Matt Windman — Theater Critic

The production, which has received a few significant visual and musical upgrades since its Off-Broadway debut, is probably the most convincing, coherent, and compelling rendition of “Merrily” to date, making it the best candidate for its Broadway return. For the show’s many devoted fans (of which I am certainly one), this production is not just a triumph but a homecoming and a vindication.

I tried to approach “Once Upon a One More Time” with an open mind but eventually gave in to the reality that all of the songs sound the same (“Oops” and “Hit Me Baby One More Time” are musically indistinguishable), the plotting is draggy and disjointed, he staging (with direction and choreography by Keone Madrid and Mari Madrid) is a hot mess, and the concept has been done before.

In spite of the showmanship, “New York, “New York” is long-winded and undercooked. It has too many characters (which leads to sketchy characterizations and rushed scenes) and its attempt to explore racism of the period feels tacked on. On the whole, “New York, New York” seems overly concerned with trying to advertise itself as a show for tourists who want a feel-good, sanitized look at the city – a far cry from “Chicago” and “Cabaret.”

Not only is 'Peter Pan Goes Wrong' just as good as (and perhaps even better than) 'The Play Goes Wrong,' the fact that it is based on 'Peter Pan' makes it appealing to both children and adults, including my six-year-old son, who roared with laughter from start to finish - and even before the start of the show thanks to preshow activity in which the cast members roam the aisles busily putting stuff together.

The idea of Sorkin revising “Camelot” was intriguing and promising. After all, “The West Wing” was marked by a similar kind of political idealism, and Sorkin’s recent stage adaptation of “To Kill a Mockingbird” was well-received. Unfortunately, his new book (which removes all magical elements, turns Morgan Le Fey as a scientist, and questions how Arthur could have pulled the sword from the stone) is too clumsy and self-conscious in its attempt to draw contemporary parallels and critical viewpoints. Sorkin has also seriously disrupted the integration of the songs and dialogue. There is still much to savor in Sher’s lavish production, including a 30-piece orchestra playing the score and Andrew Burnap’s (“The Inheritance”) deeply-felt performance as Arthur. Phillipa Soo (“Hamilton”) struggles with the high soprano songs but makes for a headstrong Guenevere full of personality. Jordan Donica (“My Fair Lady”) can be stiff but is nevertheless an imposing Lancelot with a robust voice. The period visual design is lean and effective, particularly the suits of armor and cathedral-like arches towering above the stage.

As led by an excellent ensemble cast, the solid production (directed by Saheem Ali) successfully balances the play’s intimate emotional moments, terrific stagecraft (including surprise entrances and exits by the ghost) and far-out comedy.

Given the fact that “Shucked” is directed by no less than Jack O’Brien (one of the country’s most versatile and respected directors, whose many credits include Shakespeare, Stoppard, and “Hairspray”), one would think that there would have been more to “Shucked.” One could try to read into it as a parable of community, commitment, tolerance, and so on, but “Shucked” is really just a lightweight and laborious attempt at resurrecting old-fashioned musical comedy with a country flavor and corn as high as an elephant’s eye.

“Life of Pi” is a most impressive and well-executed piece of theater. It’s a shame that Richard Parker is likely not eligible for a Tony Award nomination for Best Featured Actor in a Play. Then again, one suspects that the artists that brought the tiger and the other animals and visual effects to life will be deservedly recognized.

Well, “Bad Cinderella” (which was originally titled simply “Cinderella” when it premiered in London, which might have caused some consumer confusion) is splashy, campy, lightweight, overcharged, strident, and slight. If not necessarily bad, “Bad Cinderella” (which often feels like “Cinderella” combined with “Shrek” and “Clueless”) isn’t exactly great either.

The Broadway revival of “Parade” originated a few months ago as a week-long production at City Center directed by Michael Arden (who has helmed solid revivals of “Spring Awakening” and “Once On This Island”) and starring Ben Platt as Leo Frank. It was a gripping and thrilling production that was absolutely worthy of a Broadway transfer and has gotten better since then.

Here, Lloyd has foregone all period detail and removed traditional production elements (including set and costumes, revealing the theater’s multilevel backstage area) and bits of staging in order to produce a seamless, direct, and fresh reexamination of the play. Although originally written in three acts, it is presented without intermission and runs exactly two hours.

As directed and choreographed by Casey Nicholaw (“The Book of Mormon,” “Something Rotten!”), “Some Like It Hot” is a fresh, splashy and fast-paced delight. The book, by Matthew Lopez (“The Inheritance”) and comedian Amber Ruffin, carefully reconceives the original characters and make cross-dressing into something more than just a joke.

But more often than not, “A Beautiful Noise” gets bogged down in a labored narrative premise in which a bitter and depressed Diamond of the present day (played by Mark Jacoby) relives a sanitized and simplified version of his life story by talking to a psychologist (Linda Powell) who serves as an interviewer/interrogator, culminating in a contrived attempt to achieve an emotional climax (in which both versions of Neil Diamond sing “I Am…I Said” together) and finally find an excuse for adding “America” into the playlist.

