how to write a theatre review

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How to Write a Play Review

Last Updated: December 4, 2023 Fact Checked

This article was reviewed by Gerald Posner . Gerald Posner is an Author & Journalist based in Miami, Florida. With over 35 years of experience, he specializes in investigative journalism, nonfiction books, and editorials. He holds a law degree from UC College of the Law, San Francisco, and a BA in Political Science from the University of California-Berkeley. He’s the author of thirteen books, including several New York Times bestsellers, the winner of the Florida Book Award for General Nonfiction, and has been a finalist for the Pulitzer Prize in History. He was also shortlisted for the Best Business Book of 2020 by the Society for Advancing Business Editing and Writing. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 871,936 times.

The performance of a play is a live experience, so it can be an exciting but difficult task to review. You have to be both the spectator, taking in and enjoying the performance, and a critic, analyzing the production. But with the right preparation and structure, you can create a well-written play review.

Sample Play Reviews

Preparing to Write the Review

• The review should also give potential audience members a sense of the play. It should let readers know if spending their hard-earned money on a ticket to the production will be money well spent.
• Noting that you thought the play was “good” or “bad” will not create a strong play review. Instead, you should be specific in your critique and have a thoughtful analysis of the production. Your opinion on the play should be supported by a discussion of the production elements and how they worked together as a whole.
• The review should also describe the situation or plot of the play without giving too information to the reader. Avoid spoiling any plot twists or turns for potential audience members in your review.

• Paragraph 1: Your introductory paragraph should describe what you saw on stage. You should also give context for the play, such as the playwright or composer of the play and where the play is being staged.
• Paragraph 2: Briefly summarize the plot of the play.
• Paragraph 3: Discuss the acting and directing. React to the performers playing the characters in the play.
• Paragraph 4: Describe the design elements of the production, such as the lighting, sound, costumes, make up, and set and props.
• Paragraph 5: React to the play as a whole. Would you recommend the play to potential audience members? You can also include a recommendation, like a star rating or a thumbs up/thumbs down.

• How does the reviewer structure her review? Does the review follow the traditional structure, with an introduction in paragraph 1, a plot summary in paragraph 2, a discussion of acting and directing in paragraph 3, a discussion of the production elements in paragraph 4, and an overall critique in paragraph 5?
• Compare two reviews of the same play. How do the reviews compare and contrast? Are they structured differently or have different critiques of the play?
• Is the reviewer overly critical of the play? Does their analysis seem well supported by scenes in the play, or a discussion of design elements of the play?
• How does the reviewer wrap up the review? Is there a recommendation at the end of the article, such as a star rating or a thumbs up/thumbs down?

• Note the stage directions, the setting notes, and the line breaks or pauses in the dialogue.
• Pick out any problematic points in the play that you might want to watch for during the production. For example, if you’re going to see Shakespeare’s “Hamlet”, you may make a note of ways the director might stage the pivotal Ophelia drowning scene. Or if you are going to a musical like “The Little Shop of Horrors”, you might note how the director will transition from the song numbers to the dialogue in the production.
• Your instructor may also ask you to pay particular attention to certain elements, like the lighting or the costumes, so make sure you are prepared to recognize them.

• For example, you may be seeing a version of “Hamlet” that is set in contemporary times and integrates technology in the production. Or you may be seeing a production of “The Little Shop of Horrors” that is set in a record store, rather than a theater. This setting change will change the context of the play, and you should then note how the setting choice is used in the production in your review.

Writing the Review

• Note if there are any write ups in the program about a directorial choice, like setting “Hamlet” in contemporary times. There may also be notes on the lighting or the sound design. Don't: judge the premise of the play based on your personal tastes. Your readers can decide for themselves whether it appeals to them. Do: consider the goals behind production decisions and be prepared to evaluate whether the play achieves them.

• The set design. Look at design elements like lighting, sound, costumes, makeup, and props.
• The acting and directing of the production. If a certain casting choice seems important, write it down. If a line of dialogue strikes you, make a note of it. Look at the way the actors say their dialogue and move around the stage. Are they serious, comedic, formal? Do they use modern slang or speech, even though the play was originally set in an older time period?
• Any “special effects” used, such as special lighting, sound or technology. Note if the production also uses audience participation to keep the audience engaged.
• Right after the performance, you should jot down any concluding notes, including your initial impressions of the production and how successful or unsuccessful you think the production was.

• Describe what you saw in detail and make the reader see what you see. Be specific and thorough in your descriptions.
• Analyze what you think the director or designer was trying to achieve. Why do you think they designed the movements, lights, sounds effects, and costumes a certain way? What do you think they were trying to make the audience feel or think?
• Judge how effective the play was as a whole. Don’t be afraid to give an honest opinion of the production but be sure you can back up your critique in the body of your review (paragraphs 2-4). Don't: make your personal opinion the main feature. Do: state your opinion honestly, grounded in specific points.

• For example, in this review of “The Little Shop of Horrors”, the reviewer begins with the line: “This Fringe classic pops up most years, with songs such as ‘Somewhere That’s Green’ and ‘Don’t Feed The Plants’ bringing the house down.” [9] X Research source
• This opening line works because it allows the reader to dive right in. In one line, the reviewer has introduced the play, noted the play is a “classic” and told the reader it is a popular musical.
• You can also start with a hook that challenges the audience’s expectations of a familiar production. For example, in this review of “The Little Shop of Horrors”, the reviewer begins with the line: “Not many musicals will issue you with a sing-a-long book with the lyrics to chorus numbers so you can join in, but this interactive production of The Little Shop of Horrors has a few surprises in store.” [10] X Research source
• This hook works because it tells you that the play is a unique take on a classic production and is interactive. Don't: write an exciting hook that has nothing to do with the rest of your review. Do: take risks with bold statements or an unusual opening.

• The full title of the play.
• Where did you see the show? Name the theater or setting where you saw the play.
• When did you see the show? Maybe it was opening night, or the last week of the show’s run. Be specific about the exact date you saw the show.
• Who wrote the show? Who directed the show? Name the playwright, the director, and the name of the production company.
• If the show is a restaging of an existing play, such as “The Little Shop of Horrors” or “Hamlet”, you should note this in your introduction. If the show is a new or original production, you should also note this.

• For example, you may summarize the plot of “The Little Shop of Horrors” with: “The Little Shop of Horrors is such an entertaining musical because of its hilarious plot involving a plant which grows to an incredible size and the romantic love story of Seymour and Audrey.” [12] X Research source

• Were the performers believable? Did their relationships or chemistry with the other characters seem natural and appropriate? Did the performers stay in character throughout the play?
• Did the performers have a vocal quality (volume and articulation) that fit the context of the play? Did their body movements and gestures stay true to the character they were playing?
• Were the performers engaging and interesting to watch? If so, why did you find them engaging?
• For example, in your review of “The Little Shop of Horrors” you may note: “The main credits of this production go to the lead roles Cath Snowball (as Audrey) and Chris Rushmere York as Seymour who created a really tangible but very shy and coy chemistry.” [14] X Research source Don't: discuss an actor's personal appearance or insult to the point of cruelty. Do: describe misguided or failed performances honestly.

