Matt Windman

'Fish in the Dark,' the new Broadway comedy written by and starring Larry David, might as well be called 'Curb Your Enthusiasm: Live' or 'Larry David and Friends'...the bespectacled, balding David is playing the same sort of socially awkward, extremely inappropriate, befuddled, self-centered smartass. Hardly a great work of dramatic literature, 'Fish in the Dark' hearkens back to the silly and insubstantial Broadway comedies of the 1960s, full of one-dimensional characters and nonsensical farce...'Fish in the Dark' is essentially just a showcase for David, with the other characters serving as stick figures for him to play off. Without him, there would be no point to the play. It would be casting someone else to play him on 'Curb Your Enthusiasm.' David's abilities as a stage actor are limited (especially his vocal projection), but he is nevertheless idiosyncratic, relatable and sort of endearing. You may not want to see him do Shakespeare, but you do leave the theater wanting to hang out with the guy.

Here and there, Brown offers an exciting, finely crafted song, and the show starts to soar. During those moments, you feel as though you're watching a modern-day 'Guys and Dolls,' and not yet another forgettable movie-turned-musical churned out for Broadway. But more often than not, 'Honeymoon in Vegas' is mired in a pained attempt to enliven and exaggerate a simple but heartfelt boy-meets-girl/boy-loses-girl story into a broad, over-the-top musical comedy. There is an air of desperation to some of the antics...Tony Danza, as the card shark, has a congenial presence, but his character drags down the sparks flying between the dynamic Rob McClure and alluring Brynn O'Malley.

The 70-minute play is structured like the films 'Memento' and 'Sliding Doors' and the Broadway musical 'If/Then,' with variations on the same scenes being explored based on different choices that the characters might make, as per the theme of infinite possibilities. After dozens of short scenes and stops and starts, plus many lighting changes and a few balloons falling to the ground, the relationship has seemingly come full circle. The play manages to feel slight and jam-packed at the same time, combining an uninteresting boy-meets-girl romance and a well-worn premise of right turn versus left turn with a hard-to-follow structure. I actually found myself more interested in figuring out the symbolism of the set design than in following the plot. It at least allows Gyllenhaal and Wilson to engage in a variety of dramatic scenarios under demanding circumstances, though Wilson easily outshines Gyllenhaal with her astonishing vibrancy.

Much of the play is tediously consumed by Treves debating notions of morality and normalcy with his colleagues. But even if the play lacks narrative power, the setup is still fascinating. Unlike the film, where Merrick's grotesque figure was displayed through prosthetics, Cooper solely relies on his physical and vocal abilities to convey all of this, keeping his face and body in twisted positions, speaking in a wobbly tone and moving with a pained gait. It is an extremely demanding role and he pulls it off.

When you put a bunch of great actors together...and get them to perform a Pulitzer-winning drama (by no less than Edward Albee), you expect fireworks. But the starry new Broadway revival of Albee's 1966 drama 'A Delicate Balance' is surprisingly flat and likely to disappoint both those unfamiliar with the three-act play, as well as those who still remember its much acclaimed revival from two decades ago with Elaine Stritch and Rosemary Harris...Despite the witty lines and a handful of exciting moments, the production is a three-hour, very static bore. Pam MacKinnon, who directed the 2012 Broadway revival of Albee's 'Who's Afraid of Virginia Woolf?', never manages to combine these accomplished performers into a unified ensemble. Perhaps that balance will be reached as the run continues.

Although the best parts of the show have not been touched (including virtually the entire second half), the new dialogue and songs and added back-story do not make the show any more effective. If anything, they take away from its sense of momentum. But for the most part, Condon's production is a stunning achievement and a must-see attraction for anyone who cares about serious, Sondheim-style musical theater. Unlike the original production, which was light on design elements, the new 'Side Show' is ultra-elaborate and realistic when it comes to depicting the so-called 'freaks.' Erin Davie and Emily Padgett may lack the starry presence of Alice Ripley and Emily Skinner (the original Violet and Daisy), but they credibly portray the twins and convey their conflicted emotions.

Hugh Jackman deserves a lot of credit for returning to the New York stage in 'The River,' a new work by the little-known English playwright Jez Butterworth ('Jerusalem'), considering that most major film stars come to Broadway in revivals of fail-proof, classic dramas (i.e. Denzel Washington in 'A Raisin in the Sun,' Scarlett Johansson in 'Cat on a Hot Tin Roof'). 'The River' is, instead, a quiet, elusive drama with little mainstream appeal.

Tom Stoppard, at his best, is linguistic and philosophical fireworks. Watching an ineffective production of one of his cerebral plays, such as the Roundabout's new revival of his 1982 drama 'The Real Thing'...is not just challenging for the average theatergoer. It's hopeless...Sam Gold's production comes off as vacant and smug instead of engaging. Virtually all its comedic elements go to waste...McGregor makes a solid Broadway debut, and Gyllenhaal has great rapport with him. Nixon, on the other hand, is noticeably miscast, appearing far older than everyone else and having a poor handle on a British accent.

