See it if You’ve never seen a Foote play or if you’ve seen them all. His subject is the every day but he’s really writing about God—or their absence.
Don't see it if You’re looking for a jukebox musical, say. It’s hard to think of reasons not to see this.Quinn’s authoritative, at times through tone alone.
See it if You want to witness a new work from a riveting young actor/playwright, who does not shirk from presenting uncomfortable truths and details.
Don't see it if Feraud can over-explain and contextualize at times. This may be the price of seeing a dauntingly precocious first work. It’s worth it.
See it if You like solo shows with strong female leads. Brenda Pressley is nuanced, funny and lacerating. She hits all the notes—even adds some.
Don't see it if You don’t like shows that could still be working it out. The play’s last third has a piercing immediacy lacking at times in other parts.
See it if See it for Chekhov’s tragic solemnities translated into dark and often funny and resonant absurdities. For a winning and thrilling cast.
Don't see it if You want a conventionally structured drama. You don’t like your Chekhov toyed with.
See it if A riveting production, an ingenious play. O’Connell and Maccluggage must not be missed. Vonnegut sadly, thrillingly channels our times.
Don't see it if You need to see a conventionally structured play or you are easily offended. Or if you really feel America needs to become “great” again.
See it if You want to see great theater, a devastating parable, superbly directed. This is our generation’s The Crucible. The actors astound.
Don't see it if You cannot or won’t connect the troubling dots btw. current events and fascistic politics. Brooks gives the cast cellphones for good reason.
See it if You want to see Linney whose dialogue leaps off the page embodied on stage. It’s been 40-years since the last NYC Ghosts. An Infernal wait.
Don't see it if You need a more nuanced production. It raises thunder but seems a little bereft of subtler shades of sound and emotion. Intimacy suffers.
See it if If you want to see a first-rate multidisciplinary production. An amazing Hope Salas, breathtakingly directed.
Don't see it if You need a strong story arc to stay connected. The production elements are rapturous; the storytelling flattens out a bit.
See it if For the superior rhythms of dialogue and immediacy of human exchange that gird the plays even when they drift a bit wayward. Play3 is a gem.
Don't see it if You want The Dining Room Gurney, who I remember as more grounded and literal. This is Gurney lifting off. Thrilling. Not always landing.
See it if You want to see an intelligent show grapple with a complex, potentially difficult subject.
Don't see it if You have seen other shows (live or not) on the same subject. The play works when exploring the theme philosophically, less so dramatically.
See it if You admire Ensler’s work and want to see her imagination and eloquence unleashed. Also two commanding, rich performances.
Don't see it if You are feint of heart and in the mood for a conventional drama that won’t braak the fourth wall in any way.
See it if You like shows that offer a meditation on topical themes. Great acting, a dynamite first 50-60 mins.
Don't see it if You need it all to add up. The resolution of the story lines was unsatisfying, which in a way is a tribute to the almost perfect first half.
See it if If you adore Hollywood, but are especially romantic about the old studio days.
Don't see it if You need the story onstage to connect to some larger existential human drive (something more grounding than simply the desire to be famous).
See it if You like superbly executed theater. Strauss’s work—writing, performance, production—achieves a wholly organic synthesis.
Don't see it if There’s no reason not to see this. You’d have to have a psychological disorder even more challenging than OCD not to go see this.
See it if You want to see a fine performance and an imaginative staging of a great literary work. The final image is haunting and perfectly realized.
Don't see it if You have little affinity for one person shows or new, dramatic renditions of classic work.
See it if You enjoy truly accomplished staging, a fabulous production, top-flight acting.
Don't see it if You want something a little more in-depth out of the characters on stage. The writing is tight, clever, but the emotional center is missing.
See it if You've never seen the brilliant Iris Bahr. My first time, and there is little she can't do to totally inhabit a character or several.
Don't see it if It will bother you that despite some beautifully written passages, the piece feels technically out of reach. Some set-ups don't deliver.
See it if For Lexie Braverman's performance. She gives the story its emotional center.
Don't see it if You cannot see past the play's lapses in storytelling. Some of the dark, interesting anecdotes hold up much better than the play as a whole.
See it if You love taut, tense, riveting drama written for the stage and wonderfully at home there. Lebutte's tinderbox play is one we sadly deserve.
Don't see it if You don't mind missing great acting. Richard Kind creates a miscreant father in the guise of a certain fascistic American president.
See it if You want to see the best solo show in a long time, one that uses a high-tech sound design to help create a primal story and experience.
Don't see it if You don't mind missing Simon McBurney's flawless voices, characters and overall riveting performance.
See it if You want to see an assured, dynamic theatrical piece. O'Connell wondrously inhabits a litany of Hollywood personas as his own comes of age.
Don't see it if You might take umbrage at not being able to fully see the marvelous O'Connell as he shifts to accomodate the thrust seating.
See it if You want to hear an intelligent, multi-layered story told simply and evocatively. Dengler is so good he makes it look deceptively easy.
Don't see it if You want Big. Dengler's at a desk. There's in-and-out music. Light cues. He displays some pictures. That's about it. But the story sings.
See it if You are interested in seeing the intersection of humanism and being human; the play explores an attempt to make a great man also good.
Don't see it if You need this premise realized every minute. The play's powerfully thought-provoking even if at times it seems to stray from its intent.
See it if You want to see Micaela Blei - a totally winning, authentic storyteller, able to make meaning inside and outside the classroom.
Don't see it if You like big, glossy productions or you don't like children. And then quietly mourn the fact that you're missing this wonderful show.
See it if You enjoy literate, soaring scripts. And a production with immensely skillful, clever direction - plus D'amato's knockout Thaw.
