OCT 27 – NOV 22 : 1972… A ROCK OPERA

The American Repertory Theater (A.R.T.) at Harvard University presents this world-premiere rock opera production to be performed as a heightened concert at Harvard’s Farkas Hall, 12 Holyoke Street in Cambridge. Written and composed by musician-activist Chadwick Stokes of the Boston-based indie bands DISPATCH and State Radio and Jessie Nelson (Waitress, I Am Sam), the production boasts a scenic design by Drama Desk nominee Amy Rubin (Romeo and Juliet, Gloria: A Life at A.R.T.); costume design by Drama Desk Award winner Nicole Jescinth Smith (“Ramy” and “Up Here” on Hulu); lighting design by Tony Award nominee Ben Stanton (Marjorie Prime, Maybe Happy Ending on Broadway); sound design by Tony Award nominee Justin Stasiw (Night Side Songs at A.R.T.; Lempicka on Broadway). Jacob Yates is the music director. Sarah Ford is the Production Stage Manager. Casting is by The Telsey Company. Claire Chrzan is the associate lighting designer. Director and playwright Jessie Nelson stated, “I am so happy to be back at A.R.T. exploring a story that lets us look at the extraordinary courage of people often overlooked and deemed ordinary,” said. “It’s a story that shines a light on an untold moment in history and helps us see the world through someone else’s eyes; it shifts our perspectives and pushes back against the things that tear us apart. We all look for theater that meets the moment—1972 does.” The story surrounds a pregnant Hannah who while fleeing an abusive relationship, finds unexpected camaraderie with three outcasts riding the rails of America. They are also outrunning ghosts of their own. After barely escaping an illegal abortion, she meets the Janes, an underground network of courageous women who risk everything to provide a choice to women with nowhere to turn. Inspired by true stories of these hidden heroes, this world-premiere rock opera fuels the ongoing fight for personal freedom. Select performances of 1972 will culminate in Act II events including talking circles and facilitated conversations with local civic leaders, scholars, and activists. Act II events invite audience members to move into dialogue with one another and to deepen their engagement with A.R.T. productions and themes. The Schlesinger Library on the History of Women in America at the Harvard-Radcliffe Institute for Advanced Study will curate a series of pop-up exhibitions to enhance audiences’ understanding and connection to the production. Archived writings, literature, posters, and news articles from early 1970s will be on view at 3 James St, Cambridge, MA. Production support of 1972 is provided by The Bob and Alison Murchison New Work Development Fund and by Regina K. Scully and Artemis Rising Foundation. the pop-up exhibitions is free and open to the public. They will occur on Friday, October 30 (3 -5PM). Nov. 3 (1 – 3pm); and Nov. 10 (3 – 5pm). For more information and to obtain tickets, visit www.AmericanRepertoryTheater.org

OCT. 28  – NOV. 1: ALL THE DEVILS ARE HERE…HOW SHAKESPEARE INVENTED THE VILLAIN

ArtsEmerson brings Octopus Theatricals, USA to the Robert J. Orchard Stage at their Paramount Center, 559 Washington St. in Boston. Directed by Simon Godwin (Artistic Director of Washington, D.C.’s Shakespeare Theatre Company), it is  produced by Octopus Theatrical. Dubbed “The villain of Broadway” by Playbill this production captured the Drama Desk, Lucille Lortel and Outer Critics Circle Awards during its acclaimed Off-Broadway run.  Page has portrayed many of the Bard’s most formidable figures throughout his career, including Macbeth, Iago, Claudius, Prospero, Coriolanus and King Lear. Here, he brings that experience together in an intimate theatrical event that reveals how Shakespeare’s conception of villainy developed across his body of work, and why these characters continue to fascinate audiences centuries later. Page is also widely known for originating the role of Hades in Hadestown, earning a Tony Award nomination and sharing in the Grammy Award for Best Musical Theater Album. His extensive Broadway career also includes Saint Joan, Casa Valentina, Spring Awakening, Cyrano de Bergerac, Spider-Man: Turn Off the Dark, The Lion King, and How the Grinch Stole Christmas. Patrick Page has never shied away from exploring his dark side.

Now, with this solo  tour-de-force performance, he turns his attention to the twisted motivation and hidden humanity at the heart of Shakespeare’s greatest villains. Moving swiftly through the bard’s canon, Page illuminates the playwright’s ever-evolving conception of evil by delving into more than a dozen of his most wicked creations. “Patrick Page has spent a remarkable career inhabiting some of theater’s most complex characters, and All the Devils Are Here gives audiences the rare opportunity to experience that extraordinary depth of knowledge and artistry up close,” says Ronee Penoi, ArtsEmerson Director of Artistic Programming. “What makes this piece so compelling is that it goes far beyond celebrating Shakespeare’s famous villains. Patrick asks us to look at what drives them, what makes them human, and ultimately what they might reveal about ourselves. It’s smart, funny, deeply theatrical, and an exhilarating showcase for one of our greatest stage actors.” Thus this revallatioon is thrilling, biting, hilarious, and enlightening as Page delivers a masterclass on the most terrifying subject of them all: human nature. The production is designed by Arnulfo Maldonado (scenic design), Emily Rebholz (costume design), Stacey Derosier (lighting design), and Tony and Obie Award winner Darron L. West (sound design). Bryan Hunt is the Tour Producer, and Mara Isaacs, Tony® and Grammy® Award-winning founder of Octopus Theatricals, serves as Executive Producer.Tickets for this event may be obtained at www.ArtsEmerson.org

