Delaware’s Resident Ensemble Players opens its 15th season with Vita & Virginia, a chamber production exploring a historic intellectual and romantic affair in an era of letters. Gail Obenreder reviews.

Cannonball Festival presents two solo shows at the intersection of trans identity and circus arts, Toni Cannon’s ReFlection and Mae West’s $7 Girl. Melissa Strong reviews.

Waiting for Ganol, a Cannonball Festival show that took us into the backyard of a gender-reveal party with mounting problems, allowed us to make our own approach to the thoughtful story. Crystal Sparrow reviews.

Directorial bells and whistles impede the socialist message of George Bernard Shaw's Major Barbara at Quintessence Theatre Group. Cameron Kelsall reviews.

The 2023 Philly Fringe takes on Macbeth in two different shows: Spanking Macbeth, an original play, and Macbeth in a Bar, a restaging at Lilly’s Ferry. Kiran Pandey reviews.

Stank upon a Time is a transgressively absurdist exploration of the culture of Black music, from blues to funk, as the soundtrack of revolution and its survival and commodification in the present. Camille Bacon-Smith reviews.

A new production of Eisa Davis’s Bulrusher at McCarter Theatre Center delivers on the playwright’s vision: welcoming, submerging, and transforming us. Jeannine Cook reviews.

The Lantern Theater takes Richard Wilbur’s definitive 1963 translation of Molière’s 1664 play, Tartuffe, sets it in the Belle Époque and sets a high bar for the 2023-2024 theater season. Jill Ivey reviews.

Through creative storytelling, contemporary dance, and clowning, Magic Trash Day tells the story of one kid’s fantastical emotional journey down into the dumps. Helen Walsh reviews.

An arresting backstory grounds this able mix of contemporary dance, acrobatics, and theater from Ben Grinberg and Hazem Header in this year’s Fringe. Eileen Fisher reviews.