Matt Windman — Theater Critic

Lookin' for some hot stuff baby this evenin'? Look somewhere other than the Lunt-Fontanne Theatre, now home to 'Summer: The Donna Summer Musical' (inventive title, no?), the latest addition to Broadway's never-ending assembly line of mindless jukebox musicals constructed around a singer-songwriter's biggest pop hits.

Aside from being able to easily grasp the numerous references in the dialogue, a theatergoer with no prior 'wizarding' experience should still be able to have a great time - and may even find the show more enthralling than would a longtime fan who already knows the 'Harry Potter' universe inside and out.

The revival has been staged in Sher's familiar style of making a classic feel fresh and dynamic without totally disregarding the original script and score, incorporating superb production values (including a two-story revolving set for Higgins' home) and bringing out layered performances from great actors.

Someone with no prior exposure to or familiarity with 'Carousel' is more likely to appreciate this misguided production. But speaking as someone who knows 'Carousel' inside and out, sitting through it was a disappointing, bewildering and frustrating experience.

'Mean Girls,' on the other hand, proves to be a wishy-washy, pointless adaptation of the smart and sassy 2004 film, which was written by Tina Fey and contains performances by Lindsay Lohan, Rachel McAdams, Amanda Seyfried, Lizzy Caplan and Fey. The primary problem is that the songs (music by Jeff Richmond, lyrics by Nell Benjamin) are underwhelming and awkwardly inserted into the dialogue. As if trying to compensate, the production (staged by Casey Nicholaw, 'The Book of Mormon') pulsates with high energy and hyperkinetic movement, as seen in everything from the broad-style performances to the shifting digital projections and all-out dance choreography.

Jackson (a two-time Oscar-winner and former member of British Parliament), Metcalf (who just returned to the role of Jackie Harris on the 'Roseanne' reboot) and Pill (a Tony nominee with many stage and screen credits) all give superb performances.

Despite a slow start and an abrupt ending, the play takes on an absorbing quality with the news that William's brother has been accused of participating in a brutal murder, which brings out the complexities in the four uniformed characters. It also contains many funny moments and themes (harassment, crisis management, social mobility) that are relevant to working professionals.

Taking in the play is not easy. In addition to its length, many sequences are bizarre, didactic and choppy. But there is no denying its theatrical brilliance, literary ambition and cultural relevance. It is often just as romantic and hilarious as it is philosophic and intense.

The continued popularity of 'Frozen' (which grossed $1.2 billion when it debuted at the movies in 2013 and has morphed into a phenomenon) probably explains why it has been adapted for the Broadway stage in such a straightforward, shallow and unimaginative manner, creating a disappointing and empty product.

The ability to consume alcohol during the show certainly helps to put one in a relaxed, less critical state of mind. But all things considered, you might be better off downing margaritas at a beach bar while listening to a Buffett album.

As much as one can appreciate Lithgow's elated and elastic theatricality, generous and open spirit and passionate advocacy for the arts, it is not easy to fall in love with the show - or even sit through it without zoning out. Sitting to my right was a young girl who spent most of the show with her head down and eyes closed.

It may contain arias from obscure Baroque operas and candlelit chandeliers, but the play is, at heart, a straightforward and sentimental 'bromance,' one in which Farinelli is willing to give up adoring audiences all over Europe to serve at the king's command. It is also a celebration of the power of music to overcome emotional and mental instability. Rylance, who excels at playing sad and strange characters, gives a full-bodied and endearing performance that combines volatile behavior and over-the-top comedy with gentle contemplation. As it turns out, van Kampen, who also did the musical arrangements, and Rylance are married, so it's no wonder that 'Farinelli and the King' is so specifically suited to their talents.

Black humor occasionally pops up, as do secrets from the past. At one point, the characters listen to James Brown's 'Ain't It Funky Now' and recreate a choreographed dance routine from 40 years earlier. But first and foremost, 'The Children' is a social drama that is disturbing and thought-provoking.

Despite some weak spots, the new Broadway musical adaptation of the Nickelodeon cartoon 'SpongeBob SquarePants' works well enough as a lively, silly, trippy show appealing to kids, Millennials and anyone who has watched the TV show since it premiered in 1999.