OCT. 29 – NOV. 22: THE GETAWAY DRIVER

Central Square Theater 450 Mass Ave. in Cambridge brings Deborah Salem Smith & Charlie Thurston’s dramatic tale to their stage. Directed by Curt Columbus this Rolling World Premiere is a collaboration with Trinity Rep and Northern Stage. Based on the true story of Katherine Ann Power and Clare Schroeder, this gripping new drama follows two women bound by a single, life-altering moment. It’s 1970. College student Power joins an activist group to protest the war. When their resistance turns deadly, Schroeder must grow up in the shadow of her father’s murder while Power disappears and spends decades on the FBI’s Most Wanted List. Years later, when Power resurfaces seeking redemption, she must confront Schroeder and the past that shaped their lives. Unfolding like a true crime thriller, this remarkable story asks: How far is too far in the fight to do what’s right?The cast features Rebecca Gibel and Rachael Warren. Tickets for this gripping new drama may be purchased at www.centralsquaretheater.org

OCT. 30: “CHRISTMAS IN BLACK…THE ENDURING LEGACY OF LANGSTON HUGHES’S BLACK NATIVITY  

Langston Hughes    This program is sponsored by The National Center of Afro-American Artists (NCAAA) as it launches its 2026 “Black Nativity” season. The event will reveal the surprising history behind Langston Hughes’s gospel-infused musical play. The will be held ahead of the production at the Roxbury Community College Media Arts Center, 1234 Columbus Ave. in Boston. Broadway’s reluctance to portray the infant Jesus as Black, to Alvin Ailey’s defection when the show’s name was changed, and the Roxbury, Mass. family connection that reshaped the production closer to Hughes’s original vision, “Christmas in Black: The Enduring Legacy of Langston Hughes’s ‘Black Nativity'” explores the work’s radical origins and its distinctly Boston story. Moderated by award-winning Boston spoken-word artist Amanda Shea, the discussion brings together Princeton scholar Wallace Best, Wesleyan scholar Rashida Z. Shaw McMahon and Judge Milton L. Wright Jr., who has performed in “Black Nativity” for 42 years. Performances by young artists and the production’s Voices of Black Persuasion choir add a live element to the evening. Free to all.

OCT. 31 – NOV. 22: THE WASH

 The Front Porch Art Collective, Boston’s leading Black theater company, opens their 10th Season with this new production at the Roberts Theater, in the Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End. Written by Kelundra Smith and Directed by Tasia A. Jones, who helmed The Porch’s well-received staged reading of THE WASH last winter. Inspired by a true story, in the 1880’s that surrounds a group of 20 African American washerwomen who formed a trade union in Atlanta, GA called the Washing Society. These laundresses worked long, grueling hours by hand—had to hail their water, make their own lye soap and scrub from dawn to dusk for just $4 to $8 a month. They fought for better wages, demanding a $1 per 12 pounds of wash. Within three weeks, with the help of ministers and Black churches as well as appealing directly to the public, those 20 women became three thousand. Despite overt persecution by the police and the city council, they prevailed and achieved higher wages and more control over their jobs. They also inspired support from multiple other domestic service workers. The cast includes MaConnia Chesser (“Jeanie”), Lindsey Colleli (“Anna”), Eliza Fichter (“Mozelle”), Kiera Prusmack (“Jewel”), Marhadoo Effeh (“Thomasine”), and Victoria Omeregie (“Charity”). Tickets for this heartfelt and stirring story of their rise to respect and autonomy may be purchased at www.frontporcharts.org

THROUGH NOV. 1: DR. JEKYLL AND MR. HYDE

Just in time for Halloween, this delightfully scary adaptation by Jeffrey Hatcher of Robert Louis Stevenson’s classic Novella comes to Lowell to fill patrons with chills and thrills. The Merrimack Repertory Theatre in the Nancy L. Donahue Theatre at Liberty Hall, 50 E. Merrimack Street in Lowell (Adjacent to Lowell Memorial Auditorium) takes audience to the the foggy streets of Victorian London. Dr. Henry Jekyll has been feverishly working on a daring experiment hoping to create a potion that would the evil side of man’s personality. He inadvertently unleashes the impulsive, seductive, terrifyingly, blood thirsty and insane Edward Hyde. Dr. Jekyll discovers that the good and evil in man cannot be separated and horrifyingly, Mr. Hyde’s personality becomes increasingly dominating as his acts of violence escalates. This fast-paced, electrifying thriller explores the darkness that may lie within us. The production is presented by arrangement with Concord Theatricals on behalf of Dramatists Play Service. www.concordtheatricals.com Tickets for this classically famous macabre tale may be obtained at www.mrt.org

