Dave Quinn

But Goldberg, with her perfect timing, takes things up a notch and finds new moments for Miss Hannigan to steal focus. She moves from the character's many mood swings — bitter, batty, sweet, sarcastic, flirty, funny — with ease, so quickly sometimes that the pivot induces its own laughs. And in Annie's climax, delivers one of the biggest comedic moments in the show with an off-handed remark to Mark Woodard's FDR.

The saying 'You've never seen anything like this before' is often overused in reviews. But when it comes to A Strange Loop, the shattering, electrifying debut musical from Michael R. Jackson that opened Tuesday at New York's Lyceum Theatre, the phrase would be an understatement.

If only the play gave Messing time to settle, we might have been allowed to experience more of the actress' range. The action moves so fast that emotional moments pop up out of nowhere, and Ernestine's responses ring hollow. When she's betrayed by her husband, the bell tolls to the next year before the audience has had enough time to grasp onto what just happened to our heroine and how she feels. Still, judging by the sniffs in the audience by the play's conclusion, it's clear Birthday Candles landed with some. Personally, I was more upset about the cake's fate than Ernestine's.

More than just an illumination onto incredible acting, these final scenes end Torch Song on a bittersweet note that helps ground this dramedy in reality. Arnold, smartly, isn't perfect - 'You cheated me out of your life and then blamed me for not being there,' Ruehl's character says at one point, exposing her son's biggest flaw in all of his relationships - but as the play ends, he's found peace in his journey by maintaining a hope that everything will be alright. And it's hard not to feel the same way about life when leaving the theater. A-

Broadway's got a bright new star, and her name is 'Anastasia.' The 1997 beloved animated movie has been transformed into a magical new stage musical, now open at the Broadhurst Theatre, with a much-improved book by Terrence McNally, added songs from the film's composers Stephen Flaherty and Lynn Ahrens, and a star-making performance by actress Christy Altomare. Fans of the original 20th Century Fox flick (who call themselves 'Fanastasias') will surely be satisfied with the offering, while those who skipped the cartoon should realize this isn't the fairy tale fluff they might have initially assumed it to be.

With a company of seven actors rising from the ashes of history to tell the story of those lost before them, a literal stream of gray ash pouring from their sleeves as they move around the stage. Frankly, I would have been crying too like many of those around me, but I was holding my breath instead - stunned by the sheer beauty and sadness of it all. Director Rebecca Taichman...has many more gems like that throughout her beautiful and arresting staging...It would be hard to find a weak link among the cast...Playing a handful of roles each, you'll marvel as they lose and gain costume pieces, accents and mannerisms to bring the many voices involved in this play's past to life. A standout is the graceful Katrina Lenk...The 'Once' alum will break your heart with her fragility and passion, especially as the show reaches its tragic end.

In the end, 'Oslo' may not give many answers - but it instead stresses the importance of communication across the aisle, even if the results don't lead to what one might desire. Living in today's divisive political climate, it hard not to feel inspired by that.

Nostalgia, when used properly in a new musical, can feel like a warm hug and a slap in the face at the same time. It can simultaneously remind you the best things about a time period, while waking you up to how much the world has or hasn't changed since. Think 'Hairspray,' 'The Color Purple' or even 'Ragtime.' But when done poorly, the trend can come off tired and cliché. Like a bad cover of a great song on a reality singing competition, it can feel like a watered-down version of what once was - and make you question the purpose of the story as a whole.

The laughs rarely slow down in the pitch-perfect show either. Built for an audience of 'comedy nerd and theater dorks,' its laughs will resonate strongly with New Yorkers and Steely Dan fans alike.