Some plays have a soft and gentle feel. Others build to a climax but remain mellow for the most part. And then there's Ayad Akhtar's explosive race relations drama 'Disgraced,' which makes its audience feel like it was just uncomfortably blindsided and hit with a ton of bricks...Even if some of the plot developments are relatively over-the-top, Akhtar raises a provocative debate over racial and religious identity that is as compelling as it is disturbing. 'Disgraced' is essentially a modern tragedy, leaving its audience in a state of fear and pity. Just as Oedipus was helpless to alter his fate, Amir is seemingly unable to escape his heritage. Kimberly Senior's engrossing production is marked by strong performances all around. Dhillon convincingly depicts Amir's descent out of cool professionalism, while Radnor brings a professorial, purposely unpleasant touch to his character that is a far cry from the ultra-romantic Ted Mosby.

In a refreshing change of protocol, Sting has written a new score in a folk Celtic style, full of sweeping choral and orchestral arrangements and unabashed, open-hearted sentiment. The originality and sincerity of the enterprise are certainly worthy of applause. Joe Mantello's production manages to be thoroughly atmospheric without turning into a spectacle. (Spoiler alert: We only see a small portion of the ship.)

In essence, this is a commercially attractive package deal for theatergoers eager to relive their memories of Lane and Broderick in 'The Producers' and indulge in what looks like a dizzying laugh fest commanded by stage pros...While act one offers plenty of silly, lightweight fun, the play essentially collapses in the self-indulgent, overly sentimental act two. At an overall length of close to three hours, one can't help but wonder why it wasn't seriously cut. Director Jack O'Brien could have done a better job coordinating the broad performances offered by the cast into a cohesive, farcical whole. Lane is relaxed and altogether terrific, and Mullally, Channing and Abraham have their moments. Less successful are Grint, who looks amateurish in his heavy makeup, and Broderick, who throws everyone else off with a labored performance.

There are many plays opening on Broadway this fall, mostly limited engagements of well-known plays with starry casts. But if justice prevails, 'The Curious Incident of the Dog in the Night-Time,' an exhilarating stage version of Mark Haddon's 2003 young adult/mystery novel, will emerge from the onslaught of openings as the surprise, must-see hit.

Scott Ellis' zippy and giddy revival -- which sports a top quality cast including James Earl Jones, Rose Byrne, Elizabeth Ashley, Kristine Nielsen, Julie Halston, Mark Linn Baker and Annaleigh Ashford all letting loose -- has a comfort food, feel good flavor to it.

Staged by Anna D. Shapiro with raw intensity and a rough edge, the current Broadway production features Michael Cera, Kieran Culkin and writer Tavi Gevinson...There's no escaping the fact that Cera is giving a performance that closely mirrors his nervous nice guy persona from 'Arrested Development' and 'Superbad.' Even so, it suits his character and he brings plenty of laughs. The 18-year-old Gevinson, who has terrific rapport with Cera, vigorously conveys Jessica's suspicious nature. Culkin displays greater range as Dennis, who embodies cocky 1980s materialism, seeing himself as an entrepreneur.

One would think, or at least sincerely hope, that 'Holler If Ya Hear Me,' the new musical incorporating songs and poems by the late rapper and hip-hop artist Tupac Shakur...would turn out to be an innovative, socially conscious work... So it's extremely disheartening to report that 'Holler If Ya Hear Me' is a total mess and misfire. Perhaps it needed more time for development...Rather than focus on Shakur's short and tumultuous life, which would have provided some structure, 'Holler If Ya Hear Me' integrates -- or at least attempts to integrate -- Tupac's songs into an aimless and confusing tale of gang violence in a generic urban landscape that is full of undeveloped characters. In other words, it's a really poor imitation of 'West Side Story.'

Anyone who is unfamiliar with 'Cabaret,' or even just this version of it, should definitely check it out. But as for everyone else, it's really just more of the same. Even a new production that proved to be less innovative would have been more exciting than this rehash. As the Emcee, Alan Cumming retains the sleazy presence that made his performance so entrancing originally. On the other hand, Michelle Williams makes a shaky Broadway debut, coming off as too fragile to portray the sexually aggressive singer Sally Bowles.

While the play is heart-felt and enjoyable, it doesn't feel quite finished, and it ends on a rash and depressing note. Since this is the world premiere production, one hopes that Fierstein can continue to develop it. And given his experience in drag performance, maybe he can even join the cast of a future production.

