Frank Rizzo

'Wrong' isn't interested in the relationship between its characters and the ones they portray in the play-within-a-play. It's more lowbrow, interested in the gag and shameless in how it gets it: sometimes incredibly inventively, but sometimes going for the low-hanging fruit. (A special nod goes to sound designer Andrew Johnson who created the various bonks, splats, and crashes.)...It's clear from the beginning - even before the beginning with its pre-show shtick - that wrong will be just right. But it takes a while before the laughs come at full speed.

Subways are for singing, at least in the world of 'In Transit,' the charming a cappella musical of metropolitan life that's rapturously harmonious, even when the times aren't. The likable, lightweight tuner, which had a run in 2010 at 59E59 - and an even earlier version as 'Along the Way' at 2003's New York Fringe Festival - evokes musicals and revues that celebrate the buzz of being young, hopeful and ever-striving in New York. Okay, so the storylines go back to the days when you still used tokens. But what gives 'In Transit' its new swipe is what's not there - the orchestra - and what is - glorious, pitch-perfect voices, set to Deke Sharon's rich and expressive arrangements.

Choreographer Denis Jones is the star player of the production, keeping things playful by finding dance opportunities with wheelbarrows, firecrackers and Christmas garlands - and nearly stopping the show with the exuberant 'Shaking the Blues Away,' which evokes the best of MGM musicals. Terrific also are Alejo Vietti's costumes and fab Easter hats, which embrace '40s swank, showbiz glitz and stylish down-on-the-farm casual. (It's Connecticut, after all.)

With 'Matilda' exiting Broadway in January, there's a new singing pre-teen hoping to generate the same family-audience appeal. But whether Winnie Foster, the main character in the new musical adaptation of 'Tuck Everlasting,' can connect with all-ages theatergoers will depend on their inclination for sentiment, moralistic storytelling and a show that's nothing if not sincere. Those who lean that way will be attracted to the tuneful folk-meets-Broadway score, to the solid performances and to the gentle Americana fable with life lessons intimately told. The show's warmhearted tale and handsome production values also bode well for a family-centric market, especially on the road. But more jaded theatergoers will likely find the proceedings not so much timeless as time-consuming -- a production rooted in the twee of life.

Tevye is a mensch. In director Bartlett Sher's thoughtful but uneven revival of the enduring, endearing musical 'Fiddler on the Roof,' Danny Burstein - a longtime Broadway veteran stepping at last into a starring role as comfortably as a favorite slipper - brings charm, decency and depth of feeling to the role of a Jewish dairyman living in a shtetl in pre-Revolution Russia with his wife, Golde, and their five daughters. Some may take exception to some of Sher's tinkering with the template of the beloved title, but few will find fault in Burstein's gentle, lovable man of faith, family and community. What's not to like? The personal intimacy of Tevye's casual conversations with God, not to mention the easy rapport Burstein has with the audience, only intensifies the humor and humanity of the classic material, and should prove an attractive draw for both first-timers and returning fans of the show.

Memory floats on a giant plane of regret in American Repertory Theater's epic and intimate production of 'The Glass Menagerie,' trapped forever between a shimmering black sea and an endless void that even an infinite fire escape can't reach. Tennessee Williams' world of poetry and prose is presented gracefully, even wondrously, in this distinctive production - helmed by John Tiffany ('Once') and starring Cherry Jones and Zachary Quinto - that no doubt will have Gotham's gentlemen and women coming to call, even if sometimes it's just awkward and disconnected.