Jessica Shaw

Lithgow and Metcalf, both Emmy-winning veterans of network sitcoms, know every comedic beat to hit. (The set designed by Chloe Lamford and lighting by Hugh Vanstone reminded me of watching politics unfold on TV, something we've all become all-too-accustomed to in the last several years.) But it is Metcalf, who seems to have become the exceptional director Joe Mantello's muse of late (she earned a Tony for their previous collaboration in Three Tall Women and they've announced their next collaboration will be Who's Afraid of Virginia Woolf?) who elevates this production with devastating take-downs of her her husband like, 'You know given the chance I will eclipse you.' Regardless of where you fall on the political spectrum, the repercussions of that line, 11 years later, will knock the wind out of you.

Sadly, you never quite believe over the course of the misguided musical version of Doctor Zhivago that there's any great romance -- much less a spark of attraction -- between the poet-physician Yurii Zhivago (Tam Mutu) and his alleged paramour, the idealistic nurse Lara (Kelli Barrett). Mutu...is smoldering and strong, but as with any functional relationship, needs someone his equal. While Barrett's singing voice is undeniably beautiful, she seems to believe every line out of a Russian love story deserves overwrought delivery...Two-time Tony-winning director Des McAnuff...doesn't do the show any favors with dull staging, overuse of projections...and far too many deafeningly-loud explosives through battle scenes...While we're on the subject of auditory unfortunateness, Lucy Simon's score and Michael Korie and Amy Powers' lyrics are haunting at their finest (and admittedly, rarest) moments and just plain boring at their worst.

The moments of pixie-dusted perfection come from Paulus' mind-especially one visually breathtaking moment of swirling, sparkled sadness. When my seven year-old companion (yes, families-this one's kid-friendly) asked upon leaving the matinee, 'Can we go back tonight?' I thought of one of Sylvia's lines: 'You know children. They don't mince their words.' B+

Billy Crystal loves to command a stage. In a laugh-out-loud - if quite long - revival of his 2004 one-man, autobiographical show 700 Sundays, you can practically hear his heart soaring as he recounts wacky and sentimental stories about his childhood...Many of the stories are riveting (I could hear a whole show about Billie Holiday, a pal of Billy's father, taking a young Billy to see his first movie, Shane). Others drag on for too long (Crystal looooves a fart joke). Still, it's hard to begrudge the guy, who, at the show I attended, was so eager to stay in the spotlight after two-and-a-half hours that he continued telling stories after a long standing ovation and even did some impressive-for-a-grandfather moves. A-

Luckily, there are some fairy godmothers behind the scenes who redeem this production, including Anna Louizos for her stellar scenic design and William Ivey Long for his gloriously ornate costumes. Long and director Mark Brokaw also stage how-the-heck-did-they-do-that visual tricks that transform Cinderella from rags into red-carpet-ready riches before our eyes. And on stage, several performances sparkle - notably the hilarious Ann Harada (Avenue Q's original Christmas Eve) as dumpy stepsister Charlotte. Of course, none of the young women seated near me were inclined to nit-pick as they rose for a standing ovation at the end. Never underestimate the power of a ball gown and glass slippers. B

Crawford's not alone in her scene-stealing power. Katie Finneran (Promises, Promises) brings the perfect dose of tragedy to the boozy orphanage matron Miss Hannigan while relishing every second of venom-filled numbers like 'Little Girls.' Set designer David Korins also deserves a bow, depicting the rooms in Oliver Warbucks' (Anthony Warlow) mansion as pages in a storybook and sending up posh urban sites in 'N.Y.C.' This Annie is a love letter to both the city and a musical that's endured for 35 years.