NOV 5 – 8: A STREETCAR NAMED DESIRE

Boston Lyric Opera brings to the stage of of the Emerson Cutler Majestic Theater at 219 Tremont Street in Boston André Previn’s adaptation of Tennessee Williams’ Pulitzer Prize winning class play. The libretto is by Philip Littell and is sung in English with English supertitles. This opera is a lyrical and intimate work that explores class conflict as well as the collision that can occur between illusion and harsh reality as sensitive, delicate souls are crushed by the brutal forces of modern society. The opera is in three acts and takes place at the home of Stanley and Stella Kowalski at Elysian Fields, New Orleans. The sweltering heat of a New Orleans summer sets the tone for the simmering tensions that crackle and spark between the unforgettable characters. The self-deluded Blanche DuBois has been forced from her ancestral home in Mississippi and arrives in New Orleans seeking shelter with her sister Stella and her husband Stanley. Blanche tenaciously clings to her romanticized images that have been embedded in her from her past life. She has “always depended on the kindness of strangers.” This quickly brings her at odds with the domineering Stanley, whose brutal realism, often times physical, clashes ruthlessly with the imaginary worldview she clings to. Everyone quickly cascades into destruction as Stanley’s cruelty preys on Blanche’s fragile state as well as the revealing of Blanche’s loose behavior in her hometown. The cast includes Brittany Renee as Blanche, Thomas Glass (Stanley), Angela Yam (Stella) and Brenton Ryan (Mitch). The opera is conducted by Daniela Candillari​ and is directed by New Hampshire native Patricia Racette, who had an early-career highlight singing all the lead female characters in BLO’s 1992 The Tales of Hoffman. This production boasts a compelling new staging and was Co-produced with Opera Theatre of Saint Louis. Its June 2026 debut received strong critical acclaim. The Wall Street Journal stated the opera to be, “A winner! Candillari breathed new life into [it]. André Previn’s music adds serious depth and dimension to the characters.” Tickets for this outstanding production may be obtained at www.blo.org

NOV. 5 – DEC. 31: A CHRISTMAS CAROL

“God bless us all, everyone“, says Tiny Tim!Trinity Repertory Company brings to their stage in the Dowling Theater at 201 Washington St in Providence, RI the 50th Anniversary production of their own A Christmas Carol. Based on the novella by Charles Dickens the annual production features original music by Richard Cumming. Dec. 31, 2026 in Trinity Rep’s. This year’s show, directed and choreographed by Resident Company Member Taavon Gamble. It again will feature fellow Company Member Mauro Hantman as Ebenezer Scrooge…her fourth production in the role of the cantankerous curmudgeon, Ebineezer Scrooge. Director Gamble said. “I’ve had the joy of performing in many productions and choreographing several others, but this season marks my first time directing the show. I couldn’t be more overjoyed to share that experience with this incredible cast and creative team. Some are beloved artists familiar to Trinity Rep audiences, while others are fresh faces I absolutely cannot wait for you to meet.” This year’s anniversary production embraces the traditional period world of Dickens while exploring the question: What does it take to open a closed heart? To bring this vision to life, Gamble will work alongside Music Director Otto Vogel (Next to Normal), Scenic Designer Tanya Orellana (Someone Will Remember Us), Costume Designer William Andrew Young (The Roommate), Lighting Designer Erica Lauren Maholmes (Blues for an Alabama Sky), Sound Designer Peter Sasha Hurowitz (The Winter’s Tale), and Stunt Coordinator Mark Rose (Cold War Choir Practice). The production also features fellow Resident Company Member Jackie Davis as The Ghost of Christmas Present/Mrs. Fezziwig. Returning guest artists include Giselle (A Christmas Carol 2023) as Mrs. Dilber, Kevin Patrick Martin (La Cage aux Folles, Sweeney Todd) as Jacob Marley/The Ghost of Christmas Yet to Come, Mathieu Myrick (The Winter’s Tale, Cold War Choir Practice) as Bob Cratchit, Martinez Napoleon (August Wilson’s Fences) as Mr. Fezziwig, and Myranda Rose Silva (A Christmas Carol 2025) as Mrs. Cratchit. Jennifer Ellis and John Shuman will make their Trinity Rep debuts as Solicitor/Schoolmistress and The Ghost of Christmas Past, respectively. Rounding out the adult ensemble are two former A Christmas Carol children’s cast members: David Ensor as Nephew Fred/Young Scrooge and Kate Fitzgerald as Belle/Lucy. The production’s understudies are Maria Noriko Cabral, Aiden Day, Molly Donovan, Matthew Desorcy, Giselle, and Ricky Waugh. For nearly half a century, children have been integral to the magic of Trinity Rep’s A Christmas Carol. The 50th Anniversary children’s cast includes young Rhode Islanders Nola Colantonio (Riverside), Ari Huggins (Warren), Jameson Jannerelli (Rumford), Tess Loezos (Cranston), Coleman Luse (North Providence), Stevie Sheally (Exeter), Gabriel Taveras (Cranston), and Trinity Williams (Providence). “The 50th Anniversary makes this production particularly special,” Artistic Director Meredith McDonough said. “A Christmas Carol is ultimately about transformation, generosity, connection, and the possibility of change, all beautiful themes to carry with us into the Christmas season. I’m thrilled to join the thousands of New England families who have made Trinity Rep part of their holiday celebrations!” A Christmas Carol is presented by Cardi’s Furniture & Mattresses. Trinity Rep’s 2026-27 Season is sponsored by the Rhode Island State Council on the Arts (RISCA). Tickets are available at www.trinityrep.com

