Emlyn Travis — Theater Critic

While its main conflict may resolve itself a bit too easily in the end — not unlike its source material — Once Upon a One More Time is a youthful, exuberant take on beloved tales that's more dazzling and polished than Cinderella's glass slipper. Expect to keep on dancin' long after the musical ends. Grade: B+

Although its overall message may be clouded amid the hazy supernatural storyline, Grey House is a bold, original, and unapologetically eerie play that will continue to haunt theatergoers long after they've left the theater. Those who are drawn to its call should definitely pay Grey House a visit — they've been expecting you. Grade: B

More than 60 years after its original Broadway debut, Camelot's overarching message of trying to make the world a better place — even if one should fail along the way — still feels as fresh and resonant as ever. Reinvigorated by Sorkin — who has long painted a dreamy, egalitarian view of politics within his works — and his new book, the musical succeeds in evoking that dream for one brief, shining moment once again.

When onstage together, Ashford and Groban are a force to be reckoned with as they bring the painfully one-sided relationship between their characters to life. Ashford, who often adopts a starry-eyed look whenever Groban is near, is sweet and accepting of all of Todd's glaring red flags — at one point remarking to her murderous partner, 'Surely one's enough for the day, dear?' — while Groban's Todd utilizes her affections for his own violent ends. At times throughout the performance, it almost appeared as if Ashford was gleefully trying to goad Groban into dropping Todd's deadpan demeanor with her outlandish antics. She appeared to succeed once throughout the night — getting Groban to crack a full-bodied laugh during their phenomenal performance of 'A Little Priest' — but by then she was equally laughing too, so the pair simply took a beat before proceeding with their cannibalistic crooning.

When onstage together, Ashford and Groban are a force to be reckoned with as they bring the painfully one-sided relationship between their characters to life. Ashford, who often adopts a starry-eyed look whenever Groban is near, is sweet and accepting of all of Todd's glaring red flags — at one point remarking to her murderous partner, 'Surely one's enough for the day, dear?' — while Groban's Todd utilizes her affections for his own violent ends. At times throughout the performance, it almost appeared as if Ashford was gleefully trying to goad Groban into dropping Todd's deadpan demeanor with her outlandish antics. She appeared to succeed once throughout the night — getting Groban to crack a full-bodied laugh during their phenomenal performance of 'A Little Priest' — but by then she was equally laughing too, so the pair simply took a beat before proceeding with their cannibalistic crooning.

When onstage together, Ashford and Groban are a force to be reckoned with as they bring the painfully one-sided relationship between their characters to life. Ashford, who often adopts a starry-eyed look whenever Groban is near, is sweet and accepting of all of Todd's glaring red flags — at one point remarking to her murderous partner, 'Surely one's enough for the day, dear?' — while Groban's Todd utilizes her affections for his own violent ends. At times throughout the performance, it almost appeared as if Ashford was gleefully trying to goad Groban into dropping Todd's deadpan demeanor with her outlandish antics. She appeared to succeed once throughout the night — getting Groban to crack a full-bodied laugh during their phenomenal performance of 'A Little Priest' — but by then she was equally laughing too, so the pair simply took a beat before proceeding with their cannibalistic crooning.

Herein lies Bad Cinderella's biggest problem: like its protagonists, it doesn't know what it wants to be. At times, it's an ominous cautionary tale of how the beauty industry — led by the Fairy Godmother (Christina Acosta Robinson), who excitedly waves a syringe instead of a wand — preys on insecurities and coerces others to conform to its unrealistic standards. At others, it's a critique on how fairytale endings don't actually exist, only for the show to culminate in its own highly dramatic happily ever after. And, at its best, it's a hilariously campy romp that doesn't take itself seriously in the slightest.

The same monument is projected across the brick wall behind the stage when audiences step into the Bernard B. Jacobs Theatre each night to see Parade, Alfred Uhry and Jason Robert Brown's Tony award-winning musical that dramatizes Frank's trial and how government officials and local media played a role in his death. Following a celebrated sold-out string of performances at the New York City Center in November, the show is returning to Broadway once again for the first time since its original 1998 run in a phenomenal production that feels more poignant and powerful than ever.