Matt Windman — Theater Critic

While it's true that Allen’s one-act is not very good, it is considerably better than the ones written by Ethan Coen and Elaine May that also comprise “Relatively Speaking,” a truly dreadful triple-bill of comedy sketches directed by John Turturro with a pretty strange cast that includes Marlo Thomas and Steve Guttenberg...This is just an old-fashioned, third-rate farce and is hardly worthy of being done on Broadway.

The show's production team has asked reviewers not to reveal any plot twists, but let's just say it turns what had previously been a mediocre biodrama into a ridiculous embarrassment. Jackson convincingly highlights King's smoothness as well as his insecurities. If not much else, 'The Mountaintop' leaves its audience hungry for a more substantial play about King.

Eric Schaeffer’s lavish production, which features a 41-member cast and a 28-piece orchestra, originated at the Kennedy Center in Washington, D.C. It has improved since then...Peters fully captures Sally’s sweet and innocent center. Burstein violently throws himself into the role of Buddy, bringing the character’s pent-up anger to manic heights. Maxwell, who is better known as a dramatic actress, proves that she can handle a tough musical role. Raines credibly portrays Ben’s downward spiral from cocky self-denial into helplessness.

As directed by Stephen Wadsworth, Daly combines the character's tough exterior and emotional ferocity with pitch-perfect comedic timing, the theatricality of a diva, and apparent signs of insecurity and vulnerability. Sierra Boggess ('The Little Mermaid'), Alexandra Silber and Garrett Sorenson make charismatic turns as Callas' brave students and offer impressive vocal renditions from several bel canto operas.

But at the same time, it remains little more than a kid-friendly stunt spectacular with glitzy superhero costumes, bad songs and a few cheesy laughs. It's just an oversized, overpriced, longer version of what you'd find at a theme park.

Larry Kramer's seminal AIDS drama 'The Normal Heart' is the kind of show that hits you like a jackhammer. Twenty-five years since it premiered at the Public Theater, it remains a powerful example of political theater at its most direct, passionate and urgent levels. Mantello captures Weeks' confrontational, occasionally hysterical spirit but combines it with easygoing charisma and convincing emotion. He is joined by an outstanding ensemble cast.

Although Guare's play remains quite funny, Cromer downplays most of its humor to ill effect. Stiller gives a surprisingly flat performance that stresses only Artie's anger and frustration. Leigh is miscast and totally unfunny as Bunny...Falco delivers a moving performance, capturing Banana's paranoia over being sent away to a mental asylum or being force-fed pills.

The play, which revolves around corruption in big business and politics, couldn't be timelier. And the acting in Doug Hughes' excellent new production couldn't be better or more thrilling, especially from actor Jim Belushi and newcomer Nina Arianda.

Rylance gives a mesmerizing, thoroughly transformative performance that will leave theatergoers in awe of his spectacular physical and vocal abilities. Tony-winner John Gallagher Jr., who joins much of the original English cast, makes an excellent addition as a local youth about to go off to Australia. Ian Rickson's production is quite beautiful, depicting the exterior of Rooster's caravan against a backdrop of large trees, garbage and patio furniture.

This has not been a great season for Broadway musicals based on movies. 'Women on the Verge of a Nervous Breakdown' was a total bust, and 'Catch Me If You Can' was a disappointment, too. So it's a pleasure to find that 'Sister Act,' a new adaptation of the 1992 Whoopi Goldberg film comedy, is energetic, hilarious and thoroughly enjoyable. In spite of a few issues, it has all the makings of a feel-good hit.

It's too bad Kathleen Turner never got a chance to play Sister Aloysius in 'Doubt.' It might have spared her the embarrassment of now playing a nun in Matthew Lombardo's disappointing psychological melodrama 'High'...Jonigkeit overplays his role physically - especially the twitching and shaking - to the point of absolute ridiculousness. Meanwhile, Kunken, whose character is ill-defined, seems lost amid all the sparring.

Thanks to a large cast and the most stunning use of puppetry since 'The Lion King,' this co-production by Lincoln Center Theater and London's National Theatre is absolutely masterful and immensely moving...Be warned that 'War Horse' is a genuine tearjerker. But it is not so sentimental as to be off-putting. This is tug-at-your-heartstrings storytelling at its most spectacular and transcendent.

Guirgis' foul-mouthed and sexually explicit language is consistently funny, but much of the play drags and its premise quickly wears thin. The production, however, has been directed with finesse by Anna D. Shapiro, who won a Tony for 'August: Osage County.' She highlights the play's fighting quality and makes it feel authentically raw. Cannavale delivers a wildly aggressive performance as Jackie, highlighting the character's confusion and desperate nature. Rock, on the other hand, portrays the self-satisfied Ralph with a hilarious kind of ease and cockiness.

But in spite of so much promise, 'Catch Me If You Can' is so disappointing that it will leave you wishing you could travel back in time and watch 'Hairspray' again.

Kathleen Marshall's lavish production occasionally feels labored. But for the most part, to quote one of the musical's most famous lyrics, 'it's delightful, it's delicious, it's de-lovely.' Her choreography manages to turn almost every production number into a showstopper. Foster lacks the rough-and-tough sex appeal to credibly portray Reno, but she handles the belting, dancing and comedy bits with such perfection that you hardly care.

Staging the play in a large Broadway theater usually reserved for musicals does not work to the play's ultimate advantage. Nevertheless, Rajiv's intelligent drama, as staged by Moisés Kaufman, convincingly captures the chaos of Iraq immediately following the 2003 invasion.

Nevertheless, Radcliffe gives a pretty satisfying performance, showing off earnest acting skills, a passable singing voice and some surprisingly confident dance moves. But perhaps most importantly, he is so cute and charming that the audience is sure to cheer him on.

As you'd probably expect, the show's potty-mouth creators do not refrain from using explicit language. But in spite of the curse words, 'The Book of Mormon' is an upbeat, even sentimental musical that combines Rodgers & Hammerstein, 'Les Miz'-style powerhouse ballads and tap dancing.

The show, which runs about 2 1/2 hours, could be tightened here and there. But as helmed by Fisher Stevens, it makes for a very entertaining, physical and heartfelt piece of theater.

'Priscilla Queen of the Desert' is not so much a normal musical but rather a loud, oversized karaoke party and midnight drag show. You really want to have fun, but it is so aggressively campy that it soon becomes irritating and too much to stomach.

Sutherland is wasted as a subservient lackey with false teeth. Noth is typecast as a pompous philanderer and sleepwalks through his role. Patric overplays his character’s drunken binge to the point of being ridiculous. On the other hand, Gaffigan is credibly insecure, and Cox makes the biggest impression as a coach past his prime who is unable to adapt to a politically correct environment.

This results in a brilliant performance that is just as hilarious as it is utterly convincing. Those who forget to read the Playbill might not even realize that the role is being played by a man, which is perhaps the greatest compliment that Bedford can receive.

The uniformly excellent supporting cast includes Byron Jennings, David Harbour, Jesse L. Martin, Heather Lind and Christopher Fitzgerald. Their combined work represents nothing short of a master class in acting Shakespeare.

For Christmas this year, the elves in Santa's workshop ought to build us a better new musical than 'Elf,' which is hardly worth adding to anyone's holiday wish list.

This is essentially an updated version of Reubens' original stage show, which in turn inspired the film 'Pee-wee's Big Adventure' and the Saturday morning television series 'Pee-wee's Playhouse.' There's not much of a plot, but the show is overloaded with atmosphere and laughs.