The new show at Painted Bride offers a lens into a collection of stories women shared about their experiences being incarcerated, what common narratives all women share, and how they find their voice. David Block previews.

The Wilma’s new Twelfth Night, from co-artistic director Yury Urnov, promises to “reimagine” Shakespeare (just like every theater company does). But this show has plenty to delight and surprise. Alaina Johns reviews.

Tiny Dynamite brings the legendary, yet little-known, 11th-century Japanese novelist Murasaki Shikibu to life, alongside a bookstore manager whose own work is closer to the author’s legacy than she knows. Gabrielle Kaplan-Mayer reviews.

American Fast follows a women’s basketball player who struggles with representation, cultural traditions, legacy, and life in the public eye after announcing her Ramadan fast during the playoffs. Josh Herren reviews.

Playwright Nilo Cruz revisits Two Sisters and a Piano, a tale of passion and oppression in early-90s Havana, in a stagnant production at Two River Theater. Cameron Kelsall reviews.

Ross Gay’s libretto poem Be Holding connects an iconic basketball play from Dr. J with one of the most disturbing award-winning photographs in American history. Kyle V. Hiller reviews.

The national Broadway tour of Beetlejuice, the musical, stopping at the Academy of Music through Sunday, June 11, sands the dark edges off the original in favor of feel-good clichés. C.M. Crockford reviews.

Pennsylvania Shakespeare Festival opens its 2023 season with Henry IV, Part 2, a joyous restaging that succeeds in ragtag style, despite a few dramatic missteps. Kiran Pandey reviews.

South Camden Theatre Company partners with the Strides Collective to produce Diane Son’s 1998 Stop Kiss for Pride month. But why do we need this story in 2023? Josh Herren reviews.

At the Arden, The 25th Annual Putnam County Spelling Bee lingers on cheap jokes at the expense of adolescent self-discovery. Cameron Kelsall reviews.