9 Plays and Musicals to Go to in N.Y.C. This Weekend

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.


‘DEAR EVAN HANSEN’ at the Music Box Theater. Two years on, new hands are waving through the window of this musical by Benj Pasek and Justin Paul, with a book by Steven Levenson. Taylor Trensch now stars as the broken-armed outcast Evan, with Lisa Brescia as the mom who struggles to understand him. The New York Times noted that this “heartbreaker” of a show “finds endless nuances in the relationships among its characters.”
212-239-6200, dearevanhansen.com

‘MY FAIR LADY’ at the Vivian Beaumont Theater. The face that Henry Higgins has grown accustomed to? It looks a little different now. Replacing Lauren Ambrose, Laura Benanti stars opposite Harry Hadden-Paton as the flower girl who becomes a lady with the help of some vocal warm-ups. Jesse Green wrote that Bartlett Sher’s revival is “plush and thrilling” and “reveals Eliza Doolittle as a hero instead of a puppet.”
212-239-6200, lct.org

Last Chance

‘APOLOGIA’ at the Laura Pels Theater at the Harold and Miriam Steinberg Center for Theater (closes on Dec. 16). Will you forgive yourself for missing Alexi Kaye Campbell’s play? Stockard Channing stars as Kristin, a celebrated art historian who has a fraught relationship with her adult sons. Ben Brantley called her character “complex, contradictory,” writing that Channing’s excellence compensates for a work that never “moves you as much as it should.”
212-719-1300, roundabouttheatre.org

‘GIRL FROM THE NORTH COUNTRY’ at the Public Theater (closes on Dec. 23). Don’t think twice. This musical by Conor McPherson, which uses the songs of Bob Dylan, will play its final harmonica solo. The setting, Depression-era Minnesota, is grim and so is most of the story, but when these characters sing, Ben Brantley wrote, “they seem to conjure light and warmth out of the cold, cold night that surrounds them.”
212-967-7555, publictheater.org

‘LEWISTON/CLARKSTON’ at Rattlestick Playwrights Theater (closes on Dec. 16). Samuel D. Hunter’s intimate diptych, with a barbecue dinner served in between, ceases its exploration. One play follows a descendant of the expeditioner Meriwether Lewis; the other, of his fellow explorer William Clark. Both are directed by Davis McCallum. Jesse Green called “Lewiston” “lovely but mild” and “Clarkston” “devastating.”
866-811-4111, rattlestick.org

‘MOTHER OF THE MAID’ at the Public Theater (closes on Dec. 23). Though a mother’s work is never done, Jane Anderson’s “robustly sentimental” play about the woman who raised Joan of Arc will soon be. Ben Brantley described Glenn Close’s starring performance as “a triumphant blend of sharp sense and passionate sensibility, of an old pro’s expertise and a newcomer’s enthusiasm.”
212-967-7555, publictheater.org

‘THE TRICKY PART’ at the Barrow Street Theater (closes on Dec. 16). The revival of Martin Moran’s solo show, about the sexual abuse he experienced as an adolescent boy, finishes its run. Ben Brantley, who first saw this “beautiful and harrowing” monologue 14 years ago, wrote that it “retains a luminous, novelistic complexity that sets it apart from similar tales of stolen childhoods.”
866-811-4111, barrowgroup.org

‘USUAL GIRLS’ at the Black Box Theater and the Harold and Miriam Steinberg Center for Theater (closes on Dec. 23). Ming Peiffer’s play about the treacherous road to womanhood has reached its end. Directed by Tyne Rafaeli, it stars Midori Francis as a Korean-American girl coming of age in a booby-trapped world. Laura Collins-Hughes wrote that this funny, gloomy drama “connects the dots between pleasure, pain and shame.”
212-719-1300, roundabouttheatre.org

‘WHAT TO SEND UP WHEN IT GOES DOWN’ at A.R.T./New York Theaters (closes on Dec. 16). The playwright Aleshea Harris’s new work — a synthesis of dialogue, monologue and participatory celebration — performs its final rituals. Ben Brantley wrote that Harris (“Is God Is”) “has a gift for pushing the familiar to surreally logical extremes” and that her piece is “truly sui generis, truly remarkable.”

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