See it if you enjoy a true spectacle! The lights, costumes, and sets are AMAZING, and the performers are incredible dancers, singers, and acrobats.
Don't see it if you're attached to the original soundtrack (they've "modernized" it, resulting in a butchering/watering down of what made the movie great).
See it if you have any nostalgia for Alanis Morrissette's music or if you want to support a cast with several non-binary/trans ensemble members
Don't see it if you've no tolerance for after-school special territory or if you're personally not able to engage with theatrical takes on sexual trauma
See it if you like comedic but depressing slice-of-life shows that deal with the intersection of racism and poverty
Don't see it if you prefer sweeping, epic dramas or if you like your plays to provide you with answers and not just questions
See it if you like slice-of-life plays that, er, play out in real time, mostly as a character study, but also don't mind a bit of magical realism
Don't see it if you're expecting something to "happen" during the play - the main action here lies in what happens off-screen and what doesn't happen at all
See it if you're interested in a unique play that demands unconventional staging techniques, is well-acted, and is aesthetically exquisite.
Don't see it if you need a show's meaning spelled out for you (honestly, I still don't know what I saw... but somehow I still enjoyed it?)
See it if you're interested in a powerful story [in Part 1, see caveat below] about the legacy of AIDS & inter-generational gay politics / dynamics.
Don't see it if [you insist on seeing both parts and] you can't handle a lackluster Part 2 (again, see my note below)
See it if you enjoy realistic takes on the lives of ordinary people, and don't mind some very real sexism and toxicity as part of that portrayal
Don't see it if you cannot handle drawn out scenes of simulated sex or if you're expecting inner complexity for the lead role, a la Mary Page Marlowe
See it if you're looking for a light-weight show about the patriarchy and for tidy little nuggets of feminism through an avant garde theatrical lens
Don't see it if you're expecting a deep meditation on the patriarchy beyond the simplistic thought, "we need to tell our daughters they can be anything!"
See it if you want incisive and witty commentary on gender and sex, ranging from the purely raunchy to philosophical digressions on language and power
Don't see it if you're easily offended/made uncomfortable by frank talk of sexual behavior, your masculinity is fragile, or you're sitting next to your mom
See it if you're curious about a rarely produced and moderately charming lesbian one-act that is a unique product of its time
Don't see it if you want prize-worthy dialogue, a fast-paced drama, or convincing acting/costumes/wigs (all of which were very uneven in this production)
See it if you want to see supremely talented actors showcase their talents & are okay with the 1st and 2nd halves of the show being different tonally
Don't see it if you want a show that’s either 100% comedic or 100% serious / don’t want to think about race as it pertains to the musical theater industry
See it if you want the most powerful production of Fiddler you'll ever see -- the set is beautifully simplified, putting the focus on the music/story
Don't see it if you're unfamiliar w/ Fiddler + a slow reader (the subtitles move somewhat quickly, might be hard to follow if you don't know Fiddler at all)
See it if you enjoy laugh-out-loud comedies featuring women of color, queerness, and everyday life, and don't mind a little roughness around the edges
Don't see it if you're uncomfortable with explicit discussions of the female body and a clear focus on female pleasure
See it if you enjoy shows that aren't afraid to try new things stylistically / aren't afraid to provoke an audience
Don't see it if you would be annoyed by the same joke over and over again, or if you dislike early-stage, unpolished comedy or shows w/ audience interaction
See it if you like revivals that shake up the original show a bit (as I understand it, this was somewhat reimagined).
Don't see it if you feel "eh" about Sondheim in general. I never love his shows, but I keep trying! No fault on the production that I don't love Sondheim...
See it if you want to see the most eye-popping set change you'll ever experience, alongside some humorous skewering of office culture and gender roles
Don't see it if you have no interest, even via satire, in watching men be whiny babies about feelings (this show needs some work, but has SO much potential)
See it if you want to see a masterfully staged production ("Wait for Me" is truly breath-taking) about grief, loss, letting go... and also politics?