• The set and the props: Did they establish the correct mood for the play? Did they add to the development of the characters, the plot, and the setting? Were they convincing and well-made?
• Did the blocking on stage make sense? Blocking means how the actors are positioned on stage within the set. Were there any awkward movements by the actors on stage? Did the set help or hinder the performances?
• The lighting: Did the lights convey a mood that fit with the tone of the play? Did they draw attention to characters or props that seemed important in the play?
• The costumes and the make up: Did the costumes and the make up of the performers suit the time period of the show? Was there a unique approach to the costumes or the make up that affected the context of the play?
• The sound: How did the music, if any, contribute to the show’s mood? Were there sound effects used in the show, and if so, how did they add to the production? If you are reviewing a musical, you should note if there was a live orchestra or if the music was pre recorded, and how that affected the tone of the play overall.
• Try to be as detailed as possible in your discussion of the design elements. For example, in a review of “The Little Shop of Horrors”, you may note: “A quirky directorial decision was to have the props and cast in grey scale. These performers were caked in grey and black make up to contrast the monstrous green plant as it ate people alive, growing bigger and bigger as the play went on.” [17] X Research source

• Note if the audience seemed attentive and interested throughout the performance. Also point to any possible adjustments or changes that could have been made to the production to make it stronger or more engaging.
• For example, you may note: “Though the production was clearly taking some creative risks by having all the performers in greyscale, not bringing in bright green plants for the show-stopping “Something Green” number felt like a missed opportunity to capitalize on this contrast.”
• Leave your reader with a clear sense of your opinion on the play and with more questions than answers about the play. For example, you may wrap up your review of “The Little Shop of Horrors” with: “This new production takes some creative risks and emphasizes the singing skills of the performers, who manage to pull off this tale of love and a monster plant with passion and conviction.”

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• ↑ https://bestaccreditedcolleges.org/articles/theater-critic-job-description-duties-and-career-outlook.html
• ↑ www.mvhsdrama.com/.../ HOW%20TO%20WRITE%20A%20PLAY%20REVIEW.doc
• ↑ https://www.theatrefolk.com/blog/write-play-review/
• ↑ https://writing.wisc.edu/Handbook/PlayReview.html
• ↑ https://www.broadwaybaby.com/shows/little-shop-of-horrors/20228
• ↑ https://www.theskinny.co.uk/festivals/edinburgh-fringe/theatre/little-shop-of-horrors-thespaces-on-niddry-street

About This Article

To write a play review, start by taking notes during the show and writing a rough draft right afterward to capture your strongest thoughts and impressions. Then, when you're ready to write your polished essay, start with an opening sentence that makes a bold statement about the play. In the Introduction, you should also include the play's basic details, like when and where it showed, who acted and directed, and what it was about. Then, in the body paragraphs, choose elements of the play that you thought were particularly important, like the lighting, set design, or acting, and discuss whether you thought the director made a good or a bad choice. Finish with your overall impression. For more information on how to write a play review, including what to do before you go see the play, read on! Did this summary help you? Yes No

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How to write a theatre review

The first rule is that there are no rules – you're writing a review to express your thoughts and feelings about a theatre show, not taking an exam. There are as many ways to write a review as there are personal responses to any production. There is no right or wrong. Allow yourself to develop your own distinctive voice , and be honest about what you really think about a production: convey your enthusiasm for it or explain why you disliked it. Don't worry about going out on a limb. A timid theatre review is often a dull read. The hardest reviews to write are not about the shows you passionately loved or hated , but about ones that were just so-so.

If you are aiming to get your review published in a newspaper or on a reviews website , then you will need to write your review to a certain length and to fit a particular format. Make sure you do your homework about the length and style of reviews of a particular publication, online or otherwise, before you approach them. A traditional theatre review often begins by giving the reader some background about a production, a brief outline of plot and themes, a sense of what the staging looks (and sounds) like; it offers an evaluation of writing, production and performances and concludes with a summing up. It's pretty basic GCSE coursework stuff. (Coursework that I suspect I might fail if I had to do it.)

But it doesn't have to be like that. Particularly in the digital age, when a theatre review can be a succinct and witty 140-character critique on Twitter, an occasional or regular response on the comment threads of Guardian reviews or my weekly What to see blog , or a piece of writing on a blog that runs to many hundreds of words and uses the production as a springboard to discuss wider issues. The last of these often sits somewhere on a line between academic criticism and broadsheet reviews; some of the most exciting blog commentary is trying to create a genuine and informed dialogue between those making the work and those writing about it; still more matches the form of the show with critical response. Smart theatre publicists and marketing departments know these bloggers are invaluable and will facilitate access by offering free tickets to those who write regularly and engagingly.

Blogging has changed the world of theatre criticism, and for the better. A wider range of voices on many different platforms isn't challenging the authority of us full-time theatre critics but broadening it. It may never have been as hard to get paid for writing theatre criticism, but it has never been easier to be noticed for writing it and to gain yourself an audience for what you write.

I've been learning on the job for the last 30 years, and am still learning with every review I write. The best advice I can offer is to see as much theatre as you can, write about everything that you see, and always write reviews that really reflect what you felt about a show – not what you think you ought to have felt about it. Oh, and have fun. If you don't have fun writing the review, nobody will have fun reading it.

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Arts and Entertainment Reviews

Feature: HOW TO WRITE A REVIEW OF A THEATRE PERFORMANCE

by Frank Arthur on June 4, 2019

in Extras , Theater-Regional

HOW TO WRITE A REVIEW OF A THEATRE PERFORMANCE

Going to the theatre can be a magical experience, but writing a critical review of a theatre performance can be a challenge even for the most insightful and attentive theatre-goers. If you are interested in writing a critical review of a theatre performance, there are a few things you’ll need to keep in mind in order to ensure that the resulting review does more than just summarize the performance. In this article, we’ll take a look at the right way to review a theatre performance in order to ensure that you are making substantive and critical evaluations that highlight the deeper elements of a performance to get at the heart of the theatre experience.

Before we begin, it’s important to establish what we mean by “critical.” Yes, it’s true that criticism involves listing the faults in a production, but that doesn’t mean that a critical review should be inherently negative. Criticism also highlights the good and offers constructive suggestions for improvements that might make for a better performance. Therefore, don’t go to a performance with the attitude that you will take your poison pen and savage the performance by highlighting every problem or error. Your goal should be to fairly assess what you saw, good or bad, according to the merits.

