B-

Nearly every critic employs either "tour de force" or "virtuoso" to describe Alan Cumming's solo performance of Macbeth, but for the most part, none seem as ecstatic about the show itself, which more than a few consider a mere gimmick. Add to that the consistent difficulty many note in differentiating between characters and comprehending the story, as well as complaints that this high-concept telling adds little new insight to the Scottish play, and the result is mostly underwhelmed reviews. But the design team gets high marks, and the intense and high-energy Cumming wins over more than a few delighted reviewers.

B

Tanya Barfield’s new play grapples with a number of topical and thought-provoking issues, and that, according to critics, is its biggest problem. Pointing to underdeveloped subplots, and an almost too convenient African neighbor, more than one critic describes the show as "creaky." Critics wish Barfield had focused on the play's main characters' discussions on cross-cultural adoption and race. But most critics love all of the show's actors, with especially high accolades for the musically-inclined Kerry Butler. Ultimately, though they think Barfield stretches a bit, they applaud the play for its introduction of weighty issues and the production for its fine execution. One exception to the overall acceptance of the show despite its shortcomings, is Time Out New York's Helen Shaw, who shares similar views on Barfield's plot, but also find the production "straightlaced" and "unimaginative."

A-

In an intimate character portrait like Horton Foote's The Trip to Bountiful, it's not surprising that the lion's share of the critics' ink goes to describing the almost uniformly lauded performance of Cicely Tyson in the lead. The other performers tend to share the same praise. Where critics are more divided is on the direction by Michael Wilson. Though he draws positive praise, some critics feel the tone is uneven, and that the play pushes too hard for laughs early on. Even for the quibblers, though, Cicely Tyson's performance is enough to hang their hat on.

A

Critics are singing the praises of Here Lies Love, with more than one calling it the best show they've seen this season. With a pounding score the Times said "feels like the aural equivalent of amyl nitrite," and with the "fabulous" costumes of Clint Ramos and a "visually arresting" set by David Korins, it's more like a night at Studio 54 than a history lesson. Comparisons to Evita abound. The wags suggest "Don't Cry for Me, Filipinos" as a mock song title, but all agree this is a much more visceral and engaging tale of a First Lady gone bad.

B+

Although critics warn that this new revival of Strindberg's The Dance of Death is as dark and heavy as its title implies, most would encourage intrepid theatergoers to give it a chance. They say the talented leads infuse the play's sharp and spiteful marital back-biting with viciously entertaining humor for the spectators watching them rip each other to shreds, and that Mike Poulton's adaptation offers a fresh take (including some salty language) that keeps contemporary viewers engaged.

A

Nearly all critics hail Julius Caesar and this new interpretation by director Gregory Doran. The positive critics are energized by the cast, who breathe life into the Shakespeare language—more than one review says the show made them feel they were watching a new play, not a canonical warhorse. But while the leads tend to get good marks, a few critics feel that once Caesar (Jeffery Kissoon) has been assassinated, the pace becomes halting and loses the vital energy it needs to keep interest. A notable dissent comes from Irish Examiner's Gwen Orel, who finds the whole production "uninvolving."

D+

As might be expected, no one is enraptured with the original material behind this revival, with the Times's Isherwood going so far as to call Frank Wildhorn musicals the "crab grass of Broadway." Still, most critics admire the cast's fierce dedication in portraying their cliched, underdeveloped characters (even if their accents are terribly wonky), and no one really disputes the power behind all those power ballads. But the reviews are decidedly mixed about Jeff Calhoun's direction (overblown in a good or bad way?), Tobin Ost's sets (versatile or merely cheap?), and Daniel Brodie's projections (cheesy or clever?). Were any critics converted to Jekkies? Not nearly, though the AP's Mark Kennedy admits, "It is what it is, and it does that very well."

B

Did Lyle Kessler's Orphans deserve to be revived in its first Broadway production, or is it just a poor man's The Caretaker? Is Alec Baldwin carrying the show or not menacing enough for his character? Is Tom Sturridge's physical performance the main reason to see this show? Or is Ben Foster, in the role originally to be played by Shia LaBeouf, the breakout star? The answer to these questions and more depend on which critic you ask, because there is certainly no consensus here.

C+

Critics seem to agree on one thing, at least: The Big Knife is not Clifford Odets’ best play. Apart from that, reviews are all over the map. Very few are enthused, with a number openly wondering why the Roundabout chose to stage the first revival of an anachronistic melodrama last seen on Broadway for three months in 1949. Most give Bobby Cannavale at least an E for Effort, and many remark on Richard Kind's strong, nuanced performance, but aside from admiration for the sexy set and costumes, this Knife simply doesn’t cut it for the majority.

A-

Critics saddled Richard Greenberg's adaptation of Breakfast at Tiffany's, which prematurely closed this past weekend, with a D+ earlier this season. But they're more than happy to give the playwright another chance, and most say that The Assembled Parties is his best work in years (though they're not fans of the title). Many critics refer to this quote, spoken by Jeff (Jeremy Shamos), "It’s like the sets of those plays you love. With the breezy dialogue. They sort of talk that way and everybody’s unbelievably nice and, like, gracious and happy," which pretty much sums up why they like the play. The performances also receive a bulk of the praise, especially those of Judith Light and Jessica Hecht.