Don't see it if you love Trump and want to build walls, or you can't get behind a show removing the violence from the Hades/Persephone origin story
See it if you’d like to see talented performers doing their best with what they’re given, or you can never get enough of Alice in Wonderland stories
Don't see it if you value your time (music is bland or sometimes just bad, choreography is repetitive, plot is half-baked) - it makes for a very long 90 min
See it if you’re interested in what it means to communicate, to put words into someone else’s mouth on a stage... or you just love that night’s guest!
Don't see it if you dislike experimental theater, have no tolerance for the unpolished, or prefer shows that simply entertain and do not make you think.
See it if you love Aaron Sorkin and accept upfront that it's going to be preachy or you want to engage in two hours of nostalgia for the book.
Don't see it if you can't stand when adults play children or you think it's weak writing when a play doesn't just have a message but *tells* you it has one.
See it if you love any of the actors enough (Radcliffe is lovely) to not mind that the script and its "insights" might leave you luke-warm
Don't see it if you're expecting real insights on the value of / what counts as the truth (if you want to save money, just re-read The Things They Carried)
See it if you’d be tickled by a light-hearted show that pokes as much fun at East Coast theater snobs as it does socially conservative Midwesterners.
Don't see it if you’re expecting the emotional focus of the show to be the teen lesbian characters — they are lovely, but the show’s not really about them.
See it if you're interested in seeing a very promising and already very polished new musical, with strong performances all around.
Don't see it if you have a short attention span (it's doesn't feel long, but it definitely isn't short) or have no interest in historical themes.
See it if you'd value seeing a conversation on-stage unlike anything you've probably heard on-stage before; are seeking unique, nuanced queer stories
Don't see it if you need a play to have slightly more dramatic structure to merit being staged than this play does / are squeamish about frank sexual convos
See it if you don't mind shows that feel dated, and if you can enjoy a show for having good design elements even when the rest of it is lacking
Don't see it if you're expecting a great Armory production that will prove why this show should actually be produced more than it is (it shouldn't)
See it if you've ever visited a retirement community and thought, "well, f*ck" -- also, the shock end of the first act is worth it in and of itself
Don't see it if you dislike dark comedies, slice-of-life plays, and a stage full of characters who are all a little bit selfish (but real, in that way)
See it if you'd like to see three actors absolutely nail what must be very challenging performances, in an innovatively constructed but imperfect play
Don't see it if you need a neat and tidy ending -- this show doesn't quite know how to end itself, but that's fitting, b/c the story it's telling is ongoing
See it if you're looking for an intimate, somewhat untraditional, but also unabridged staging of a classic - the first act is especially strong.
Don't see it if you forgot the unabridged text of the Crucible is borderline slut-shaming and aren't up for that (or if you'll be restless at a 3+ hr show!)
See it if you like theater that portrays real, sometimes unlikable, mostly white people who are feeling stuck in their lives
Don't see it if you don't have patience for a play about a middling middle-aged white man and the women who take too long to realize they're better than him
See it if you're interested in shows about the feeling / fear of being stuck somewhere and how that can eat away at you and turn you into someone else
Don't see it if you are frustrated when a character's motivations aren't spelled out clearly, or if you need your minority characters to be above reproach
See it if you're fond of Irish monologue plays and would like to see a clever take on that genre, focused on the lives of three generations of women
Don't see it if you dislike monologue-based shows: though there are 3 cast members, they mostly orbit around each other in their monologues & don't interact
See it if you're interested in seeing five powerhouse performances of a script that should repulse and frustrate you, but instead challenges you
Don't see it if you are unwilling to sit through Yet Another Play About the White People Obama's America Forgot (this is that, but also this is not that)
See it if you're interested in one of the smartest, sharpest examinations of race currently happening on the American stage.
Don't see it if you're unwilling to engage with issues of race or to be made to feel uncomfortable/awkward by art -- this show is not playing around.