Now that we’ve covered that, it’s time for a confession. There are no hard and fast rules for the “right” way to write a theatre review. Sure, standard writing guides can tell you about typical structure and a professional writing service has a format that it follows when a customer orders up a review. But a review is about your reactions and your feelings, and it isn’t possible to tell you that your feelings are wrong. However you choose to express them, as long as you are conveying your reactions to your audience clearly and honestly, there is no wrong way to do it.

A traditional theatre review found in a newspaper or magazine tends to follow a standard format: background on the production, a plot summary, a description of the staging, and an evaluation of the writing and acting. If you are writing for a newspaper or magazine, you will likely need to follow their specific writing guidelines. These types of reviews can easily be handled by a professional company that writes papers for students. But even in these formats there is a lot of room for personalization.

As you start to write, you should consider your critical voice. Who are you as a critic? What perspective do you write from? For example, a Marxist critic likely approaches a performance very differently from one whose primary focus is on acting talent. Develop your own voice and allow yourself to talk to your readers honestly. As long as you can convey your feelings clearly, you will produce a review worth reading. It’s easiest to convey strongly held feelings either positive or negative; it can be much more difficult to explain to your readers why a production was simply mediocre. That takes a little more skill to turn into an interesting piece of writing.

Some of the most interesting theatre criticism is less about describing the production than it is about using the production as a hook to explore a broader societal or cultural issue that connects to the play. This style of criticism is less traditional, but it can serve to highlight the most important themes in a production by connecting it to the broader culture that the production reflects.

As you prepare to write about a performance, you should be sure not to view it entirely in isolation. There is a broad world of theatre all around us, and you should attend many shows and experience the many varieties of theatre in order to understand how the performance you plan to review fits into current practices and trends.

Finally, you should be sure to have some fun with your review. If you don’t enjoy theatre and don’t enjoy thinking critically about what you’ve seen, then your review won’t be fun to read. Readers can detect forced writing and phony excitement from a mile away. As long as you convey the sense that you are an enthusiastic and passionate theatre fan, your audience will embrace your reviews with do my paper .

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How to Review a Play

Preparing to write a play review.

Below are some tips to help you prepare to write a play review:

The Nature of the Assignment

Because the performance of any play is such an ephemeral experience, writing a play review can be an exciting, though difficult, task. You have to be both spectator taking in and enjoying the performance and critical analyst of the production itself. You have to be able to provide a very brief summary of the play, a close objective analysis of the performance you attend, and an interpretation and evaluation of the entire ensemble of staging, acting, directing, and so on.

The review assignment asks you to analyze in an objective manner the relative success or failure of a given production. Note that you are not asked simply to summarize the plot or give an opinion regarding the text of the play being mounted; your review must be grounded in the production itself. Your job is to describe the production accurately, and then to render a value judgment of it based upon what you have seen and what you expected. The assignment will test your skill as a reader of the play and as an observer and critic of the production.

In addition to grounding your review on the production you witness, you must be careful to limit your review to a few essential observations in support of your thesis (which will be discussed below). You must concentrate on a few important ideas and aspects of the production and focus your attention on only what you consider the most significant parts of the production itself. Unlike a newspaper review, which can be loosely structured and superficial, your assignment is quite definite. You are not asked to cover a wide variety of production elements (i.e. performance of every actor, every costume change, every set change, every directorial decision, and so on); instead, the assignment demands that you develop a few key ideas in thoughtful detail.

Remember, too, that your stance is to be objective and critical, not impressionistic and merely nasty. A critic is not someone who simply “criticizes,” but a person who studies, analyzes, and then renders a rational judgment of what he/she has seen. Your tone will be very important in making your review reliable and intelligent.

Before You Attend the Production

Read the play before going to the production. (It is important to be prepared for the production you plan to attend; otherwise, you run the risk of having to see it several times.)

• In your mind, have a good sense of how a “standard” production might look, complete with a sense of what the characters might look like, the type of costuming that might be used, a suitable set design, and an appropriate rendering of the theme and tone of the work.
• Pick out, as you read, several critical or problematic points within the play that may be of particular interest to watch for in the production you are about to attend. If your instructor has asked you to pay particular attention to certain elements, make sure that you are prepared to recognize them in performance.

Attending the Production

Attend the play with an open mind, a willingness to accept the play as the director has presented it in production.

• Note any deviations from your concept of a “standard” production and try to find a good explanation for that deviation. (Is the director trying to “say” something new or different? Was your sense of the play somehow inaccurate, or were you shown new insights by the director’s production?)
• Why the choice of costumes, and why the set design?
• How did the actors deliver their lines (seriously, comically, realistically, formally)? Were there any significant actions or gestures that contributed to the play’s meaning?
• Were any “special effects” utilized (consider lighting, sound, audience participation, machinery)?
• Were any significant cuts made in the script?

After the performance, jot down the details you recall and talk about the performance with friends. You’ll need these details for your paper in order to substantiate your argument.

Evaluate the performance.

• Did the director miss any important opportunities to convey something you were able to see in your reading of the play?
• Would you have liked to have seen more attention paid to what you perceived as critical passages, passages the director seemed less interested in?
• Why would you have preferred this attention, and why do you think the director avoided giving the passage such attention?

Consider the following practical aspects:

• What kind of stage does the director have at his disposal? What kinds of restrictions does the stage impose on the director concerning movement and set design?
• Are the actors professionals, amateurs, or students? What restrictions does this impose on the director? Are the actors capable of dealing with the script’s requirements? (Be fair to the actors in your assessment of their talents and the level of their “craftsmanship.”)

Writing the Review

Below are some tips for writing play reviews:

Writing the Introduction

The introduction should include the following:

• The title of the play, the name of the playwright, and any pertinent historical information regarding them (other similar works from this period? by this writer?).
• The name of the director, the place and date of the production you attended, and the name of the production company (again, do you know of any previous work by this company? this director?).
• (Note that even if the production did not exactly coincide with your own conception of the play, you should not feel obliged to condemn the performance outright. Be open-minded and willing to weigh pros and cons.)
• (Note that this thesis asserts that Papp captured the essence of what is in the text itself — the expectations set up by the thesis are that the reviewer will then analyze the methods by which the director achieved this effect.)
• (This thesis suggests that “sympathy” was the director’s intention. Note also that the reviewer gives a strong indication of what he/she expected to find in the production.)
• Example: In You Can’t Take It With You, the acting by the family members on the open, exposed stage displayed an innocent and vigorous freedom, as well as a proud independence in their confrontation with accepted norms of behavior.

