Jeremy Gerard

“Storm offers two unfathomably deep, indelibly collaborative performances, by Jonathan Pryce as André... and Eileen Atkins as Madeleine.”

“To Lloyd's credit, and that of this spectacular cast, we never lose sight of the ways in which these three lives are ineradicably interwoven, giving more power to the emptiness and emotional wreckage their actions have wrought – despite their best attempts to be so very British about it all.”

“A $28 million toss of the dice from the same folks who gave us the soon-to-depart $36 million King Kong flop, Moulin Rouge is a blithe but masterful merging of Broadway razzle-dazzle and giddy subversion.”

“Uneven but ultimately moving...Until that showdown, 'Torch Song' is a good-hearted misfire.”

“The show grows increasingly desperate and reactionary...The plot sinks lower and lower into audience pandering.”

“They all are exceedingly good company.”

“Meticulously off-handed, it’s funny and sad, a performance to be savored in a totally engaging little triumph of a show.”

“Kilgore, like this revival itself, is no imitation but a triumph in her own right, striking exactly the right balance between innocence and spirituality, youth and experience.”

“Every element in Zaks' production is working at full throttle, especially Ann Roth's character-enhancing clothes.”

“The conclusion of this rich entertainment isn’t what you expect”

“The Band’s Visit is a superb show, and this production is stunning.”

“Junk accomplishes something none of these did, because Akhtar, a Pulitzer Prize winner for Disgraced and Olivier and Obie winner for The Invisible Hand, is neither a satirist nor a comedian, at least not in the usual sense.”

“This M. Butterfly is every bit as memorable as the original.”

“Here, it’s underpopulated and and looks cut-rate: a Prince of Broadway that would serve brilliantly as the entertainment at an honorary luncheon sponsored by, say, the Drama League.”

“But the show is a rambling, ramshackle affair that careens between shtick and sober business, and both ends of that spectrum suffer.”

“Murphy is absolutely wonderful as the meddling, multitasking matchmaker with designs on Yonkers half-a-millionaire merchant Horace Vandergelder.”

“Marvin's Room, exquisitely human and tenderly compassionate, doused with anarchic humor, lives, vibrant as ever, in Anne Kauffman's wonderful revival for the Roundabout Theatre Company.”

“The show memorably reinvents one of the most terrifying tales of modern times, one that also happens to be among the best known.”

“The last show to open on Broadway this season turns out to be the funniest, and the sharpest play of the year, which is a pleasure to report.”

“Bandstand, staged with breathtaking originality by director-choreographer Andy Blankenbuehler (Hamilton), swings in a different way.”

“Anastasia is surprisingly mild.”

“Or, more likely, Six Degrees transcends its particulars and addresses something ineffably human: The terrifying gulf between how we see ourselves and how we need others to see us.”

“"It’s goofy, loud and imaginative—superlatively so...It’s not as theatrically inventive as 'Matilda,' and it probably won’t share that show’s canny ability to appeal to adults as well as kids...The supporting cast does well by the Shaiman and Wittman numbers, which fill out the characters with considerable humor...”

“This is a classic American play, first produced on Broadway SEVENTY-EIGHT YEARS AGO!”

“Groundhog Day may not actually be the best musical, it is, as I said, very good.”

“Against this, and with the assist of a brilliant company, Cannavale gives a performance that’s utterly lacking in affectation, so completely open and raw, that by the end we’re left spent as well as rattled to our own core.”

“Moritz von Stuelpnagel's revival is fleet, funny, deliciously cast and over the top when it should be – and occasionally when it needn't be, sweating just a bit too hard to earn the audience's whoops of pleasure.”

“Somehow this all manages to be a huge bore though not for want of trying and effortful lung power from the leads in director Michael Greif’s high-voltage production.”

“An overabundance of non-sensical sight gags, slow burns, pratfalls, missed cues, wink-winks and the like dull the viewer’s senses and drag out a sophomoric sketch that would be sharper and funnier at an intermissionless 80 minutes.”

“Sweat is the perfect distillation of Trump’s new world.”

“They are all entertaining in their own worlds, but only Hecht brings the touch of believability; almost girlishly flirty in the near-chic ensemble she’s just splurged $45 precious dollars on (the costumes are by Sarah J. Holden), and a little heart-breaking.”

“Away eludes the jaded critic’s arsenal of dismissive thrusts.”

“That, Sam Gold has done, and then some.”

