Elisabeth Vincentelli

“This new Broadway show, which opened on Monday at the Nederlander Theater, is a blast.”

““Titaníque” may be uneven, but at least it fits right in.”

“In an unprepossessing way, the show evokes the possibility of a post-human future in which machines go on forever, asking the same questions over and over, or perhaps answering them on their own and moving on … but to what?”

“Parts of the show are absolutely thrilling and parts are flat at best, aggressively dumb at worst.”

“The miracle of this play is that the circle feels as if it is extending to embrace us all.”

“The considerable beauty of this inspiriting show — full of complicated emotions about our diaspora nation — is streaked with melancholy.”

“But with just one side of the story, it’s hard to grasp how unbelievably hard it is to pull off.”

“But for an elegantly vicious play that’s meant to draw pearls of blood, the actors, especially Cannavale and Harris, can come off as guarded, as if they’re fencing with blunted tips.”

“Those impervious to the band or “Mamma Mia!” should just accept that here is not where the story ends.”

“This production is big, loud, often ingenious and occasionally breathtaking, in a 'how the hell did they do this?' kind of way.”

“The interconnections between musicians, songs and a society have rarely been evoked as vividly, and as lovingly, as they are in 'Buena Vista Social Club.'”

“But this new production is a slight affair that’s as easy to forget as it is to watch.”

“This smug show doesn’t have enough edge to cut through cottage cheese.”

“The revised show is thrilling from beginning to end, and easily stands out as one of the rare must-sees in a crowded season.”

“A musical where the sonic storytelling constantly pales next to the visual one has a bit of a problem on its hands.”

“A tale of sensory deprivation told through sensory overload makes counterintuitive sense.”

“Not everything works in Jessica Stone’s production — there’s a reason the words “dream sequence” tend to set off alarm bells — but at least it summons a coherent theatrical universe.”

“This timidity is but one example of the ways in which the show comes up short, both as a feminist text and as a tribute to Spears’s songbook — and, yes, her life.”

“And sadly, none make much of an impression, mired as they are in a syrupy muck of good sentiments and grating civic cheerleading.”

“By that point it feels rushed and not quite earned, not to mention a little too nakedly sentimental.”

“It is confident in its voice, in its beliefs, in its artistry, in its wicked humor and angry pain — or pain-laden anger.”

“Catching up with him at regular intervals, we are watching the construction of a lifelong narrative arc.”

“This “Little Prince” is an uncomfortable hybrid, neither fish nor fowl nor sheep.”

“Groans and cliches come fast and furious in this cheesy musical.”

“A brutal, nightmarish telling of a cautionary novel.”

“Once again we find ourselves transported into a self-contained world where ardent Russian aristocrats and head-over-heels passion still thrive.”

“Far from being an earnest history lesson, the new show is a crackling, high-energy tribute to the joys of creating entertainment — even at a time when black people weren’t allowed to display the full range of their talents.”

“It’s pretty crazy that this story about regret, mortality and big life choices — make that “eternal life or death” choices — could end up so toothless.”

“From score to casting, book to staging, everything comes together with a deceiving ease.”

“A comic 'American Psycho' you can dance to? Somehow, it works.”

“It says a lot about Langella’s charisma that he remains in focus throughout.”

“The show tries to have it both ways: As a supernatural spookfest and as a morality tale about mass hysteria and intolerance.”

“As a gentle fable, “Bright Star” has a quirky charm, but its stubborn refusal to face up to its dark side diminishes it.”

“Still, a lot of quirk only goes a little way.”

“There are plenty of those funny bits, but they don’t gel into the hilarious whole “Noises Off” is supposed to be.”

“In the superb Broadway revival that opened Sunday night, the 1964 musical proves that it has such great bones, it doesn’t need a marquee-size star at its center.”

“As terrible as the buzz has been”

“Inspired by the life and music of Gloria and Emilio Estefan, it literally gets the audience off its seats and into a conga line.”

“The revival of Harold Pinter's 'Old Times' at the Theatre is a showcase for three terrific actors — but it's also a dull, airless production that feels more like a master class than a night at the theater.”

“Admiring this revival’s feat is one thing. Feeling for it — now, that’s something else.”

“Well, America turned out to have a long, successful run.”

“It’s hard to think of a better sync between role and star.”

““Airline Highway,” on the other hand, is overstuffed and unfocused, the plot loosely organized around the funeral party for Miss Ruby, a former burlesque queen who’s the grand elder of the Hummingbird’s ragtag community.”

“It’s all shamelessly silly, and it works: In Joe DiPietro’s play, based on Garson Kanin’s 1985 “Peccadillo,” broad jokes and shameless hamming make for a guilty pleasure.”

“"Composer Jeanine Tesori and book writer/lyricist Lisa Kron tackle the material with great sensitivity and warmth. Their adaptation boasts a solid chamber-pop score, a handful of wonderful scenes and a winning cast.“Fun Home” has a lot going for it, thanks to the great affection and humor it accords its flawed, searching characters.”

“This revival is a gorgeous, sumptuous production that honors the original while making it feel fresh and relevant for today's audiences.”

“These talented, hard-working actors are a joy to watch, and almost make up for the drecky writing.”

