disabled characters are undeniably three dimensional people.

I was bothered by the portrayal of the teacher. As a high school teacher myself, it felt unreal and unfunny, going beyond caricature or satire into the realm of a stale, fantastical stereotype.

Overall, certain aspects of this play worked and others didn't, for a whole that never quite came together for me.... Read more Read less

See it if you want an evening of fun, accessible, musical "Shakespeare" that's easy enough for anyone to enjoy.

Don't see it if you're a Shakespeare purist. High art this is not.

Also What a fun show! This production retains the spirit of the Public Works original, with a community feel that starts from the pre-show, when the audience is invited onstage to mingle with the actors and enjoy an Illyrian fair.

Shaina Taub's modern music replaces most of the original Shakespearean text, so this show feels essentially like a lighthearted Broadway musical. The music is catchy and much of it is clever, though some of the songs emphasize themes a bit more ham-handedly than necessary.

Random notes:
-I enjoyed the nuance with which the production handled Malvolio's subplot, and Andrew Kober was very funny in the role.
-The sign language aspects were fascinating to watch (particularly JW Guido in a featured signing role)

Also: the line in the park this morning was very short, and even walkups at noon received tickets. Go see it before the reviews come out and tickets become harder to get!... Read more Read less

See it if you can be charmed by a musical. This one has gorgeous music, clever lyrics, sumptuous costumes and sets, and superb acting.

Don't see it if you're one of those people who just never liked this show because Henry Higgins is an arrogant jackass.

Also I adore the movie and couldn't wait to see the show live for the first time. I was not disappointed.

I worried that no Eliza could stand up to Audrey Hepburn, but Lauren Ambrose brings a humanity and charm to the role that is entirely her own. It struck me particularly during "The Rain in Spain" -- she made that moment of Eliza finally 'getting it' so much more than it was in the movie.

In fact, all the actors in the show were excellent.

I also never imagined that "I'm Getting Married in the Morning" could be such a total show-stopper. And the Ascot Gavotte was even funnier in person than onscreen.

Only the very last moments of the play gave me pause. It wasn't clear to me what they were trying to do, and it frankly didn't feel any more enlightened or modern than the movie's ending.

Overall, though, a spectacular theatrical experience.... Read more Read less

See it if you're interested in history and have patience for a show that can be slow at points. Or you're a Shaw junkie (like me).

Don't see it if you're looking for something that's riveting from beginning to end.

Also I got rush tickets to the last performance, because (despite the tepid reviews) I couldn't let a Shaw play close without seeing it.

This did not feel like typical Shaw; I've never seen this show before, so I don't know what proportion of that was the production and how much is the play itself. While it does bear some hallmarks of his style -- the wordiness, the arguments that force you to sympathize with multiple viewpoints and question your assumptions -- it lacks some of the sharpness and wittiness of other Shaw plays. Some scenes worked better than others; some felt overly long.

Condola Rashad was certainly compelling in the title role, creating a Joan who is clearly more than a little mad; awkward and young at the beginning, then increasingly confident, to the point of arrogance. Jack Davenport is another standout as the Earl of Warwick, a swaggering noble who doesn't take anything too seriously (in a more typical Shavian vein).... Read more Read less

See it if you want a toe-tapping, knee-slapping rollicking good time!

Don't see it if nothing can charm you. You don't like catchy Broadway tunes stuck in your head. Or you hate puns.

Also This was an utterly delightful Encores production. The revamped book by Stephen Fry provides ample groans and hearty laughs, and Christian Borle lights up the stage with his charismatic goofiness.

The staging is inventive and surprising, with dance numbers that edge into wacky and even bizarre (cricket bats, lampposts, and dancing historical portraits all make an appearance). And if you like a good old-fashioned (mind-blowing) tap dance, there's plenty of that to be had as well.

Is the story substantive? Not a bit. And while the songs are extremely catchy, the lyrics are often a bit lazy. But I bounced in my seat, tapped my toes, and left the theater with a grin on my face.... Read more Read less

See it if you enjoy shows that are bittersweet, dramatic, and at times over the top, with impressive singing and dancing.

Don't see it if you're not interested in a show that takes itself pretty seriously.

Also Set in Weimar Berlin, I found the tone of this show in some ways similar to Cabaret: that ominous we-know-what's-coming feeling that lends a sense of desperation to the decadent lives of the characters onstage.

The story follows a cast of characters who are flawed but mostly worth rooting for. Some stories end happily(ish), and others quite unhappily.

The show is beautifully choreographed and well staged, and the performers are universally talented. The songs are capably written but largely forgettable. There are times where the show's drama tends toward melodrama, and it feels a bit ludicrous. But overall, I found it engaging and enjoyable; a bit "grand"er than necessary perhaps, but worth checking in for the night.... Read more Read less