Michael R. Jackson’s self-referential meta-musical loops around itself a little too much to be fully satisfying, but still offers plenty to think about and enjoy. Alison Walls reviews.

“That Guy” infects our collective bloodstream, in a play Joey Sims calls “theater as a scream of pain.”

Tori Sampson’s new play gives the audiences a mirror to reflect on ideas around black beauty. Ayanna Prescod reviews.

In Noura, a refugee lives in exile from herself, trying to reconcile her past and her present. Loren Noveck reviews.

Playwright Larissa FastHorse’s New York debut is a “frequently funny, occasionally obvious satire of performative wokeness.” Cameron Kelsall reviews.

Gabe Cohn reviews Lindsey Ferrentino’s out-of-touch response to school shootings.

Molly Grogan reviews this remount of The Mad Ones’ 2016 production.

Cameron Kelsall calls bullshit at the hell Max Posner reserves for an over-burdened son.

Gabe Cohen reviews The Debate Society’s new play, connecting two different Chicago world’s fairs.

Adam Bock sets us up, to better upend expectations. Loren Noveck reviews.