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See it if you like adventurous, distinctly theatrical work that speaks uncannily to the moment we're in without being polemic or apocalyptic.
Don't see it if you're not up for looking at your own discomforts. The play is unapologetic in embracing words and tropes that make some nervous.
See it if you'd like a magical spin on the "reclusive genius" play genre. Some lovely performances and a beautiful physical production.
Don't see it if you're expecting something kid-friendly. This play is more about aging and disillusionment than it is about the world of children's books.
See it if you're interested in tennis and/or gender theory. Best sound design I've heard in a long time, some very impressive staging, and rich ideas.
Don't see it if you'll be bothered by the stylization and bouncing around time and space. And the random clowns. (Why the clowns?) It's a bit overstuffed.
See it if a futuristic spin on religion, gender, procreation and partnership. Irreverently funny and sharply provocative. O'Hara is a singular artist.
Don't see it if you can't let yourself go where O'Hara wants to go. He plays by his own rules, and is distinctive as ever here. Curb your preconceptions.
See it if you want to be challenged by a complex, risky, relevant play performed by a fantastic company in a very compelling production.
Don't see it if you can't listen carefully through three acts. It's not a "thriller" per se, but is structured like one.
See it if you want to see what should've been in this year's Fringe Fest that didn't happen. "Hot Mess" should be "Lukewarm Annoyance."
Don't see it if you're not on a date or don't know anyone involved. It's like an hourlong sitcom pilot that should be a 15-min sketch.
See it if to see the wonderful Nancy Opel lead a show - even if the show is far from worthy of her. She works very hard to elevate the material.
Don't see it if you didn't think I LOVE YOU, YOU'RE PERFECT was brilliant. Goldman's too pleased with her own "character" to be truly honest or insightful.
See it if you'll enjoy a sweeping, dark, highly theatrical pseudo-Dickensian take on a story of love, obsession, co-dependence, and manipulation.
Don't see it if you're impatient. This one takes its time, but rivets if you meet it halfway. The staging and design - lights in particular - are stunning.
See it if you're interested in theatrical depictions of the Holocaust to the extent that you forgive something indulgently written and ineptly staged.
Don't see it if you're looking for professional work. This one is only of note because of its fascinating subject matter and handful of decent performances.
See it if you feel a reductive "Trump supporters are evil murderers!" echo chamber is still productive. One character is unforgivably underwritten.
Don't see it if you want to sincerely grapple with what's going on in this country rather than just congratulate ourselves for being morally superior.
See it if you appreciate nuanced, focused acting in a beautiful, complex play that doesn't offer easy answers. It's heavy, but many moments of humor.
Don't see it if you're not willing to give it 15 min to settle in. Tracking names and timeline is confusing at first, but it's still early in previews.
See it if you want to see a true world-class master artist in a rare intimate venue. Truly unbelievable, thrilling theatrical experience.
Don't see it if you only want a narrative "play". This is something else entirely. No one is required to participate, but the participation is central to it
See it if you want an hour of beautiful, powerful, nuanced, seemingly effortless work from undoubtedly one of the truly great stage actresses we have.
Don't see it if solo plays bug you. The writing itself is smart, but sounds like an essay, not an active theatrical moment from the mouth of this character.
See it if you want smart, provocative, engrossing, new work done by powerful, hilarious actors in an expertly-staged and sharply-designed production.
Don't see it if you hated RASHEEDA SPEAKING; this play has shades of that one, but is grittier and more erratic (in great, realistic ways, in my opinion).
See it if you're a patient theatergoer wanting innately theatrical, risky, flawed but worthwhile work. The production itself is memorable for sure.
Don't see it if you're sitting in the front half and will be irritated constantly turning behind you. Parts are repetitive, but the last scene's worth it.
See it if you're open to a uniquely communal theatrical experience amidst a truly remarkable set - and the best salad-making demonstration in NY.
Don't see it if you'll need to impose a linear narrative on what is closer to immersive clowning than to anything resembling a traditional "one-man show".
