Roma Torre

And while the work strives to be even-handed, it's clear the playwrights are more sympathetic to Jim's side of the debate. Daniel Radcliffe plays the unrelenting noodge to perfection. And when the two go at it, Bobby Cannavale's arch sense of entitlement as John makes for a most compelling dynamic. In the middle is Cherry Jones as the exasperated Emily, and she too is terrific. I can't exactly say 'The Lifespan of a Fact' is a great play, but it is an important one. And as the assault on objectivity escalates throughout the world, I wish it a long and healthy lifespan of its own.

In Shakespeare's tragedy, Hamlet famously says, 'The play's the thing.' In 'Bernhardt/Hamlet,' the thing is not so much the play as the performances, and it made me yearn for another title: 'McTeer/Hamlet.' A better play about Bernhardt will have to wait.

The convoluted story revolves around a king and queen, their two daughters and a shepherd love interest. Their lives do indeed turn head over heels as King Bacilius visits the Oracle Pythio who portends a series of calamitous events. It gets awfully complicated and audiences may tune out before it's all resolved. But I'm not even sure it matters because if you're willing to suspend your disbelief, under Michael Mayer's spirited direction, there's so much good-natured talent on the stage you may just give in to the frivolity.

Everyone shines in this production. Colm Meaney, Michael Potts, Bill Irwin, Tammy Blanchard and Reg Rogers merge the comedy and tragedy masterfully. David Morse as the hardened anarchist Larry is terrific. And Denzel Washington tackles the role of everyone's favorite salesman Hickey with a softer edge here. And if it's not the grandstanding performance we've seen in past productions, it is a most honest one from a gifted actor breathing humanity into this super-human character.

On the surface, George Bernard Shaw's 'Saint Joan' is a great choice to produce now. In a sense, Joan of Arc was the ultimate feminist in an ultra-patriarchal world, and she certainly paid the price for her convictions. But while the Manhattan Theatre Club's timely selection of this great play raises high expectations, the production falls a bit short.

Director Patrick Marber must be commended for enlivening the high-brow farce with delightfully madcap interludes. The performances are striking. The ability alone to memorize and recite all that madcap material is impressive enough. But these multi-talented thespians do it with such zesty effortlessness, they make it all seem like so much fun.

It's been nearly 25 years since Rodgers and Hammerstein's 'Carousel' has come around on Broadway. And good reason... the last production featuring a young Audra McDonald set the bar pretty high. And while the current revival doesn't measure up in some ways, it makes up for it in others - starting with that glorious score.

In 1982, I bought myself a ticket in the rear balcony to see 'Children Of A Lesser God,' and it was revelatory. But now, 36 years later in its first Broadway revival, it doesn't hold up all that well. The play, featuring deaf actors, still resonates, but the production is flawed.

Fey's book is very funny and warm. She totally gets the teen culture and all the superficial drama that defines the high-school years. And if the score, by her husband Jeff Richmond with lyricist Nell Benjamin, lacks a big memorable number, the tuneful songs enhance the material quite nicely. Nicholaw, who also choreographed, paces the two-and-a-half hour production with high energy, maneuvering between the silly and serious moments with tremendous finesse. The clever video design with non-stop projections is a huge plus as well.

'Lobby Hero' is packed with issues that resonate in very big ways today - gender, race, police abuse and the entire criminal justice system, But it's also simply about the conflicted impulses that make us all so terribly and confoundingly human.

Full disclosure: 'Frozen' is not my favorite Disney princess movie. Loved the message and the song, but the story seemed pretty convoluted even by Disney standards. As a musical, the plotting remains weak, but there is a special magic that only live theatre can produce, and it's working a charming spell on the Broadway stage.

John Lithgow is a wonderful actor and clearly excels in the art of storytelling. It is, as the title of his one-man show suggests, something close to his heart. But unfortunately, his labor of love requires an intimate setting. And while there's nothing wrong with the storytelling, on that big Broadway stage, it's the stories themselves that get a little lost in translation.

'The Children' is a very small play about some very big things; profound, in fact, with its life and death matters. And yet this provocative British 3-hander, so brilliantly performed, could probably have gone a bit smaller. With its slightly tilted set, we're tipped off right from the start that something's not quite right here. For the characters, this is the new normal following a massive disaster that brings to mind the nuclear meltdown at Fukushima.