THROUGH NOV. 8: TO KILL A MOCKINGBIRD

Even if you read this book that PBS labeled “Great American Novel”, studied it in school, saw the movie, experienced Trinity Rep’s wretched directorial mess, or even saw the 2022 touring company production starring ‘John Boy Walton’s actor Richard Thomas in the role of Atticus Finch, do not miss Huntington’s magnificently stellar new production. None of the previous ever engaged or deeply moved an audience as this spectacularly performed production does.  These actors, under the directorial expertise of Huntington Artistic Director Loretta Greco have reached deeply into the souls of their characters. The result produces such  crystal truths that it cannot help resonate deeply with each audience member. It becomes impossible not to despise the hateful, viciously ignorant and conscience less bigots that pepper this tale, while in turn, silently cheer for the strong morality exhibited by the others. The Huntington brings to their stage at The Huntington Theatre, 264 Huntington Ave. in Boston, this new adaption of the 1965 Pulitzer Prize-winning novel by Harper Lee. This play’s adaptation was written by Academy Award® winner Aaron Sorkin (The West Wing, A Few Good Men, Moneyball). It was brought to Broadway in December 2018 and nominated for 9 Tony Awards, becoming the most successful American play on Broadway. The UK version in the West End captured 5 Olivier awards. In the Spring of 2016, Director Brian McEleney made extreme adaptations for Trinity Rep’s production in Providence RI, literally massacring Lee’s vision of this beloved American classic by gross racial miscasting characters, and inserting personal monologue’s throughout. Now this new production by Sorkin at Huntington is artfully directed by Loretta Greco with much humble respect and grace and the fact that Sorkin’s alterations were created with permission from Harper Lee’s ‘Mockingbird Trust’. Sorkin stated, “When I was asked to write To Kill a Mockingbird  as a play, I knew I couldn’t try to do a Harper Lee impersonation and I knew I couldn’t pretend I was writing it in 1959.” What are Sorkin ‘s differences? The Playwright states, “It would have to be a new play and I’m thrilled that the first post-Broadway production is happening on the stage of The Huntington. I hope Boston audiences enjoy this new look at Harper Lee’s classic story.”

Karl Kenzler, as Atticus and Karen Killeen as Scout: Photo by Liza Voll Thus, in the Harper’s novel, she created Atticus as a morally solid, wise man that was naively faithful to the legal system. Sorkin cleverly and subtlety begins to alter Atticus’s passivity, curving his thoughts so that he recognizes that not every human is innately good… and also, that the legal system can be racially corrupt. Sorkin also restructures the play as a “memory play” by situating the trial at the very beginning of the show. The children’s playful antics, the trial testimony, and the final aftermath are all fascinatingly but perfectly threaded throughout. In the novel, Calpurnia (the Finches’ housekeeper) and the accused Tom Robinson are passively viewed through Scout’s young eyes. But Sorkin has given them an outstanding voice. Calpurnia becomes passive aggressive with Atticus, finally openly challenging his increasingly mislaid philosophy of expressing empathy for those with hateful behaviors as well as actually admonishing him for espousing that the Black community will just have to keep on waiting for justice. Even Tom Robinson openly expresses himself on the witness stand. Also, in the novel Harper has the 9 year old Scout Finch narrate.

Andrew Stevens Purdy, as Dill and Benjamin Izaak as Jem: Photo by Liza Voll  But Sorkin has chosen to share the responsibility between Scout, Jem, and the surprisingly wise young master Dill. This technique of using adult actors in those roles beautifully assists the audience understanding of the complexities in the story plus makes the play richer. Most importantly, despite Harper’s intent to celebrate Atticus’s moral success when he states that you must “climb into someone’s skin and walk around in it” to understand them, Sorkin counters that thought by charging the tale to question that philosophy. Should we always find empathy for people like Bob Ewell, members of the KKK and even the 12 prejudiced jurors who were quick to execute an innocent person based on their ignorant, deep seated prejudice. Sorkin rightfully makes us question Atticus’s distorted insistence that giving people like that due respect is a virtuous act, when in truth, it becomes a dangerous compromise that blatantly fails to protect all those ‘mockingbirds’ who are victims of mindless vicious persecution.

