With breathtaking theatricality, stinging poignancy, biting humor, and deep empathy, The Siblings Play gives voice to multicultural New Yorkers rarely seen on the stage.

Townsend’s performance of the elegy (this is far more than a reading) evidence’s Muldoon’s deep respect and enduring love for the American visual artist Mary Farl Powers who died of breast cancer in 1992 after refusing any treatment.

The anatomy of suicide is larger than life. Playwright Alice Birch and director Lileana Blain-Cruz capture that enormity and the surrounding need for discussion with heartfelt grace and impassioned urgency.

Meet Sarah. She's funny. She's dirty. She's 10. And she's got a secret that you'll never guess (unless you read the title).

“Greater Clements” is a testament to what happens when societal structures and safeguards disintegrate, when mental illness challenges societal and familial norms, and what happens when the ability to cope erodes with out a safety net in place.

The strength of Abbie Spallen’s “Pumpgirl,” currently running at Irish Rep’s W. Scott McLucas Studio Theatre, lies in the playwright’s authentic characters and their believable conflicts that connect to the timeless vicissitudes of the human condition.

Alexis Sheer’s “Our Dear Dead Drug Lord,” in its final days at the McGinn/Cazale Theater, is deeply disturbing and profoundly important. Co-produced by WP Theater and Second Stage Theater, the play explores the shadowy underbelly of the teenage angst of four private secondary school young women with extraordinary perception and frightening accuracy.

The audience connects to the dystopian vision playing out on stage and recognizes that the threat of fascism is always on some horizon in some part of the world, often closer than one would expect or hope.

Mr. Love’s focus here is the Black queer HIV+ community. It isn’t meant to connect to other communities although it invites a more universal cry for help to end the epidemic and save the Black queer HIV+ community. See it. Do the work.

Veteran actors of screen, stage, and television Harry Hamlin and Stefanie Powers do their best to bring Joshua Ravetch’s “One November Yankee” to the stage at 59E59 Theaters on Manhattan’s Upper East Side.

Broken relationships, family dysfunction, irreversible age-related illness, and loneliness insert themselves uninvited and unannounced into the lives of individuals and families. “Super great” dissolves into the realm(s) of the languorous.

Successful entrepreneurs like Harry (an overzealous but hypersensitive Raúl Esparza) typically attempt to guard their “art” from “commerce” for as long as possible. They feel frightened by the prospect of commercial success overwhelming their sense of artistic integrity. At least that is Harry’s point of view in Theresa Rebeck’s “Seared” currently running in the Susan & Ronald Frankel Theater at The Robert W. Wilson MCC Theater Space.

Harvey Feinstein wisely chooses to “be” Bella Abzug and not simply “portray” her. There are no gimmicks here, no backups, no filters, no frills – just Bella. Mr. Fierstein draws on his skills of connecting with his audience to raise the rich and enduring questions raised by Ms. Abzug’s life and legacy.

The characters continue to cascade through the decades – all suffering from those initial injuries of twisting the wrong way (an event not to be taken literally) and becoming fatherless (one of many tragedies that “stifle” growth).