Roma Torre

There's 'Dead Accounts' and then there's 'No Accounts', which is a more apt title for this dramatically lifeless play in which there's no accounting for structure, theme or purpose. There is, however, lots of ice cream and a dazzling central performance from Norbert Leo Butz. But no ands, ifs, or buts about it: the play is DOA.

And if not 'King Of New York,' I have to say it's loaded with some very appealing princes. ... But it’s Jeremy Jordan as the swaggering Jack Kelly who once again takes 'Newsies' to new heights. He is a star, yes even a Broadway king, in the making.

The production directed by Kenny Leon is fast-paced with a dynamite beachhouse set. The actors handle Diamond's snappy dialogue with ease. Ruben Santiago-Hudson finds ample nuance as the callously dominating father. But it's Condola Rashad in her Broadway debut as the put-upon housekeeper's daughter who stands out. Moment to moment she delivers one of the freshest and most honest portrayals of the year. To the show's credit, it's never dull, but amid all the commotion and numerous revelations over two and a half hours, the play doesn't seem to go anywhere. “Stick Fly” is itself stuck in melodrama.

Director Jeff Calhoun stages the projection-rich production with great efficiency even if it takes awhile to get off the ground. 'Bonnie and Clyde' has many virtues but also enough flaws to keep it from blowing you away.

Anyone can memorize classic songs and great lines but it's in the delivery that separates the man from the boys. Hugh Jackman is an absolute superstar. Even his adlibbed banter with the audience was hysterical. You really have to ask - is there anything he can't do. He acts, sings and dances with utter mastery. I wonder if he does dishes... preferably mine!

Returning cast members Stacey Keach, Thomas Sadoski and Stockard Channing are even better than before, impossible as that may seem. It's not entirely flawless, but under Joe Mantello's expert direction, theater lovers should still find 'Other Desert Cities' a prime destination.

The actors, all excellent, sink their teeth into some nicely nuanced roles. Jennifer Lim as the multi-faceted Madame Xi is riveting and bravo to Gary Wilmes whose expressive face alone is worth a million words. The play, intricately plotted and over-written in spots, could use a healthy trimming. But for the most part Chinglish serves as a highly entertaining lesson that no matter how foreign we seem to each other, when it comes to making money, we're really pretty much alike.

For those of you old enough to remember the days when anything written by Woody Allen and Elaine May was a major event, 'Relatively Speaking,' featuring three one acts by Allen, May and Ethan Coen is little more than a big bloated tease. For the rest of you, if you want to know how this embarrassment made it to Broadway in the first place, stay home and rent some of their old stuff instead.

Amid much banter, the play fails to shed any new light on the subject. It's been thoroughly documented that King was a flawed man, and as portrayed by Samuel L. Jackson, he does emerge wonderfully human. However, any revelations about his thoughts, his motivations and fears all stem from the author's invention and fantasy, and it gets weird.

The great problem still plaguing 'Spider-Man' is that it can't decide what it is -- a theme park attraction, a Broadway musical or a circus. Then again, undiscerning audiences don't seem to care. For them, it all adds up to more bang for their bucks.

It’s an acting challenge that’s sunk many a decent actress, but rising star Nina Arianda nailed it. With a bow to Holliday’s sweet naiveté, Arianda makes the role her own. She gets a huge assist from costume designer Catherine Zuber, who drapes her fabulously svelte figure in elegantly ostentatious fashion.

Here we go again. Another film to stage adaptation, but this one's switched it up a bit. 'Sister Act,' the 1992 movie starring Whoopi Goldberg featured a jukebox songbook of disco era tunes. On Broadway, the music is all original and Whoopi is now the producer. How does it rate? Let's just say it's hard to resist when the sisters and a few brothers make such a joyful noise.

While it's all beautifully acted by an American company, the true stars of this production are the animals, designed by Adrian Kohler and Basil Jones of the Handspring Puppet Company. Lifelike without any attempt to conceal the artifice, the creatures are magnificent, a thrilling synthesis of art and imagination. It wasn't until after heading home that I stopped to think that I had just cried over a horse that was actually made up of several props held together by visible handlers. This is the power and magic of great theater.

Bathed in lush lavender lights it's all very inviting up there. Director/choreographer Kathleen Marshall completes the picture with her knockout staging of the two biggest numbers 'Anything Goes' and 'Blow Gabriel Blow' featuring some fancy dancing from her star. My favorites though were the deliciously delightful duets, 'You're The Top' and 'It's De-Lovely.'

Director Moises Kaufman's adept direction raises expectations. But the play doesn't hold up, eventually collapsing in a muddle of mental masturbation. And even that's a symbol too.

If you had any doubts about Harry Potter's wizardly powers before, you'll become a believer now. Seeing young Daniel Radcliffe's poised and skillful performance in this very challenging role, I'm wondering if the famed movie actor may have found his true calling.

It is meticulously cast and everyone shines. Nikki M. James as sweetly naive Nabalungi has a gorgeous voice. Andrew Rannells plays golden boy Elder Price with divine versatility; and as misfit Elder Cunningham, Josh Gad is truly blessed with outsize talent. Casey Nicholaw shares directing credit with Trey Parker. Along with Stone and Lopez, their 'Book of Mormon' is an inspired collaboration made in theatre heaven.

When you get right down to it, 'Priscilla' is a gay variation of those old road/buddy flicks. But I somehow doubt Bob Hope and Bing Crosby ever had this much fun.

It seems unfair to judge any play written 40 years ago by today's standards, especially one that's so tied into the cultural climate of its day. As a museum piece the production succeeds. But if the producers were aiming higher, I'd have to say they dropped the ball.

The pitch perfect cast paints a reality that bristles with edgy truth. The brilliant Estelle Parsons is dead-on, supplying comic relief as Margie’s low-class landlady. Tate Donovan is sensational, oozing conflicted impulses as a man desperate to shed his Southie skin. His liberal wife, far more comfortable in her skin, is nicely played by Renee Elise Goldsberry with both passion and restraint. And Frances McDormand finds nuances in every syllable, delivering a mesmerizing performance as a plucky casualty of the culture wars.

Kander and Ebb's score is exceptional. If not their best, a couple of the songs ranks among my all-time favorites.

I bet a fair share of Broadway purists are going to rain all over the 'Rain' parade. It's essentially a multimedia tribute to the music of The Beatles and to call it theatre would be ludicrous. Yet, as the great Bard himself wrote, 'What's in a name...' 'Rain' may not be theatre but it sure is entertaining.

'Daisy' finally makes it to theater’s promised land with a dream team that’s bound to strike fans as 'the second coming.'

Vince Lombardi was bigger than life on and off the football field, a sports icon whose winning record and volatile character make him a natural for dramatic exploration. No doubt writer Eric Simonson saw the potential basing his play on a Lombardi biography by David Maraniss. And while he's blessed with a solid team, 'Lombardi' the play isn't entirely a winner.

There's a message in 'La Bete' pertaining to the corruption of art in a populist culture and it certainly resonates today. But even more resonant is the mastery of craft on such vivid display.