Karl Kenzler as Atticus and Rafael Jordan as Tom Robinson: Photo by Liza Voll   The story is set in 1934 in the racially crippled Maycomb, Alabama. It surrounds the upstanding lawyer Atticus Finch (Karl Kenzler) who seeks justice for Tom Robinson (Rafael Jordan), a black man, falsely accused of raping Bob Ewell’s daughter Mayella, a white girl.  Atticus demonstrates unwavering optimism, insisting on finding “goodness” even in blatant racists. The Finch family housekeeper is Calpurnia (Patrice Jean-Baptiste) , who has been with the Finch family for decades. “Scout” aka Jean Louise Finch (Karen Killeen), is Atticus’s daughter. Despite being tomboyish, she is headstrong and smart. Although very involved in the tale, Sorkin has taken her a step back as the central character. “Jem” aka Jeremy Atticus Finch (Benjamin Izaak) is Scout’s protective, thoughtful, and mature older brother. He has become significantly aware with the harsh realities of racism and injustice in their town. The Finch children are friends with “Dill” aka Charles Baker Harris (Andrew Stevens Purdy). He is a summer friend staying with his aunt and proves to be quite clever and insightful. The three children are fascinated by their reclusive neighbor, Boo Radley who perpetually stays in his house. Boo has become a life time victim of societal abuse yet despite years of torture, displays empathetic conduct making him one of the story’s “mockingbirds”—an innocent soul harmed by the cruelty and prejudice of society. Boo as well as Mr. Cunningham, a local farmer with a stunning conscience are played by (Jesse Hinson). Additional cast members are Jesse Garlick (Horace Gilmer) the prosecuting attorney. Ken Cheeseman is Judge Taylor, the presiding Alabama judge. Jackie Scholl is Mayella Violet Ewell, the young woman who makes the accusation, and Liam Craig is Bob Ewell, Mayella’s hateful father. Michael Poignand is the local sheriff, Sheriff Heck Tate, while Kyle Cameron is Link Deas, Tom Robinson’s employer. Lewis D. Wheeler is Dr. Reynolds, the local Maycomb doctor as well as the Bailiff, while Ashley Frith is the musician and also the co-composer. The ensemble includes: Wyatt Anton,Liam Delaney, Bob Gallagher, Raissa Karim, Zach Kautter, James Milord, Cameron Mysliwicz, Alex W. Pollock, Scott Salley, Joanna Strapp, and Will Sheerin. Understudies include: Wyatt Anton, Raissa Karim, Zach Kautter, James Milord, Alex W. Pollock, Jackie Scholl, Joanna Strapp, and Lewis D. Wheeler. The creative team includes the perfectly minimal but ever so clever scenic design by Andrew Boyce that did not distract from the importance of the play. The period costume designs are by Celeste Jennings. The lighting design is by Christopher Akerlind, and the sound design / composition is by Daniel Baker. The assistant director is Sarah Oakes Muirhead, the wig, hair, and makeup design is by J. Jared Janas and Cassie Williams, the dramaturg is Charles Haugland, the fight and the Intimacy Consultant is Javier David, The voice and text coach is Ashleigh Reade who taught this team of actors how to speak with their perfect Southern accents. The production stage manager is Kevin Schlagle and the stage managers are Athéna-Genesis Baptiste, Lauren J. Burke, and Kendyl Trott. NY Casting is by Janet Foster with the Local Casting by Brett Duffy. Harper Lee’s Pulitzer Prize–winning novel has resonated powerfully for over six decades. But what does it mean to revisit this beloved classic today with fresh eyes  — to consider how far we have come, and too, how far we still need to go? Loretta Greco stated,“I thought I knew To Kill a Mockingbird — its trenchant moral questions, its searing heartbreak, its fierce insistence on empathy at all costs. But in the hands of the rigorously idealistic Aaron Sorkin, this muscular adaptation reveals something new and urgent: excavating fresh pleasures and provocations. I can’t wait to share this production with you — it’s a chance to be reunited with a beloved story as if for the first time, with sharper eyes and all the heart — and hope — we can muster.” The New York Times called “a Mockingbird’ for our moment. Beautiful, elegiac, satisfying, even exhilarating”. This past summer, it was revived on the West End Blending courtroom drama with a well-known coming-of-age story. Sorkin’s Mockingbird delves into urgent and complex questions about justice, morality, and what it really means to take a stand in a divided world. The Chicago Tribune lauds this adaptation as “genuinely radical and thoroughly gripping.” Unique to this production, audience engagement programming for Harper Lee’s To Kill a Mockingbird is presented in partnership with community partner the ACLU of Massachusetts. The ACLU of Massachusetts is a nonpartisan, nonprofit legal advocacy organization founded in 1920. As the first state affiliate of the national American Civil Liberties Union, it works in the courts, legislature, and communities to protect and expand civil rights and civil liberties across the Commonwealth. Together, The Huntington and the ACLU of Massachusetts will offer audience engagement experiences and community programming inspired by Harper Lee’s To Kill a Mockingbird, enriching conversations sparked by the production. Tickets for this remarkably engaging, soul searching, and amazingly well-acted adaptation may be obtained at www.huntingtontheater.org

