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I saw the show over the weekend (Saturday evening) and overall, I enjoyed myself and I think it could be something great, but right now there is just so much standing in the way of that.

Kristin is truly phenomenal. It is a behemoth of a role, I think there's maybe 3 or 4 songs total where she isn't onstage at all, and I imagine most of her offstage time is spent changing into her next costume. She looks incredible--clearly no expense was spared when it came

Charley has always left the stage for a brief moment during "Opening Doors" on Broadway. Groff/Frank would always run over and type something on the typewriter (this is the paper that was often auctioned off for Broadway Cares).

A beautiful performance this afternoon that really further confirmed this production/lead trio as one of the finest interpretations of Sondheim's work in the modern era. Will be remembered for years to come.

Jonathan, Daniel, and Lindsay we

I saw this production a couple of weeks ago and have been sort of grappling with my feelings. 

To preface, I saw this production twice in London with Fra Fee/Amy Lennox as the Emcee and Sally and was positively bowled over by it. I remember such specific details of both the experience and their performances, as well as those of the supporting cast I saw. I have been eager for it to come to NY and was looking forward to seeing Eddie Redmayne and Gayle Rankin, whom I loved in the la

I'm still holding out hope for quite literally any show other than Hell's Kitchen to win Best Musical this year. The odds seem increasingly more unlikely as time goes on, but I'm just not ready to throw in the towel yet.

For my money, HK was by far the worst musical I saw this season. A stale, bland, completely ineffective book in search of a central plot or theme to follow, vocal performances that were certainly impressive, and actors having to work overtime to make terrib

Caissie was absolutely breathtaking in London. In exceptional voice and such deeply felt acting. Her connection with Jamie Parker -- the soul of the production -- and Jack Wolfe and Eleanor Worthington-Cox, who both absolutely redefined the roles of Gabe and Natalie was astounding to watch. Sad I won't be able to make the trip to see this company again, but hoping the whole group of them transfers.

I would've been interested in seeing Stephanie J. Block as Diana before every pe

Saw this Saturday evening and found the whole thing pretty abysmal.

Gone is any mystery behind Gatsby because every single character tells you exactly what their motivations are, how they're feeling, and what they're going to do the first second they come onstage. Gatsby's first song explaining that he created his image for Daisy strips the entire evening of any sense of mystery, and sets the tone for the rest of the show.

The music isn't tuneless at all, but it

Genuinely surprised Eden didn't take either performance off yesterday if they start recording today. Her vocals yesterday afternoon were shockingly inconsistent. Noticeably flat or just under pitch for a bulk of her songs.

Enough good things cannot be said about Amber Iman or Beth Leavel, both finding ways to bring humanity and layers to an obscenely bad book. George Abud is chomping on scenery but selling his numbers despite there being minimal reason for his ro

akhoya87 said: "Setting aside casting decisions beyond her control, it seems like there's near-universal acclaim for Maryann Plunkett's performance. I know she'll likely be up for Best Featured, and that it's highly unusual (if not unheard of) to nominate someone for Best Lead Actress when they give us all of one song. But I do feel like of anyone in the cast, Maryann and Dorian Harewood are the closest thing we have to leads, just given their stage time and presence.

Saw the show this past Saturday evening and unfortunately found it rather a chore to sit through.

The biggest issue is that there's no real plot or storyline. Every time there's the hint of a problem or an obstacle, it goes away in a bout 2 minutes. It hints at some interesting things--What is it like for Ali as a young Black woman in NY to be raised by essentially a white single mother? How does her connection to music/Miss Liza Jane allow her to embrace an aspect of her ident

Was also at first preview last night and echo the previous reviews here. I thought it was pretty fantastic with some genuinely thrilling staging and direction from Danya Taymor. It's incredible raw and that cast is throwing themselves all over the stage, it's incredibly physical.

Score-wise occasionally it starts to sound a bit same-y, and I'm not entirely sold on some of the numbers that are sung conversations, the lyricists don't feel totally at ease there, but when t

Saw the show Saturday night and liked, didn't love it as a whole. Some really exciting music/vocal moments, but overall I was left pretty cold by the whole thing.

Ali Louis Bourzgui, Alison Luff (that VOICE!), and Adam Jacobs were the real standouts for me. Bobby Conte sounded fine but felt incredibly miscast. Luff in particular gets to show off new shades of her voice and "Smash the Mirror" was thrilling. The ensemble is working their butts off and many of them get great