“When those two are onstage, they make you believe in love — and the power of dance — all over again.”

“Hand to God is a heavenly Broadway comedy that manages to be both shocking and sweet, crude and touching.”

“The lack of sexual chemistry between them makes you wonder why Kyra bothers to put up with Tom.”

“Here, Moss’ low-key approach verges on passivity, which doesn’t make the character especially interesting.”

“Mirren is absolutely terrific as Queen Elizabeth II in “The Audience,” which opened on Broadway Sunday night.”

“That kind of low energy smothers comedy.”

“Things start dragging when Tommy enters the picture.”

“Wilson and Gyllenhaal place it in a universe where Broadway vehicles have heart.”

“The ever-fine Clarkson is a marvel of sympathetic restraint.”

“As the play turns to the absurd, Albee’s writing brims with black humor and red-hot loathing.”

“There are too many worthier fish in the Broadway sea to bother with this one.”

“Both actresses are impeccable, funny and affecting.”

“But its heart-on- the-sleeve honesty helps keep it afloat.”

“But the bigger stage hasn’t been kind to the show.”

“The show explodes with unfettered joy every time she’s onstage.”

“Mullally and Lane alone are almost worth the price of admission, with a sense of timing that’s a thing of wonder.”

“This is the whole package, a rare case of family entertainment that speaks to the heart and brain.”

“Come to think of it, this comfort-food of a play by Donald Margulies (“Time Stands Still”) is like Goldilocks’ porridge: not too hot, not too cold — just . . . lukewarm.”

“As craftily written as “Love Letters” is, it’s also static: There’s not much director Gregory Mosher can do with this setup.”

“That we end up caring so much for her — and Warren, and Dennis — is why this show works so well.”

“We could have done with fewer clichés: When a drug dealer says, “After tonight, I’m out of the game for good,” you just know things won’t end well.”

“You’re left dazzled — and devastated.”

“Things bog down after intermission, when there are one too many earnest speeches and saintly Rita admits to an unease with her marriage.”

“Only when he finally clicks with the material — as on the heartbreaking “Wig in a Box,” about the process of becoming someone else — is the show suddenly worth the effort he’s poured into it.”

“Both actors are perfectly fine, but watching them duke it out is only mildly entertaining — the play’s brushstrokes are too broad to paint a compelling portrait.”

“Daniel Radcliffe delivers a terrific performance as Billy, a disabled young man who dreams of escaping his dreary Irish island for Hollywood stardom.”

“If you think watching paint dry is boring, try watching two men edit a long-forgotten play.”

“Franco’s unable to make us understand what’s in it for George.”

“"Bullets Over Broadway" is packed with this kind of yummy nonsense — and delivers it with relish.”

“But there’s only so much Collette can do as the linguistic games wear on.”

“As a result, this first-rate production — efficiently directed, like the 2004 one, by Kenny Leon — is a Broadway bull’s-eye.”

“A clunker of a Broadway show, “Mothers and Sons” asks us to endure the vacuous chit-chat of deeply unpleasant people.”

“And in this new revival, you mostly soar with them.”

“Disney’s new “Aladdin” doesn’t quite catch lightning in a bottle — but it lets a pretty nifty genie out of a lamp.”

“And it turns out that a boxing musical wasn’t such a crazy notion, after all.”

“Luckily, because Robert Schenkkan’s by-the-numbers historical drama isn’t as compelling as its star.”

“If there is an affair to remember here, it’s the enduring one between O’Hara and the audience.”

“Yet 'Outside Mullingar' can't seem to decide if it's a rom-com or a drama, and wastes too much time on exposition and badly paced, maudlin scenes.”

“What makes the show so fascinating is the contrast between its cerebral approach and Hall’s compassionate performance.”

“Mueller's King, who's onstage almost all the time, is no sap. Instead, this funny music nerd radiates intelligence.”

“Who wouldn’t want the privilege of watching him in action?”

“If you have to pick one, “No Man’s Land” is the way to go.”

“Too bad the show doesn’t spend even more time getting away from murder — love becomes it so much more.”

“We’re putty in his expert hands — and that’s the memory we’ll take with us.”

“At last comes “After Midnight,” a sleek, elegant tribute to Duke Ellington and the glory days of the Cotton Club that brings class back to Broadway.”

“This impression is reinforced in this production, which looks great but is emotionally distant and a tad too tasteful.”

“Director Daniel Sullivan smoothly handles White's melodramatic story, which also includes Elizabeth's religious sister, Clarissa, and her German husband, Max. The reliably wonderful Victoria Clark and Danny Burstein (doing a rather odd accent) act the hell out of tacked-on parts.”

“This is typical of the show, which is adequately done but bland.”

“Watching Parry and Nivola stiffly dance around each other’s feelings is melanchic and delightful.”

“Enough of these baby­boomer-baiting tribute concerts trying to pass for Broadway musicals!”

“Unfortunately, Andrew Lippa’s score is a hack job stringing one banal non-tune after another.”

“This is a fine evening at the theater, not a divine revelation.”

“In this, his Broadway and Shakespeare debuts, the British actor is handsome but lacks stage presence.”