THROUGH NOV. 8: BLACKHOLLOW...A GOTHIC TALE OF POSSESSION

Just in time for Halloween, this gothic psychological thriller presented by the Greater Boston Stage Company at 395 Main Street in Stoneham, takes audiences to a delightfully dark and mysterious place with this chilling World Premiere written by Greater Boston Stage Company’s Producing Artistic Director, Weylin Symes. He stated, “I’ve always loved the way gothic stories allow us to explore very human fears through something heightened and mysterious,” says Symes. “With Blackhollow, we’re playing
with that tension between science and the unexplained, and with a character who is
increasingly unsure whether she can trust what she’s experiencing. Developing a new
work at Greater Boston Stage is always exciting because we get to discover the piece
together, in the room and on the stage.” This is not a production for the faint of heart. Co-directed by Weylin Symes and Daniel Begin, the story is set in a late 1800’s criminal lunatic asylum. Making her GBSC debut, Anna Slate*,  takes on the solo role of Nurse Lucy Cull as well as all the others as she artfully shares with the audience this haunting and horrific tale surrounding a psychological descent into insanity.  Or, is it an actual possession?

Photos by Maggie Hall Photography She has always been a devoted nurse but now finds herself entangled in a series of radical medical experiments that are increasingly growing more dangerous. Lucy finds herself being drawn deeper into the mysteries surrounding Blackhollow. She finds herself being suffocated by feelings of questioning what is real, what can be trusted, and what may be hovering beyond the boundaries. She is trapped between science and something far more sinister and which begins to erode her own sanity.

Photos by Maggie Hall Photography The events begin to fray the fine line between the healer and the monster forcing Lucy to question if she is actually observing a marvelous breakthrough…or is something being unleashed that can no longer be contained?

Photos by Maggie Hall Photography This production is NOT FOR CHILDREN as it is rife with adult themes and language, including, stylized violence and sexual assault. It is a one-woman thriller that is not for the squeamish and promises to crawl under your skin, even after the stage lights have been turned off. 

photos by Maggie Hall PhotographyThe clever as well as engaging Scenic Design by Katy Monthei, along with Corey Whittemore’s Lighting Designs and David Remedios’ Sound Designs further enhance the intensity of the tale. The period Costume Design is by Deirdre Gerrard Emily Allinson  is the Props Designer, Lee Nishri-Howitt is the Dialect Coach, Jonathan Santoro+ controls the Dramaturg. Shauwna Dias Grillo* is the Production Stage Manager, Kit Verweij is the Production Assistant, and Meghan Ward is the Director of Production. The set was built by Misfit Toys Theatrical LLC. Charlotte Gray serves as understudy for Lucy Cull and Others, also is making her GBSC debut. Blackhollow: A Gothic Tale of Possession is sponsored by Nick DiCiaccio and Marguerite Shepard-DiCiaccio
Tickets for this terrifying gift from Greater Boston Stage Company may be obtained at www.greaterbostonstage.org

THROUGH NOV 8: BAT BOY…THE MUSICAL

Umbrella Stage Company at the Umbrella Arts Center, 40 Stow St in Concord opens their season with this cult classic hit that won the award for best Off-Broadway musical ias well as the Lucille Lortel Award. In addition it captured two Richard Rodgers Awards from the American Academy of Arts and Letters, and the Outer Critics Circle Award. Directed by T Jeremy Johnson (SpeakEasy Stage’s“Swept Away”), this is an American horror rock musical with a book by Keythe Farley and Brian Flemming and music and lyrics by Laurence O’Keefe. Johnny Shea, winner of the 2026 Elliot Norton Award for Outstanding Lead Performance in a Musical (Umbrella Stage Company’s “tick,tick…BOOM!”), performs the lead role.. The horror story was inspired by aJune 23, 1992 ‘fake news”article in the tabloid Weekly World News. They claimed that there had been discovered a half-boy, half-bat, wo they dubbed as “Bat Boy“,living in a cave. So,with tongue in cheek humor the horror-comedy was born. It opens with three teenagers crawling around some local caves near their small town, There they discover this part human boy. He is helped by the local Veterinarian and his wife, Meredith, but the town is threatened by his presence and think their cattle are under siege by the Bat Boy who has now been given the Christian name of Edgar. Everyone wants to kill him but Meredith patiently teaches him to speak while her husband, Dr. Parker feeds him blood. But when Julie, one of the teens dies, the town goes after Edgar. Meredith and her daughter Shelly flee into the woods to find and save him. But the plot continues to twist with unexpected revelations that result in a lot of very sad and violent occurrences. The production is recommended for ages 13 and up (or PG-13), although some regional theater guidelines can range to older teens. Tickets for this gruesome, Halloween tale may be purchased at www.theumbrellaarts.org

