Matt Windman

“The production’s central problem is not any single misstep but a lack of cohesion.”

“If anything, “The Lost Boys” is worse than all of them.”

“For nearly two hours, it delivers what it promises: a weird, exuberant, and thoroughly enjoyable night out.”

“The reliance on parody is both the show’s strength and its limitation.”

““Fallen Angels” looks handsome and sounds promising on paper, but in execution, it proves curiously insubstantial, a revival with style to spare but little reason to exist.”

“But its appeal is narrow, and its comic returns diminish quickly.”

“Lane channels that same mix of bravado, delusion, and unraveling into a portrait that is expansive, expressive, and deeply human.”

“As a piece of theater, it feels less like a reimagining than a repackaging — a familiar property pressed into service as a showcase for recognizable television talent.”

“Rosenblatt’s script approaches these issues with intelligence and restraint.”

“Instead, this “Bug” is intelligent, disciplined, and often absorbing—but rarely electrifying.”

“In a culture increasingly eager to outsource discomfort, this quiet, unsettling play asks what we lose when we do—and whether comfort, once commodified, can ever truly be returned.”

“It's sharply acted and conceptually ambitious. But the extended pacing dilutes the speed and compression that define Sophocles' original.”

“As drama, “Chess” remains a puzzle.”

“At a time when the idea of progress feels fragile, Wohl’s play insists that the search for freedom, whether personal or political, is never finished.”

“More than a revival, this “Ragtime” feels like a reckoning—urgent, elegant, and profoundly alive.”

““Punch” may falter as it trades force for feeling, but its closing moment of quiet understanding lingers like a bruise.”

“Their endless adventure in Beckett's wasteland is a strange, curious, and surprisingly affecting experiment.”

“Despite three engaging performances, the show drags until its final minutes.”

“Today, it feels more like summertime filler than a noteworthy theatrical event.”

“It’s fresh, fearless, and full of flair.”

“Broadway may be open to big-budget extensions of TV properties—expect “Squid Game: Origins” any day now, along with a previously announced “Game of Thrones” prequel—but storytelling, not brand loyalty, is what separates genuine drama from glorified fan service.”

“In a cultural climate where diversity, equity, and inclusion initiatives are under attack—and where critical engagement with race, gender, and power is being labeled “divisive”—this play feels not just timely but necessary.”

“What we got instead is “Smash,” a retooled, reimagined, and ultimately regrettable stage musical adaptation of the TV series itself—one that lands with a thud instead of a bang.”

“The result feels more like a mixtape than a tribute, more exhausting than illuminating.”

“Betty Boop may be ready for her close-up, but this isn’t the vehicle she deserves.”

“Unfortunately, this long-awaited debut is a frustrating misfire — overproduced, emotionally hollow, and fundamentally at odds with the delicate intimacy that makes the musical so beloved.”

“The message is clear: if no one stands up, history isn’t just doomed to repeat—it already is.”

““Glengarry” still crackles with vicious energy, bitter humor, and brutal truths about American ambition.”

“Instead, it’s a hollow star vehicle – expensive but cheap, flashy but dull.”

“The lively dance choreography (by Patricia Delgado and Justin Peck) builds upon the excitement and pristine sound quality of the music, but the show (directed by Saheem Ali) quickly becomes monotonous and underwhelming (at least for those who are looking for more than a dynamic jam session).”

“I am hard-pressed to think of a better holiday gift for musical theater fans than the lavish, fresh, and genuinely thrilling new Broadway revival of the classic 1959 musical 'Gypsy.'”

“What “Death Becomes Her” lacks is even a remotely decent score.”

“On the whole, it makes for exciting, fascinating theater.”

“It is unfortunate that the play is a mess, leaving theatergoers 90 minutes of pure bewilderment along with a few nifty graphics.”

“I became increasingly fascinated by the play's plot mechanisms (which leave a lot of lingering mystery), the psychological damage sustained by each character, and impressed by the shaded performances and meticulous stagecraft.”

“It dumps compelling societal concerns upon us, leaves them unexplored, and relies structurally on an uninspired starting point (i.e. confessing to a therapist) and gimmicks.”

“As with “The Crown,” “Patriots” is primarily a source of entertainment – and it succeeds in that regard.”

“This production, which is the equivalent of a disco-themed karaoke party, just makes me feel disappointed.”

“By act two, the show felt like a mechanical procession of plot progression and teen melodrama.”

“McAnuff’s 2.0 (or 3.0 if you count the Stratford production) version of “Tommy” remains precise, inventive, fresh, and, yes indeed, thrilling.”

“Strong’s sensitive and manic performance is not unlike a variation of Kendall Roy on “Succession” – smart, flawed, and insular.”

“O’Hara and James are capable of leaving us not simply pensive, but elated and shattered, if they had a show that would let them.”

