Greg Evans

“Bioh, perfectly assisted by her sympatico director Whitney White and a no-weak-link cast, has done something quite amazing with this comedy-drama.”

“The playwright, along with his director, cast and creative and technical teams, have gifted us a smashingly diverting entertainment to kick off the Broadway fall season with a big, loud bang.”

“But mostly the show just feels too small – in scope, ambition and laughs – to fill a Broadway venue.”

“The Lost Boys, the Michael Arden-directed stage adaptation of the 1987 movie about teenage bloodsuckers, opens tonight at the Palace Theatre, and it’s killer fun.”

“It is a credit to Wilson’s monumental talent, and the astuteness of this production, that we’re left at the end with the sense of a past that won’t fade and a future that might never know what to make of it.”

“Whatever charms the 1988 movie had – and they were slight if soggy – have been washed away like so much sand erosion, leaving the stage cluttered with the flotsom of cartoon characters, broadly drawn performances and some chintzy-looking sets.”

“Roundabout has gifted us a wonderful time warp, and we’d be assholes not to stay for the night.”

“The Balusters is never less than entertaining.”

“Schmigadoon!, based on the first season of the Apple Original series, is a bright, pleasant diversion from whatever real world villainy is bedeviling you at the moment.”

“Fallen Angels is a most welcome springtime treat, a smart, breezy entry in Broadway’s chaotically busy pre-Tony season.”

“Director Kail (Hamilton) skillfully guides and paces his excellent cast through some heady stuff with big emotional stakes.”

“Still, when The Fear of 13 finally arrives at something close to Nick’s Rosebud revelation, we’re meant to connect the dots between past trauma and current predicament, and it is a tenuous connection at best, a possible cause for an effect we’ve been told repeatedly to distrust.”

“Titaníque on Broadway is bigger than a mere hoot.”

“Lane takes his place among the best, his Willy Loman a powder keg of frustration and disappointment and deep, deep sadness.”

“You’d have to be a real stickler for tradition to begrudge Jellicle Ball its innovations, and one suspects even the stickliest will find joy in the tunes and story that remain in this show’s DNA.”

“One of this play’s many delights arrives when down-market, undereducated Becky comes face-to-face with the aristocratic Susan, their similarities soon as peculiar and glaring as their differences.”

“Giant, thrilling and abrasive, is full of rewards.”

“Friedman Theatre unequivocally resonates in today'”

“DeBessonet takes the challenge and wins, rescuing a near-classic from the excesses of the 1990s to prove, once and for all, that Ragtime, imperfect as it may be, deserves a place among the most significant musical theater achievements of that decade.”

“It’s their Godot, and damned if it doesn’t work.”

“This production eventually rewards our patience, even if we sometimes wish for quicker brushstrokes.”

“Well, joyous if you’re a Mamma Mia! fan, more strenuous if you’re not, and by now it seems likely that everyone knows to which group they belong.”

“In one of the quirkiest, most morbid and somehow loveliest musicals to hit Broadway this season... Dead Outlaw is a very late entry in Broadway's 2024-2025 season, and absolutely one of the best.”

“Unfortunately, there are too few other moments in Real Woman Have Curves that soar like that, that deliver the joy and delight of shaking off the many worries and fears that burden these eight women 24/7.”

“The melding of personas successfully transmutes Groff’s exceptional charisma and earned goodwill into the tale of a past celebrity most of the audience could not identify via photo.”

“It is charming, addictive, just total entertainment.”

“Herding all of it into a smashing piece of entertainment is director Daldry (The Inheritance, Billy Elliot: The Musical) and his co-director and frequent collaborator Justin Martin (Prima Facie), who funnel all the moving parts, colors, smoke, mirrors and monsters into a non-stop thrill ride.”

“The new production, opening tonight at Broadway's Theater at Lincoln Center, leaves no doubt as to why those who first saw it nearly 30 years ago have been spreading its gospel ever since.”

“John The Villain reclaims their souls, as the girls in Mr. Smith’s class speak the truth once and for all and at long last.”

“Smash The Musical confounds at least as often as it pleases.”

“Good Night, and Good Luck is too knowing or too winking by half to seem like anything other than rather uninspired agitprop.”

“In the right hands, and this production is in nothing if not right hands, Glengarry Glen Ross unfolds brilliantly, as pure and elegant a demonstration of modern theater as has been pieced together in many decades.”

“Wilde, not to mention his most famous creation, would likely find that a reach well worth the attempt, and Broadway can rejoice that Snook and Williams went for the grab.”