Writing the Statement and Summary

Include a brief thematic summary (but not a plot summary) of the play, and support that summary with concrete evidence from the text.

You can include this summary in the introduction; or, if you wish to expand the summary, include it in a separate paragraph following the introduction.

Writing the Body of the Paper: The Review

Remember that in the body of the paper you are obliged to deal specifically with each element of the production that you mentioned in the introduction and thesis.

In order to give your review a tight internal logic and cohesiveness, you should also discuss these elements in the order that you outlined in the introduction. Such points of discussion might include the non-technical (acting, directing) and/or the technical (lighting, scenery, costumes) aspects of the production.

For each element that you discuss:

• (Note the vivid description of what was seen, and the use of detail to convey that vividness. The passage will work nicely as evidence for an overall, positive evaluation of the production.)
• Interpret, Analyze, Evaluate : This part of the paper requires the most thought and organization and consequently receives the most attention from your reader. After you have finished describing important elements of the production, proceed to evaluate them.

For example, you would need to answer the following questions regarding the last description of Lear :

• Why were the lights dimmed at the beginning of the scene? (shock effect? slow unfolding of horror?)
• Why was the backdrop painted black? (contrast? mood?)
• Why was there no order to the skulls? Why seven? (emblem of disorder or chaos? significance in number?)

In other words, assume that everything used in production has significance, but don’t panic if you cannot find “answers” for all the questions raised by what you see in the production.

In the evaluation, you are given the opportunity to attack as well as commend the performance; if the production fails to answer questions that you feel need answers, then say so. If the question or problems are relatively minor, ignore them. Don’t quibble at the expense of missing the more important concerns.

Writing the Summary and Conclusion

Your conclusion should not merely recapitulate your thesis in a mechanical way.

Rather, you should try to show why your response to the play is valid and significant, based on what you have described in the body of the paper.

Do not add any significant new material, but don’t be afraid to leave your reader with something to think about.

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How do you write a theatre review? Here are Lyn Gardner's tips

If you are thinking about entering Stagedoor's review competition you may be wondering: how do I write a theatre review? What’s the magic formula? I should know the answer to this question because I’ve been writing theatre criticism for over 30 years, but I can honestly say that every review I write feels different and every single one feels as if I am doing it for the first time. In fact, I often think that I couldn’t have kept doing it for 30 years if I thought I actually knew how to do it and had a formula I could follow. I am learning on the job.

You can have driving lessons and pass a test that says you know how to it, but nothing really prepares you for when a deer suddenly leaps out from the side of a Highland road on a dawn morning. When writing theatre criticism, you are constantly being surprised by deer, as theatre morphs and changes, form is interrogated, whose story is being told shifts and who is doing the telling shifts too. Theatre is a live thing and a good critic is alive to that.

So, there is no right or wrong way to write a theatre review, just as there is no right or wrong way to write a play or make a piece of theatre. A review can be anything: a pithy 500 characters on Stagedoor, a column in a broadsheet newspaper, a stream of consciousness written in the margins of the programme on the way home on the tube, a haiku carefully crafted over several days.

One of the beauties of theatre criticism—unless you are being commissioned to write it by a particular publication which will have their own distinct house style for reviews—is that you can write in whatever form you want. Most excitingly, you can if you desire, match the form of the review to the form or content of the show you’ve seen. Be bold. Experiment. Take a chance. Review Hamilton in rap form; outdo Beckett for poetic spareness.

If there is no right or wrong way to write a review—merely conventions of what we expect a theatre review to look and sound like— it’s worth remembering that when you are writing a review that there are no right or wrong answers either. You are not taking an exam. Writing a review is simply writing your personal response to the performance that you have experienced, whether that is online or in the theatre.

Honesty is the best policy. Just because a play is written by someone whose work has been previously lauded, whether they are Pinter or Pirandello, debbie tucker green or Simon Stephens, or because the play has been hailed a classic, doesn’t mean you have to like it. If you love musicals but have never got to grips with Caryl Churchill or vice versa, don’t get angsty about it.

Your personal aesthetic is one of the things that makes you who you are. Don’t be embarrassed because you love what you love and hate the shows that everyone else thinks are cool. A review in which you express your passions, and sometimes your prejudices, and nail your colours to the mast is always going to be a better read than one in which you hedge your bets and keep peering nervously over your shoulder in case your friends or professional critics think differently. It doesn’t matter what they think.

So, for the Stagedoor competition, I’d advise keeping it snappy, keeping it passionate, review something you either love or hate (reviews of shows that you thought were just so-so are hardest to write) and make it distinctive but not snarky. It’s your review so it should reflect you and your unique voice. Most of all, I’d say have fun writing it. I look forward to reading what you post on the site.

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How to write about theatre performances

Sorry About That: The Language of Public Apology

• By Edwin L. Battistella
• July 2 nd 2017

It’s the theatre season in my town of Ashland, Oregon, and I’m keeping up with the play reviews and talking with reviewers about what makes a good review. Reviewing a play is different than reviewing a book or even a film. For those of you whom might find yourselves called on to write a review, here are some tips.

Minimize the summary — For book reviews, summary can be useful, even necessary. In a play, not so much. Unless it is a premiere, the play’s plot is likely to be well-known and many will have seen it before in other theaters. So extensive summary is usually redundant. Identify the vision—Instead of telling what happens, focus on the director’s vision of the performance. How does the director give the work a new relevance or cause us to think about the work in fresh ways? How does the piece reach out to new audiences or challenge old ones? Or both.

Research the production —If the company has performed the play before, readers may be interested in how this version differs from previous ones. If a work is new, the research might touch on how it came to be written.

Take good notes while you watch —It’s hard to write in the dark, but don’t rely on your memory for details. You want to be an active play-watcher, noting key lines, details of performance, set, and costuming, and even your impressions that a particular actor is good at being smarmy or seems waif-like. Does something jump out at you that will be the opening hook for your review?

Talk to the audience —At the intermission or after the performance, talk with members of the audience. See if their impressions of the play match yours. Did seniors appreciate the music? Were younger people engaged in the story? Are there some audience members who have special knowledge of the theme that you can tap for a comment?

Draft it asap —The longer you wait , the harder it is to get started, so write a quick rough draft right after the show, even if it is late at night. You can come back to it after a good night’s sleep and see if it still holds up.

Ask follow-up questions —Sometimes you still have questions after you’ve looked over your notes and drafted your review. If you do, contact the director or theatre’s press officer. They can often provide a definitive answer to lingering questions about artistic choices or pesky details.

Put it all together —As you write it all up in a final draft, take into account the whole experience—the play itself and its adaptation, the set, lighting and sound design, and the acting and casting. Did everything work together? How do the parts relate to the whole? Be honest but tactful, acknowledge the work, and remember by the end of the run, the performance will have evolved.

