Matt Windman

'Let It Be' is the latest in the never-ending parade of cheap, cheesy Beatles tribute concerts on Broadway that has previously included such titles as 'Beatlemania' in the late 1970s and 'Rain' just three seasons ago...Last week, it was revealed that the producers of 'Rain' are suing 'Let It Be' for copyright infringement. Personally, I can hardly tell the difference between them...In just a few months, a lot of very exciting things will be happening on Broadway. 'Let It Be' is just an unambitious, summertime space filler. Just Let It Be. Soon enough it'll go away - and another Beatles tribute show is sure to come along eventually.

Maybe it's called 'Forever Tango' because, unless you don't mind watching tango routine after tango routine after tango routine for two-plus hours without any kind of narrative, it seems to last forever...The athletic, chic-looking dancers move elegantly and have sex appeal to spare. The accordion-heavy band is also quite elegant. But devoid of plot, character or variation, their leg-locking and thrusting routines get old after 10 minutes.

Diane Paulus...offers a stunning, circus-themed production that seamlessly combines dance choreography in the trademark Fosse style with countless acrobatic feats...Patina Miller ('Sister Act') delivers an absolutely sensational, thoroughly sexy and authoritative performance...But there is a weak link to this staging, namely Matthew James Thomas' lifeless performance as Pippin. He mars the production with his hollow acting and weak singing. Nevertheless, this production has an incredible amount of 'Magic to Do.' 3.5 stars

The role fits Midler like a glove and she does not disappoint under Joe Mantello's direction. And anyone who likes both Midler and gossip about 1970s Hollywood ought to have a good time. But in light of this rare opportunity to catch Midler onstage, a more substantial meal would have been nice instead of 90 minutes of pure dessert.

Unlike some other famous dramas that have been uncomfortably adapted for African-American casts, Michael Wilson's tender revival of 'The Trip to Bountiful' works extraordinarily well with the Watts family played by African-American actors...Cicely Tyson delivers a fully animated, very spirited performance that makes the audience want to root for her to finally arrive home. The statuesque Vanessa Williams is also an ideal choice for the self-centered Jessie May. Cuba Gooding Jr., who is making his professional stage debut, stresses Ludie's boyish persona, but looks ill-at-ease compared with his colleagues. 3 stars

The Testament of Mary,' a visceral one-woman dramatization of Colm Tóibín's recently released, controversial short novel about the Virgin Mary that stars the characteristically intense Fiona Shaw, has the distinction of being the only Broadway show of the season, at least to my knowledge, that attracted protesters to its first preview performance... Under the direction of Deborah Warner, Shaw delivers a raw, raging performance. She combines these emotions with an edge of humor, some nudity and a sense of control that makes the piece feel less rambling. 3 stars

Alan Cumming's 'Macbeth,' in which he recites almost the entire Shakespeare text and portrays every major character, falls somewhere between being a fierce, fearless, one-of-a-kind theatrical experience and an incomprehensible vanity project... Considering how Cumming only barely alters his voice or manner of delivery for each specific character, it would probably be impossible for someone unfamiliar with the play to be able to understand it here. 2 stars

Unbelievably enough, it is actually easier to watch YouTube clips of Hasselhoff than Jeff Calhoun's re-conceived, garish and extremely unnecessary revival with 'American Idol' alumnus Constantine Maroulis and R&B singer Deborah Cox, which is playing a short run on Broadway following a national tour. Calhoun makes many unfortunate choices, including over-stressing the score's rock elements and using both nauseating video graphics and violent sexual imagery...Maroulis...uneasily alternates between being a geeky Jekyll and a vulgar Hyde. Cox sings well enough but hardly acts at all in the role of the prostitute Lucy, which may be for the better. No stars.

Kessler's play attempts to combine traditional family drama with raw, kitchen-sink realism and absurdist logic. Although the unusual scenario that it explores is engaging at first, it eventually runs out of steam and inspiration. Nevertheless, under Sullivan's direction, all three cast members deliver tremendous performances with ensemble unity. It also can't be denied that Baldwin's Harold is reminiscent of the outsized persona of Jack Donaghy on '30 Rock.' 2.5 stars.

But despite its problems, “The Assembled Parties,” which observes a well-off, secular Jewish family living on the Upper West Side, is that very rare kind of play where Act Two is substantially better than Act One. In other words, do not leave at intermission, no matter how much you may want to.

Even if the play eventually loses momentum, it is the most ambitious and substantial effort made to date by Beane, who is known primarily for writing the books of silly musicals like 'Xanadu' and 'Lysistrata Jones.' It also allows Lane to combine his comedic persona with a tragic undertone...Jack O'Brien's solid production, which effectively uses a turntable to shift its massive set pieces, also features engaging performances from Cady Huffman (Lane's Tony-winning co-star in 'The Producers') and Lewis J. Stadlen (who took over for Lane in 'The Producers'). 2.5 stars

Instead of having to endure perhaps a dozen different jukebox musicals based on various Motown icons in future years, 'Motown: The Musical' allows us to get it all over with in one shot. It's an unwieldy and unfocused attempt to package dozens of hit songs from all the trailblazing Motown performers of the 1960s and 1970s into a single sugarcoated, sanitized narrative revolving about workaholic megaproducer Berry Gordy. Still, this elaborate, very busy production ought to please anyone looking to take a nostalgia trip and overlook its problems. 2 stars

The new Broadway musical 'Matilda,' based on Roald Dahl's 1988 children's fantasy novel, was originally conceived by the Royal Shakespeare Company as family-friendly Christmastime entertainment, not unlike the cheesy and overly sentimental shows that flood New York each holiday season. But it turned out to be an incredibly intelligent, heartfelt and entertaining work that went on to achieve critical and popular success in London and now arrives on Broadway like a white knight sent to rescue a disappointing season for new musicals...Singer-songwriter Tim Minchin's unique and unpredictable score is as character-sensitive and penetrating as it is melodic and memorable.