“What Denzel Washington may mean is that when on stage, once the curtain goes up in front of that audience, it is ‘all or nothing’ for the actors and the production.”

“Absolutely nothing gets lost in the translation of Sanaz Toossi’s English as the Pulitzer Prize-winning play about a group of Iranians longing for the West finally makes its Broadway debut.”

“Then I actually saw All In, and count me among the Rich converts.”

“I can’t recall a better wrong-for-the-part performance in recent memory than McDonald’s Rose.”

“Spector’s play is called Eureka Day, opening tonight and immediately becoming one of the best productions Broadway has offered this season – and that’s really saying something, what with terrific Fall arrivals as Oh, Mary!, Death Becomes Her, Maybe Happy Ending and The Hills Of California.”

“Cult Of Love boasts an excellent cast that pulls off a familiar scenario with unexpected freshness.”

“A virtually perfect big-budget, broad-appeal musical comedy that improves in every way over the 1992 film, director-choreographer Christopher Gattelli’s wildly entertaining vehicle for two of our best singer-actor-comedians on any stage today renders the movie-as-source snipe worthless.”

“In his Broadway debut, Enscoe, a member of the indie folk band Bandits on the Run, beautifully conveys how brash, youthful hope can lead to places unimagined, for better and worse.”

“Elf remains as much a mixed bag as it was during its previous two Broadway stagings in 2010 and 2012.”

“Tammy Faye is only slightly more fun than church on a hot July day.”

“A near-perfect little fable of set-for-the-scrap-heap robots learning to love and knowing whatever happiness they find will be short-lived, Maybe Happy Ending is, of all things, a musical about androids that absolutely brims with humanity.”

“What we’re seeing on stage is too entertaining.”

“Even when Connor’s Romeo and Zegler’s Juliet square off from opposite sides of the venue, their invisible chains – hormones, by another term – are magic.”

“If nothing else, Delia Ephron’s autobiographical romantic comedy Left on Tenth, opening tonight on Broadway, proves that Ephron, like her late sister Nora, can find the feel-good in even the most unlikely places.”

“The revival opening tonight at Broadway‘s St. James Theatre is a stunner, stark always, funny sometimes and ultimately terrifying.”

“Parsons is excellent but otherwise the forced re-interpretations of character, time, place and beliefs often fall short.”

“David Henry Hwang and Yellow Face get the well-deserved last laughs.”

“McNeal, astutely directed by the great Bartlett Sher, is an often confusing though wheedlingly emotional mindgame.”

“And Butterworth, along with his uncannily simpatico director Sam Mendes, does expert work on the evisceration front, doling out tidbits of decades-old family resentments until just the right moments for the cutting open.”

“Not even the ever-reliable director Jack O’Brien can get a firm grasp on this squiggly story, but at least he doesn’t have to make the effort alone: Who wouldn’t want Farrow and LuPone on their team?”

“In short, Foster nails this performance, bringing what is, ever has been and always will be a mid-tier musical that has more unnecessary subplots and sing-song padding than an old mattress has feathers.”

“With nods and hints to Charles Busch, the late, great and forever Ridiculous Everett Quinton, the Sedaris siblings, Carol Burnett, Pee-wee Herman and Absolutely Fabulous, Escola squeezes just enough juice from their influences for a mix that is entirely fresh and not to be missed.”

“Roundabout and Leon have kept their end of the bargain.”

“All these years later, the question remains at the heart of The Who’s Tommy, and we can answer, with great pleasure, loud and clear.”

“Water for Elephants isn't just the frontrunner for the 2024. Tony Award for Best Musical, it's a bold assertion that this still young artform has plenty of tricks left to reveal.”

“Watching Strong (Succession) and Imperioli (The Sopranos) go head to head for two hours is a treat, as if the stars of your favorite HBO dramas had crossed over some crazy time line to show one another what for.”

“Families who have learned the hard way that Alzheimer’s doesn’t play miracle games have every right to take offense at this baloney.”

“Under the assured direction of Scott Ellis, the revival’s cast is unfaltering in its convictions – we believe that they believe every word they say.”

“Foster couldn’t have found a tastier palate cleanser than Winnifred, nor a more charmed home to rest her weary, ever-so-busy head.”

“Prayer for the French Republic asks big questions – of history, of family, of identity – and, all but miraculously, answers their call.”

“That it doesn’t is a disappointment softened only by the experience of seeing a group of Broadway newcomers get so thrillingly close to something like flight, and suspecting that this won’t be the last time they’ll have the opportunity.”