'A Delicate Balance' proves to be the perfect vehicle for Close...On the surface, Agnes seems like an easy role to play -- a cold, emotionless monster who always appears to be in control. But Close paints a much more complex portrait. Her Agnes is a woman carrying layers of sadness and loss under that strength; A woman who allows herself to breathe through humor and love. It's a transfixing performance. Understated, yet the glue that holds everyone together. And Albee's words -- often presented in long, compound, poignant paragraphs -- will sound like pure poetry coming out of Close's mouth...Lithgow never lets us think that Tobias is a fool. He's just walked away from the battlefield. And when Tobias eventually returns to the fight in a pivotal scene in the play's third act, Lithgow leaves him raw, exposed and completely defenseless. MacKinnon, who won a Tony for directing the 2012 revival of Albee's 'Who's Afraid of Virginia Woolf,' guides these greats through the author's lengthy literature wisely, striking her own delicate balance between pacing and performance.

Those who saw the original 1997 Broadway production might see Condon's 'Side Show' as more of a reworking than a revival...Many of the changes work, especially new numbers like 'Ready to Play' and 'Stuck With You,' which present Violet and Daisy at their vaudeville-best...But there are problems...What remains constant in both productions of 'Side Show,' though, are the near flawless performances by its two leading ladies. Davie and Padgett, like Emily Skinner and Alice Ripley before them, are masterful here. Each colors her twin with a distinguishable personality, yet gracefully moves together as a single unit...They sound great, too, with bright, bold vibratos on display in perfect harmony...There's not a weak link among our ensemble...They do an excellent job at establishing the community among society's outcasts...Still, there's something amiss in this new 'Side Show.' It could be the polish of Condon's direction, which can leave you feeling empty. Or the production design itself, which appears far more grand and cinematic than the story can support. The danger never feels dangerous enough. The challenges, never that hard to overcome.

There are some topics you just shouldn't discuss at a dinner party. Religion, race, politics -- it's probably good to avoid these controversial matters altogether, and focus on more agreeable subjects. Like the weather. Perhaps if the two couples in 'Disgraced' would have taken that advice, they would have avoided a whole lot of trouble and pain. Then again, if the Pulitzer Prize-winning play by Ayad Akhtar, now open at the Lyceum Theatre, stayed away from such discourse, we wouldn't have been treated to one of the season's most engaging nights of theater...It's easily the most impassioned dinner scenes on Broadway since 'August: Osage County,' and one that playwright Akhtar crafts beautifully. His dialogue is intelligent and superb -- his characters so complex yet well-defined -- that you'll travel along the ride of emotions and ideas not knowing where you're going next. And like any good roller coaster, the final drop will leave your heart in the pit of your stomach.

Living in New York City, day in and day out, it's easy to forget the fun of experiencing it all for the first time. The wonder of looking up at the skyscrapers from the streets below. The excitement of being among the diversity of its residents. It's the sort of childlike discovery that makes even a crowded subway seem like a magical place. That unmitigated glee is alive and well at the Lyric Theatre, where the Broadway revival of the they-don't-make-'em-like-they-used-to musical 'On the Town' is now open. Tony-winning director John Rando ('Urinetown') has embraced the classic tale...and staged a joyous production that'll make you want to fall in love with the city -- and musical theater -- all over again.

Times, they have a-changed. And suddenly the sexual aggressiveness of the 1998 'Cabaret' seems tame. To put it another way: imagine watching Britney Spears' 'Baby One More Time' video for the first time today. Would you be as outraged by Spears' sexy schoolgirl look having seen Miley Cyrus swing around naked on a wrecking ball? Just because this 'Cabaret' doesn't carry the same shock value as it once did doesn't mean we should strip this production of its worth...Cumming's Emcee is mischievous and funny as ever. But age has allowed Cumming to mature his character in ways we haven't seen before. His Emcee is more in command now, and when he peers in on the action from the shallows, it feels less observant and more foreboding. Like he knows the inevitability of what's ahead...And then there's Michelle Williams' stunning and heartbreaking portrayal of nightclub singer Sally Bowles...It took me a bit to notice the nuance and layers the three-time Oscar nominee has built into Sally...Williams' voice is lush, for example, but she adds shaky moments to show us that Sally's internal insecurities. Throughout, Williams gives us these little crumbs of what becomes a tragic, beautiful character.