See it if you have an affinity for delightful theatre stories, told wonderfully, with a captivating, unexpectedly dark and resonant payoff.
Don't see it if you can't take another object-of-fandom-turned-mentor-turned-cautionary tale solo show. This one is extremely good, but true to its genre.
See it if you've ever taken the subway in NYC and are able to put cynicism aside for 100 minutes for a sometimes cheesy but very sweet, unique show.
Don't see it if you're aware of the amount of gum and grime on the subway platform and will be distracted by a laughably shiny, clean, bright subway set.
See it if you like stories about fandom-turned-personal empowerment. This one is skillfully performed and fun with a passing knowledge of Batman.
Don't see it if introspective autobiographical solo shows aren't your thing. This one is good, but the Batman thread isn't enough to transcend the genre.
See it if you want to be gobsmacked by how relevant this masterwork is right now. The second act is especially chilling through a post-election lens.
Don't see it if you've already OD'd on FIDDLER. The piece speaks powerfully to today, but the production itself, while extremely strong, isn't revelatory.
See it if you're interested in Gorey or a pseudo-bio-play done better and with more originality than most. Terrific use of sound and projections.
Don't see it if you need urgency or perspective on how/why this story speaks to this particular moment. This play would've been very exciting 10 years ago.
See it if you're interested in immersive theatre and want to see some terrific, unique design.
Don't see it if you don't know about immersive theatre, don't know MACBETH, get claustrophobic, don't want to be on your feet in a mask, or want narrative.
See it if you want a Broadway musical with size, imagination, and power. Despite its flaws, the show simply works and is always genuinely exciting.
Don't see it if you've already decided you shouldn't like it or are expecting brilliant, revelatory writing.
See it if you haven't seen it yet, or haven't seen it in a while. It's as impressively relevant as ever and the piece and production are still sharp.
Don't see it if someone like Wendy Williams or the like is in it. No offense to Williams, but CHICAGO is best as a showcase for legitimate Broadway talent
See it if you enjoy a fun, harmless, self-aware Big Broadway Musical with some terrific performers.
Don't see it if you didn't like (or have had your fill of) SPAMALOT, THE PRODUCERS, or even URINETOWN, TITLE OF SHOW, THE MUSICAL OF MUSICALS, etc.
See it if for a vital, complex mother-daughter relationship at the center of issues that too often aren't depicted with such specificity or respect.
Don't see it if you'll be stuck in your head picking apart the production itself. This one is bigger than that. This one is an essential lesson in humility.
See it if you're interested in the source material or have a personal connection to the production.
Don't see it if you'll be bothered by a wildly uneven cast, comical fight choreography, and a physical production that's trying too hard.
See it if you're interested in Malcom X and want to see powerful acting and some terrific staging.
Don't see it if you're tired of stylized courtroom dramas or audience sitting onstage for no clear reason. The play's dense enough without that distraction.
See it if to see a really terrific, sharp solo performance in a funny, timely, and surprisingly thoughtful play about how we define cultural progress.
Don't see it if you'll be turned off by a character who may first come off on the obnoxious side - though this might be the play's ultimate point.
See it if you want a very ernest production of a play that will challenge your assumptions about its characters. Terrific central performance.
Don't see it if you'll be distracted by flaws in the play and the production; imperfect, but more effective than much of the more polished work out there.
See it if you like physical comedy, and/or are interested in laughter theory, and/or are an open-minded theatergoer.
Don't see it if you're looking for something traditional with a plot. This is a unique evening in the theatre.
See it if you can stomach looking into a mirror held up to the horrors we live amidst - those we participate in and those we chose to be ignorant of.
Don't see it if you can't handle realistic violence and (loud) sensory manipulation. In Grand Guignol fashion, 1984 makes Martin McDonagh's work seem tame.
See it if you want a funny, bold, startlingly universal story of identity and family. Beautiful performances in one of Canada's most successful plays.