Don't see it if You need to see a seasoned, finished production - this is the Fringe, right? Be happy you got to see them when...
See it if A show that has its heart—and book, direction and solo performance—in the right place. It’s a noble, skilled endeavor that just misses.
Don't see it if Since the show relies on diary entries, a dramatic, nuanced voice doesn’t always flow through.
See it if You want to see two expert actors. Friedman and Hayon find novel, theatrical ways to humanize and conceptualize their characters.
Don't see it if The play has important things to say, but by not grounding it in a tangible, discreet reality, we are unable to get inside and hear them.
See it if You want to see a gifted performer. Katzberg communicates in a believable and authentic manner.
Don't see it if You need the writer and production team to have fully realized the subject matter of this show.
See it if For the deeply invested, complex portrayal of someone living through a wrenching personal circumstance. A top-flight Maddie Coreman.
Don't see it if You’re looking for a light, frothy evening in the theater. This show is ultimately about healing but there are rough patches along the way.
See it if For the quite serious social themes interwoven with brilliant, compelling performances. All girded by a ravishing, first-rate production.
Don't see it if You like your musicals post-modern. This show’s dichotomy—it’s approach (traditional); it’s language (modern)—is also its utter charm.
See it if You want to see Kerry Ipema before it becomes outrageously expensive to do so. She gives a dynamic, virtuosic performance. And hilarious.
Don't see it if If you don’t like your solo theatrical shows invaded by a nightclub standup. It was jarring for me; but Kerry is so good, I just gave up!
See it if For 2 heroic, winning performances, a story that celebrates the theater, and sews itself up beautifully. Bale's direction is airtight.
Don't see it if You cannot adjust to there being 2 actors but a dozen characters. And having them change on a dime. No warning, often in the same body.
See it if You want to see early Shanley ensconced in a jaw-dropping production. This is a memorable, lyrical show. The leads are magnetic.
Don't see it if Brutal, violent subject matter whose object is both poetry and psychodrama might create a disconnect for you.
See it if You want to see a superior Vanya. Jay O. Sanders is so good you will think Chekhov had him in mind. The prod. hits every note, every color.
Don't see it if If If (I can’t think of a reason not to see it.) Maybe if you grow indignant at an actor turning her back to you (theater in the round).
See it if You want to see a character working it out on stage philosophically and sexually, which means absorbingly. Elinor Dilorenzo is dynamic.
Don't see it if The show is wonderfully jarring but seems to need a little support from either the production or the script for it all to hang together.
See it if You want to see amazing actors and an immensely creative, disciplined production. Babak’s script is winning and inventive.
Don't see it if You like all your plot threads neatly tied up in a ribbon. This theater group is too ambitious and bold for that.
See it if You are seeking a compelling story that is sadly timely in its recall of sexual harassment and offensive behaviors.
Don't see it if You are looking for a more grounded solo piece. Terri is winning, but the story needs shaping and the play/production could use a director.
See it if You are an Eva Dorrepaal fan. And even if you haven’t seen her movies, you might become a fan after you see her in this show!
Don't see it if You need to see a finished production. There’s lot of wonderful energy and stylized moments, but the show is still finding itself.
See it if You like these two words: Alison Fraser. And crisp, edge-of-your-seat writing. This is a dark, dark comedy dressed up as a macabre thriller.
Don't see it if You like your theater conventionally peopled with people and moving sets. With easily digestible plot arcs and monotonal thematic shades.
See it if You enjoy theatrical experiences filtered through the lens of an accomplished, riveting actor who skillfully peoples her solo show.
Don't see it if You don’t like your white/dominant culture challenged or dissected.
See it if You enjoy very good acting and direction. The mood is as welcome and embracing as it is searching.
Don't see it if You need it all to add up. I so enjoyed spending time with this play, but I was never clear as to what journey the characters were on.
See it if If you're interested in just what the title suggests: a journey from one side of faith to the other.
Don't see it if Your aural abilities aren't up for the challenge. I had/have trouble hearing. McLean's accent and the play's dry transport, lulled me.
See it if You like one-man shows, are interested in the great, important life of Clayton-Powell, and enjoy being greeted warmly at the door!
Don't see it if You're looking for a more conventional evening in the theater, with lots of characters, played by lots of actors in lots of scenes.
See it if You want to see a strong female lead sing the score with a fierce, theatrical energy.
Don't see it if You need to see a production in its final stages in which everything has been worked out.
See it if You want to see actor and play battle savage poetic and theatrical elements in order to come up with a lyrical solo show.
Don't see it if You don't care to see Coleridge brought up to the 21st century, no matter what it takes.
See it if You want to see a play that draws its considerable power from the time it sprung from-both the 1600s and the 1990s.
Don't see it if If you need your theatrical evening to fully declare itself in under 90 minutes and to avoid lyrical flights.
See it if You love a play of ideas that always keeps you guessing, a show whose big, dark and wonderfully realized themes are never compromised.
Don't see it if You need to see conventional stories told conventionally. This play decides to tell a story about technology by (partly) using technology.
See it if You're OK with someone finding the edgy humor in dark subject matter, which Gerhard does with a simplicity and brilliant ease.
Don't see it if You're looking for a purely theatrical one-person show. This is a theatre piece that leans toward stand-up.
See it if you're in the mood for a riveting production, featuring the great Winsme Brown, who has the range and technical ability to do anything.
Don't see it if you like only realistic paintings. Or you need plot milestones and contemporary dialogue exclusively to moor your theatre-going experience.
See it if You enjoy really good acting and thoughtful - if nuanced and not always comforting - dramas about uncomfortable subjects (teens, sex, drugs)
Don't see it if You aren't ready to suspend your ready-made labels of what constitutes good and evil.