At first glance, 'Kinky Boots' would appear to contain all the ingredients of a hit musical...So why does this musical, which looks and acts like a crowd-pleaser, still feel so unsatisfying? The biggest problem is that Lauper's electric-pop songs are generic. Furthermore, Jerry Mitchell's production resembles a slick but uninspired rehash of all his earlier shows such as 'The Full Monty' (the working class environment), 'La Cage aux Folles' (flashy drag queens and Harvey Fierstein's one-liners) and 'Hairspray' (a spunky spirit). But there is a saving grace to 'Kinky Boots' and it's Billy Porter, who imbues the role of Lola with fierce diva attitude in a Tony-worthy performance. 2.5 stars

Although the play is clunky, choppy and unapologetically sentimental (and probably would have been revised if Ephron was still with us), it engrosses us in a distinctive, proudly macho world of newspaper journalism, cigarette smoke and Irish barrooms. Hanks, sporting McAlary's trademark thick mustache, offers a spirited performance, basking in the frenzy of being a reporter on the police beat, and makes a clean transition to a frailer physical state later in the play.

One of the simplest, purest ways to create a drama is to expose a competition or game where various individuals are all motivated to win - preferably at any cost.... The musical, which has an underwhelming but heartfelt country-rock score by Phish frontman Trey Anastasio and Amanda Green and a penetrating book by Pulitzer-winning playwright Doug Wright, creates an environment where nearly all the participants are suffering economically and are in desperate need of a financial windfall. Neil Pepe's production is quite gripping - most impressive is how the actors manipulate the vehicle and perform dance choreography while their hands are still attached to it.

...there is very little excitement to be found in this drab and dragging stage adaptation, which was penned by Richard Greenberg ('Take Me Out') and is directed by Sean Mathias...For the most part, Greenberg simply lifts passages from the book and has the writer (Cory Michael Smith) awkwardly and constantly deliver first-person narrations directly to the audience. Clarke ('Game of Thrones') imbues Holly Golightly with the vulnerability of an outspoken but fragile young woman. Her emotionally revealing performance is undoubtedly the best part of this lackluster adaptation.

It would appear that director Nicholas Martin has encouraged the cast to play their roles as broadly as possible, with the result being that their performances, on occasion, are way too aggressive. That aside, this is a smart, relentlessly silly, at times heartwarming comedy.

The show would also be better suited for a more intimate theater rather than the extended thrust stage of the Vivian Beamount at Lincoln Center. Still, Taylor gives a dynamic turn that ought to please Democrats and Republicans, Southerners and Northerners alike.

This production generated bad word-of-mouth in previews for having an actor play the ghost of Skipper, who hovered silently around the stage. While that has thankfully been cut, what remains is an unconvincing, cheesy and cheap-looking production. At least Johansson is terrific, bringing a sultry, ferocious spirit to the famous role. Particularly fascinating is how she distinguishes Maggie's rough and nasty behavior with Brick and her well-composed, dolled-up performance for the rest of the family. Walker, sporting clean-cut looks and washboard abs, makes for a bland, one-dimensional Brick. 2 stars.

Director Sam Gold, who recently secured a spot on the A-list thanks to an association with playwright Annie Baker ('Circle Mirror Transformation'), provides a very enjoyable production that successfully combines the play's lighthearted, sadder and sensual aspects.

'The Other Place' is essentially a stream of consciousness monologue padded with a few scenes and flashbacks to add a bit of substance and suspense. It feels derived from previous plays about smart women confronting illness, such as 'Proof' and 'Wit.' With all due respect to Metcalf, who never leaves the stage and gives a brave and raw performance, 'The Other Place' leaves much to be desired. 2 stars.

While Pacino aims for the same wild theatricality here, it comes off as excessive, awkward and rather kooky. His bulging eyes and unkempt hair look especially ridiculous. And Pacino's slow line readings dilute the play's intensity and pace.

Bartlett Sher, who staged Odets' riveting family drama 'Awake and Sing!' in 2006, directs with an emphasis on period style. Nowadays, most play revivals are headlined by a single, well-known film star. 'Golden Boy,' on the other hand, has been cast with an abundance of excellent stage actors, including not just Shalhoub and Numrich but also Danny Burstein, Jonathan Hadary, Anthony Crivello and Danny Mastrogiorgio. Numrich, who most recently appeared in 'War Horse,' makes a convincing transition from cockeyed youth to restless and reckless champ while exposing Bonaparte's insecurities. Shalhoub, who is best known for his comedic work, is genuinely touching in the father role. Yvonne Strahovski, one of very few females in the cast, more than satisfies as the seemingly hard-as-nails dame who engages in an affair with Joe on top of her other affair with Joe's manager.

This simple setup surely could have made for a volatile, confrontational drama. But the 70-minute play is little more than a meandering and academic debate that’s hard to follow. While I won’t spoil the ending, let’s just say that it’s quick, random and heavy-handed, much like the rest of the play.