If you've ever had an elderly relative and been faced with the decision of whether to begin elder care, then you may find yourself connecting with 'The Velocity of Autumn,' the funny, touching new play by Eric Coble now open at the Booth Theatre. Directed by Molly Smith, the dark comedy explores the question of independence, familial obligation and the emotions one experiences when entering life's final chapter...It's a haunting reality, and one Parsons guides us through in a nuanced, skillful performance. She lets Alexandra be brash and ballsy, while still giving her moments of internal doubt and fear. Alexandra's mind might be foggy, but her tongue never numbs, and Parsons leads that attack with alacrity. You'll find yourself rooting for Alexandra, sympathizing with her even if the logical part of your brain knows her future is unavoidable.

Those expecting to see Sutton Foster belting and tap-dancing her way through her latest Broadway leading-role should be warned: the 39-year-old actress, who won Tonys for her turns in Thoroughly Modern Millie and Anything Goes, provides a restrained, intricate performance in Violet, the Jeanine Tesori-Brian Crawley musical now open at the American Airlines Theatre...It's hard to believe Violet was Testori's first musical, as her score is rich with complex melodies and delicate themes. A blend of country, gospel, blues and bluegrass, Tesori's music pay tribute to the best of the American roots. Crawley's lyrics are pure poetry, utilizing the plain-spoken language of the time to create beautiful illustrations of the difference between perception and reality...For Broadway, book writer Crawley has cut Violet from a two-act play into a one-act. At nearly two hours without intermission, Foster never leaves the stage. This is Violet's story, and Violet wouldn't dare let anyone else tell it. Which is good, because you'll fall in love with Foster so wholeheartedly, you won't want her to leave anytime soon.

Audiences unfamiliar with Moss Hart's legacy may have a hard time understanding his importance after watching James Lapine's flat adaptation of 'Act One' that just opened at Lincoln Center's Vivian Beaumont Theater. Instead of an inspiring account of talent and tenacity, Lapine's 'Act One' is a bland story that fails to put Hart's life into perspective...Lapine, who both wrote and directed 'Act One,' constructs the story of the show in a linear fashion, narrated by an older version of Hart (Tony Shalhoub, 'Golden Boy,' in one of three roles he plays) and a twentysomething version of Hart (Santino Fontana, 'Cinderella'). The problem with that device is that our narrators often tell us more about our character's emotions than we get to see and feel.

Audiences looking for their Menzel-fix in 'If/Then' won't be disappointed; she spends almost all of the two and a half-hour show onstage. But the show's muddled plot might leave you wondering what the new musical, from the creators of 'Next to Normal,' is trying to say...rian Yorkey's ambitious-but-complicated book could use some major streamlining (especially one out-of-nowhere plane crash). His lyrics often read like they're pulled from chapters in a self-help book, and his need to run through plot prevents his characters from having moments of true discovery and growth.

Don't be fooled by the title of Disney's latest film-to-stage transfer. 'Aladdin' may be named after its lead street urchin character, but the musical comedy that just opened at the New Amsterdam Theatre is all about one character: the Genie. That's due to the casting of the energetic James Monroe Iglehart, who all but erases the memory of Robin Williams, the voice of the Genie in the 1992 animated film. It's rare that you see an actor playing a character he was born to play in a career-defining performance. Iglehart, last seen on Broadway in 'Memphis,' uses his background in improv to create a comedic and charismatic Genie, who's equal parts Fats Waller, Luther Vandross and Oprah Winfrey ('You get a wish! You get a wish!'). Iglehart is so outstanding as Genie that his take on 'Friend Like Me' stopped the performance I attended with thunderous applause and a standing ovation. It's the number you'll leave the theater talking about.