Remember, it’s not about you —Readers want to learn about the play and whether it is worth seeing, so connect your recommendation to your analysis. And if you don’t think the play is all that great, resist the temptation for clever snarkiness. That’s all people will remember about the review and many readers won’t think it’s that clever. Honor the effort even if it falls short.

Proofread —Autocorrect is not your friend, so it pays to double-check the spelling of the names of the cast, crew, and anyone you’ve quoted, and to fact-check the historical details you may have mentioned.

Own the review —Occasionally you will get some feedback—or pushback—about your analysis or opinion. Acknowledge the point if it is a valid one, and don’t feel too bad if people sometimes disagree with you. After all, that’s show business.

Featured image: “Stage in the theater” by Paulius Malinovskis. CC by 2.0 via Flickr .

Edwin L. Battistella teaches linguistics and writing at Southern Oregon University in Ashland, where he has served as a dean and as interim provost. He is the author of Sorry About That: The Language of Public Apology (OUP 2014; 2016), which is now available in paperback. His other books include Do You Make These Mistakes in English? (OUP, 2009), Bad Language (OUP, 2005), and The Logic of Markedness (OUP, 1996).

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Learning How to Write A Theatre Critique

In this unit of instruction students will be learning about the role of a theatre critic and then applying what they have learned to create their own critique of a filmed or live production.  This "Click to Teach" lesson was inspired by a high school lesson plan written by theatre educator Kristie Farr as a part of the EdTA SEL Lesson Plan library.  Download the lesson by going to the SEL library and typing "Theatre Critique" in the keyword search.  

Learning Goals:

The students will: 1. Understand the purpose and role of theatre criticism 2. Analyze, interpret, and critique a theatre performance using Goethe’s Principles of Criticism 3. Develop a framework for criticism and write a review of a performance.

Get Inspired: Critics are Artists

"A critic is an artist- perhaps the most seasoned of all."

Photo courtesy of Tyler Mitchell.

Follow the journey of one Thespian as he learns to love the artistry of theatre journalism while exploring the role of a theatre critic.  Read all about it in this Dramatics.org article- "Theatre Critics are Artists Too."

Watch this video by New York theatre critic David Cote to learn more about the work and artistry of a theatre critic. 

For class discussion:

In this short piece, Mr. Cote mentioned that some feel that critics are superfluous.  Unpack that thought by splitting into two teams for a class debate- one team should be prepared to defend the argument that critics are superfluous, the other team should be prepared to take on the argument that critics are important contributors to the theatre world.  Close by reflecting as a class on the process of exploring both opinions. 

Journal reflection questions: What did critic David Cote say was the importance of theatre criticism?   Considering Tyler Mitchell's article and David Cote's interview, how would you defend the art of the theatre critic?

Explore Reviews

Click on the image above to read reviews of  "Chicken and Biscuits" collected on the website "Did They Like It"  .  Choose one favorable review and one review in which the critic did not like the production.  Did They Like It c ollects reviews from many different critics all in one place, making it easy to see theatre critics at work.  Be ready to discuss the reviews with the class.

Class discussion:  Find a learning partner to work with, then share the answers to each of the questions below.  Be sure you have analyzed BOTH of the reviews you have chosen.

How did the author try to "hook" the reader's interest? What details did the author share about the show? What was the author's opinion of the show?  What reasons (evidence) did she give for her opinion? What would you say are the steps to writing a review? 

Homework:  go to the website  "Did They Like It" and find a review for a show of your choice.  Print out the review, and highlight or circle the positive remarks and constructive criticism.  If you are unable to print the review, make notes in your theatre journal.  Be ready to discuss the review you chose with the class next class period. 

Prepare to Write

In order to write a review of a show, you will need to learn a little bit about how to critique a work of art.  In the 18th century, a German philosopher named Goethe determined one way to critique a work of art by answering three simple questions:   1. What was the artist trying to do? 2. How well did the artist accomplish it? 3. Was it worth doing?

These questions are called "Goethe's Principles of Criticism".  You will be using these as the basis of your review.

Homework:  Read through this slide show from SlideShare.net  to learn more about Goethe's Principles, and then write about what you learned in your theatre journal.  Be prepared to share your ideas with the class. 

https://www.slideshare.net/gar...

Choose a Performance to Critique

Choose one of the two performances below to watch and critique.

Performance 1: A Musical

 Disney Cruise Lines version of  Frozen. 

Performance 2: A Drama

A shortened online version of  Good Dog based on Arinzé Kene's hit play written in response to the social and political events leading up to the Tottenham riots in London in 2011. 

Write Your Own Theatre Critique

Remember Goethe's Principles of Criticism? 1.  What was the artist trying to do? 2. How well did the artist accomplish it? 3. Was it worth doing?

It's time to put these into practice by watching a live or video taped production and creating your own theatre review just as if you were a theatre critic.  Download the worksheet to complete your critique following Goethe's principles of criticism as a method of organizing your review.  If you are unable to download and print, you may use the prompts below to create your review in your theatre journal. 

View or Download the Worksheet

Opening: Please give your name, the title of the play or musical, author, whether the performance was viewed live or taped, place of performance, plot summary and theme. You may include actors, designers, directors and/or technicians if interested. Body: Please describe 2 theatrical elements (writing, acting, directing, technical) with detail and accurate theatre terminology and relate the elements to the theme. Use Goethe’s Principles of Criticism by answering the following questions for each area:      What was the Artist trying to do?      How well did the Artist accomplish it? Other Questions to Consider:      Are the characters well-developed? Are they believable?      Does the production use images and symbols in significant ways?      Do they add to the impact of the production?      Is the performance well-paced?      Does the acting move you?      Do the scene design and costume design add to the production in a significant way? Sound?      Lighting? Music? Conclusion: Sum up your critique and answer the last of Goethe’s questions: Was it worth doing? And WHY?

Diving Deeper

Deep Dive into Critic Styles

  "Did They Like It"  is a website which collects reviews of Broadway and Off Broadway productions in one easy access location.  Go to the website and choose a show which has mixed reviews.  (some thumbs up, some thumbs down).   Compare and contrast the reviews.  Try to analyze each review to look for the specifics that the reviewer mentioned in order to understand why the reviewer felt the way they did about the production. 

Explore the   "Did They Like It"  website and identify 2 more reviews you would like to analyze.  Read or listen to each review for style and technique.  Make notes in your journal as you read or use a voice recorder to capture your thoughts.  

Critical Thinking Task:  Journal Entry

Theatre critics serve an important role in helping us define our own tastes and opinions.  Often theatre goers will identify a particular theatre critic whose opinions they find the most helpful.  Sometimes it is because they find themselves agreeing with the theatrical reviews that the critic writes, sometimes it is because the critic's reviews are clearly so well thought out and informed.  Based on the reviews you have read, which reviewer would you like to follow?  Write or record a short essay analyzing their style and telling why this critic might be your favorite reviewer.

