Matt Windman — Theater Critic

Um, no. Contrary to the affirmatively cheery chant of its opening number, 'Head Over Heels,' a new jukebox musical on Broadway in which the hit songs of the all-female 1980s pop-punk band The Go-Go's are inserted into a ridiculous Elizabethan-era pastiche, has not 'got the beat.' That probably got lost long ago in the development of this oddball property

There is no character development or plot, besides a handful of guys sitting around on a couch. As their father looks on, the three young men play games (including a retooled version of 'Monopoly' created by their mother), joke around (breaking into a parody version of the title song of 'Oklahoma!') and strut around in matching pajamas.

Like the musical 'Hair,' 'The Boys in the Band' is very much a product of its time. Had it premiered just a year later following the Stonewall Riots, Crowley may have made his characters more defiant and less self-loathing in nature. Yet even if the play is dated and its shock value has worn off, as this crowd-pleasing revival demonstrates, it can still be a powerful piece of theater.

In order words, Hickey (played by Nathan Lane three years ago at BAM) would not appear to be a role destined for Denzel Washington - yet here he is on Broadway giving a first-rate performance in a first-class revival of O'Neill's titanic 1946 tragedy of shattered dreams, hopelessness and inebriation.

On the heels of Lincoln Center Theater's acclaimed revival of 'My Fair Lady' (which is based on Shaw's 1913 comedy of manners 'Pygmalion'), Manhattan Theatre Club is presenting a straightforward, generally effective production of his 1923 tragedy 'Saint Joan' with three-time Tony nominee Condola Rashad ('A Doll's House, Part 2,' the Showtime series 'Billions') as Joan of Arc.

Good luck making sense of 'Travesties,' Tom Stoppard's difficult, diffuse and dense 1974 comedy of faulty memory and early 20th century European history and culture, which has returned to Broadway in a robust revival produced originally by London's Menier Chocolate Factory and brought to New York by the Roundabout Theatre Company.'

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.

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.

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).