Joey Sims

“Softness slides into sleepiness in this unremarkable revival, now at the Theatre, which never comes to life despite several intriguing performances.”

“Witty and always engaging, though its ham-fistedness might leave you longing for the nuance of Lindsay-Abaire's past triumphs.”

“This Salesman tries to be a few too many things, and. the intended emotional clarity proves just out of its reach.”

“It is precisely all that history, deeply felt in this momentous staging, that makes both Moore and this production so otherworldly.”

“Even as his characters destroy their world and themselves, Letts never loses sight of the strange comfort in a good conspiracy theory. (Many of the real-life examples Peter manically cites are, in fact, entirely true.) One unifying theory making sense of all the pain is, for these damaged souls, so much more comforting.”

“Now, that intriguing late turn hardly redeems the plodding narrative that has preceded it.”

“"More than thatit is Pirates staged with wonderfully energetic aplomb by director Scott Ellis, wittily choreographed by Warren Carlyle and expertly performed by a dream ensemble.”

“In keeping Gilbert & Sullivan’s shrewdly crafted text, this Pirates! is very serious about being seriously ridiculous, and a joyful trip to musical theater heaven is the result.”

“All the same, White has crafted an intriguing and intellectually ambitious revival, one that embraces the brutal emotional honesty of Brown’s source material.”

“But as we’re busy being awed, it’s easy to forget what story is even being told.”

“Mattress is an exceedingly silly show.”

“It remains, above all else, a magical work of fierce heart that bursts with indescribable wells of emotion.”

“Suffs is a flawed work that fails to emotionally grab, but succeeds as a fresh reminder of the necessity and power of sustained political action.”

“Sadly, these intriguing shades never add up to a cohesive whole, making for a Vanya that engages but never really involves.”

“Outside of that enjoyable kooky detour, the show mostly plods through its confounding second act, weighed down by the essential strangeness of Bobby’s narrative dilemma.”

“You’ll want to live in this play forever.”

“Messy and maddening, new musical Lempicka has all the pedigree for something groundbreaking but never finds its own distinctive form.”

“Prayer bitterly reminds us that all of this has happened before, and most likely will again.”

“But under an ill-suited Kenny Leon’s direction, it has received an unevenly paced and tonally confused production that never finds the same delightful boldness as Young’s performance.”

“Grey House is an absorbing and often brilliant work, but it never quite lives up to its own potential.”

“It feels almost rote to declare Ain’t No Mo’, a play so uproariously, daringly, and satisfyingly true to itself, as groundbreaking. It can start to even sound like a canned line, or an echo of a marketing pitch. But it’s simply true: this is both a powerful and remarkable play, and it is also like nothing ever seen on Broadway.”

“& Juliet is a very dumb show in many respects, but immensely satisfying and just a ton of fun.”

“His latest solo work, which opens tonight at Theater and runs through January 15, is diverting and occasionally hilarious, but ultimately feels a bit tossed-off, an agreeable but flimsy set which washes over you nicely but leaves little lasting impression.”

“Majok's 2018. Pulitzer Prize winner is mostly sublime on Broadway, save for a few missteps.”

“That is Jackson’s most awe-inspiring accomplishment with A Strange Loop, which is certainly the best new musical on Broadway this season: he has created a finely honed piece of theater while always remaining true to his own distinct voice.”

“The overall achievement of this staging is still titanic, both for its wrangling with an impossible play and its pushing forward of a theater defined by traditions.”

“Given its loss of focus and overdose on sentiment, this Christmas Carol feels deflated by the time Scrooge finally awakes, and though Mays’ warm final words are something of a balm, the finale ultimately lands with a thud.”

“Yet this strange musical creature remains, above all else, just one hell of a good time.”

“Scott Ellis’ sumptuous staging of this early Coward is highly enjoyable, a sugary bonbon of a production that goes down nice and easy.”

“It's hard not to feel like Ephron had copy/pasted a first-person memoir into monologue format and called it a play.”

“But Kail’s spiritless revival fails to tap into the play’s specific collision of expansive ideas and fervid emotion.”

“And though its late turn into earnestness does not quite land in Leigh Silverman's tonally uneven staging, this revival is nonetheless thoughtful and tremendously entertaining.”