Just for fun:   Be an internet detective and research your favorite reviewer. What can you learn about their path to becoming a theatre critic?

Classroom Connections

Standards 

 TH:Re7.1.II.a. Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of a drama/theatre work. 

 TH:Re8.1.II.a. Develop detailed supporting evidence and criteria to reinforce artistic choices, when participating in or observing a drama/theatre work. 

 TH:Re8.1.II.c. Debate and distinguish multiple aesthetics, preferences, and beliefs through participation in and observation of drama/theatre work. 

 TH:Re9.1.I.b. Construct meaning in a drama/theatre work, considering personal aesthetics and knowledge of production elements while respecting others’ interpretations

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How To Critique a Theater Performance

Critiquing a theater performance is a way for a writer to evaluate a production’s merit. It’s usually based on how effectively it combined all the aspects of theater, what message it put forward, and how effectively it did that. 

To critique a theater performance, you need to know what kind of performance you will watch and the norms for that genre . Describe and evaluate the significant aspects of the performance in an insightful but objective way. Then explain whether the performance as a whole was effective. 

This article will take an in-depth look at the essential points of a theater performance critique. This includes not only the format of a review but also the proper etiquette to follow when writing one. 

1. Describe the Context of the Performance

Every theater review begins with context, which is a way for the audience to situate themselves and understand the points that the performance is being evaluated.

Before you even step into a theater, you need to know:

• The name of the performance.
• The location of the performance. A high school rendition of Romeo and Juliet will be evaluated differently from a professional performance of the same title. 
• Prior knowledge of the title being performed. Read and understand a title before seeing it performed so you know exactly how it should be interpreted on stage. 
• Prior knowledge of the genre. If the performance is a comedy, ensure you’re well-versed in comedic standards and norms to offer up valuable criticism . 

It’s impossible to offer up any valuable commentary on something if you don’t understand it. So you’ll need to arrive at the performance with a checklist of crucial aspects you’d like to discuss in your review.

The review could focus more heavily on how well the actors played their characters or how the set and lighting enhanced the event’s mood. However, this all depends on what you hope to achieve with the review.

Bellevue College lists the main points to remember and comment on before, during, and after a performance, so take note of them to ensure you know what to look for. 

2. Summarize the Plot of the Performance 

Assume that the person reading your review has no prior knowledge of the performance. It’s always safer this way because you don’t know how much information your readers have about the performance or its key themes, and you don’t want anyone left confused. 

Give the audience the same amount of information about a well-known title as you would about a niche or original one. You’ll want to explain what the story is about, who the main characters are, where the story is set, and what the overarching themes and plot devices are.

For example, you might explain that Don Quixote is a parody with an ironic third-person perspective set in La Mancha, Spain. 

His motivation is righteousness and protecting the weak and innocent. 

His deluded ideas of his own knighthood and class struggles lead him into many adventures highlighting the play’s main point, which is a battle between different moral perspectives and ideas of worth vs. class. 

This is just a brief example of the setup you should create for the reader, giving them the facts before they make any judgments on the performance. Audience members may find the play foolish if they don’t know from the offset that it’s supposed to be a parody. 

It’s absolutely crucial to provide context before making an evaluation. 

Summaries need to be concise and informative , devoid of judgment and opinion, and capture the main points of a story. Use this MasterClass article to learn the main elements of a summary and how to write an effective one. 

MasterClass also has an excellent guide to literary themes that will guide you in identifying and applying them to the performance you’re reviewing. This article only lists a few, so be sure to also do thorough research on the piece you’ll be watching. 

3. Comment on Each Main Aspect of the Performance

Take notes on what you see when you arrive and throughout the performance. 

Don’t make any judgments or assumptions about the performance before you arrive or while watching the story unfold. 

Arrive open-minded, and simply write down anything significant you notice, which might be as small as something in the script. Maybe the language has been changed slightly, so take note of this, and reflect on why that might be later.

Take in the lighting, set design, costumes, makeup, stage directions, and the actors’ behavior. Again, reserve judgment for now, and just note the choices made regarding all of these factors. 

BBC has a fantastic explanation of set design , why it matters, and what to look for when analyzing and evaluating a performance’s set design. 

Focus your energy on noting what’s standard in this performance and what deviates from the norm. Ask questions like:

• Does the production have any critical differences from the original script? 
• Is that a coincidence, or was it done intentionally?

Now that you’ve jotted down these notes, it’s time to start questioning more deeply. The best method to use in this case is The Five Ws and one H :

Discuss the performance itself based on these questions:

• Were the actors comfortable and well-suited to their roles? 
• Did the lighting enhance the mood or make it hard to see what was going on?
• Did the audience react well to the performance, or were they bored or dissatisfied?
• Were the changes to the script intentional after all? 
• Did they add or subtract from the performance and the play’s overall message?

These are all questions you need to ask before making your final evaluation . 

The final assessment takes every aspect you’ve discussed in your critique and brings it together to offer a final judgment of the performance.

This judgment isn’t a matter of whether you enjoyed the performance but whether it achieved what it was supposed to. If it was a comedy , did it make the audience laugh? Were the script changes more jarring than refreshing?

Etiquette is crucial when reviewing someone else’s work, and there are a few guidelines to remember when reviewing a performance. Decide on how well the play fulfilled its purpose with authority and objectivity. 

Don’t slander or sing its praises too highly, as your opinion is secondary. 

Critiquing a piece too harshly might end up looking unprofessional and stirring up tension and conflict between you and the rest of the theater industry, which is the last thing you want if you want a successful career in it. 

Objective writing can be tricky, especially if you’re new to writing reviews or critiquing professionally. Practice makes perfect, so try and improve your understanding of objective language and practice it before writing a critique.

4. Show Readers Why Your Review Matters

Critiquing a theater performance isn’t a simple task. But anyone with sufficient knowledge of the theatrical arts and a grasp of tone and objectivity can take a stab at writing a critical review .

To make a mark on your audience and possibly even reach a larger demographic of theatrical and reviewing professionals, you should write your descriptions and evaluations in a unique way. 

Cover all your bases and don’t leave out any details on the meaty bits that really matter in a review. You also don’t want to make commentary that people will only understand at a stretch. 

Alongside this, however, take note of things other people wouldn’t consider, and try to connect this piece and other pieces in the same or different genres. 

Reference other reviews and other literature that could be applicable. For example, you could draw comparisons between the acting in a stage performance of The Boys in the Band and its later movie counterparts by the same name. 

