I see only a few pieces a year. I am so glad I picked this. The play is timely. And it is as ambitious a production as Ihave ever seen on a Broadway stage. The cast is superb. The staging wonderful. It has left me having discussions with my children and with my friends as to what is the definition of success, what does it mean to be responsible to yourself, and how do you live in a society that values the accumulation of wealth most highly. I loved the set changes. I loved the questions posed. Will go again when the performances become even richer.

I have seen the show before..and have seen the movie too. This is the best production of Golden Boy that I have ever seen.. It is the best drama I have seen on Broadway in a very long time.. and I have seen a great many plays over a great number of years.

Well produced and strongly cast. The cast is even more impressive considering the number of important roles in the play. Tony S and Seth N nail their lead parts. Another favorite was Brad F as Pepper White. Pepper's character cracked me up and clearly illustrated one side of the choice Joe is faced with. I thought Brad did a fantastic job presenting both the humor and the seriousness of Pepper's role.

Caught "Golden Boy" at the Belasco on December 23. Well staged, well acted, and Tony Shalhoub is wonderful. The Australian actress who plays Lorna Moon is also worth mentioning. But the play is an absolute stinker. You can't do much with a play when the material is so weak. It's clunky, contrived, dated, with zilch characterizations. Why the producers chose to revive one of Odets' weakest works is a mystery to me. And be forewarned -- the seats at the Belasco are so cramped and jammed together that your knees are perpetually thrust into your chest. Terrible. Seth Numrich as Joe Bonaparte comes across as unappealing, and doesn't remotely resemble anyone's conception of a prize fighter cum violinist. Or violinist cum prize fighter. This may not be entirely his fault, anointed new darling of Broadway though he is, for as the script is written, he's neither fish nor fowl. We never actually get to see him box, and his love of the violin is expressed only briefly as several strains of offstage music wafting from the wings. This violates the first principle of playwriting - - show me, don't tell me. The endeavor is a waste of Tony Shalhoub's talents. He doesn't get much stage time, although what time he does get he invests with gorgeous nuance, outclassing the rest of the field. Well, anyway, you can't say you weren't forewarned.