See it if you'll be entertained by a very good, very classic production of Little Shop. The actors are all giving exactly what you want to see.
Don't see it if you'll be put off by Blanchard as Audrey trying to do something a bit different and grittier than Ellen Greene's nasal simper.
See it if you're familiar with this beautiful, bizarre work of theater and want to see a production that makes it make sense. Brilliant ensemble work.
Don't see it if you need questions answered and metaphors that can be neatly unpacked, or dislike feminist or avant garde theater.
See it if you want an in-your-face discussion of race, and the dynamics of race in sexual-romantic relationships. The best-written play I've seen.
Don't see it if you'll be uncomfortable watching frank depictions of kinky sex, play-acted and real racial dynamics, and sex that is ambiguously consensual.
See it if you have a high tolerance for a truly raunchy show and want an immensely funny and fun spectacle.
Don't see it if you'll be offended by some off-color jokes that haven't aged well. The young main actress is also giving a badly affected performance.
See it if you want to see Audra and Michael Shannon's surprising chemistry skate over some hilarious, if dated, material.
Don't see it if you'll be put off by nudity or sex (like the woman next to me), or are looking for much more than a very charming odd couple rom-com.
See it if you'll appreciate a night of almost surprisingly polished entertainment devoted to Cher and her long career.
Don't see it if you dislike overtly campy shows, or simply can't do jukebox musicals (even one that gets the form exactly right, as this one does).
See it if you're a fan of a very classically constructed "buried family secrets" plot set in a period/conflict you likely don't know much about.
Don't see it if you'll be bothered when all of the emotional stakes come to a head, beautifully, in the last thirty seconds of the play.
See it if you'd like to see a fast-paced, high-energy production of this classic, even though some actors and moments miss the mark.
Don't see it if you'll be bothered by a production that starts with the energy levels at a ten and never really budges from there.
See it if you want to see Huppert in a characteristically committed, forceful performance, even if the tone she strikes might not help a flawed work.
Don't see it if you'll be disappointed by a play that employs a lot of postmodern storytelling gimmickry to say nothing new.
See it if you're a Sondheim superfan, or enjoy Fiasco's style of virtuosic, stripped down reinterpretations. They're good at what they do.
Don't see it if you're a casual musical theater fan looking for a creative plot. Everything Sondheim does here, he did better elsewhere.
See it if you want to see one of Heather Raffo's characteristically radiant performances and writing, and don't mind the rest being a bit messy.
Don't see it if you don't like realistic characters in a highly melodramatic plot, or want resolution to the (too many) ideas a play presents.
See it if you want one of Kathryn Hunter's typical tour-de-force performances, or will enjoy a satire skewering power.
Don't see it if you're hoping for something that speaks directly to our political moment. The production seems to want to, but isn't particularly effective.
See it if you like talented actors try to make the most of an interesting premise, and want decent laughs. Gay audiences will get the most from it.
Don't see it if you don't like seeing unlikeable people wrestle over the surface of interesting problems, or can't deal with some fairly cliche writing.
See it if you want to see Bernadette, or a fine production of a Golden Age romp.
Don't see it if you don't intrinsically love Golden Age Broadway, will be disappointed by Bernadette not at her best, or can't handle fairly dated material.
See it if you like Guirgis's brand of hyper-verbal humor carried by big characters, and don't need a payoff at the end.
Don't see it if you won't like a hilariously vulgar play mostly uninterested in plot with a pretty bleak view of people.
See it if you're fine with okay material carried by some excellent performances, particularly Rylance. His Phillippe is worth the price of admission.
Don't see it if you're bothered by plays that don't quite seem to know what they're saying, or need strong payoff in a story.
See it if you'd be into an (undeniably funny) Steve Martin sex farce making a so-so attempt at being something more profound, or want to see Schumer.
Don't see it if you don't like absurdism and a lack of narrative, or have a thing against shows that wouldn't exist if not for the names involved.
See it if you're prepared for a rather manic, sharp monologue hitting all over the map of the expectations and contradictions of modern gay life.
Don't see it if you can't deal with an unapologetically campy, "queeny" guy, or need the issues a play raises to be really drilled into to be satisfied.
See it if you're open to a play that starts as an exploration of the prison system and ends up meditating on divine justice and redemption.
Don't see it if you don't want to see criminals (even heinous ones) humanized, or have little patience for complicated conversations about religion.
See it if you'd like to see a slow-burn drama about a complicated romance, with solid performances by Owen and especially Jin Ha.
Don't see it if you don't have a bit of patience, or were expecting something more groundbreaking from Taymor's direction and staging.
See it if you like a mix of domestic drama and historical weight, or if you want to watch characters struggle to grow as people.
Don't see it if you can't with so-so Southern accents, slightly meandering writing, or fairly conventional (but still effective) staging.
See it if You want to see Janney and Hawkins giving you full, fascinating performances as people trying to make the most of their lives.
Don't see it if You can't with deeply drawn characters set next to paper-thin ones, or some "idea play!!!" monologues that hit you over the head.
See it if You've got patience for a slow-burn and want to see Dianne Wiest give a masterful character study.
Don't see it if You need a driving action, or don't like plays designed to make you meditate rather than handing you catharsis.
See it if You appreciate the history of the show and its creator, and you want to see funny and energetic performances from Salazar and Renée.
Don't see it if You don't know anything about Larson, or need a show driven by action rather than angst/emotions/possibilities.
See it if You like fast, realistic dialogue but slow, satisfying stories with deeply-drawn characters.
Don't see it if You don't have a bit of patience, or like shows with conventional plotting driven by action.