Finally, don’t be afraid to take a different stance from other reviews you may have read if you genuinely disagree with their statements and evaluations. Consider using these tips on structural decisions and word choices to write an excellent review without making it inappropriate or unprofessional. 

Critiquing a theater performance isn’t something you can expect to master immediately. It takes practice and a great deal of knowledge of the theatrical arts. Luckily, through a lot of reading, observation, and practice, you can write a brilliant review. 

+1 888 701 5192

How To Write A Theater Review—With Examples

• What Is a Theater Play Review?
• How to Write a Theater Play Review?
• Tip #1. Read the play
• Tip #2. Do some research
• Tip #3. Attend the show
• Tip #4. Take notes
• Tip #5. Write & proofread
• Theater Play Review Examples
• Theater play Review Paper Writing Help

Watching a theater play is a wonderful experience. You can laugh at comedies, sing at musicals, learn about history, or feel for the heroes of tragedies. A play is one of the four literary genres. It uses dialogues between characters, along with stage direction, acting, music, setting, and costume to tell a story. A play is a collaboration between the playwright, the director, the actors, the light technicians, the costume designers, and all other people behind the curtain. You need to remember this characteristic of plays if you want to learn how to write a theatre review.

A theater review is a critical response to a play you have watched. You study, analyze, and then produce a judgment or opinion on the whole production. One important thing to remember is that a critical review of a theater play does not only contain criticisms. Rather, it analyzes and contextualizes the production, points out its positive aspects, and provides suggestions when providing criticisms. Writing a theater review is a crucial part of the process of appreciating plays. However, an appreciation for theater is also necessary for writing great reviews. 

In this section, you will learn how to write a good review. Theater plays are a bit complicated to write a review on because you only get to watch it once and then render your analysis and judgment from memory. As such, writing one often starts before you even step foot into the theater. 

Part of the preparation for reviewing a play is to read it before you go to see the production. This way, you have an understanding of the major elements of the play. When you don’t have to strain to understand every bit of dialogue and know what is going on in the plot, you can focus on the other elements of the production.

Before you see the show, it helps to conduct some research to give context to your experience. However, do not overdo it—another person’s opinion may influence your experience. Instead of looking at other people’s reviews, look into the facts of the play:

• Who is putting up the show? What has this production company done in the past? 
• Who is the director? The actors?
• What kind of play is it? For instance, is it also a film?

These things will contextualize the play. For instance, give you an idea as to the director’s (and possibly the playwright’s) vision. You can conduct further research after you have watched the show to help you form your own opinion.

Need a theatre play review? I can help!

Read the program before the show, read the director’s note and the cast’s biographies. Remember what you have read when you enter the venue, however, remember to keep an open mind as well. 

With theater plays, no two performances are the same. Plus, you cannot replay it like a film. To remember the details and your thoughts, take down notes as much as you can. These details will help you write a good review. Here’s what you should take notes of:

• Set design and costume
• Actors’ performance (tone, diction, gestures)
• Special effects

As with any form of essay writing, it is best to start your critical review with a thesis and an outline to keep your thoughts organized. Start with your overall experience or opinion of the production. Then, start considering the different elements:

• Style of performance
• Actors/Acting
• Costume design

You do not have to touch on all these elements when you write your critical review. Focus on the elements that stood out the most or those that are most relevant to your thesis. Here is a theater review template:

Introduction

Provide the factual details of the play and your thesis . Here is how to write an introduction .

Provide a summary of the plot—what kind of play is it and what is it about? Talk about the main themes and conflicts, as well. 

For each element that you will tackle, you need to discuss the following:

Briefly, but in detail, describe the physical aspects of the performance. Describe only the details and scenes that support your thesis.

Interpret and analyze these elements and how they contribute to the portrayal of the story and the overall experience.

Evaluate the elements. Discuss how the elements complemented the style and format of the play.

Check our guide on how to write body paragraphs .

Summarize your review of the play and the elements you discussed. Some questions to consider:

• Is the production’s execution successful? Why or why not?
• Is the production worth seeing? Why or why not?

Then, close the paragraphs with any final thoughts. Here are tips on writing a conclusion .

After writing, edit and proofread your work .

If writing is not your best skill, the guide to how to write a theatre review may not be enough. Here is a short theater review example that follows the theater review template provided above.

Dear Evan Hansen has attracted attention long before its premiere thanks to its star-studded team. The musical is set up for greatness, having 4-time Tony nominee Michael Greif as its director, award-winning playwright Steven Levenson as its creator, and Benj Pasek and Justin Paul for music. The Broadway show is sold out, and without a doubt, each filled seat was well worth it. This Broadway musical is created for the modern audience, capturing the pervading disconnect despite the world’s increasing connectedness. 

Dear Evan Hansen is based on the novel by Steven Levenson. The plot centers on teenager Evan Hansen who writes a note to himself, as directed by his therapist, to help with his social anxiety. This note is stolen by his classmate, Connor Murphy, who then commits suicide. Evan’s note is found in Connor’s pocket, leading the latter’s parents to believe that they were friends. Unable to tell the truth, Evan covers up and inflates his story with lies and fabricated evidence and becomes entangled in a large complicated web of lies. 

Being the center of the story, the spotlight barely leaves Ben Platt as Evan Hansen. Platt’s performance did not leave a boring moment on stage. His powerful singing and portrayal of this seemingly stock character brought it to life. Evan’s awkwardness and social insecurity are visible in his constant blinking and twisted speaking. His social awkwardness is at the root of his loneliness and desperation for attention, which ultimately leads him to a path of lies. The audience feels for Platt’s Evan Hansen, and almost roots for his ruse to succeed. 

Paul and Pasek’s music underscores the narrative of Dear Evan Hansen . The songs rise and fall along with the emotions of the characters, with some songs being mellow, while others are reflective ballads. The strongest song of all is “You Will Be Found,” which closes the first act and is then reprised in the second act as the rallying cry for the social media movement following Connor Murphy’s death.

Dear Evan Hansen is a musical of the times, capturing the loneliness of today’s modern world as well as the complexity of grieving for a lost loved one. With a powerful score and performance by Platt and the rest of the cast, this musical will stay with the audience for a long time.

Here is another example of a review of Bertolt Brecht’s Waiting For Godot .

Deadline Approaching?

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A critical review is not a long essay, but a lot of analysis goes into it. CustomEssayMeister offers custom critical reviews for all genres, including theater plays. Simply watch the play, write down your thoughts, and let professional writers translate your ideas into a well-written critical review. Place your order now.  

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How to Write a Theatre Review

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How To Write A Theatre Review

Subject: Drama

Age range: 14-16

Resource type: Lesson (complete)

Last updated

13 October 2020

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This 60 minute lesson plan with supporting PowerPoint is focused on how to structure an engaging review. Includes an example from an award winning critic on how to build a strong opening to a written response. The lesson then guides students through a clear structure, using each key element as a building block to anaylse and evaluate a live performance effectively.

