Our guide to plays and musicals coming to New York stages and a few last-chance picks of shows that are about to close. Our reviews of open shows are at nytimes.com/reviews/theater.
Previews and Openings
‘A CHORUS LINE’ at New York City Center (Nov. 14-18). A singular sensation is back for just a few nights. For the annual Encores! gala presentation, the director Bob Avian and the choreographer Baayork Lee offer this high-kicking, low-varnish look at auditions for a Broadway dance corps. The revival stars the marvelous dancer Tony Yazbeck as the director Zach.
‘HYPE MAN: A BREAK BEAT PLAY’ at the Flea Theater (previews start on Nov. 10; opens on Nov. 20). In Idris Goodwin’s play, racial injustice pushes a warm-up guy center stage. Verb, who is black, works as a hype man for the white rapper Pinnacle. When Verb wants to take their music in a more political direction, Pinnacle resists. Kristan Seemel and Niegel Smith direct, with members of the Flea Theater’s resident company, the Bats, starring.
‘MIKE BIRBIGLIA’S THE NEW ONE’ at the Cort Theater (in previews; opens on Nov. 11). This comedian’s solo show about fatherhood is all grown up and opening on Broadway. Under Seth Barrish’s direction, Birbiglia (“Sleepwalk With Me,” “My Girlfriend’s Boyfriend”) describes in comic terms his initial reluctance to have a child and his later reluctance to parent one. Beowulf Borritt provides set design with a surprise.
‘NETWORK’ at the Belasco Theater (previews start on Nov. 10, opens on Dec. 6). The suave Belgian director Ivo van Hove has never seemed mad as hell, but he is taking an adaptation of the 1976 Paddy Chayefsky film to Broadway. When Ben Brantley saw the production in London last fall, he called it a “a bravura exercise in torturously applied pressure.” Bryan Cranston, “in a state of radioactive meltdown,” stars as the newscaster Howard Beale.
‘THE OTHER JOSH COHEN’ at the Westside Theater (in previews; opens on Nov. 12). Hello again. In this show by Steve Rosen and David Rossmer, a lovable schlub has his heart broken and his apartment burgled. But with the aid of one Neil Diamond CD, his life might be looking up. When the production premiered in 2012, The New York Times described it as “an endearing and consistently funny crowd pleaser.” Hunter Foster directs the revival.
‘THE PROM’ at the Longacre Theater (in previews; opens on Nov. 15). When one door closes, the double doors to a high school open. In this musical comedy from Bob Martin (“The Drowsy Chaperone”) and Chad Beguelin (“Elf”), an out-of-work Broadway troupe descends on an all-American town to support a teenage girl who wants to pin a corsage on her girlfriend. Casey Nicholaw directs a cast that includes Beth Leavel, Brooks Ashmanskas and Christopher Sieber. Let’s hope not all the dances are slow.
‘THE RESISTIBLE RISE OF ARTURO UI’ at Classic Stage Company (in previews; opens on Nov. 14). It’s unfortunate that Bertolt Brecht’s 1941 parable on fascism always feels relevant. It’s luckier that in this revival the 1930s gangster and cauliflower enthusiast Arturo Ui will be played by Raúl Esparza. Classic Stage Company’s production, directed by John Doyle, also stars Elizabeth A. Davis.
‘THOM PAIN (BASED ON NOTHING)’ at the Pershing Square Signature Center (in previews; opens on Nov. 11). Michael C. Hall, resurrected from “Lazarus,” stars in Will Eno’s philosophic dazzler, an existentialist one-man show that throws words around like so much confetti. When the play debuted in 2005, The Times said it “is as unassuming in its means as it is astonishing in its impact.” Oliver Butler directs.
‘WILD GOOSE DREAMS’ at the Public Theater (in previews; opens on Nov. 14). In Hansol Jung’s play, a North Korean defector and a South Korean father separated from his family, try to connect, first online and then, with emotions rather than emojis, in real life. Under Leigh Silverman’s direction, the cast, portraying humans and avatars, includes Peter Kim, Michelle Krusiec and Francis Jue.
‘BERNHARDT/HAMLET’ at the American Airlines Theater (closes on Nov. 18). Good night, sweet prince. In Theresa Rebeck’s semi-biographical play, Janet McTeer gives her final performances as the tragedienne Sarah Bernhardt, taking on one of the greatest challenges of her career: that melancholy Dane. The play, according to Jesse Green, “is so clever it uplifts, so timely it hurts.”
‘OKLAHOMA’ at St. Ann’s Warehouse (closes on Nov. 11). Your honey lamb and you have only a few more chances to see Daniel Fish’s radical and immersive reimagining of the Rodgers and Hammerstein classic. When Ben Brantley and Jesse Green reviewed it, both gave it a critic’s pick, with Green writing that for the most part Fish “is audacious in ways that feel dead-on and delightful.”
‘RAGS PARKLAND SINGS THE SONGS OF THE FUTURE’ at Ars Nova (closes on Nov. 10). A hard-travelin’ bard departs our neck of the solar system. In this inventive, poignant folk opera, written and performed by Andrew R. Butler, Rags appears onstage at an underground club on Earth and tells us, wrenchingly, about America 250 years from now. Directed by Jordan Fein, this musical is both a stealthily political show and an outright toe tapper.
‘SAKINA’S RESTAURANT’ at the Minetta Lane Theater (closes on Nov. 11). Get your orders in now. Audible’s revival of Aasif Mandvi’s one-man, many-entree show about a family-run Indian restaurant, which first premiered 20 years ago, finishes its run. “At its funniest, which is often also its most uncomfortable, it has gained a new resonance,” Elisabeth Vincentelli wrote of Kimberly Senior’s production.
‘UNCLE VANYA’ at the Frederick Loewe Theater at Hunter College (closes on Nov. 18). Richard Nelson’s hushed staging of Chekhov’s tragicomedy, in a new translation by Nelson, Richard Pevear and Larissa Volokhonsky, empties its samovar. Ben Brantley wrote that the production, which features Jay O. Sanders in the title role, “is as naked and fully human an ‘Uncle Vanya’ as we’re likely to see.”
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