See it if you want to enjoy some wonderful singing and a relatively loyal adaptation of a beloved book
Don't see it if you find insipid lyrics/elementary rhymes distracting—there are some smart lyrics about race happening elsewhere off-Broadway, but not here.
See it if you liked Slave Play and/or are interested in conversations about the bearing history still has on interracial dynamics in modern America.
Don't see it if you’re uncomfortable with onstage nudity/sexual situations/violence, or you disliked the gimmick of Slave Play (they have a LOT in common).
See it if you like stories about stories, and about loss/change/letting go, and don’t mind that it’s currently a bit slow and unpolished
Don't see it if you want slapstick comedy of the variety of Hamill’s previous adaptations, or disagree with a slightly stronger take on Jo/gender than usual
See it if you want an interpretation that digs into the heart of the script to expose a toxic portrayal of masculinity and American expansionism.
Don't see it if you want your classics left alone, where you can pretend Oklahoma! is still the same, saccharine romance you thought it was in high school.
See it if you want a unique theatrical exploration of racism in America & the intersection of the legacy of slavery w/ white guilt & white nationalism
Don't see it if you dislike gimmicks, and you're uncomfortable with frank / provocative / at times purposefully unrealistic talk about the legacy of slavery
See it if you're a writer who finds writing The Most Important Thing & want to watch a show about writers who think writing's The Most Important Thing
Don't see it if you value your time / shows where good actors have good material to work with. If this had had an intermission, I would have left then.
See it if you're interested in a smart, respectful take on BDSM, queerness, & sexuality -- & the ways those can, but also sometimes don't, intersect.
Don't see it if you would be uncomfortable with frank discussions of sexual dynamics and with acted-out depictions even of non-sexualized BDSM.
See it if you want to see Alan Cumming in a role that was basically written for him and you like provocative pieces that leave you lingering over them
Don't see it if you like a playwright's message to be clear to the audience or you dislike onstage nudity (also, note the first few rows are a splash zone!)
See it if you're interested in comic books and superhero themes, or if Bryce Pinkham's voice gives you chills (that solo at the beginning of Act II!)
Don't see it if you expect brilliant songs, or have recently lost someone & are not yet ready for a show about the ways loss can reverberate thru the years
See it if you like realism & plays with slow builds, where no one is necessarily right & it's up to you to decide if you think anyone is wrong.
Don't see it if you only enjoy lighthearted musicals & comedies (though there are moments of lightness & comedy in this!) or dislike plays about addiction.
See it if you like shows that challenge you to keep up (you don't have to have a strong grasp of Irish history, but just know you won't be spoon-fed!)
Don't see it if you're unwilling to tune your ear to Irish accents for a night, you don't have the patience for long plays, you prefer lighthearted plays
See it if you find it cathartic to find some humor in the horror of situations like Parkinson's or if you read the Modern Love column and wanted more.
Don't see it if you would be frustrated by the focus being less on the person with Parkinson's than on the marital dynamic, or if you hate one-person shows.
See it if you’re interested in bold writing and performances tackling the intersection of sex, race, oppression, and desire, even when you don’t agree
Don't see it if you are unwilling to sit through aggressively uncomfortable scenes, are squeamish about nudity/sex on-stage, or need everything to be PC
See it if you appreciate smart, sharp, and funny portrayals of girlhood and growing up without shying away from the hard stuff
Don't see it if the exploration of sexually and racially charged experiences would be triggering instead of validating/healing/thought-provoking for you
See it if you like heartbreaking (but still funny!) realism and are ready for a tour-de-force performance by Elaine May
Don't see it if you would find the process of watching someone's slow, torturous mental decline to be... well, slow and torturous.
See it if you like realism; plays about racial violence/police brutality that are also family dramas; and abrupt endings that don't sugarcoat
Don't see it if you question the dramatic value of plays that are one long, realistic scene; you don't like being emotionally manipulated by "shock" endings