Resident Ensemble Players at the University of Delaware continues its season with In the Heat of the Night, a world-class whodunit that doesn’t shy away from its story’s disturbing roots in 1962 Alabama. Gail Obenreder reviews.

Priyanka Shetty’s The Elephant in the Room, a solo autobiographical show about an Indian software engineer turned theater artist,
is proving the creator’s performance chops in its Philly debut at Azuka Theatre. Krista Mar reviews.

Macbeth in Stride, a new adaptation of the Shakespeare classic now onstage at Philadelphia Theatre Company, rocks but doesn’t dig its daggers deep enough. C.M. Crockford reviews.

Then and now, fascism feels like an easy fix for any psychic fissure. With Camp Seigfried, Theatre Exile takes us to a Nazi summer camp in 1938 New York. Wendy Rosenfield reviews.

Arden Theatre Company presents Heidi Schreck’s What the Constitution Means to Me, a play that is as alternately illuminating and frustrating as our founding document. Kiran Pandey reviews.

Selling Kabul, a Pulitzer Prize finalist at InterAct Theatre Company, wrestles with the human cost of occupation and war. Cameron Kelsall reviews.

The national tour of Wicked returns to Philadelphia for the first time in six years. How’s it holding up? Cameron Kelsall reviews.

EgoPo Classic Theater opens a season of international perspectives with Lorraine Hansberry’s Les Blancs, co-produced by South Africa’s Abrahamse and Meyer Productions. Cameron Kelsall reviews.

Quintessence Theatre Group conjures a classic vision of hell with Jean-Paul Sartre’s No Exit in a new translation by Alex Burns. Kiran Pandey reviews.

Peripatetic reality star Frankie Grande takes center stage in this new revival of The Rocky Horror Show at Bucks County Playhouse. Josh Herren reviews.