Mark Rifkin

“Happily, the charming new Broadway musical Two Strangers (Carry a Cake Across New York) gets things right.”

“She is in full command of the stage, and her relationship with the audience is almost conversational, as if we are friends with her.”

“Eureka Day is the funniest play of the year.”

“But just as the Bakkers accepted millions of dollars from their true believers and were busted for fraud, it would be hard to justify spending any of your money on this all-around-disappointing musical.”

“In McNeal, however, he takes on too much, straying from the central focus on the future of AI and its impact on literature and humanity itself to include scenes that feel like they’re from another play.”

“"The Roommate" is a thoroughly disappointing show despite its two star leads.”

“The ninety-minute play concludes with a glorious finale that crosses the finish line with pure genius, reminding us all that there’s no place like home.”

“And there is far too much editorializing as the narrative reaches its overly simplistic resolution.”

“If this iteration is a hit, it won’t be because of quality, which it is sadly lacking.”

“Director Scott Ellis masterfully directs the ninety-minute play, never letting the tension break as the audience wonders whether Father Flynn actually abused Donald.”

“You won’t mind spending a lot more time in Jaja’s, moving in for a day or more.”

“Butterworth delivered what is currently the best play on Broadway.”

““A blistering, explosive play, a searing deep dive into systemic and institutionalized racism in contemporary America...All four actors give dynamic, honest performances, led by Washington...”

“Unfortunately, the rest of the show is a hot mess.”

“Daniel Sullivan’s (The Little Foxes, Proof) direction can get a little bumpy though there are several deft touches, and at nearly three hours, the show can be a little trying.”

“The Children is the most adult show in New York City right now, a marvelously resonant, intelligent, and engaging play that continually defies expectations as the plot twists and turns while something threatening hangs just past the horizon.”

“There’s no stopping the fireball barrage of very funny jokes, both erudite and lowbrow, from Mr. Martin, but Meteor Shower ends up being all punch line, no setup, fizzling out as a Broadway production.”

“In many ways Junk is like a Shakespearean history play about war, complete with lies, betrayal, spies, sex, and blood, where words and actions can be twisted to mean something else.”

“The Parisian Woman is not without its merits, but it ends up being akin to a good episode of House of Cards, which will not be enough for more discerning theatergoers.”

“That’s very likely true, but the eighty-nine-year-old master deserves better than Prince of Broadway.”

“Marvin’s Room is a tragicomic story that boldly addresses the question of what happens when a caregiver needs a caregiver as well as a bittersweet reminder of the weight of family responsibility and heartbreaking loss.”

“The Little Foxes must go on July 2; don’t miss it.”

“Entrances and exits are the way of life, and the way of theater, and they come together beautifully in this electrifying and masterful production.”

“And everyone wins, especially the audience.”

“It is now having its first Broadway revival, and it’s as sharp and delightful as ever, skewering white liberal guilt, societal racism, and the child-rearing of the wealthy with glee and wit to spare.”

“With all that’s going on in the world today, the play also serves as a warning that this could all happen again if we’re not careful.”

“The new production of Hello, Dolly!, which is breaking house records at the Shubert Theatre, is everything that is wrong with Broadway.”

“Rogers’s script melds the comic and the surreal, the serious and the wacky in translating this most unlikely of scenarios into an utterly gripping yet tenderly intimate tale.”

“Sweat has transferred exceedingly well from the Public to Broadway, with only very minor tweaks to the script by Nottage (Intimate Apparel, Meet Vera Stark), while the direction by Kate Whoriskey (How I Learned to Drive, The Piano Teacher), who also helmed Nottage’s Ruined, is even sharper.”