Joe Dziemianowicz

Can we keep James Corden in New York for good? The young British actor headlining the London import “One Man, Two Guvnors” at the Music Box is so mad talented, adorable and hilarious that you just want more of him. Hello, Actors Equity?

As a dramatic meal, “M/B” is a slim spread. B-ball handling consists of a couple of layups and passes. Videos from key games and scenes between a Celtics and Lakers fan in a Boston bar pad the production to 85 minutes. [...] Tug Coker, who plays Bird, could use a jolt. The “hick from French Lick,” as Bird was called, was low-key. But Coker is pure cardboard. Kevin Daniels fares a bit better and brings spark that evokes some of Magic’s magnetism.

Ricky Martin gives a great big touch of star quality to the seductive revival of “Evita” at the Marquis. He also gives an appealing performance in the role of Che, which, like the show, has been re-imagined since the first Broadway run.

Bennett is something of a saving grace. She certainly gives her all. And while she doesn’t look or sound much like Judy — she is too lean and mean to suggest her frailty — she evokes the right desperation whenever she sings. That is quite often. The story regularly shifts to the club and Judy belts hits like “Get Happy,” “Just in Time,” “You Made Me Love You” and “The Trolley Song.” These are the moments when “Rainbow” beams brightest.

The play, like a lot of speeches, is witty but long-winded. At times it’s implausible. At others it’s prescient. ... As blustery ex-President Arthur Hockstader, whose support could sway the tight race, James Earl Jones is as persuasive and captivating as a bullhorn. Just as great is Angela Lansbury in her irresistibly tart and smart turn as Sue-Ellen Gamadge, chairwoman of the women’s division. Don’t let Sue’s ruffles fool you, she’s a shrewd operator. ... The most fascinating thing about “Best Man” is that the author seemingly depicts a surprise development as noble, when it’s anything but. The turn is incredibly cynical.

The movie didn’t work. But director Jeff Calhoun, composer Alan Menken and lyricist Jack Feldman, who wrote songs for the film, and book writer Harvey Fierstein deserve credit for what is a mostly banner makeover. ... There’s no question that Jordan (known for the film “Joyful Noise” and Calhoun’s short-lived “Bonnie and Clyde”) steps up to carry the show. Like a Page 1 headline, he announces himself as a powerhouse talent. Whenever he and the other newsies are on stage, the show flies. Too bad it sinks when the adults appear, an issue that's still unresolved. Media mogul Pulitzer and vaudeville star Medda Larkin (Capathia Jenkins) remain mere cardboard cutouts.

“Superstar” is a minor and pretty mindless retelling of Jesus’ final days. [...] The heartiest hosanna goes to Jeremy Kushnier (filling in for an ailing Josh Young) as Judas, whose betrayal of Jesus gets major focus. Kushnier is a fierce singer and blessed with full-throttle charisma. It was a stunning turn of events: The understudy shall inherit the role — and walk away with the show.

The wonderful musical “Once” is the sweetest and most romantic show on Broadway and proves that not all love stories lead to the bedroom. [...] The show’s creators deserve kudos for staying faithful to the movie without taking a tracing-paper approach in retelling it.

In Mike Nichols’ powerful and emotionally rich revival at the Barrymore, Philip Seymour Hoffman resists playing Willy as larger than life, but to scale. As a result, the play has never felt more like an ensemble drama. That fits. It’s a story of a desperate family, not just the delusional dad.

Sure, there’s a whiff of irony in all of the get-a-load-of-me. And the show is painless and amusing. But there’s no structure, flow or overarching theme during its 90 minutes, so it meanders. Like my attention.

Nixon brings the cool, detached demeanor familiar from her portrayal of Miranda Hobbes on “Sex and the City” as well as the grieving mother in “Rabbit Hole,” for which she won a Tony Award in 2006. She gives a commanding performance, one in which hard, sharp edges subtly soften. She’s particularly fine when Vivian interacts with family, students and healthcare pros.

Traveling “The Road to Mecca” can be a trying trip. The 1984 play by South African writer Athol Fugard is wordy and circuitous and waves metaphors around like emergency flares. On the plus side, beautiful stretches and a generous humanity eventually emerge in the three-hander, now making its Broadway premiere in a Roundabout Theatre Company revival.

Seventy-six years after its New York premiere, the great American opera “Porgy and Bess” by George and Ira Gershwin and Dubose and Dorothy Heyward has returned to Broadway in a CliffsNotes edition that is gorgeously sung but conceptually conflicted.

You can’t combine so many cliches together and come up with something fresh. On the winning side, director-choreographer Dan Knechtges surrounds “Lyssie J” in good-looking production and his high-impact dance numbers that make your heart rate climb just watching them. The plot is about not giving it up, but the cast always delivers 100%.

In the end, all the changes don’t really enhance the show’s message to wake up and to love who you are. That was always right there in the lush and life-affirming title song’s lyric: “The glow that surrounds you outshines every star.” Unfortunately, this “Clear Day” manages just a dull glimmer.

Diamond shows a flair for everyday speech as delivered by this bunch of brainiacs. But as she juggles complicated issues of race, class and the devastation of absentee fathers, her play rocks schizophrenically between substantive drama and a quippy “Cosby” clone. At 2-3/4 hours, “Stick Fly” could benefit from some tightening. Ditto the ensemble directed by Kenny Leon.

In short order, this musical vehicle steers straight to the middle of the road.

he two-hour musical mosaic loosely traces a couple’s relationship from first love to maturity and back. It is bookended by extended Rodgers and Hammerstein scenes — sunlit moments from “South Pacific” and moonlit ones from “Carousel.” In between the stars cover many songs from the Stephen Sondheim catalogue, including “Into the Woods,” “Merrily We Roll Along” and “Company.”

It's too matter-of-fact and not nearly frothy enough to make this wickedly romantic comedy sparkle. There are bubbles, mind you, but they're from a goofy-looking aquarium that's in Amanda's Paris apartment. And even that springs a leak during the show.

While it's very enjoyable, it's also by-the-numbers. But with his irresistible Australian grin, touchy-feely affability and snug pants, he holds the audience tight in this production staged and choreographed by Warren Carlyle.

Whoever said lightning doesn't strike twice hasn't seen Nina Arianda reprise her breakout role in David Ives' clever but repetitive comedy 'Venus in Fur.' Playing Vanda, a seemingly ditzy and desperate actress auditioning for a job, she's so funny, smart and sexy that watching her brings unexpected jolts like an electrical shock.

Now on Broadway, where it's sporting a few subtle tweaks (good ones) and two new actors (ditto), this astutely drawn and deliciously performed play is as juicy and surprising as ever...Like a good popcorn movie, “Desert” holds you rapt and keeps you guessing to the end, although, admittedly, you may have questions about some of the logic.

I won't spoil the play's cleverest moment - but it explains why Jerry has no business being with Nina and why various loudmouthed relatives, a eulogy-happy rabbi and an insightful pizza deliveryman pile into the room and raise a ruckus. It's heartening to see Allen use some of his favorite film actors, including Caroline Aaron, who plays Jerry's wife, and Julie Kavner, who is Nina's mother. Old pals, great. Old jokes, and there are plenty of 'em, not so much.

'The Mountaintop' is tall on imagination, it is short on revelations. Unless you count Hall's assertion that King had doubts and lapses personally and professionally. And that God is a proud black woman.

We've reasonably come to expect dramatic fireworks when Frank Langella acts on Broadway. But even a triple Tony-winning powerhouse can't make damp gunpowder flash and ignite. And 'Man and Boy' - a melodrama of high finance and low morals - is packed with the stuff.