Leah Greenblatt

“Whether there's still fresh air to be found up there is a question this Doll, beyond its strenuously modern dress, mostly punts: The House has been remodeled, but the foundation rests.”

“It's only in the last ten minutes that the show seems to tap into Sultan's work on a deeper level, rather than merely manifest it for the stage, an effort that can often otherwise feel like dancing about architecture.”

“But the story unfolds with so little urgency or new information that it feels not unlike passing through a museum gift shop: Here are a few anecdotes and trinkets to take home, something comfortably concrete on which to hang the vast unknowability of modern art.”

“As much as the show feels directed toward a strenuously young demographic - some of them possibly not even born yet when Backstreet were singing about their fire, or their one desire - the script makes several knowing nods, much like a Pixar movie, to the ancient grown-ups in the room.”

“At nearly three hours with intermission, the machinations of the last days leading up to July 4 begins to drag, unhurriedly circling the inevitability of that final, deathless Declaration.”

“This is not a grand Macbeth — the staging is too sparse and self-aware, almost tossed-off (or at least determined to give that impression), for that.”

“More than that, it's hard to escape the feeling that Feldstein, for all her fourth-wall winks and bright enthusiasm, is fundamentally miscast.”

“Hangmen suffers from some of that dissonance, and its longer, talkier interludes serve more as amiable time fillers than story engine.”

“The writing, with its poetic loops and repetitions and fourth-wall winks, is so ratatat clever and well-constructed that it feels both mechanically fit and virtuosic, and the acting is so consistently, exhaustively excellent that you want to give a medal and a cold compress to them all.”

“A radically reworked 'West Side Story' comes to Broadway”

“In the end, The Inheritance is a play whose cup runneth over in so many often glorious ways that almost every sip yields something — even if it might have been served just as well (or that much better) in a shorter, stronger pour.”

“Pretty much every note of nuance is lost in the razzle-dazzle rush.”

“Director Alex Timbers’ production is immersive from the first moment; sword swallowers and kohl-eyed dancers in fishnets prowling the stage like uncaged cats even as the audience still mills before the curtain.”

“Shannon, who spends almost every moment of the play either naked or in scant cotton boxers, brings kinetic physical energy to the role - a man so bursting with life that he might actually repel outerwear. He's overbearing and utterly charming, often at the same time.”

“Driver moves through it all like his own weather system, maybe the most entertaining hurricane onstage this year so far.”

“What makes Beg memorable is the sheer overwhelming talent of the cast.”

“Even with all its added Sorkinisms, there’s still something firmly classic about Mockingbird; it’s essentially a white-savior story where the savior fails, as nobly as he can.”

“Waverly offers something else instead: an indelibly human, quietly heartbreaking study in mortality and familial love.”

“The outcome never feels quite as consequential as it should, possibly because it isn't actually that ambiguous.”

“She's a natural force beneath her leonine pile of gold curls — by turns anxious and imperious, vulnerable and funny and fierce.”

“His script is still funny and cutting and heartbreaking, too; it’s also a fraught, glittering showcase for actors, which undoubtedly helped lure a top-line cast that includes Jim Parsons, Matt Bomer, Zachary Quinto, and Andrew Rannells.”

“"The 1923 vintage of Shaw’s play hardly shows its age in Pask’s staging or in the loose, slightly winky direction. But color-blind casting and the occasional 20th-century colloquialism feel mostly like modern window-dressing on a story that’s been marinating in the collective psyche for more than half a millennium.”

“British actor Tom Hollander reprises his Olivier-nominated role from Travesties' 2016. London run, and handles much of the first act's heavy lifting.”

“Lobby is still a smart, thoughtful piece of work, fairy-dusted by the starry presence of its celebrated cast.”

“Her masterful portrayal also delivers the one thing poor nutty Norma most craves: An adoring, utterly captivated audience, and applause that echoes long after the curtain falls.”

“"The staging is remarkable considering all its moving parts, and the gifted young ensemble, often cycling at full tilt through multiple roles, earn every ounce of sweat and confetti. But the end result feels a little too much like zero-calorie entertainment (well, not counting the pierogi): brisk and sexy and emotionally weightless.”

“Eclipsed does open a window on a world we rarely get to see this intimately, and they deliver it so gracefully that the play’s flaws feel less consequential than the resonating force of its story.”

“Fun Home manages to use an oft-unserious medium to deliver something seriously, singularly moving.”

“Still, punk nihilism and showbiz spirit-fingers are uneasy bedfellows.”

“The result is mesmerizing theater, aided enormously by Natasha Chivers' lighting and Fergus O'Hare's creepy horror-movie sound design.”