Kevin Filipski

“Jules Fisher and Peggy Eisenhauer’s ingenious lighting and Clint Ramos’s canny costumes complete the fully-formed world we are willingly whisked into for 90 mostly blissful minutes.”

““A commendable overview of Prince’s career…There are restaged sequences from the shows, often—but not always—their ‘classic’ numbers, which tends toward imbalance…Still, great moments are scattered throughout…The cast performs with incomparable zest, even if some aren’t perfect for the roles they assay...”

“But in Michael Mayer’s slick staging, the slightly overlong The Terms of My Surrender (the Dancing with the Stars finale has got to go!) is a funny, thoughtful and even cathartic time in the theater for anyone still stunned by the results of November 8.”

“Guare accurately depicts the state of New York City circa 1990, before the crime rate started dropping and the city was safer for everyone, not only those already ensconced in their ivory towers on Park Avenue.”

“Linney’s persuasive performance is capped by a lovely scene when Birdie downs elderberry wine while reminiscing about the old days with Regina’s sickly husband Horace (Richard Thomas) and Alexandra.”

“As peerless as the cast of this unmissable revival of Noises Off is, Hilty provides a comedic acting class by herself.”

“In a trashily effective—if not especially taut—90 minutes, Misery onstage provides the same thrills of its earlier incarnations, although why this version is necessary is another question.”

“That's an impossibility for pretty much every writer, but since Bartlett himself has made the comparison, it must be pointed out, much to his play's detriment.”

“That comeback is the stirring climax of the musical, which otherwise is your basic rags-to-riches tale done with just enough tartness to avoid too much sentimentality.”

“"'Sylvia' is A.R. Gurney's most obvious (and probably only) crowd-pleaser...Whenever Ashford barks—'hey hey hey hey!'—it could be love, hate, anger, affection or irritation, and Ashford varies her tone and timbre to suit the occasion.”

“In a trashily effective—if not especially taut—90 minutes, Misery onstage provides the same thrills of its earlier incarnations, although why this version is necessary is another question.”

“Overlong, not tuneful enough, too derivative: Anastasia is all that and more.”

“Very little of this is amusing, much is risible, and nothing’s memorable.”

“"It’s his usual combination of dead-on impressions, penetrating observations, juvenile humor and unabashed sentimentality...With a chalkboard at center stage to visualize the teaching concept (Tony Taccone’s direction is happily haphazard), Leguizamo blends his one-of-a-kind riffing, caricature and vocal impersonation into an offbeat lecture...”

“"Fey has smartly turned her original script into a book that may be even funnier and more pointed than the movie. And Nicholaw has choreographed and directed with smashing effectiveness...Nicholaw's ace design team creates a high school world with an impressive visual sheen that underscores, not undercuts...”

“Rashad only finds Joan's soul in her fleeting final moments begging for mercy from her prosecutors.”