The Print Center presents Rodrigo Valenzuela: Workforce, a surreal mixed-media exhibition about work, industry, power, and people. Emily B. Schilling reviews.

Chicken & Biscuits at Bristol Riverside Theatre gathers common tropes of the family funeral genre, but its performances and design meld comedy and drama for a fun family night. An Nichols reviews.

The Philadelphia Orchestra gives its first full rendition of composer-in-residence Gabriela Lena Frank’s Walkabout: Concerto for Orchestra, and a thrilling rendition of Berlioz’s Symphonie Fantastique, op. 14. Linda Holt reviews.

Josephine Baker presides in spirit over McCarter’s new production of Blues for an Alabama Sky, in which friends in a 1930s Harlem tenement ask what we gain and lose when we stay or leave. Jeannine Cook reviews.

The all-women dance troupe taps into the old and familiar and blends it with new and refreshing in this year’s edition of On Tap. Camille Bacon-Smith reviews.

Tempesta di Mare explores the music of Baroque Venetian charitable institutions that were famous for their vocal and instrumental ensembles, made up of brilliant women artists who were hidden from public life. Gail Obenreder reviews.

Jane Eyre gets a new stage treatment in this ambitious adaptation of Charlotte Brontë’s classic novel, which showcases the inner life of the passionate and principled governess. Alaina Johns reviews.

In the regional premiere of sandblasted at Theatre Horizon, Black women in a desert landscape are trying to survive in a world that is literally making their bodies fall apart. Krista Mar reviews.

Quintessence marks new ground with a world-premiere production in collaboration with Chicago’s New Classics Collective, examining the life of Phillis Wheatley, an enslaved poet who gained worldwide fame in the 18th century. Josh Herren reviews.

Koresh Dance Company welcomed musician Sage DeAgro-Ruopp to a performance combining dance, live music, and theater in Masquerade, the company’s 2023 Home Season show. Melissa Strong reviews.