Given the cartoon's manic vibe, it seemed impossible to me that 'SpongeBob' would fly - or make that swim - on the stage. How to translate the wacky animated creatures into live bodies was an obviously daunting task, not to mention capturing the rather subversive humor that children find so appealing. Well, hats off to director Tina Landau and her gifted company for being able to ride the wave so entertainingly. Enhanced by pitch-perfect sound effects, they managed to replicate the loony shenanigans of the Bikini Bottom dwellers, all the while making it somewhat palatable for adult tastes.

Theatre-in-the-round is always a big challenge to stage, but the dazzling revival of 'Once On This Island,' currently ensconced in the Circle in the Square Theatre, feels right at home - and long may it live. The show that first graced Broadway in 1990 is back in a production that comes to life in a burst of creative energy courtesy director Michael Arden. His staging of the vibrant musical written by Lynn Ahrens and Stephen Flaherty sprawls with abandon across the entire playing space, up the aisles, and along the back walls.

The entire production has an under-developed quality, even Thurman's Chloe seems half-baked. It's almost as if this is a show pilot that needs subsequent episodes to flesh it all out. It's easy to be cynical about Washington politics. The hard part is making it compelling. 'House of Cards' did it in spades with a stable of irresistible villains. Unfortunately, 'The Parisian Woman' is neither villainous nor irresistible enough to make us care one way or the other.

The bottom line: Moore is down these days, but given what he sees as America's growing liberal bent, don't count him out just yet. And despite the title of his show, surrendering is not an option. Another surprise is reading in the Playbill that Moore, long regarded as Public Enemy Number One by the National Rifle Association (NRA), is actually a card-carrying NRA member who won their Marksman Award years ago. It's no wonder he hit the target with this one, even if he is preaching to the choir.

The cast is excellent. Celia Weston expertly underplays Ruth's ditzy innocence; Janeane Garofalo makes an impressive Broadway debut as the controlling Lee; Jack Difalco as the disturbed Hank is a major talent; and in a role that could so easily turn maudlin, Lili Taylor's naturalistic performance is downright life-affirming.

It is truly frightening to see the parallels between George Orwell's dystopian novel '1984' and the state of our union today. Orwell wrote of 'doublethink' and 'Newspeak.' We have alternate facts and fake news. Of course, we're not ruled by an authoritarian Big Brother figure - at least not yet - but Robert Icke and Duncan Macmillan's harrowing stage adaptation leaves little doubt we are being watched. This is not an easy play for us to watch. Icke and Macmillan, who also co-directed, employ disorienting effects: light and sound disruptions mess with our heads, the story seems to jump back and forth in non-linear fashion, and the torture sequence at the end is brutally graphic.

It's perhaps a measure of my great admiration for this superlative production that I didn't even get to Jerry Herman's iconic score. The 23-piece orchestra plays it to perfection. And with the Divine Miss M to sing it, we've got a match made in heaven!

Besides turning an historic event into high-brow entertainment, 'Oslo' is impressively even-handed. Both sides emerge proudly arrogant, yet desperate for peace. And while that peace didn't last, this excellent play offers hope that history can once again repeat itself.

Director Moritz von Stuelpnagel does exceptional work with his ensemble, maximizing the manic comedy while allowing his leads to rise above type. There is humanity among these crazy characters and far more depth than you'd expect. And that's of course also attributed in large part to the performances. Cobie Smulders, making her stage debut, tackles the vixen role with alluring abandon. And Broadway veterans Kate Burton and Kristine Nielsen juicily sink their teeth into Coward's biting wit.

Matching the film's cast of eccentric characters, the talented performers are undermined by a diet of forced preciousness. And Adam Chanler-Berat is fine as the romantic lead, but it's tiresome watching how long it takes him and Amelie to finally hook up.

The sung-through musical echoes the lush melodies and themes from the composers' Les Miz score while peppering the narrative with politically satirical overtones. It falls on the Engineer to finesse the social commentary and comic relief, which Jon Jon Briones pulls off brilliantly. His biggest number 'The American Dream' can't resist poking fun at our current ruler. This is a most worthy revival, and now, minus the controversy, fans are free to re-live the thrill.

...what Gold has devised is quite confounding. Part of the problem is that his directorial decisions are so radical in some cases they take the audience out of the play's poetic reverie. The decision to cast a young disabled actress to play the painfully shy Laura puts the emphasis on the character's physical handicap, when in fact it's Laura's extreme insecurities that make her life tragic. And the play's text refers to her 'walking,' but that makes no sense as presented here.