“The revival has lost none of the smart-dumb charm of either the original musical or its great source of inspiration – the beloved 1975 film Monty Python and the Holy Grail.”

“They make no false steps in Danny and the Deep Blue Sea, and we follow wherever they might lead.”

“Given the play’s underdeveloped feel, it’s no wonder the cast seems to flounder.”

“With Gutenberg! The Musical!, the reunited Book of Mormon stars cement their challenge to Nathan Lane and Matthew Broderick as Broadway’s leading comedy duo.”

“You’d be hard-pressed to imagine a better Merrily Along.”

“This tale of equity, debts owed and reparations demanded, is a clarion call made loud and clear by Purlie and everyone on the Music Box stage, none more so than the late, great Ossie Davis himself.”

“On Broadway, it feels a bit out of its depth.”

“The Future gradually settles in to an enjoyable-enough thrill park ride, with its special effects, video projections and lighting finally paying off in the final 20 minutes of its nearly three-hour running time.”

“Perhaps that’s why Here Lies Love, for all its impressive confidence, feels a bit thin in afterthought.”

“That struggle provides Edelman with a mighty intellectual conundrum, a worthy and funny debate of the heart and a show that can stand proud on Broadway.”

“Smart, funny, splendid to look at and all with a beat you can dance to, this tribute to the Brothers Grimm, the sisters of the Second Wave and, not least, the indomitable Ms. Spears, is a delight.”

“It’s disturbing and gross in ways I personally haven’t seen on Broadway before.”

“Even the rosiest-hued urban utopia can get a bit tiresome when it’s this overstuffed with good intentions.”

“Loved this play – exquisitely acted, sublime, subtle and impactful in its universal relatability.”

“Good Night, Oscar is less than convincing.”

“The drama is in how Tessa deals with the crumbling of her ideals and the smashing of her self-delusions, and in how Comer can so vividly, indelibly display both.”

“Eight years is pretty close to eternity when it comes to sell-by dates for topical humor, which might be one reason that the jokes in Larissa FastHorse‘s Broadway comedy The Thanksgiving Play fall flat as an underbaked pie.”

“Peter Pan Goes Wrong proves that Mischief’s immensely popular That Goes Wrong – which opened on Broadway in 2017 and remains in New York at the New World Stages Off Broadway – was no fluke.”

“As beautifully sung as this new Camelot is – and it is – the production nearly scuttles romance along with the magic.”

“By turns sweet and saucy (and very funny), the play stays just close enough to Hamlet to keep us off-balance.”

“When all’s said and done, Shucked is exactly as much fun as you’ll let it be.”

“Visual appeal can’t quite wash away a stacked-deck ending, or make a convincing case for the fanciful over the plausible. Deep down, Mr. Okamoto probably agrees.”

“A prodigious theatrical event that aims for greatness and achieves it, this revival of the Stephen Sondheim-Hugh Wheeler masterpiece is not to be missed.”

“By the time it reaches its happily-ever-after ending – the musical doesn’t pretend for a moment it won’t get there”

“Parade is as commanding as any musical revival to hit Broadway in years.”

“Anyone willing to give in to the wily charms and stealthy spell of this stark, thoughtful production will find a singular Broadway experience, a smart and captivating experiment.”

“While the intimate and honest views of a family’s inner workings can’t help but touch our hearts at steadily paced moments, Pictures From Home is too blunt in its characterizations, with father and son especially, repeating their arguments and complaints with unstoppable frequency.”

“The Collaboration is an oddly lifeless endeavor, a failure in capturing even a moment of simple artistic inspiration much less the ignition of collaborative genius.”

“It Hot is a delight from start to finish.”

“It’s in the portrayal of those contrasts that McDonald finds something close to perfection in a flawed production.”

“Ain’t No Mo’, the audacious Broadway debut of writer-performer Jordan E. Cooper powerfully directed by Broadway newcomer Stevie Walker-Webb, is a marvel.”

“This Christmas Carol is all the Carol anyone could wish for.”

“It’s not that & Juliet is unenjoyable – it isn’t.”

“The Old Man & the Pool is one helluva sandwich.”

“Kimberly Akimbo remains a stunner, a sly, quirky, eccentric work of stage art transformed into a crowd pleaser by playwright David Lindsay-Abaire’s captivating book and lyrics, Jeanine Tesori’s delightful music.”

“Topdog/Underdog has lost none of its vitality and power and cunning.”