Whereas the original production was set around a dingy ballroom and used little scenery, the Broadway revival, directed by Michael Mayer ('Spring Awakening'), acknowledges that it is taking place in a Broadway theater in the present day...While no one can doubt Harris' fierce theatricality, strong voice and expert handling of the comedy aspects, his Hedwig has yet to come together as a fully-developed, vulnerable character. But given the role's extreme complexity and grueling physical demands, that's more than understandable. Chances are that his performance will improve as the run continues...But as it is, this remains a wildly enjoyable production of one of the most exciting and inventive rock musicals of all time.

Eric Coble's 90-minute two-character comedy 'The Velocity of Autumn,' which has arrived on Broadway as a star vehicle for 86-year-old Oscar winner Estelle Parsons and two-time Tony winner Stephen Spinella, is the sort of well-meaning but static and underwhelming play that would be better suited for a budget-conscious regional theater...Parsons paints a lively but grounded portrait of this quirky, frenzied woman while Spinella, as the far less interesting character, graciously downplays his performance in order to let Parsons take the spotlight. They make a nice pair. Perhaps they can come back to Broadway in a more interesting play.

Everything about 'Violet' is extraordinary, from its captivating, character-driven storytelling and pulsating country-rock score to the focused direction from Leigh Silverman and pitch-perfect casting. Sutton Foster, a two-time Tony winner, gives her most expressive, deeply felt and vibrant performance to date, fully capturing the character's yearning and volatility. It ought to be required viewing for all aspiring stage actors. She is joined by the similarly excellent Joshua Henry, Colin Donnell, Alexander Gemignani, Annie Golden and Ben Davis.

Radcliffe sensitively captures Billy's fragility and gutsiness all the while conveying his physical deformities, limping around with a bent arm and stiff leg, and signs of serious illness. While Michael Grandage's revival doesn't quite equal the Druid Theatre Company's pitch-perfect production, which briefly played Off-Broadway in 2008, it is a strong-acted, atmospheric staging that more than does justice to McDonagh's bitter tale.

Whereas 'the best-laid plans of mice and men often go awry,' the Broadway revival of 'Of Mice and Men' couldn't get much better...The new Broadway production, directed by Anna D. Shapiro ('August: Osage County') with a cast of Hollywood names (James Franco, Chris O'Dowd and Leighton Meester, all making their Broadway debuts) alongside stage regulars (Jim Norton and Ron Cephas Jones), is genuinely gripping, gritty and emotionally shattering. O'Dowd...makes a convincing, full-bodied transformation into the innocently excited, gentle giant Lennie...Franco, a regular presence on film, in the tabloids and even academia, acquits himself very well as George, stressing the character's introspective nature, frustration in trying to protect Lennie from the outside world and the loneliness and guilt that leads him to take on the challenging role of his protector.

It is often said that Holiday cannot be authentically imitated or covered. That's probably true. But as directed by Lonnie Price, McDonald undergoes a complete transformation vocally and physically, a la Meryl Streep, that is highly theatrical but believable and seemingly effortless. It's easy to forget that the play is pretty thin thanks to her transfixing performance. McDonald forsakes her rich singing abilities to capture Holiday's distinctively small and scratchy voice. But more than that, she credibly and powerfully inhabits a disoriented woman who is slurring her words and appears to be lost both emotionally and mentally.

In an ideal universe, the new musical 'Bullets Over Broadway,' based on the 1994 Woody Allen film, would shut down for a few months so that a talented songwriter - perhaps David Yazbek ('Dirty Rotten Scoundrels' or the young team of Benj Pasek and Justin Paul ('A Christmas Story') - could pen an original score for it. To its credit, 'Bullets Over Broadway' is mildly entertaining...Although the show contains flashy design elements, amusing one-liners and generally decent performances, the decision to use jazz standards from the 1920s and 1930s instead of an original, well-integrated score proves to be absolutely fatal. By pigeonholing these familiar tunes into the existing plot, they arrive randomly and have almost nothing to do with the characters or plot...Zach Braff works too hard at portraying the stressed-out playwright. His singing voice is pretty thin as well. On the other hand, Marin Mazzie is ideally cast as the grandly theatrical Sinclair, and Vincent Pastore of 'The Sopranos' is effortlessly effective as Valenti.

It's too bad Denzel Washington didn't play Walter Lee, the dissatisfied 35-year-old protagonist of Lorraine Hansberry's monumental 1959 African-American family drama 'A Raisin in the Sun,' 25 years ago. Now at age 59, there is no escaping the reality that Washington is simply too old to convincingly play the role, resulting in a fundamental imbalance and lack of credibility to the new Broadway revival...In addition to the age issue, Washington overplays Walter Lee's moodiness and often adds an inappropriately jocular and hammy tone, encouraging the audience to laugh during some of the play's most heartbreaking moments. Rose, who sparkles in scene after scene, ends up stealing the show. As Walter Lee's wife Ruth, Sophie Okonedo comes off as one-dimensionally plain and stern. Jackson too is disappointing. David Cromer, best known as a director, is out of place as the community representative who tries to bribe the family to not move to a white suburb.