Learning Objectives

• To learn how to structure an engaging review
• To develop essential skills in critical thinking.

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‘Water for Elephants’ Review: Beauty Under the Big Top

The circus-themed love story, already a novel and a movie, becomes a gorgeously imaginative Broadway musical.

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By Jesse Green

First come her ears, floating like ginkgo leaves. Then, from behind a screen, her shadow appears, followed by the marvelous sound of her trumpet. Next to arrive is her disembodied trunk, with a mind of its own, snuffling out friends and enemies and food. Finally, at the end of Act I of the new musical “Water for Elephants,” she is fully assembled: Rosie, the star of the circus, big as a bus and batting her pretty eyes.

This gorgeous sequence, played out over perhaps 20 minutes, is emblematic of the many wonders awaiting audiences at the Imperial Theater, where “Water for Elephants” opened on Thursday. After all, Rosie is not a living creature potentially vulnerable to abuse. Nor is she a C.G.I. illusion. She is not really an illusion at all, in the sense of a trick; you can see the puppeteers operating and inhabiting her. Rather she is a product of the human imagination, including ours in the audience.

What a pleasure it is to be treated that way by a brand-extension musical, a form usually characterized by craftlessness and cynicism. Indeed, at its best, “Water for Elephants” has more in common with the circus arts than it does with by-the-books Broadway. Sure, it features an eventful story and compelling characters, and apt, rousing music by PigPen Theater Co ., a seven-man indie folk collective. But in the director Jessica Stone’s stunning, emotional production, it leads with movement, eye candy and awe.

That’s only appropriate, given the milieu. The musical’s book by Rick Elice, based not just on the 2011 movie but also on the 2006 novel by Sara Gruen , is set among the performers and roustabouts of a ramshackle circus at the depths of the Depression. Escaping an unhappiness we learn about only later, Jacob Jankowski (Grant Gustin) jumps onto a train heading (as his introductory song tells us) “Anywhere.” But really, because the train houses the failing Benzini Brothers troupe, it’s heading everywhere — downhill and fast.

Elice has smartly sped up the action by eliminating one of the two introductory devices that kept the movie’s story at a distance. In the one he retains, a much older Jacob (Gregg Edelman) serves as the narrator of the long-ago events. With pride but also anguish he recalls how, as a young man trained as a veterinarian, he quickly established himself in the chaotic and sometimes violent company of the circus: a hunky James Herriot caring for the medical needs of the animals. Soon, though, he becomes involved in more complicated, dangerous ways.

The complication comes in the form of Marlena, the circus’s star attraction, who performs on horseback. The danger comes from her husband, August, Benzini’s possibly bipolar owner and ringmaster.

How we are introduced to them, and the central conflict, is typical of the production’s theatrical intelligence. First we find Marlena (Isabelle McCalla) tending to Silver Star, her beautiful white stallion, who is clearly in pain. Silver Star is played by two acrobats: Antoine Boissereau operating the head and mane, and Keaton Hentoff-Killian trailing with silks that suggest the body. Jacob, watching Marlena caress and calm the creature with a lovely lullaby called “Easy,” begins to fall in love with her. He also realizes that the horse needs weeks of rest if it’s to survive at all.

But when August (Paul Alexander Nolan) enters the scene, the temperature changes. As he argues that he cannot afford to lose Silver Star even for a day, we see that his hardheadedness and jealousy will put him in danger of losing Marlena as well. The triangle plot is thus established without having to be named, and so is the interconnectedness of love and loss that will emerge as the story’s theme. That theme is then turned wrenchingly poignant as Silver Star’s soul flies up from his body in the form of Boissereau’s aerial act.

The entire show moves in a similar fashion, somehow both concerted and Cubist. Nothing serves just one purpose, including the circus acts; whether hammer throwing or wire walking, they are striking in themselves and also narratively expressive. Watching them we understand, as the story requires, that danger is everywhere, but they also imply the possibility of rescue: Acrobats drop from heights but land as lightly as paper planes.

One reason this works so well is that Elice’s book, especially in the first act, trusts the audience to live with (and profit from) a certain amount of uncertainty. Stepping away from the musical theater handbook, he delivers information not when you expect it but when it serves an underlying emotional logic.

He also steps away more literally, letting the design and movement elements take precedence: the puppetry (by Ray Wetmore & JR Goodman and Camille Labarre), the choreography (Jesse Robb and Shana Carroll), the circus acts (Carroll again) and the design (sets by Takeshi Kata, costumes by David Israel Reynoso, lighting by Bradley King, sound by Walter Trarbach, projections by David Bengali). They really have to be credited en masse because, as sewn together by Stone’s direction, there are no seams between their disciplines.

Stone’s emotionally vivid but not especially visual approach to the staging of “Kimberly Akimbo” — the winner of last year’s Tony Award for best musical — did not prepare me for her work on “Water for Elephants.” You could easily follow the story (if not the characters’ sometimes muddy motivations) even if you didn’t understand English; indeed, I sometimes didn’t because the words, though excitingly sung, are too often mushy. Despite some backloaded, pro forma power ballads, PigPen’s tunes are ideally suited to the setting, but their trenchant lyrics might be more intelligible if they rhymed more accurately.

Still, the songs ace the double-duty test, never repeating catchy choruses just to drill holes in our ears but to expand, modify and turn ideas in different directions. The actors do much the same, playing the full range of their characters’ contradictions, not planting themselves at some bland midpoint. Treated that way, Nolan’s August is a more compelling character than a précis might suggest, and McCalla makes Marlena’s devotion to him as palpable and powerful as her revulsion.

But there are really no weak links. Gustin is dashing and suitably anguished. Edelman dries up what could be the damp narrator role without resorting to too much twinkle. (One glitch: It’s hard to see how the younger and older Jacobs align.) And the supporting roles are all filled with piquant performers (Sara Gettelfinger, Stan Brown, Wade McCollum) who are credibly circuslike, except for one strange anomaly: The clown (Joe De Paul) is actually funny.

Well, miracles do happen, even on Broadway. In building such a huge and heart-filling musical one image at a time, the creators of “Water for Elephants” have disproved the old circus adage behind the title, which holds that you can never deliver enough sustenance for a creature so large and thirsty. Apparently, you can.

Water for Elephants At the Imperial Theater, Manhattan; waterforelephantsthemusical.com . Running time 2 hours 40 minutes.

Jesse Green is the chief theater critic for The Times. He writes reviews of Broadway, Off Broadway, Off Off Broadway, regional and sometimes international productions. More about Jesse Green