Matt Windman

'Skeleton Crew' could have easily ended on a downbeat note. After all, no one is coming to save the factory, and the characters face an uncertain future. But the compassion they share for one another, the sacrifices they make for each other, and the unexpected pride they take in their work, turn 'Skeleton Crew' into a most unlikely feel-good - or rather feel-hopeful - drama

Unfortunately, 'Flying Over Sunset' is an artistic misfire - and a nearly three-hour slog to sit through. The book is devoid of conflict (relying instead of introspection and confession), expository (filling in details about the politics of the period), repetitive (with the second act more or less mirroring the first act), and indulgently weird (including a sequence in which Grant imagines himself as a 'giant penis rocket ship'). The unexpected highlight of the show ends up being a lengthy tap duet between Yazbeck and Atticus Ware (who plays Archie Leach, Grant's younger self).

Unfortunately, 'Flying Over Sunset' is an artistic misfire - and a nearly three-hour slog to sit through. The book is devoid of conflict (relying instead of introspection and confession), expository (filling in details about the politics of the period), repetitive (with the second act more or less mirroring the first act), and indulgently weird (including a sequence in which Grant imagines himself as a 'giant penis rocket ship'). The unexpected highlight of the show ends up being a lengthy tap duet between Yazbeck and Atticus Ware (who plays Archie Leach, Grant's younger self).

The production (which is a bit overlong, at just under three hours) contains superb staging, visual design (including oversized party balloons, an 'Alice in Wonderland' motif, and even a rainfall effect), music direction, and casting - with one notable exception in its leading lady, Tony winner Katrina Lenk ('The Band's Visit'), who is plainly miscast as Bobbie, lacking both the vocal chops and emotional vulnerability for the role.

It works best at its most irreverent, as exemplified by a celebratory disco number led by Brad Oscar (as Daniel's brother Frank, who works as a hair and makeup designer) and J. Harrison Ghee (as Frank's professional and romantic partner Andre). As the two imaine how to turn Daniel into Mrs. Doubtfire, ensemble members make appearances as both glamorous (Donna Summer, Princess Diana, Cher) and unglamorous (Margaret Thatcher, Eleanor Roosevelt, Julie Child) celebs.

Director Kate Whoriskey (who regularly collaborates with Nottage) may have overemphasized the play's broad humor, to the point where it often starts to resemble a sitcom version of 'Top Chef.' But at its best, 'Clyde's' is a relatable, rambunctious, feel-good work that optimistically preaches a path to self-redemption.Director Kate Whoriskey (who regularly collaborates with Nottage) may have overemphasized the play's broad humor, to the point where it often starts to resemble a sitcom version of 'Top Chef.' But at its best, 'Clyde's' is a relatable, rambunctious, feel-good work that optimistically preaches a path to self-redemption.

'Trouble in Mind' is worth seeing, as it speaks directly to current concerns in the theater industry over institutional and unconscious racism, as seen in the depictions of Black characters (which has led to recent revisions in shows such as 'The Book of Mormon' and 'To Kill a Mockingbird') and the handling of disagreements (which has led to the hiring of directors of diversity, equity, and inclusion). 'Trouble in Mind' may have waited 65 years to come to Broadway, but it is remarkably on point and on time.

Contrary to the vicious ridicule it was greeted with on social media, 'Diana' is not a disaster - it's just not very good. If anything, it is an example of what the late composer Mary Rodgers called a 'why musical,' as in a musical that is completely unnecessary. Why did the world need another retelling of the marriage of Diana and Charles, especially after it has been so thoroughly explored in the tabloids and onscreen (i.e. season four of 'The Crown,' 'Spencer' with Kristen Stewart)? You don't even need to watch 'Diana' in person or on Netflix to feel like you've already seen it.

Some of director Michael Longhurst's ideas pay off (displaying the town's statute of a Confederate soldier both before and after it is vandalized, emphasizing the swampy physical environment, a post-climactic rainfall special effect) and others are awkwardly inserted and strained (having many scenes performed on a narrow balcony level, incorporating a turntable). 'Caroline, or Change' ought to be better appreciated today. Not only have people had more time to absorb its score, its plot (which reflects upon systemic and unconscious racism) speaks directly and powerfully to the current cultural moment.

Three and a half hours fly by pretty quickly in 'The Lehman Trilogy,' an unlikely and thoroughly gripping epic drama which explores how Lehman Brothers evolved from a small cotton goods shop run by three German-Jewish immigrants in mid-19th century Montgomery, Alabama into an elite international financial firm that flourished during the 20th century and then perished in 2008 amid the wreckage of the subprime mortgage crisis.

If any one play comes to represent the current Broadway season's remarkable renaissance of new works by Black writers, it will probably be Keenan Scott II's soul-searching, rhythmically-driven, and widely-accessible drama 'Thoughts of a Colored Man,' which was produced in Syracuse and Baltimore prior to the pandemic.