There has probably never been a production quite like the stunning new Broadway revival at Circle in the Square. Emphasizing the musical's themes of natural disaster and economic inequality, director Michael Arden brings an unexpected dose of gritty realism, while also honoring its gorgeous score of dynamic group numbers and tender ballads. Vocal fireworks and full-bodied dance choreography imbue spirituality and joyful theatricality.

Although the play revolves around heavy-handed plot machinations, it still manages to feel slight and slow. The characters are initially interesting but prove to be one-dimensional. The direction (by Pam MacKinnon) does little to pep up the production. One gets the sense that 'The Parisian Woman' was built specifically as a star vehicle to showcase the actress playing Chloe, to make her alluring and dominant while not demanding much in terms of acting.

Unfortunately, 'Meteor Shower' (as directed by Jerry Zaks, who recently staged the 'Hello, Dolly!' revival) turned out to be a nonsensical and tedious skit that is simultaneously starry and substandard, flimsy and overstuffed. I'm even tempted to call it a 'trainwreck' (in a nod to Schumer's hit 2015 film).

The show (which runs about two hours without an intermission) is a tall order for Leguizamo to fill on his own, with overlapping tracks that include a slow and sentimental multicharacter family drama, stand-up comedy, personal confessions, history, political criticism and even an elaborate dance break. Although one can appreciate the sincerity behind Leguizamo's emphasis on his family, his long-winded attempt to dramatize conversations with his son, wife and daughter falls flat and weighs down the rest of the show, in which he interacts directly with the audience with flare, fervor and ease.

While there is little plot or character development, one by one the players open up in song and dialogue, revealing that they are suffering from emotional paralysis and the monotony of everyday life. The integration of David Cromer's intimate and sensitive direction; David Yazbek's Middle-Eastern flavored score, much of which is performed onstage by cast members; and Itamar Moses' book, which hews closely to the original screenplay, is so seamless that it is virtually impossible to pick apart. They have turned a slight, short, quiet tale into an urgent, realistic and relatable portrait of vulnerable individuals from different cultures who are able to make an unexpected human connection, often just through a shared appreciation for music.

'Junk' marks a critical departure point for Akhtar, a Pakistani-American writer whose prior dramas involved Pakistani-Americans (the Pulitzer Prize-winning 'Disgraced,' 'The Who & The What') and an American kidnapped by a Pakistani terrorist ('The Invisible Hand'). Even while many of the characters are underdeveloped, the commentary on anti-Semitism feels tacked on and the industry lingo can throw off a layperson, 'Junk' is engrossing from start to finish and Doug Hughes' sleek, high-powered and fluid production (staged around a two-story set of empty squares and shining surfaces) never lags in momentum.

Hwang's 1988 Tony-winning play is a critical-minded drama dissecting race relations, gender roles and international affairs - and also a gripping thriller full of sex, spying and disguises. Its seriously misguided and marred Broadway revival contains direction by Taymor, lead performances from English actor Clive Owen ('Closer') and Jin Ha (Chicago cast of 'Hamilton') and extensive, unnecessary and mostly detrimental rewrites.

Except for a handful of striking moments, the play comes off as a boring mishmash of Chekhov's 'The Cherry Orchard,' Sondheim's 'Merrily We Roll Along' and, of course, 'Downton Abbey.' Perhaps it would work better with an all-English cast that possesses ensemble unity. Here, the performances are uneven - and so are the accents.

'Prince of Broadway,' the lavish, unwieldy, mostly enjoyable revue celebrating Prince's long and unparalleled career of presenting daring new musicals (usually based on difficult subject matter and incorporating strong visual concepts), has finally opened on Broadway after many stops and starts, and I'm 'sorry-grateful' to see it there.

In any event, the show (which runs just under two hours, without intermission) is a fun and freewheeling night of theater for Moore's fans and anyone else who wants to attend.

A cute sense of humor pops up throughout the play, such as when Ruth dresses up for a special episode of her favorite television soap opera, Lee shamelessly dumps a tray of candy into her purse while touring a nursing home and Bessie is rescued at Disney World by a costumed cartoon character. Staging the play is deceptively difficult, as its slow pace and confessional mini-monologues can easily become tedious, and that is often the case with this production (directed by Anne Kauffman, who has extensive Off-Broadway credits). Laura Jellinek's misconceived set design is overly expansive (with the actors frequently far away from each other) and elaborate (requiring the assistance of visible stagehands) and yet still incomplete (with a backyard scene performed around the kitchen).