Matt Windman

Given the many outstanding plays that premiered Off-Broadway last month and really deserve to be seen (including Samuel D. Hunter's 'The Whale' and Christopher Durang's 'Vanya and Sonia and Masha and Spike'), it's depressing to have yet another insubstantial, uneventful and pointless play by Theresa Rebeck on the stage…Rebeck offers just a tiny sliver of a plot, undeveloped characters and a few themes that are superficially explored…The real attraction of 'Dead Accounts' is seeing Katie Holmes in her first professional gig after deserting Tom Cruise. Oddly enough, she only has a supporting, rather uninteresting role as Butz's homely-looking, stressed-out sister.

I have an unusual Christmas wish this year: I want fewer Christmas musicals going forward...In “A Christmas Story,” which is extremely faithful to the film, 9-year-old bespectacled Ralphie (played by the big-voiced Johnny Rabe) longs to receive a Red Ryder BB gun for Christmas in 1940s Indiana The central problem in mounting a stage version lies with depicting the adult Ralphie, who serves as the film’s off-screen narrator. Here, Dan Lauria wanders aimlessly around the stage and speaks directly to the audience, rather like a Ghost of Christmas Future. His presence makes the storytelling clunky and disjointed. That said, the real perk of “A Christmas Story” lies in its highly melodic, original score by the up-and-coming team of Benj Pasek and Justin Paul. Come to think of it, here’s a better Christmas wish: more new musicals by Pasek and Paul.

The Tony Award for fearless determination - if such a thing actually existed, ought to go to Kathie Lee Gifford. She has been developing and promoting her musical 'Scandalous: The Life and Trials of Aimee Semple McPherson' - for which she wrote the lyrics, book and even some of the music - for more than a decade…'Scandalous' is like a combination of 'Leap of Faith,' another musical about an evangelist, which flopped last spring, and 'Chaplin,' also a bland bio musical...The score - the work of no less than three composers - mainly consists of generic samplings from various genres: Irish jig, beer hall anthem, tambourine-shaking prayer and so on…Carolee Carmello, who has spent the past few years alternating between the tryouts of 'Scandalous' and stints in 'Mamma Mia!,' throws all of her dramatic and vocal intensity into the role, but it is an off-putting, aggressive performance.

While 'The Performers' is hardly an ambitious play and the characters tend to be either rigidly stupid or uptight, it is undoubtedly a crowd-pleasing show, combining raunchy humor with a simple setup and conservative emphasis on monogamy. As skillfully directed by Evan Cabnet, the likable and very attractive cast indulges in all the silliness without going too overboard. Of course, the real standouts are Graynor and Jackson for going to such ridiculous, childish and idiotic extremes. Winkler, whose character is three decades older than everyone else, appears to be having a good time. Silverstone, looking rather like a sad puppy, is effectively cute and pairs nicely with Breaker.

'The Mystery of Edwin Drood,' inspired by an unfinished Charles Dickens novel, is one of the most inventive, inspired and rousing musicals ever devised. And it is a pleasure to report that the Roundabout Theatre Company's revival is thoroughly well-cast and extremely enjoyable…As atmospherically staged by Scott Ellis, with sprightly choreography by Warren Carlyle and excellent music direction by Paul Gemignani, this production is a reminder that well-known musicals do not need to be reconstructed or darkened for their revivals. If the show is strong, have faith in it and all will fall into place.

'Annie,' one of the most heartwarming and beloved musicals of all time, has been all but butchered by James Lapine - a playwright-director best known for his original and edgy collaborations with Stephen Sondheim and William Finn - in his charmless and misconceived new Broadway revival. Lapine is hardly a bad director. Rather, the co-creative force behind such musicals as 'Sunday in the Park with George' and 'Falsettos' is simply the wrong choice for 'Annie.'...In the title role, Lilla Crawford, 11, has a strong presence, but lacks vulnerability and is strangely encouraged to use a thick Brooklyn accent and far too much vibrato...Two-time Tony winner Katie Finneran, who recently made a splash in 'Promises, Promises,' delivers a surprisingly hollow performance as Miss Hannigan, consisting entirely of shtick. Anthony Warlow, an unknown Australian actor, is especially convincing as industrialist turned father 'Daddy' Warbucks.

While 'The Heiress' might fall short of being great dramatic literature, it does make for an entertaining star vehicle filled with elaborate turn-of-the-century costumes, references to high society and plenty of bold dramatic gestures…what really distinguishes [Chastain's] performance, which marks her Broadway debut, is how she convincingly evolves from an insecure, loving young girl into a steely, bitter woman. Stevens, who plays Matthew Crawley on the English television series 'Downton Abbey,' also makes a fine New York stage debut, hiding his character's unsavory motives behind a sunny, guileless facade. Strathairn maintains a dour disposition to the role of the doctor, while Judith Ivey brings a sweet and lively presence as Catherine's warm aunt Lavinia.

Edmond Rostand's 1897 sentimental fairy tale romance 'Cyrano de Bergerac' is not so much a great play as it is a durable star vehicle for a skilled actor who can handle rhymed verse, swordplay and a giant prosthetic nose...The Roundabout Theatre Company's new production proves to be not as fortunate in its casting of Douglas Hodge, an indulgent English actor.

Craig Wright's 'Grace' makes for an insightful comedic drama that explores religious faith from several different perspectives - at least whenever it's not straining to be a bizarre and awkwardly constructed thriller…Rudd, who is best known for appearing in Judd Apatow film comedies, makes a fine dramatic turn, while Shannon gives an intense performance. But it is Asner who easily steals the show with a monologue relating to the Holocaust.

