Juan A. Ramirez is sufficiently spooked by Lucas Hnath’s new play that looks at one woman’s connection to the space between life and death.

Playwright Will Arbery admirably endeavors to craft a nuanced portrait of conservative Catholicism, but the result is a facile exploration of religious and political tribalism. Cameron Kelsall reviews.

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.