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 & Openings
‘IN THE GREEN’ at the Claire Tow Theater (in previews; opens on June 27). The life of Hildegarde von Bingen, medieval saint, scholar, composer and playwright, is too capacious for most musicals. So in this LCT3 show, the actress and songwriter Grace McLean and the director Lee Sunday Evans sensibly concentrate on just one episode: her relationship with Jutta, the visionary to whom she professed.
‘MOSCOW MOSCOW MOSCOW MOSCOW MOSCOW MOSCOW’ at the Susan & Ronald Frankel Theater at the Robert W. Wilson MCC Theater Space (previews start on June 26; opens on July 18). Olga, Masha and Irina are not living their best lives. But at the dawn of 1900s Russia, what did you expect? Halley Feiffer, already a specialist in unhappiness and delusion, especially as experienced by women, offers her version of Chekhov’s “Three Sisters.” Her longtime collaborator, Trip Cullman, directs a cast that includes Tavi Gevinson, Rebecca Henderson and Chris Perfetti.
‘WE’RE ONLY ALIVE FOR A SHORT AMOUNT OF TIME’ at the Public Theater (in previews; opens on June 27). In many of David Cale’s plays, characters change their lives or their lives are changed for them. In this new piece, a solo autobiographical play with music (Cale wrote the songs with Matthew Dean Marsh), he charts his own adolescence and the catastrophe that shaped him. Robert Falls directs.
‘WORKING: A MUSICAL’ at New York City Center (performances start on June 26). Workers of the city, unite and consider spending your leisure time at this Encores! Off-Center revival of the Stephen Schwartz and Nina Faso adaptation of the Studs Terkel book about the United States and its laborers. Anne Kauffman directs a cast that includes Helen Hunt, Christopher Jackson, Javier Muñoz and Tracie Thoms. Lin-Manuel Miranda supplies two new songs.
‘ALL MY SONS’ at the American Airlines Theater (closes on June 30). Nominated for three Tony Awards, this wrenching revival of Arthur Miller’s tragedy of a corrupted American family ends its run. Jesse Green praised Annette Bening’s Kate, “the show’s emotional center and endless mystery,” though he felt that Jack O’Brien’s production “does not make a resonant case for the drama today.”
‘HILLARY AND CLINTON’ at the Golden Theater (closes on June 23). This Lucas Hnath play, a meditation on the 2008 primaries, starring Laurie Metcalf as a variation on Hillary Clinton, ends its Broadway term. Ben Brantley wrote that Hnath’s play, directed by Joe Mantello, “invites us to look” at its protagonist “with the easy familiarity with which we might regard someone living next door, or in our own family.”
‘KISS ME, KATE’ at Studio 54 (closes on June 30). Cole Porter’s too-darn-hot musical, revived by Scott Ellis for the Roundabout Theater Company, cools down. While some had worried that the musical, Cole Porter’s riff on “The Taming of the Shrew,” and its sexual politics might be outdated, Jesse Green found the show, which stars Kelli O’Hara, “still speaking to us — or better yet, singing — from the not so buried past.”
THE SEAN O’CASEY SEASON at the Irish Repertory Theater (closes on June 22). The Irish Repertory’s production of O’Casey’s Dublin trilogy — “The Shadow of a Gunman,” “Juno and the Paycock” and “The Plough and the Stars” — leaves the tenement. Reviewing “The Plough,” Elisabeth Vincentelli wrote that it “illustrates the company’s approach at its most successful: It’s hard not to be swept away by such a good yarn.”
‘OCTET’ at the Pershing Square Signature Center (closes on June 30). Dave Malloy’s a cappella opera about people in the throes of internet addiction, which is pretty much all of us, logs off. Ben Brantley called this musical, directed by Annie Tippe, “the most original and topical” of the year, writing that “you’ll feel reassured, alarmed, enlightened and truly thrilled by what you hear.”