See it if you're interested in a satisfying adaptation of the Orpheus myth that changes things up just enough to draw you in.
Don't see it if you'll dislike characters who are large, interesting archetypes rather than deep and real, or want music to tap your foot to.
See it if you want to have your priors challenged by sympathetic, thinking, passionate conservatives arguing amongst themselves about their views.
Don't see it if you must see yourself represented onstage, or want plot. This is an ideas play driven though some mostly sympathetic, interesting characters
See it if you want to see a (mostly) well-done update of the classic movie, and generally are in for a lighthearted evening.
Don't see it if you'll be put off when the original sexist premise peeks through, or want female characters with inner life. Dialogue gets a bit cliche.
See it if you'll enjoy a deeply self-aware, slightly zany comedy about high school that manages to both fulfill and parody high school story tropes.
Don't see it if you won't like tongue-in-cheek comedy that sometimes goes over the top. Some of the characters (especially *sigh* female) are fairly thin.
See it if you're willing to have your conception of this musical turned on its head, and have patience for some edgy theatermaking and darker themes.
Don't see it if you'll be disturbed by having sexual undertones made into overtones, or a rather violent restaging of a key moment in the show.
See it if you're willing to be challenged by an unconventional theatrical experience that keeps turning itself on its head.
Don't see it if frank discussions of race seem unnecessary to you, and you don't want to be made viscerally uncomfortable.
See it if you want a lighthearted, high-energy story carried by committed performers. Especially winsome turns by Beth Leavel and Caitlin Kinnunen.
Don't see it if you'll be bothered when the bad premise, cliche humor, and generally mediocre writing cut through despite the cast's best efforts
See it if you want to see a nuanced, moving portrayal of the mad king by Glenda Jackson, backed up by a few other solid performances.
Don't see it if you'll be bothered by a production that's at least a half-hour too long, with a few meh performances that don't rise to Jackson's level.
See it if you'll enjoy a one-woman tour de force that eases you into the life of a damaged woman, all while remaining truly hilarious. She's a genius.
Don't see it if you're easily offput by extremely frank sexual comedy, or are only looking for a lighthearted evening. By the end, this piece goes dark.
See it if you'd enjoy a story about star-crossed love and a clash of cultures, with an innovative staging-in-the-round, and a gorgeous memorable score
Don't see it if you dislike immersive theater, uplifting endings, or joy.
See it if you're interested in a fascinating story set in a particular culture that nevertheless uses a diverse cast well, and an ensemble inventively
Don't see it if you need big stories, don't have patience for a bit of a slow burn, or dislike shows with extensive ensemble participation.
See it if you want an energetic, over-the-top, unexpectedly smart take on the Spongebob universe. While somewhat forgettable, the songs are pure joy.
Don't see it if you don't already know (or have kids who know) the characters, or don't want to pay for a show operating at the level of a cartoon.
See it if you have patience for a musical that doesn't want to be a musical, with lovely actors telling a story unexpected on a Broadway stage.
Don't see it if you're expecting belting, 5 o'clock numbers and have no patience for accents.
See it if you want to see Nathan Lane at his best, or want to see a fully-produced edition of this American epic masterpiece.
Don't see it if a "shouty" performance by Garfield will bother you, or if you don't have patience for Kushner's jumbled mix of metaphors, speeches and image
See it if you'd like to see masterful performances from Jackson and Metcalf, plumbing the depths of a complicated life.
Don't see it if You won't be compelled by a bizarre but interesting character study, or need strict realism or obvious driving action to sustain interest.
See it if you want to try (& mostly fail) to explore relevant themes in a ham-fisted political thriller plot, with a few moments of genuine intrigue.
Don't see it if you have no patience for talented performers (particularly Blair Brown) being hampered by clunky, shallow dialogue and plotting.
See it if you want a spectacle with a mostly-excellent core cast singing their hearts out that touches (but doesn't quite hit) interesting themes.
Don't see it if you can't tolerate clunky dialogue/lyrics, wildly dated orientalism & jingoism, unoriginal plotting...the show itself has major problems.
See it if you want to see Christine and especially Patti chewing scenery and doing their damnedest to give these women life.
Don't see it if you'll be bothered by a score that all blends together and a paper-thin plot spread over interesting characters.
See it if you are interested in some of the timeless aspects of father-son relationships and have the patience for well-delivered 70 minute monologues
Don't see it if you have particular interest in Kafka beyond the Letter to His Father or have a hard time maintaining focus through long monologue
See it if You're interested in seeing a resonant piece of gay theater history revived, with a stellar cast and surprisingly current struggles.
Don't see it if You're not a fan of "quippy" writing or structure that feels a bit dated.
See it if You want to laugh hard and like well-done modernizations of classic material. You want to see Urie give a tour-de-force of energy.
Don't see it if You can't handle somewhat over-the-top physical humor and farce. You're looking for a more direct commentary on our political moment.
See it if You want to see career-defining performances by Ben Platt and Rachel Bay Jones, and can relate to young adult characters.
Don't see it if You need a brilliant story and sharply-drawn characters, or are bothered by a somewhat blithe (but still sensitive) treatment of suicide.
See it if You're okay with overdramatic scripts carried by great actors
Don't see it if You're expecting a philosophical play of ideas about the place of marriage in gay life, or you're bothered by emotionally manipulative plots
See it if You're a queer man, or know queer men, and are baffled by the hoops this community puts itself through.
Don't see it if You like your shows to be exceptionally polished, know nothing about modern young gay life. Knowing Cyrano de Bergerac is helpful.