“"The latest play to move from the Roundabout’s off-Broadway truck farm to...Broadway...The play’s strengths and weaknesses both are cast in brighter relief...'Significant Other' is more sensitively drawn than his acrid comedy 'Bad Jews,' though they share a certain glibness and a maddening disconnect from any world outside their own hearts...”

“This is a spectacular revival and the principals are simply breathtakingly good.”

“That's been rectified with a superb production under the direction of Ruben Santiago-Hudson, a strong Wilson hand, that has opened at the Manhattan Theatre Club's Samuel J. Friedman Theatre.”

“That leaves a lot of messy stuff to tie up in the post-intermission acts, and they’re not as much fun.”

“It’s hard to imagine how this show made it to Broadway, but I suspect it will be on the express train to the next station.”

“Dear Evan Hansen is an intimate show with a gigantic heart.”

“All this action — abetted by Bradley King’s spectacular lighting design, with more exquisite variations than a Disney animated film — delivers pleasure for the eye and, intermittently, the ear.”

“In all, it’s an oddly off-putting mix of period melodrama and contemporary finger-wagging that left me unmoved and deflated for all the wrong reasons.”

“Not because this revival isn’t terrific — it is, mostly.”

“Let’s start there: Pretty damned great.”

“The atmosphere around Heisenberg is charged with more electricity than Ben Franklin ever dreamed of.”

“Too much so, as it happens, in a mixed-bag of a production that despite some high points, struggles but fails to achieve a consistent tone.”

“Holiday Inn found me cranky and left me otherwise, and there’s really nothing more to say.”

“If you want to see something inventive this is it.”

“We’ve come for the visuals and while it’s doubtful that Paramour audiences will come away disappointed in that department, they may wonder why that annoying story kept stopping the action dead in its computer-assisted tracks.”

“Shuffle Along, or The Making… struck me as both rough and unfinished...the show is conceptually flawed, and it's hard to tell whether that ever can be resolved.”

“All of which is my circuitous way of avoiding the mostly depressing task of writing about the latest Tuck family visit, in the form of a Broadway musical so treacly you may leave the Broadhurst Theatre wanting to kick a puppy.”

“Tyler Ferguson navigates these human mountains and valleys, major torrents and tricky rivulets, with precision and even empathy; it’s a virtuosic performance and the audience, you should pardon the expression, eats it up.”

“Waitress is a feel-good show that’s no mere guilty pleasure.”

“The sum of these effects is to create a celebration of vapidity and inhumanity that is itself vapid and inhuman.”

“Doug Hughes' production, with one notable exception, seems slight at 90 intermissionless minutes. The exception, of course, is Langella, giving another master class in felt performance.”

“This is a definitive production.”

“If you can recall the take-no-prisoners lunacy of Martin’s play Picasso at the Lapin Agile, you may be doubly disappointed by this earnest but soggy mess.”

“Theatre Company presented a brilliant revival of the show 23 years ago starring Judy Kuhn (currently on Broadway in Fun Home), and now returns to it again, and I’m thrilled to say that while I have aged, She Loves Me has not, not one bit.”

“"Their rapture is murderous. They want to annihilate each other. This is the electrifying production that this season’s revival of Sam Shepard’s 'Fool For Love' aspired to be, also about a couple reuniting as they inch toward a death’s grip of horrifying power and sadness.”

“The result is so painfully witless it’s hard to tell where the sea-spray ends and the flop sweat begins.”

“Eclipsed is a major achievement — a scorching work about women and war whose humor burnishes rather than undermines its seriousness of purpose.”

“The result is a failure to lift this small work into the tragic realm to which it aspires.”

“The only thing assured is the sound of laughter.”

“This is Noises Off, the Roundabout Theatre Company’s happy antidote to all things January, a percussive dose of slamming doors, wince-inducing pratfalls and enough suggestive tomfoolery to fill the bill at Minsky’s.”

“Danny Burstein — the wonderful actor around whom this unsteady revival has been built — doffs the coat to reveal his poor milkman’s garments over the traditional tsitsit of his prayer shawl and begins his slightly pushy, slightly shy colloquies.”

“It’s a fine old-fashioned celebration of endurance, grace and goodness, given a powerful African-American depth.”

“Plays depending on phone conversations with unseen participants are almost always a bad idea, and China Doll is no exception.”