NOV. 12 – 22: JESSICA OF VENICE

Boston Playwrights Festival presents at the Snodgrass Stage at the Boston Playwright’s Theater, 949 Commonwealth Avenue in Boston this new play by Rachel Beth Greene. Directed by Josh Glenn-Kayden, the story is a contemporary tale that surrounds a group of Orthodox Jewish schoolgirls. When they find a banned copy of The Merchant of Venice they begin to fixate on the character of Jessica, the rebellious runaway daughter. They convene in an abandoned library and start examining the heavy cost of leaving one’s community. Most enamored of all is the discontented Shaina, who dreams of a big world just beyond her community. Also she has a crush on a Christian boy from her drivers-ed class. Lines between harsh reality and forbidden fiction begin to blur as Shaina finds herself walking a dangerous tightrope between religious and secular worlds. Thus the play asks what it takes to rip yourself from the home that made you, and what (or who) will you destroy on your way out. The cast features features Lindsey Wildstein as Shaina, Margo Segal as Aliza/Brooke,Ella Blumenthal as Hannah/Kaiden,Gavin Mariani as Logan, Dave Rabinow as Shlomo, Jessica Golden as Rivka, and Luke Avilez Meisel as Rabbi Farkas/Mr Burski. Tickets may be obtained at https://newplayexchange.org/script/3204961/jessica-of-venice

NOV. 12 – 22: THE BEAUTY QUEEN OF LEENANE

The award-winning Theater Uncorked brings to their stage this drama that was nominated for Best New Play at the 1997 Laurence Olivier Awards, and nominated for six 1998 Tony Awards, winning four . The Calderwood Pavilion in the Boston Center for the Arts at 527 Tremont Street in Boston’s South End will host the production. Set in a run-down, isolated cottage in Leenane, Ireland…a mountainous village in Connemara, County Galway. Maureen Folan played by Parker Jennings, is a plain, isolated 40-year-old spinster who is trapped caring for her aging mother, Mag Folan played by Sehnaz Dirik. Mag is 70-years-old, demanding, and a very manipulative woman who has artfully thrived on feigning helplessness.

Ray Dooley played by Peter Tone, often serves as a messenger between neighbors. He stops by to extend an invitation to the Folans to a going-away party being held for a neighbor who is leaving. Mag deliberately withholds the invitation from Maureen. But, when Maureen finds out she decides to attend the party on her own. It is there that she meets Ray’s older brother, Pato Dooley played by Tim Hoover. He is a local construction worker who has been living in London but has come home on holiday for a family visit. At the party, Maureen and Pato get to chatting. Despite having never spoken before, they quickly begin to connect over their pasts and realize  thst they have known each other for many years. After the party, Pato offers to walk Maureen to her house. It is there that Pato exprersses his feeling for her and calls her the “beauty queen of Leenane”.

Romance is sparked and Maureen invites him to spend the night with her. The next morning, when Mag discovers that Pato is in the house, she flies into a rage, viciously attempting to sabotage any possible relationship with Pato and her daughter. She lies, telling Pato that Maureen is mentally unstable and was previously in a psychiatric hospital. But Pato, undeterred, later writes a tender letter to Maureen asking her to move with him to Boston. But Mag stashes the letter in the stove to prevent Maureen from reading it. After Pato has sailed to America, Maureen discovers the letter and completely snaps, torturing her mother with hot oil and eventually bashing her mother to death with a fireplace poker. Maureen tells the police that her mother tripped and fell. But with love lost,  Maureen descends into complete madness, taking on the abusive personality of her mother. Tickets for this exquisitely poignant, painful and perfectly performed tragedy may be obtained at www.bostontheatrescene.com

NOV. 13 – DEC. 31: PETER PAN GOES WRONG

The Lyric Stage Boston at 140 Clarendon Street, 2^nd Floor, in Boston, under the direction of Paul Melone, brings this fun, family friendly comedy to their stage. Fans of the Play That Goes Wrong will flock to see this new, utterly absurd, slapstick laden and completely zany comedy created by Henry Lewis, Jonathan Sayer and Henry Shields of the Mischief Theater. The Cornley Drama Society had now decided to boldy perform J.M. Barrie’s magical adventure tale, “Peter Pan”. As usual, the inept, egocentric cast manages to turn the play upside down amd throw it into chaos Technical hitches, flying mishaps and cast disputes occur with hilarious and disastrous results. Even the elaborate set begins to gradually.dsintergrate. Peter and Wendy suffer wardrobe malfunctions, experience a number of harrowing falls, mess up their lines, while Captain Hook has an epic meltdown courtesy of himself’. Add to the delightful insanity there is a love triangle going on and a tormented narrator. One may never see the “Peter Pan” we remember as a child. We may even dislike Peter and love Captain Hook. But we will certainly still be laughing all the way home. Tickets for this marvelous, messy, musical, mashup of “Peter Pan”may be purchased at www.lyricstage.com

