Suzanna Bowling

“As a carnival ride, absolutely. As a play, no.”

“This is comedy with teeth, where civility is a costume and hypocrisy is the true language spoken.”

“Reimagined by co-directors Zhailon Levingston and Bill Rauch, this electrifying production transforms T.S. Eliot’s poetic oddities into a full-throttle Harlem ballroom competition.”

“This electrifying production directed by Tony Award winner David Cromer is nothing short of essential theater.”

“It is truly the direction that makes this play.”

“This political satire is stroked with double entendres that are hit or miss.”

“Adam Driver and Keri Russell's in Lanford Wilson' revival of Burn This, is like a slow blazing fire. Though they do not combust, there is heat.”

“Kiss Me Kateis one of my favorite musicals with a strong score and a timeless story, and though there is much to like here, the second act after ‘Too Darn Hot’ seems to fall apart.”

“Choir Boygrabs your heart and soul with the exquisite performance by Jeremy Pope.”

“This play about lost souls who never can leave the faction they have chosen is heartbreaking and a warning of sorts.”

“The script by Greg Garcia and Mike O’Malley is so banal that it makes Sponge Bob Square Pants look college level.”

“The stories are masterfully told, but going back to Lithgow's first question 'Why do all of us want to hear stories?', the reason is to learn, to become emotionally connected and to be entertained, and I was none of these.”

“These three are a true ensemble and it is a marvel that even in the silences, much is said.”

“In this production, there is not.”

“My guest, who is not a musical theatre aficionado, now wants to see these shows and in all honesty, so do I.”

“Basil Twists, Oompa Loompa’s take center stage and Dahl’s work transcends into a watchable, but mediocre musical.”

“Hello, Dolly! is back on Broadway and so is The Divine Miss M.”

“Ms. Vogel and the wonderful director Rebecca Taichman, have created a powerful piece that almost seems like a dance.”

“Maybe it is the times we are in.”

“This feel good musical is infectious, enchanting and just what this country needs right now.”

“With Jake Gyllenhaal as George, your heart aches with his entrapment into color and light.”

“Blanchet and Roxburgh are electrifying, however Roxburgh nor the role of Platonov carry the burden of being a male sex symbol.”

“Rachel Chavkin’s direction is another work of art.”

“At the Booth Theatre Janet McTeer and Liev Schreiber have no chemistry, no seething wit or malice and are terribly miscast.”

“Falsettos shines just as brightly in 2016.”

“It is politically incorrect, sexist and written with a good ol boys club mentality.”

“What Georgie does is jump start his life, as this play puts the audience to sleep.”

“McBurney is everywhere, but that doesn't stop your brain from wanting to snooze through it all.”

“It is disorienting, harrowing, riveting and frightening.”

“The cast is excellent, with a charming and winning Zachary Levi, as the perfect leading man, who does a cartwheel during “She Loves Me,’ that melts your heart.”

“Sadly, the play left me with the same feelings, as the first time and lost me at the same places.”

“Allegiance, the newest musical to hit the great white way is touching, endearing, well written and passionate.”

“The thing that keeps this play going is Charles’ refusal to sign a bill that has already passed in Parliament.”

“Together they are electric and this play for 75 minutes burn as bright as the lights on Broadway.”

“However, the immense chip on her shoulder keeps her world contained.”

“They go for crass lyrics and quirky melodic lines, where not one of these ditties is hummable.”

“Now thanks to Harmony: A New Musical, written by the legendary Barry Manilow and his longtime collaborator Bruce Sussman their story lives again.”

“I’m sorry, I just can’t get into a show where the biggest number is about selling out.”

“Anne Kauffman has under-directed this piece. Though there are honest and real performances, this production is just dull.”

“It is Shalhoub, who you cannot take your eyes off of. His vulnerability in admitting his failure and wanting to make this relationship right are at the heart and soul of this play.”

“May touches our hearts, holds us captive and slowly disintegrates before our eyes...As sad as this play is, it is also funny, for in deep pain comes humor. Laughter here is a shield...This play is a memory play in more ways than one. Dialogue, overlaps and at times it seems as if everyone is shattering like shards of glass.”

“Make no mistake, Glenda Jackson is giving the performance of a lifetime.”