Don't see it if mostly realism with occasional moments of broad comedy isn't your thing. This one isn't apologetic in its humor, breaking at times in tone.
See it if the energy of Brooklyn in 1960 interests you. Terrific performances and smart staging aren't enough to focus this play in, though.
Don't see it if This play contains a handful of great stories and characters that are underserved by having to exist in the same play. It's overstuffed.
See it if you love the movie but aren't a purist - this is different. Beautiful costumes, staging, set, lights, and music. Some great performances.
Don't see it if you want historical accuracy or much depth. The villain figure is strangely weak and the overall story is a little too smoothed over.
See it if you like intimate plays that wrestle with the complexities of how our baggage affects how we move through the world. Beautifully performed.
Don't see it if you can't forgive imperfect dramaturgy or a missed opportunity to use the space in a more focused way. Still, a worthwhile 80 minutes!
See it if you love music and wonderfully nuanced, relevant stories. Smart new libretto, beautifully performed by all. A treat to see opera Off-Bway.
Don't see it if you're sitting far house left. Those seats face the (fabulous) musicians, and the constant right turn to the action is bad on the neck/back.
See it if you love Arthur Miller and can forgive a tepid movie star performance and enjoy the writing and the terrific Jessica Hecht and Danny DeVito.
Don't see it if you'll be bothered by a needlessly self-aware set or the sense that Ruffalo isn't quite up to par. The play creaks a bit in this context.
See it if you want catchy pseudo-pop musical theatre songs and some terrific performances (Nathan Lee Graham!) in busy but fun and flashy production.
Don't see it if you want to go deep. The overall idea is great, but the book needs help; it's a little too earnest to be as insightful as it thinks it is.
See it if you're interested in the universal experience of neurosis and isolation through a young gay NY Jew lens. Gideon Glick is wonderful!
Don't see it if an unnecessarily busy set and lighting design will distract from the subtle story, or an unresolved protagonist will leave you unsatisfied.
See it if you enjoy the lovely City Center bar first and are fascinated by ill-conceived vanity productions.
Don't see it if you'll be bothered by an out-of-touch, poorly-constructed script, uninspired, sloppy staging, and puzzlingly uncharismatic title character.
See it if you've never seen CATS and will appreciate the point of reference regardless of taste, or already love CATS and know what you're in for.
Don't see it if you want the immersive, innovative Winter Garden experience. This feels like a touring production, not an eventful return to Broadway.
See it if you have a taste for very black comedy, superlative acting, and penetrating writing about the destructive nature of stagnation.
Don't see it if you don't want to listen very carefully. This one requires full attention.
See it if you want to see terrific actors in a gorgeously-designed delve into greed, entitlement, and privilege. The play feels timely post-election.
Don't see it if you're unable to not see this through the lens of a previous production. This one is more intellectual than primal, which slows it notably.
See it if you're interested in Jonathan Larson. This is fascinating and contains bits of evidence of his legitimately huge but underdeveloped talent.
Don't see it if you're sensitive to anything in the vicinity of cloying - Larson was nothing if not ernest - or curiously unfortunate sound design.
See it if you need a genuine laugh these days. These guys deliver. Surprisingly poignant too.
Don't see it if you have no idea whatsoever what it's like to live in New York.
See it if you like a solid-if-predictable American family drama and appreciate terrific acting and staging.
Don't see it if you want something new or revelatory. This is is very well done, but at the end of the day, it's AUGUST: OSAGE LITE.
See it if you want to laugh and be surprisingly provoked by a rare Broadway musical that lives up to its hype.
Don't see it if you're easily offended.
See it if you want to be transported and moved by a Broadway musical, or want to see a truly singular star performer at the top of her game.
Don't see it if you're unable to check your cynicism for a few hours.
See it if you have an appreciation of drag and want to be surprised by Bunny's bold insight and strong point of view.
Don't see it if you don't already have hearing loss. There is a line between being true to the environment and being simply alienating beyond justification.