But these issues aside, 'An Enemy of the People' makes for exciting, politically-charged theater. Gaines, one of our best stage actors, makes a credible transition into a determined dissident, while Thomas is a perfectly smug and dapper villain.

You've probably seen worse musicals than 'Chaplin,' a forgettable biography of Charlie Chaplin. But how did this slow-paced and sentimental musical, which has the taste of a cup of coffee mixed with a dozen packets of sugar, make it to Broadway? The songs of Christopher Curtis - who has previously written theme songs for the Discovery Channel - are occasionally tuneful but mostly tacky. Still, they are far better than the show's melodramatic and strange book…Even if 'Chaplin' were a better crafted musical, it would still remain a mostly futile enterprise. Why see an impersonation of Chaplin instead of just watching Chaplin himself in his best films?

This new musical inspired by the 2000 Kirsten Dunst film about competitive high school cheerleaders...is obviously more likely to appeal to teens weaned on 'High School Musical' and 'Glee' than the majority of adult theatergoers. As you'd expect, it features unbelievable displays of acrobatics and gymnastic abilities, including but not limited to young girls being flipped high in the air. But it also proves to be a surprisingly well-crafted, highly enjoyable, feel-good musical with appealing characters, catchy R&B and rap songs, fierce hip-hop choreography and very funny dialogue packed with social media jokes.

In retrospect, it's hard to believe that 'Harvey' won the 1945 Pulitzer Prize over Tennessee Williams' 'The Glass Menagerie.' Even so, 'Harvey' remains a well-crafted, cute play with a terrific leading role, an invisible supporting character and a good deal of psychological dimension. Parsons' Elwood is not unlike a sweet and innocent child who is far more likable and trustworthy compared to the overstressed, often silly adults around him.

There are two new farces now on Broadway. Oddly enough, both revolve around dinner scenes. While one of them is hilarious, the other is as painful as a tooth pulling. 'One Man, Two Guvnors,' Richard Bean's giddy update of the commedia dell'arte classic 'The Servant of Two Masters,' is one. The other is Marc Cameletti's 'Don't Dress for Dinner,' which is now receiving its Broadway premiere following two decades of regional productions, is a derivative and labored sequel to Cameletti's farce 'Boeing-Boeing,' which had a hit Broadway revival four seasons ago...Except for a few visual gags, William Ivey Long's divine costumes and the delightfully quirky Kayden, don't expect any such magic from John Tillinger's dull pedestrian production.

Static and slow, the play would benefit from some reworking. Nevertheless, Dan Sullivan's detailed production benefits from an excellent cast of stage veterans. Lithgow fits easily in the role. He emphasizes Alsop's temperamental personality, which becomes increasingly fragile as he lives through the cultural changes of the 1960s.

While Kathleen Marshall's crowd-pleasing production lacks the inspired showstopper choreography of her revival of 'Anything Goes,' it makes for nonstop giddy fun thanks to its dynamic cast, Joe DiPietro's wickedly funny dialogue and a treasure trove of timeless Gershwin favorites and rarities. At first, Broderick seems ill at ease, especially while dancing. But soon enough he wins over the audience with his charm and thin but pleasant singing voice. O'Hara, best remembered as Nellie Forbush in the 'South Pacific' revival, proves that she can also sparkle in a silly comedy.

The pottery wheel has been carried over. Same goes for the hit song 'Unchained Melody,' which is sung countless times. But that hardly helps 'Ghost the Musical,' a faithful but unmoving and overblown adaptation of the 1990 Patrick Swayze-Demi Moore romantic fantasy that has become an iconic chick flick.

As a dysfunctional family drama, 'The Lyons' is hardly as penetrating as 'Clybourne Park' or 'Other Desert Cities.' But as directed by Mark Brokaw, it's entertaining and full of witty one-liners. Lavin delivers a wild performance marked by wide facial expressions, an often screeching voice and kooky personality. She is nicely supported by an emaciated Latessa, tortured Grant and seemingly helpless Esper.

Although Nicholas Hytner's expertly staged production admittedly loses some steam during Act Two, it remains a riotous delight full of witty verbal wordplay and crude, often gross physical humor. Even the scene changes, during which a snazzy all-male band performs, are full of life.

Alex Timbers and Roger Rees' spirited production of Rick Elice's play is that rare kind of theatrical event that can appeal equally to kids — who will be captivated by the sentimental, action-packed plot — and adults — who will admire its imaginative theatricality.

The problem with 'Magic/Bird,' which is composed primarily of very short scenes, is that no conflict ever develops between the glitzy Johnson and the quiet Bird, who remain painfully polite and respectful to each other. The uneventful play ultimately resembles an audiovisual presentation of a Wikipedia article.

Grandage's accomplished production, which features Rob Ashford's stylish choreography, a beautiful two-story courtyard set design and truly spectacular costumes, has the potential to be a dynamic crowd-pleaser, but is seriously compromised by the casting.

Bennett successfully walks the fine line of convincingly portraying Garland's larger-than-life, bizarre behavior without making it feel like a campy parody. Although erratic, her Garland is also poised, witty and emotionally longing for some stability.

Jeff Calhoun's excellent production benefits from a three-story set design of scaffolds, complimented by cinematic projections, and Christopher Gattelli's spectacular choreography. The absolutely incredible young males in the cast do back-flips and audacious balletic spins, tap-dance on bar tables and shuffle with sheets of newspaper under their feet. Jordan, who starred in the flop 'Bonnie and Clyde' earlier this season, proves himself yet again to be a genuine matinee idol as Jack. His theatrical performance bursts with an aggressive fighting spirit and sincere adolescent emotion.

Des McAnuff's exciting new production, which premiered last summer at the Stratford Shakespeare Festival, combines a rock-concert atmosphere with an elegant simplicity and runs exactly two hours in length.