The FBI transcript is choppy, repetitive, and dull. However, 'Is This A Room' (which was conceived and directed by Tina Satter) is primarily concerned with what is not said - theatricalizing the tension, uncertainty, and awkwardness of the interrogation experience through body language. The production also employs hazy lighting, sudden blackouts, overlapping voices, pauses, and a dissonant score and sound design.

The production (staged by Zhailon Levingston, who is now the youngest Black director in Broadway history) relies heavily on mugging from the actors, especially Urie, who does his standard shtick of exaggerated facial expressions and manic reactions. It works best during the funeral sequence, at which point theatergoers are made to feel as if they are part of the church service. At my performance, quite a few people responded to the funeral speeches in a call and response style.

Santiago-Hudson displays remarkable finesse and ease as he switches back and forth between portraying different characters (such as during a confrontation between 'Nanny' and his unstable birth mother) or between direct narration to the audience and extended character monologue.

Notwithstanding the dynamic score, 'Six' is weighed down by a labored book (which is built around a flimsy setup and banal banter), bargain-basement scenic design, and clunky dance choreography. That being said, 'Six,' which was highly anticipated before the shutdown, still has the makings of a solid hit. The history-meets-contemporary pop concept certainly worked out well for a little show called 'Hamilton,' and it is easy to imagine 'Six' appealing to teen girls, history buffs, and many others.

'Pass Over' is not for everyone - or even most people - but it is for those who are ready and willing to take in a raw, incendiary, and challenging (though often entertaining and gripping) piece of contemporary theater. I admire the play tremendously while also finding it to be repetitive, uncomfortable, and bewildering. I've really missed shows like this.

Kitchen sink drama is beautifully intermixed with approximately 20 Bob Dylan songs in 'Girl from the North Country,' a haunting, mysterious and stunning new musical written and directed by Irish playwright Conor McPherson and set in Duluth, Minnesota (Dylan's hometown) during the Depression. It has arrived on Broadway following earlier runs in London and Off-Broadway at the Public Theater.

I may spend the rest of my life trying to make sense of Ivo van Hove's reconcieved and avant-garde, rough and raw revival of 'West Side Story.' In spite of many interesting ideas, it is a muddled, self-conscious, pretentious, humorless, dizzying, bewildering mess, in which the show's memorable songs and youthful romance get lost in the midst of brutal violence and overwhelming video imagery.

Some scenes depicting Davenport's fact-finding and investigation can be dry and clunky. But under Leon's sharp and ensemble-oriented direction, the play's cultural and political dimensions take on extended emphasis, bringing the gap between World War II-era America and the present day in its exploration of the effects of racism and the need to confront uncomfortable facts and arrive at the truth.

Had the novel been converted into a straightforward, multi-actor drama, many would probably have complained that Strout's meditative authorial voice got lost in the process. But in its current form, 'My Name is Lucy Barton' is not unlike a glorified, live audio book. Coincidentally or not, it was just announced that an audio version of the play with Linney will soon be released.

At my performance on Tuesday night, Connick (wearing a tux and clutching a wireless microphone) at first looked stiff and dazed and sounded wobbly. His remarks to the audience about Porter were effusive but rudimentary. Attempts to turn some songs into dramatic scenes (set in such locales as an underground New Orleans bar or a lonely hotel room) were corny and dull. But as the concert progressed, Connick became more at ease and segued into his persona as a smooth, Sinatra-style crooner. He was most in his element while playing at the piano alongside the band, instead of trying to be a showman. Connick also seemed to enjoy leading a behind-the-scenes tutorial about how he arranged and orchestrated Porter's 'Night and Day.'

Even if Diablo's script feels overstuffed (a few uncomfortable sequences could probably be cut) and derivative (especially of the 2009 Pulitzer-winning musical 'Next to Normal'), it is character-sensitive and willing to delve into difficult and timely cultural issues such as opioid addiction, #MeToo, racial and gender identity and victim shaming. It also contains a lot of humor, such as when an English class debates the lyrics of 'Ironic.'

It is tempting to compare 'The Inheritance' with Tony Kushner's masterwork 'Angels in America,' which is also a two-part, six-act, roughly seven-hour drama centered on AIDS, historical connections, and politics. However, 'The Inheritance' very much stands on its own as a separate work with a very different sensibility, and I strongly suspect that it will soon join 'Angels in America' in the pantheon of great gay dramas.

Directed by Phyllida Lloyd, who more or less launched the jukebox musical phenomenon with 'Mamma Mia!', the production is related muted, with emphasis placed on the character drama. The ensemble does little besides adding back-up singing and functions like window dressing. The full expanse of the stage is also concealed until the very end.

Turbulence takes over and a president's ambitious domestic agenda gets derailed by overwhelming racial prejudice and an out-of-control foreign war in 'The Great Society' - a long-winded but action-packed roller-coaster of a historical drama by Robert Schenkkan examining the final years of the presidency of Lyndon Baines Johnson, from his 1964 election through the inauguration of Richard Nixon four years later.