There is an appealing smoothness, simplicity, and sense of construction to Birbiglia's shows. (Seth Barrish, who serves as Birbiglia's regular director, surely deserves much credit.) Birbiglia excels at offering fun anecdotes, dramatizing conversations with offstage characters, making Seinfeld-style observations about daily life and performing occasional physical bits.

'Kimberly Akimbo' is a feel-good show that acknowledges feelings of heartbreak, nausea, and discord. It brings to mind 'Fun Home,' which also has music by Tesori, is based on unlikely source material, and explores an unconventional family and a pained adolescence. It honors the Sondheim dictum of 'content dictates form,' creating a work that is well-integrated, fresh, quirky, and heartfelt, but not flashy or over-the-top. The bittersweet ending (driving off into the sunset on a road trip, even as the end is near) is particularly effective and affecting.

'I am a brother playing Lincoln. It's a stretch for anyone's imagination,' explains an early-middle-aged Black male who makes a living impersonating Abraham Lincoln (with a suit, beard, top hat, and whiteface makeup) as part of a bizarre arcade attraction where patrons can reenact Lincoln's assassination in 'Topdog/Underdog,' Suzan-Lori Parks' gritty, Pulitzer Prize-winning drama of sibling rivalry, which is now receiving an excellent 20th anniversary Broadway revival starring Yahya Abdul-Mateen II ('The Trial of the Chicago 7') and Corey Hawkins ('In the Heights').

On the other hand, Michele's performances of 'I'm the Greatest Star' and 'Don't Rain On My Parade' are absolutely exhilarating, prompting frenzied excitement and mid-show standing ovations. Michele also throws herself into her character's comedy bits, even though her efforts are more hard-working than inspired or genuinely funny.

This is a straightforward, well-acted, richly-designed, enjoyable revival that accentuates the competing passions exhibited by Washington and Brooks and the sincere, warmhearted personalities surrounding both of them, including Jackson, Ray Fisher, Trai Byers, and Michael Potts.

The performances are individualized and powerful, including Pierce's mercurial Willy (jovial and hammy, then innocently bewildered and shaking), Clarke's tough-as-nails, weathered Linda (whose handling of the 'attention must be paid' monologue is superb), Khris Davis' soft and sensitive Biff, and McKinley Belcher III's oily and upbeat Happy.

I admire the considerable thought and enterprise that went into creating this production, while still finding to be overwhelmingly problematic and frustrating, especially in the over-the-top manner that many songs have been reconceived. It is full of provocative images and questionable choices that are worthy of extended analysis and debate.

Like 'Sanctuary City,' 'Cost of Living' is a compelling contemporary drama that has enigmatic and vulnerable characters, complex relationships, rising intensity, vigorous argumentation, and an underlying sense of humor and compassion in the midst of endless struggle.

'Leopoldstadt' is not without its issues. Much of it is expository, slow, and muddled (including a farcical circumcision sequence that somehow got included). It is very challenging to remember who each of the less prominent characters is without consulting a character list or family tree. Still, it is a powerful work which is receiving a lavish production under the meticulous direction of Patrick Marber. Given its size and scale, the fact that 'Leopoldstadt' is being produced on Broadway - and commercially, no less - is unbelievable.

As much as I liked it at City Center, it was still coming together at the time, which was not surprising in light of the complexity of the score, shaded characters, and limited rehearsal time. On Broadway, the production is much sharper and the performances are more nuanced. It's hard to pick and choose favorites among the cast because everyone is so damn good, including Julia Lester's sly and confident Little Red, Patina Miller's striking and sexy Witch, Phillipa Soo's heartfelt Cinderella, Cole Thompson's bright Jack, Brian d'Arcy James' well-meaning Baker, Sara Bareilles' improvisational Baker's Wife, Gavin Creel's foppish Cinderella's Prince and hammy Wolf, and Joshua Henry's exuberant Rapunzel's Prince. Even the cow Milky White (now a full-size, hand-operated puppet operated in full view of the audience) is a standout.

Gold's production of 'Macbeth' is stripped-down and casual (with many actors playing multiple roles and a utilitarian scenic design), often effective (mostly due to the performances), and just as often bewildering. For instance, at the beginning, the witches are depicted cheerfully cooking. At the end, the cast comes together over soup and song. There is also a vaguely seventies design scheme, ad-libbing, and hard drinking. It's too bad Gold can't provide live audio commentary to explain what he is going for.

While Crystal and the cast are droll and endearing, 'Mr. Saturday Night' (directed by John Rando with an especially small cast for an old-fashioned-style musical comedy) is pretty dull, slow, and schmaltzy. The gentle score, much of which was custom-built for a leading man with a limited vocal range, lacks the flavor and bite of Brown and Green's best work. A lively establishing song performed by Bean in the first act seems to have come out of an entirely different, more contemporary, more interesting show.