B

In her first American production, Austrian Nobel Prize-winning playwright ruminates on Jacqueline Kennedy Onassis’ life as an icon in American history and pop culture. But critics aren't sure whether the play hits its mark. While some believe that the one-woman show delivers new critiques on femininity and power, others think the material rambles on and gets tiring. In the title role, though, Tina Benko receives nothing but praise. While her depiction of Jackie strays from a true biographical impression, this matches Jelinek’s attempt to deconstruct Jackie the icon, not Jackie the woman. The critics also appreciate Téa Alagic’s direction, believing that Marsha Ginsburg’s swimming pool set allow both Alagic and Benko to shine. While critics repeatedly call the play itself “experimental” and wonder whether everyone will enjoy Jelinek’s work, they think that the production makes the experience worthwhile.

C+

The blend of comedy, tragedy, and history at the heart of the second piece of Shakespeare's Henriad trilogy is a blessing and a curse. There's something for everyone (most critics look to Falstaff), but it also makes the show muddled and middling, or, as Backstage puts it, "a perfectly adequate three-hour production." With the exception of Lighting & Sound America's David Barbour, who has praise for all four leads (Henry, Hal, Falstaff, and Percy), all the reviews single out different strengths, though all can at least agree that the Pearl's spacious new theater has been gorgeously decorated.

B

Most critics say they expect more from Rajiv Joseph, Pulitzer finalist for Bengal Tiger in the Baghdad Zoo. His new play, many feel, brings up too many issues and doesn't explore them fully enough. Still, some find that Joseph writes believable dialogue and keeps the audience intrigued. There's also a lot of praise for the design elements, especially Donyale Werle's realistic replication of a vice principal's office.

B

The critical responses ranges for the newest work from Amy Herzog (The Great God Pan, 4000 Miles). Critics note that the play explores new ground, but with varying degrees of success. The Times' Charles Isherwood, who raved about the play at its 2011 production at Yale Rep, praises it as an “extraordinarily fine new play,” whereas Backstage's Erik Haagensen wonders, “What was the point of that?” Even reviewers who are more let down than lauding feel that Herzog is clearly a name to keep an eye on. As Show Showdown's Wendy Caster notes: “Belleville, although disappointing, is still the work of a first-rate playwright.” The ensemble is widely praised, especially the two main leads, who have been associated with the play since its initial mounting in 2011. TheaterMania's Kimberly Kaye speaks for others when she enthuses, “When looked at as a star vehicle for two extraordinary actors, Belleville is near perfect.”

A-

Thirty-three years after winning the Pulitzer, Lanford Wilson's Talley's Folly is still delighting critics, though it seems to have as much to do with this new production as with the play itself. Critics like the sweet, simple story, though some find the story a bit creaky. Ultimately, many of the reviews read like love letters to actors Danny Burstein and Sarah Paulson, who play the mismatched couple.

A-

A revival with a few rough edges isn't enough to diminish the sweeping acclaim for Teresa Deevy's world-weary vision in Katie Roche. Despite noting flaws here and there ("The production is vintage Mint: solid, staid, a little fusty," says Scott Brown in Vulture), reviewers find a lot to admire, especially in Wrenn Schmidt's cagey, memorable acting in the title role. Her "marvelously subtle performance" leaves one critic feeling "extremely grateful to be a contemporary woman" (Wendy Caster, Show Showdown).

B+

Passion may have divided audiences at its Broadway premiere in 1994, but the current Off-Broadway revival has the majority of critics declaring this moody love triangle one of Sondheim's best. Director/scenic designer John Doyle's spare, low-key production is largely praised, though there are a few grumblings about a lack of overall, yes, passion (their pun, not mine). The cast generally receives very warm praise—especially Melissa Errico for her glittering soprano—but a few critics are torn about Judy Kuhn's Fosca, citing a lack of requisite frailty and unattractiveness, though all agree she sounds superb.

B

While nobody argues that Jesus in India is a life-changing experience or must-see show, the critics more or less agree that this middlebrow stoner comedy offers a light buffet of easy laughs and slackjaw observations on the state of adolescence in today's world. While theater connoisseurs and true believers may wish to look elsewhere for sustenance, the reviews contain abundant if somewhat lukewarm praise for Jesus in India's "wild and frequently amusing rumspringa for the adolescent Christ" (Miriam Felton-Dansky, Village Voice).

A-

Critics seem to appreciate this short, poetic work fusing naturalism and Chinese opera, which comes from early in David Henry Hwang's career (1981). Qian Yi's choreography is praised, as is May Adrales' direction, which weaves it all together. The only complaints, such as they are, are that the 70-minute work can't go farther or deeper in exploring the two characters and the world they inhabit. For most, the skillful performances and the interesting themes overcome that shortcoming, though a notable dissent is from the Times' Charles Isherwood, who finds the play "tepid, almost soporific."

B

Reviews prove that beauty is in the eye of the beholder, with critical opinion ranging widely for this somewhat realistic but mostly imagined play about Isaac Newton. From “eloquent” and “fascinating” to “a mishmash of themes and topics that dulls the audience’s senses,” reviewers can’t seem to agree if this play is the apple of their ocular orb or just feels like someone has stuck a needle in their eye.