Steve Suskin

At times it seems like Vogel has been inspired by Tennessee Williams’ The Glass Menagerie. At other times—with that problematic mother losing composure during a series of revealing telephone calls, that ignored and emotionally damaged daughter, that son itching to leave home and go out into the dangerous world—it seems like Vogel is consciously giving us an updated version of what might or could have happened to those forlorn Wingfields had they, and Williams, existed 30 years later. In any event, Vogel’s play and players merit a visit to the Helen Hayes. Only not as a Mother’s Day treat for dear old mom.

Lines like this might not come across on paper, but the effect is indeed hilarious when Escola spits them from Mary’s puckered mouth. Lincoln (Conrad Ricamora), meanwhile, spends his time searching for the opportunity—as he explains to his compliant orderly—to “let off some steam.” His hands are also full, of course, with that war with the South. “The south of what?,” Mary repeatedly asks. And it’s funny every time.

The Roundabout's revival of 'The Mystery of Edwin Drood' is a diverting and amiable entertainment. Rupert Holmes' unconventional musical -- derived from Dickens' 1870 serial novel, unfinished when he died without a hint as to how he intended to tie up the plot -- was an exuberant romp when Joe Papp's Public Theater first produced it in 1985. The elements, and the highlights, remain the same, even if the ebullience at Studio 54 seems more manufactured than irrepressible in spots.

Neither roses nor brickbats are likely to be thrown at 'Bring It On,' the new musical at the St. James, but you'll see plenty of cheerleaders tossed up high. With a story drawn not from the 2000 film starring Kirsten Dunst, but rather from one of its four direct-to-video sequels, the tuner remains airborne often enough to overcome several obstacles along the way, starting with overly familiar plotting and characters. Strong performances from a personable cast, athletically impressive staging and an engaging score combine to make 'Bring It On' a pert and refreshing summer surprise.

'Here's the beauty part,' brays charismatic evangelist Jonas Nightingale in 'Leap of Faith.' 'If they don't get their miracle, it's their fault; they didn't believe enough.' That sentiment handily describes the long-in-gestation musical -- first produced at the Ahmanson in 2010 -- that a motley clutch of producers has ushered into the St. James with a new director, book-writer, choreographer and leading lady in tow. Raul Esparza sizzles like a firecracker in this musicalization of the 1992 Steve Martin pic, but his wick is continually dampened by the pesky book, songs and staging.

What a difference a diva makes. Bernadette Peters steps into the six-month-old revival of 'A Little Night Music' with a transfixing performance, playing it as if she realizes her character's onstage billing -- 'the one and only Desiree Armfeldt' -- is cliched hyperbole. By figuratively rolling her eyes at the hype, Peters gives us a rich, warm and comedically human Desiree, which reaches full impact when she pierces the facade with a nakedly honest, tears-on-cheek 'Send in the Clowns.'

The unceasingly creative force of nature called Twyla Tharp returns to town importuning audiences to 'Come Fly Away,' but her third Broadway dance revue only intermittently gets off the ground. This despite an impressive dance corps, a handsome production, a fine swing band and Ol' Blue Eyes croonin' away from limboland. Sinatra's seductive voice and Tharp's sexy moves are well matched, building to some impressively climactic peaks. General audiences, though, might well run out of stamina before the dancers do.