Rooms full of missed opportunities sprawl across Second Stage’s Tony Kiser Theatre where Steven Levenson’s new play “Days of Rage” is running through November 2018. Mr. Levenson, the award-winning book-writer of “Dear Evan Hansen, tackles the important issues of nationalism, xenophobia, and racism against the backdrop of a radical collective of three friends protesting the “atrocities” of the Vietnam War.  The time is October 1969 and Spence (an intense yet vulnerable Mike Faist), Jenny (a devoted and lonesome Lauren Patten), and Quinn (an unbridled and combative Odessa Young) share a ramshackle old house in upstate New York where they espouse the tenets of Lenin, Marx, and Engels and are engaged in recruiting other anti-war advocates to join them in a road trip to Chicago where an estimated twenty-five thousand will gather to rage against the war, the President, and the establishment.

It is clear from the start of Donja R. Love’s “Fireflies” that Olivia Grace (DeWanda Wise) is among the disconsolate: Olivia is languishing: Olivia’s wounded heart needs healing. There is a fire in Olivia’s soul that counterpoints the fire in the 1963 Fall sky above the home in the Jim Crow South she shares with her preacher-activist husband Charles Emmanuel Grace (Khris Davis). The first words Olivia shares are those from a letter she is writing to the yet unidentified Ruby: “Dear Ruby, It’s been awhile. The sky . . . it’s been burning so bright since you left. It reminds me of you.” And at this point the stage of the Atlantic Theater Company’s Linda Gross Theater reverberates with the sounds of exploding bombs as the sky “cracks open and bleeds.” Olivia admits, “I can’t do this.”

Kudos to the team of women (all women!) that wrote, directed, performed in, and filled all positions in the creative team for “Hitler’s Tasters” currently running at IRT Theater. The play examines the conflicts of the fifteen German young women who were conscripted to be Hitler’s tasters. They were initially transported daily to and from a school to fulfill their task of “defending the Motherland.” After a threat on Hitler’s life, they were permanently confined in a building adjacent to Hitler’s Wolf’s Lair headquarters in Prussia. The sole real-life survivor of this group of young women Margot Woelk has documented this “footnote in history” extensively before her death in 2014.

Currently playing at Walkerspace, The Pond Theatre Company’s “The Naturalists” is a compelling look at how one’s “secret” past can suddenly and unexpectedly encroach on the present and delay one’s progress into the future. Brothers Francis Sloane (a thoughtful and tender John Keating) and Billy Sloane (a defiant and burdened Tim Ruddy) enjoy an uneventful present in their mobile home in a rural hamlet of County Monaghan, Ireland in 2010. Their lives might not be described as idyllic; however, they get along most of the time, and the income from their cattle farm seems to provide a comfortable albeit spartan existence.

The revival of Grammy-Award-Winning “Smokey Joe’s Cafe: The Songs of Leiber & Stoller,” having headed south from its recent engagement at the Ogunquit Playhouse in Maine, has landed at Stage 42 in New York City to positive notices from the press – including this one! Forty iconic Leiber and Stoller hits in ninety minutes would be glorious enough, but hearing those songs delivered by a cast of nine extraordinary singers and dancers backed by a powerhouse eight-member band is an experienced not to be missed. “Smokey Joe’s Café” currently running at Stage 42 delivers more that might expect from any musical revue.

PTP/NYC’s thirty-second season includes two plays by the company’s “usual suspects.” The double bill, currently running at Atlantic Stage 2, includes four of the ten short plays in Howard Barker’s 1987 “The Possibilities” and Caryl Churchill’s 1977 “The After-Dinner Joke.” Both offerings invite the audience to grapple with provocative content that often seems elusive and controversial and that raises numerous essential, enduring questions.

Under Lila Neugebauer’s exquisite direction, the actors playing Mary Page each give intriguing performances that focus on the pastiche of one “ordinary” American facing the dangers inherent in leaving “the crib” and separating and individuating from the nuclear family.

Rinne Groff has created an engaging extended metaphor based on the 1911 fire that destroyed the iconic Dreamland on Coney Island. Counterpointing the event of the suspicious destruction by fire is the destruction by water by superstorm Sandy in 2012 and the “destruction” of Kate (Rebecca Naomi Jones) by the “lesser causes” of betrayal, self-doubt, and prevarication. “Fire in Dreamland,” currently running at The Public’s Anspacher Theater, explores that metaphor and its trove of rhetorical devices that bombard the senses and often places the audience in a surreal wonderland.

“Brecht on Brecht” the theatrical collage of works by Bertolt Brecht first compiled by George Tabori in the early 1960s is appearing at Atlantic Stage 2 in repertory with “The Possibilities” and “The After-Dinner Joke” as part of PTP/NYC’s Season 2018. This is the Potomac Theatre Project’s thirty-second season in New York City. “Brecht on Brecht” features songs and scenes from Kurt Weill, Hanns Eisler, and Bertolt Brecht’s most famous collaborations, as well as first-hand accounts from Brecht himself and explores the socio-political and issues the playwright faced as an artist fleeing Nazism for exile in America.