“As well-constructed as many of the scenes are, there is too much going on; too much the playwright is trying to do.”

“The production relies on the explosive interactions of the ensemble cast, with Paulson leading the way in a raw, heated and vigorous performance. While one might find much of the play to be distasteful or bizarre, it makes for genuinely compelling and satisfying theater.”

“Unfortunately, “Harmony” contains a weak score, with surprisingly generic and bland music by Manilow (none of which stands up to his wonderfully catchy pop hits), and pedestrian lyrics by Sussman (who also wrote the comparatively stronger book).”

“They came for DeVito – who will hopefully appear in a more substantial play next time.”

“There are some funny lines, but no more than an hour’s worth of laughs in a two-person vaudeville routine that goes on for two hours, becoming tedious.”

“The lack of live music remains a stain on an otherwise remarkable show.”

“While one might also add “Into the Woods” (which was just revived on Broadway and also combines characters from different fairy tales into a single plot) to the list of precedents, I would prefer to not compare that Sondheim masterwork with a piece of junk like “Once Upon a One More Time.””

“The play’s provocative content is sure to provoke strong responses among audience members. But even if one disagrees with its views on the law and justice, there is really no denying that ‘Prima Facie’ makes for gripping theater centered around a thrilling performance and urgent politics.”

“A sequel to “That Goes Wrong” has arrived in the form of “Peter Pan Goes Wrong,” an endlessly funny and inventive imaging of a hopefully misguided production of “Peter Pan” that is plagued by endless mishaps, mistakes, and injuries.”

“Unfortunately, his new book (which removes all magical elements, turns Morgan Le Fey as a scientist, and questions how Arthur could have pulled the sword from the stone) is too clumsy and self-conscious in its attempt to draw contemporary parallels and critical viewpoints.”

“As led by an excellent ensemble cast, the solid production (directed by Saheem Ali) successfully balances the play’s intimate emotional moments, terrific stagecraft (including surprise entrances and exits by the ghost) and far-out comedy.”

“One could try to read into it as a parable of community, commitment, tolerance, and so on, but “Shucked” is really just a lightweight and laborious attempt at resurrecting old-fashioned musical comedy with a country flavor and corn as high as an elephant’s eye.”

“‘Life of Pi’ is a most impressive and well-executed piece of theater...one suspects that the artists that brought the tiger and the other animals and visual effects to life will be deservedly recognized.”

“If not necessarily bad, “Bad Cinderella” (which often feels like “Cinderella” combined with “Shrek” and “Clueless”) isn’t exactly great either.”

“It was a gripping and thrilling production that was absolutely worthy of a Broadway transfer and has gotten better since then.”

“Lloyd has foregone all period detail and removed traditional production elements in order to produce a seamless, direct, and fresh reexamination of the play.”

“With the exception of the lively title song, Marc Shaiman and Scott Wittman’s (“Hairspray”) big band-style score is derivative and serviceable at best. But taken on the whole, 'It Hot' is more than worth celebrating.”

“With that in mind, I would have preferred a karaoke bar where everyone gets drunk and sings along to Diamond’s greatest hits over “A Beautiful Noise.””

“All things considered, the fashionable flare and youthful exuberance on display in “& Juliet” (as directed by Luke Sheppard and choreographed by Jennifer Weber) are often entrancing, and Martin’s songs (as arranged and orchestrated by Bill Sherman) are undeniably catchy.”

“Here’s hoping that Birbiglia continues to come to Broadway each season with new autobiographical monologues and inspires the same kind of turnout.”

“Her performance as Kimberly is vulnerable, textured, and totally believable under unbelievable circumstances.”

“While the production (directed by Jeremy Herrin) is polished and marked by seamless scene transitions, it represents little more than an uninspired simulacrum of the film in which the magic and charm has gotten lost in translation.”

“Regardless, the production excels in the sharp and textured interplay between Abdul-Mateen (restless, longing, cocky, hurt) and Hawkins (weathered, mature, guilty, smooth), in which comedy-laced routines eventually culminate in showdown and tragedy.”

“Like “Sanctuary City,” “Cost of Living” is a compelling contemporary drama that has enigmatic and vulnerable characters, complex relationships, rising intensity, vigorous argumentation, and an underlying sense of humor and compassion in the midst of endless struggle.”

“The performances are individualized and powerful, including Pierce's mercurial Willy (jovial and hammy, then innocently bewildered and shaking), Clarke's tough-as-nails, weathered Linda (whose handling of the 'attention must be paid' monologue is superb), Khris Davis' soft and sensitive Biff, and McKinley Belcher III's oily and upbeat Happy.”

“It is very challenging to remember who each of the less prominent characters is without consulting a character list or family tree.”

“While Crystal and the cast are droll and endearing, “Mr. Saturday Night” (directed by John Rando with an especially small cast for an old-fashioned-style musical comedy) is pretty dull, slow, and schmaltzy.”

