Dalton Ross

“It will have you literally crying with laughter.”

“The Lost Boys is a big and bold production marrying technical enchantment with a talented cast of vocal heavyweights.”

“If you want to give yourself over to absolute pleasure and swim the warm waters of sins of the flesh, then you’ve come to the right (Frankenstein) place.”

“Lane is masterful and does not miss a beat, alternating between reliving the past promise of his son Biff’s football prowess and his own current diminished state and strained relationship with his would-be golden boy.”

“In the end, the new Afternoon is a mostly satisfying experience that offers impressive big production values.”

“Any one-person show is obviously dependent on the magnetism of its performer, and Radcliffe is in total command of both the material and the room.”

“And Two Strangers (Carry a Cake Across New York) definitely works.”

“In a year when Broadway has given us genuinely ambitious work grappling with what it means to be American, ‘The Queen of Versailles’ offers only spectacle without insight, a palace with no one home. What were they thinking?”

“The result puts the production in something of a modernization no man’s land — neither then, nor now.”

“It's a mission that succeeds more often than not.”

“The Hills of California does not necessarily venture to any places that dysfunctional family drama has not tread before, but the switching-back-and-forth-between-decades structure — coupled with a commanding and versatile centerpiece performance by Donnelly — still make these hills worth climbing.”

“Hell's Kitchen succeeds as both a jukebox musical and a coming-of-age story, anchored by powerhouse performances that bring Alicia Keys' music to vivid life on stage.”

“It's a riveting, painful, funny, intense, toe-tapping journey, and the end result can best be described as solid gold.”

“The actors are tremendous and completely lose themselves in the parts.”

“The action on stage is electric, albeit restrained electricity.”

“How to Dance in Ohio often misses by trying to cover too much ground from too many different angles and perspectives.”

“And while for the characters themselves, being stuck on the boat is presented as some form of intolerable torture — for audiences, it's definitely a wild ride worth taking.”

“Unfortunately, unlike the DeLorean, Back to the Future: The Musical itself never quite hits 88 miles an hour.”

“Instead, Summer, 1976 highlights how simpler moments and interactions along one's timeline can still have a profound and long-lasting impact — much like the play itself.”

“In the end, you find yourself wishing that a production about the rebellious world of rock & roll would let its hair down a bit more and take bigger risks instead of playing it safe at almost every turn.”