Joseph Pisano

“Regrettably, though, while Mann’s lyrics aim for anguished poetry, they occasionally only induce winces.”

“By striking contrast, approximately five decades after it premiered at London’s Theatre, the libidinous antics of The Rocky Horror Show still haven’t lost their spicy fun.”

“Adapting liberally from British filmmaker David Sington’s 2015 documentary of the same name, playwright Lindsey Ferrentino turns the true story of Nick Yarris–a Pennsylvania man who served an unjust 22-year death row sentence for rape and murder–into something that feels decidedly less true.”

“Chronically undervalued for his stage work, it's ironic that Radcliffe might finally get the appreciation he deserves for simply being himself.”

“For that reason, Marjorie Prime has its own well-deserved chance at immortality, as a melancholic meditation on how there wasn’t really a time when humans could be forgotten, because nobody is ever truly known.”

“Infectiously whimsical and sentimental, the show juxtaposes these qualities against a New York reality that has little time for either.”

“It’s neither a credible hero’s journey nor a compelling antihero’s one; it’s simply soulless, requiring The Queen of Versailles to steal a soul for its storytelling stakes.”

“Most frustratingly, Punch mystifies in its primary aim: depicting the restorative justice process.”

“Portraying the eponymous Izzy–or Isabelle per the formal preference of a long-ago teacher–the charismatic Smart earns our rapt attention throughout the play, though she cannot begin to overcome a first-person narrative that doesn’t know that person particularly well.”

“Both of these problems connect to a bigger one: a need to shoehorn junior versions of the Stranger Things characters into the play to convince people to spend enormously for something cheaply and more satisfyingly available.”

“It seems that Boop! The Musical has a new star rather than an old one.”

“And if there’s a good reason to revive Glengarry Glen Ross again, and Mamet’s cavernously amoral depiction of immorality inside it, Marber hasn’t made that apparent either.”

“But agony and art don’t necessarily always combine to soothe our pangs, especially when the former doesn’t endow the latter with enough truth.”

“With empathy in short supply these days, English is a welcome reminder of what it feels like.”

“It’s the play’s best scene, an astounding mix of incredible absurdity and, for all the Zoom veterans out there, undeniable believability, especially with everyone talking and typing past each other.”

“To say the least, it’s a lackluster concluding statement on the complexities of Armstrong’s marriages, as well as his feelings about a world that, despite all of its “trees of green” and “red roses too,” caused him so much pain.”

“Elf the Musical will likely please the fans of its cinematic predecessor–since, unlike other screen-to-stage adaptations, it's not a lazy retread with horrible songs.”

“A lurid, nonmusical answer to “Rose’s Turn,” it’s an ugly psychological reimagining that completely alienates the audience from Veronica rather than generating the slightest reason to empathize with her.”

“Job is the rare work that genuinely rewards repeat attendance, an opportunity undoubtedly appreciated by theatergoers who have seen Job in either or both of its off-Broadway stints during the past year.”

“Pugnacious in its own unique way, Williams’ odd positivity overwhelms history’s oppressive weight, making the denouement of Home seem possible.”

“While this approach is certainly not as elevated as one of Fitzgerald’s complex metaphors, it sure is a lot of campy fun.”

“In Patriots, his talent bridges a director and writer who are never in sync, finding meaning in Goold’s absurdity and a recognizable person in Morgan’s pomposity.”

“Jacobs Theatre (Photo credit: Matthew Murphy) Maybe it’s a coincidence or maybe it’s something more, but the past is alive and complicated on Broadway this season.”

“While it certainly aspires to deeper meaning, The Who’s Tommy is, ultimately, a feverish ode to excess, both entertaining and empty, despite serious subject matter that shouldn’t yield either result.”

“Unfortunately, much like the film, Lucas adds nothing to Miller’s original work that doesn’t diminish it.”

“Based on an identically titled 2015 HBO documentary by Alexandra Shiva, How to Dance in Ohio, in its musical form, works best whenever that magnificent seven is completely together onstage and falters mightily if none of them are present.”

“Spamalot has no quarter for sadness; it's a fortress of merrymaking that won't let anything serious breach its walls.”

“By significant contrast, Sam, the reclusive widower DeVito portrays in I Need That, doesn’t have to overcome any vile personal failings to win our sympathies; we’re with him from beginning to end, which is a testament to DeVito’s extraordinary talent and much, much less so to the play’s merit.”

“In fact, there’s a bit of genius in their stupidity.”

“Admittedly, if someone else were portraying Robert, without all of the meta undercurrents, it’s unlikely The Shark Is Broken would be as touching.”

“Early in his stand-up show "Just for Us" Alex Edelman pays tribute to Robin Williams by telling the audience how the much-beloved entertainer's 2014 death caused some strangely unnecessary interspecies sorrow.”

“Admittedly, Singfeld! has oodles of schlocky charm, with director Marc David Wright’s use of a pigeon chorus being the pinnacle.”

“Sometimes all an actor needs is an audience and vice versa.”

“Simply put, for Ijames’ insightfully idiosyncratic take on Hamlet, we’re not in Elsinore anymore, and that’s a good thing.”

“Shucked is the theatrical version of the latter, a solidly second-rate effort whose bonhomie might even make it ribbon-worthy come awards time thanks to the current Broadway season’s underwhelming original output (Bad Cinderella, indeed).”

“That Brown occasionally succeeds stems from estimable creativity, which, unfortunately, still cannot overcome the popular expectations of a Broadway show.”

“It’s just unfortunate that Guirgis’ shaggily constructed plot inspires doubts about whether a brilliant cast and brilliant writing necessarily equate to a brilliant play.”

“But, in its journey to Midtown, a reimagined KPOP has abandoned its weightier self-awareness, along with a lot of its creativity.”

“"Walking with Ghosts" is a decidedly intimate experience, one that seems tailor-made for an off-Broadway theater like the Irish Rep. Price and his production team try to expand the show to Broadway proportions through McKenna's lighting and aforementioned set and Sinéad Diskin's vivid sound design.”

“If seeing previous productions of Death of a Salesman has inured you to Willy’s ultimate fate, this one should bring back the tears, and Clarke deserves a lot of credit for that difficult gift.”

“Brightened by the warmth and charisma of Zayas, Eddie is the heart and soul of the play, a by no means perfect human being who nevertheless is an exemplary one.”

“Unfortunately, for those sorry souls who haven’t read either version or any of the hundreds of translations, it’s, at best, pointless pedantic comfort, since the show can’t possibly make sense to them.”

“The major problem with this about-face declaration is that everything said or sung before it doesn’t feel changed, making it come off as either a huge structural misstep or completely insincere.”

“Unfortunately, neither direction nor casting can do much for the rest of The Rose Tattoo, which includes a bunch of supporting roles that are underbaked, overdrawn, or just plain forgettable.”