“What this is, is a summer stock production (indeed, it was first produced at the Bucks County Playhouse) from somewhere on the Straw Hat circuit that ceased to exist at least three decades ago.”

“I missed Miller’s play in this grey production with the confused bloodbath at the end.”

“The result is Allegiance, a somewhat ungainly musical that has moments of beauty and passion, as well as a complexity of themes that are not the usual stuff of Broadway shows.”

“As story-telling, On Your Feet! can be as clunkily generic as the title.”

“Pigott-Smith’s face betrays every flicker of emotion, from elation to determination and shocking defeat; his body the slowly hunching posture of a man whose dream is fast turning into nightmare.”

“So leave the deep-thinking cap at home, and settle in for some pleasurable laughs.”

“The revival of Dames At Sea that opened on Broadway Thursday night is a lot of fun and a tribute to the city’s inexhaustible pool of inexhaustible talent, if not actual stars.”

“Cicely Tyson turns 91 in December and there’s a moment in the uneven Broadway revival of The Gin Game when the years fall away, when she is evanescent, transformed for a quickly passing instant into a delighted, girlish young woman.”

“"Under Leonard Foglia’s sensitive direction, the actors give their all to an almost-good play...Jones is more tentative here than usual, more halting in his speeches, more brittle than we expect Weller to be.”

“I only wish I could figure out who was reeling me in.”

“The lighting may be dappled but Spring Awakening is brilliant.”

“Hamilton is accessible without pandering and inspirational in sneaky ways that permeate a skeptic’s shell.”

“That, fundamentally, is not the case with the this earnest but cringe-inducing freshman effort by composer-lyricist Christopher Smith.”

“But D’Amour, while clearly sympathetic to her characters, conjures a world too neatly balanced, too eccentric, too oddly wholesome.”

“But D’Amour, while clearly sympathetic to her characters, conjures a world too neatly balanced, too eccentric, too oddly wholesome.”

“Something Rotten! delivers such a nonstop blitzkrieg of production numbers, each outdoing the one before, that you hardly notice how much you’ve fallen in love with the Bottom bros.”

“These formidable chemists have come up with an unwieldy mess, daunting in scale, assaultive on the ear, humorless and resistant to any involvement on the viewer’s part in this sweeping tale of love, revolution and war.”

“I also mean its authors and director, who together have turned Boris Pasternak's 700-page novel into a musical so aggressively awful it is almost sadistic.”

“But on Broadway, it's piffle, forgotten by the time you reach the corner to hail a cab.”

“Fun Home is a marvelous achievement, full of humor as well as rue.”

“Now comes And I, in one of the most elegantly beautiful and beautifully sung productions I’ve ever seen, and the Beaumont looks like a living treasure chest for a director with the right vision and a company that can command a vast space and make it feel like your living room.”

“Finding Neverland is still too treacly — it lacks the edge and humor of both Wicked and Matilda — and the tear-wringing ending just goes on forever.”

“So much talent, so little show.”

“Much credit must also go to director Moritz von Stuelpnagel for finding grace notes of subtlety in an unsubtle work, making Hand To God more than just a raunchy joke.”

“Skylight is a keeper and this revival is one for the ages.”

““I The Trees,” her Act I duet with Julio, is reason enough to put this very brief run on your to-do list this weekend.”

“The result is positively schizoid, a show that desperately wants to crack the shell of archaic convention and emerge as the madcap musical it longs to be.”

“She’s given performance one for the ages.”

“"Very funny. Occasionally very, very funny. Four-stars funny. If that’s all you need to know about Larry David’s The Dark, his debut as a Broadway twofer—playwright and actor—then read no more...A half-hour seems just the right amount of time you want to spend with these folks on any given evening.”

“You’ll even forgive yourself for enjoying the ride.”

“Gyllenhaal proved himself an irresistible stage actor a few years ago in another Nick Payne play, If There Is I Haven't Found It Yet, playing the rude, crude but immensely sympathetic uncle of a fat girl with uncomprehending parents.”

“Glib and weirdly chilly for a literate comedy-drama about love, commitment, the sanctity of words and the enduring perfection of "You've Lost That Lovin’ Feelin’," the Roundabout Theatre Company production is as full of ideas as the play itself –- all of them wrong.”

“The Last Ship is soul-nourishing as a concert piece but only fitfully convincing as a total work of theater.”

“But this little off-Broadway potboiler has reduced to a simmer in the move to Times Square.”