“"A Strange Loop" ultimately falls victim to the perils of its own design, becoming so messy, whiny, confrontational, sexually explicit, and theoretical that it will probably turn off many theatergoers while invigorating and thrilling plenty of others.”

““Hangmen” is a meticulously-plotted work containing eccentric characters and built upon elements of pub drama, physical farce, whodunit mystery, action thriller and legal drama – not to mention a noose and countless pints of cask ale.”

“Brown, who has become the first Black woman to serve as a director-choreographer on Broadway in 65 years, was an ideal choice for helming the revival, infusing it with modern dance and coordinating its visual and lyrical elements into a striking pattern.”

“Brokaw’s stripped-down and highly-effective production accentuates the complex relationship between Li’l Bit and Peck, with Parker and Morse (who is impressively understated) giving nothing short of a masterclass in acting.”

“One could have a cynical reaction to “Birthday Candles,” finding it sentimental and manipulative, with existential queries and lines of “King Lear” that are didactically repeated in an attempt to make it seem profound.”

“Although well-meaning and filled with some striking visuals and pointed political commentary, “Paradise Square” is sappy, overstuffed, overlong, and tiresome.”

“It’s the equivalent of feel-good comfort food, like grandma’s chicken noodle soup – at least until it becomes clear that the production is not as good as it ought to be.”

“MJ is a strange experience, at once dazzling and unsatisfying, a peerless display of pizzazz with nothing underneath.”

“Ruben Santiago-Hudson’s absorbing production has finally officially opened and was well worth the wait.”

““Flying Over Sunset” is an artistic misfire – and a nearly three-hour slog to sit through.”

“Relying upon sex smirks and curious glances, Lenk gives a passive, barely passable performance in which a great production seems to operate around her instead of with her.”

“One hopes that future musicals that play the theater will be ones that at least make a good faith effort to live up to Sondheim’s innovative standards, as opposed to continuing the never-ending cycle of churning middlebrow musicals out of familiar movies.”

“Director Kate Whoriskey (who regularly collaborates with Nottage) may have overemphasized the play’s broad humor, to the point where it often starts to resemble a sitcom version of “Top Chef.” But at its best, “Clyde’s” is a relatable, rambunctious, feel-good work that optimistically preaches a path to self-redemption.”

“Notwithstanding, 'Trouble in Mind' is worth seeing, as it speaks directly to current concerns in the theater industry over institutional and unconscious racism.”

“Contrary to the vicious ridicule it was greeted with on social media, “Diana” is not a disaster – it’s just not very good.”

““Caroline, or Change” ought to be better appreciated today.”

“"Given the lip-synching and lack of movement on the part of O’Connell, one may wonder why “Dana H.” needs to be a live piece of theater rather than a true crime podcast or a raw testimonial video on YouTube.”

“Doesn’t that sound a lot better than sitting through a show that is both mediocre and long?”

“But unfortunately, it is cliched and tedious, with numerous scenes that drag on endlessly.”

“The writing, which is more a series of scattered anecdotes and memories than a traditional narrative, mixes retelling the characters’ sorrowful pasts with lively comic touches, leading to earnest character portraits that are affecting and involving.”

“Notwithstanding the dynamic score, 'Six' is weighed down by a labored book, bargain-basement scenic design, and clunky dance choreography.”

““Pass Over” is not for everyone – or even most people – but it is for those who are ready and willing to take in a raw, incendiary, and challenging (though often entertaining and gripping) piece of contemporary theater.”

“For the most part, 'A Soldier's Play' makes for an involving mystery saga – not unlike a particularly good episode of a television legal drama such as 'Law & Order.'”

““Jagged Little Pill” proves to be one of the most artistically sound, well-integrated and crowd-pleasing jukebox musicals to materialize on Broadway in some time.”

“To put it bluntly, “The Inheritance” (which premiered at London’s Old Vic, transferred to the West End, and is now making its American debut) is the triumph of the fall theater season.”

“3/4 Stars "Lyndon B. Johnson play an action-packed drama"”

“Bottom line: Best Broadway revival of a Harold Pinter drama in over a decade.”

“Experiencing the monologues in a larger venue does not detract from their dramatic power because they are directed squarely at the audience, treating it as a participant and a confidante.”

“Onstage, “Moulin Rouge!” (directed by Alex Timbers, whose greatest successes have been lower-key, inventive projects like “Peter and the Starcatcher” and “Andrew Jackson”) is clumsy, overcooked and pointless.”

“That being said, the play itself (which runs roughly 2½ hours and is confined to Frankie’s studio apartment) is very thin.”

“And it's yet another charmless, dumbed-down musical adaptation of a well-known movie, just like the others that have premiered in recent months (including “Pretty Woman,” “King Kong” and “Tootsie”).”