Matt Windman — Theater Critic

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.

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.

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.

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.

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.

At age 44, Philip Seymour Hoffman is still too young to be playing the 60-year-old Willy Loman. In a kind of dazed stupor, his Loman effortlessly switches between his out-of-control egotism and his private fears and insecurities. Still, Hoffman lacks the commanding ferocity that Brian Dennehy brought to the role in the 1999 Broadway revival. Rising film star Andrew Garfield, also too young for his role as Biff, holds his ground against Hoffman as they roar back and forth, and he emphasizes Biff's shame and discomfort. ... Linda Emond gives a radiant performance as Linda, stressing the character's unconditional love for Willy and her sober-minded ability to understand the realities of his situation. When she pronounces the now well-known line that 'attention must be paid,' a chill pervades the theater

William Shatner's new one-man show is not the most challenging piece of theater you're likely to see this year. You've probably also seen more inspired one-person shows. But it does make for a fun evening of personal reminiscence, gossip, video clips and old-fashioned humor - along with one of his strange musical performances. ... Shatner makes for a congenial presence and is very expressive throughout. He did seem a bit jittery and flustered at first, mumbling some of his lines and fiddling with the microphone packet in his back pocket, but he grew more relaxed as the 100-minute evening wore on.

William Shatner's new one-man show is not the most challenging piece of theater you're likely to see this year. You've probably also seen more inspired one-person shows. But it does make for a fun evening of personal reminiscence, gossip, video clips and old-fashioned humor - along with one of his strange musical performances. ... Shatner makes for a congenial presence and is very expressive throughout. He did seem a bit jittery and flustered at first, mumbling some of his lines and fiddling with the microphone packet in his back pocket, but he grew more relaxed as the 100-minute evening wore on.

It took more than a decade for 'Wit,' school teacher Margaret Edson's insightful medical drama, to make it to Broadway. But as demonstrated by Manhattan Theatre Club's elegant and intimate revival starring 'Sex and the City's' Cynthia Nixon, 'Wit' was well worth the wait...Nixon deserves a lot of credit for taking on such an unglamorous role. She nails the play's humor and captures Vivian's journey, which ends with her finally breaking down emotionally when she is no longer able to hide behind her 'wit.'

Although the production features a fine cast including Rosemary Harris, Jim Dale and Carla Gugino, it's about as exciting overall as watching paint dry. All three actors would benefit from bringing more passion to their performances. Although their characters are credibly portrayed, they approach them so gently that it makes this lightweight play feel even more insubstantial.

'The Gershwins' Porgy and Bess,' which trims the show's length to two and a half hours and adds new dialogue by avant-garde playwright Suzan Lori-Parks, both preserves the integrity of the original piece and makes for absolutely thrilling musical theater. It is directed by Diane Paulus, who staged the recent 'Hair' revival.

'The Gershwins' Porgy and Bess,' which trims the show's length to two and a half hours and adds new dialogue by avant-garde playwright Suzan Lori-Parks, both preserves the integrity of the original piece and makes for absolutely thrilling musical theater. It is directed by Diane Paulus, who staged the recent 'Hair' revival.