NOV. 14 – DEC. 13: DISNEY’S PIXAR’S…FINDING NEMO

Wheelock Family Theatre located at 180 Riverway in Boston opens their 46th season with a joyful stage adaptation of Disney and Pixar’s Finding Nemo. It features a delightful score written by the award-winning songwriting duo Kristen Anderson-Lopez and Robert Lophez, the same creators behind Frozen and Coco. The play book adapation is by Lindsay Anderson. Music and Orchestrations wer adapted and arranged by Myrna Conn. Directed by Nick Vargas with Music Direction by Jordan Oczkowski and Choreography by Hannah Shildanian, this season the shows center on stories of courage, identity, and connection by bringing the tales to life with imaginative staging, vibrant costumes, and larger-than-life puppetry that truly engage children 4 and up. This unique under-the-sea production features Boston favorites Jared Troilo as Marlin and Joy Clark as Dory. Alongside them will be 11-year-old student performer Herman Xu making his professional stage debut as Nemo! It is an imaginative stage adaptation of the beloved 2003 Disney Pixar film that invites audiences to dive into a vibrant underwater world filled with unforgettable characters, memorable music, and a heartfelt story about family, bravery, and growing up. The show runs for approximately 75 minutes and includes an intermission. The audience dives into a vibrant underwater world in this joyful stage adaptation of the beloved Pixar film. When young Nemo is unexpectedly taken far from home, his cautious father Marlin must leave the safety of the reef and set out on an ocean-spanning journey. Along the way, he encounters unforgettable characters who challenge him to see the world, and himself, in new ways. The production is filled with dazzling visuals and memorable music that captures both the wonder and uncertainty of growing up. As Nemo begins to discover his own independence, Marlin must learn that love sometimes means having to let go. As part of our season celebrating the courage to begin, Finding Nemo invites audiences to reflect on what it means to take that first step into the unknown. It’s a story for children discovering their own bravery, and for the adults learning to trust them as they do. Wheelock Family Theatre provides open captioning at every show along with accessible seating, and select performances with ASL interpretation and audio description. Tickets for this delightful production by be obtained at www.https://ci.ovationtix.com/177/production/1281700

THROUGH NOV. 15: WICKED

WICKED is outstandingly marvelous, magical, majestic, and memorable!!!   Lexus Broadway In Boston 2026/2027 season brings back to the Citizens Bank Opera House at 539 Washington Street in Boston this stunning musical that captured three Tony Awards as well as the hearts of theater goers around the world. Based on the Novel by Gregory Maguire, the Play Book is by Winnie Holzman and the unforgettable Score and Lyrics are by Stephen Schwartz. Directed by Joe Mantello with Choreography and Musical Staging by Wayne Cilento this is the untold prequel that prefaces many characters and happenings we all know from L Frank Baum’s 1900 novel titled The Wonderful Wizard of OZ. The audience visits Oz and experiences a time before Dorthy arrived. The still young and just novice witches that one knows from the original tale are sent to Shiz University to hone their witching skills.

Aline Mayagoitia as Elphaba and Claudia Bennett as Glinda  Photo by Joan Marcus The focus is on Galinda, a bubbly, happy girl who ultimately becomes known as the ‘Good Witch.’ She initially is horrified when she discovers that her roommate is the excruciatingly shy Elphaba that was cursed with green skin.

Drew McVety as Doctor Dillamond photo by Joan Marcus But after a bumpy start, Galinda and Elphaba become close friends and Galinda renames herself “Glinda” to honor their teacher, Dr. Dillamond who is removed from his job for being a goat. He is her animal professor who is being targeted by anti-animal discrimination.

Susan Cella as Madame Morrible: photo by Joan Marcus  Ironically, Elphaba begins exhibiting exceptionally unique magical skills that attract the interest of Madame Morrible, the head of the sorcery department. She arranges for Elphaba and Glinda to come to the Emerald City and meet the Great Wizard of Oz himself…who may not to be as great as we would assume.

Tom McGowan as The Wizard: photo by Matt Crockett  When meeting the Wizard, the young witches are shocked to discover that the Wizard has no magic in himself . Plus, he is the one who is responsible for stripping the Animals of having any rights including their ability to speak. From that moment on, we come to understand how the reticent and kind Elphaba evolves into becoming known as the feared Wicked Witch of the West. The transformation is astonishing! And yes, you heard it right, Elphaba actually can fly!

The North American Touring Company of WICKED: photo by Joan Marcus Time passes and Glinda becomes a political puppet for the Wizard while Elphaba has gone “underground” to champion for the rights of the animals. The Tornado that brings Dorothy over the rainbow to Oz is discovered to have been created by Madame Morrible. She hoped to draw Elphaba out of hiding by dropping Dorothy’s Kansas house on Nessarose Elphaba’s sister, originally referred to as Nessa. We discover that Nessa had fallen in love with Boq, a kind munchkin attending Shiz University who actually was in love with Glinda. Nessa had inherited her father’s position as the mayor of Munchkin Land and Boq had reluctantly stayed in Nessa’s service. But when Nessa discovers the truth that Boq never loved her it breaks her heart and she casts a spell on Boq to shrink his heart. He would have died if Elphaba had not saved him by turning him into a Tin Man who would not need a  heart. But Elphaba quickly learns that “no good deed goes unpunished” as Boq, discovering he is now metal, blames Elphaba and joins the crusade to destroy her.

Cristina Sastre as Nessarose and Pablo David Laucerica as Boq :Photo by Joan Marcus  Of course, every fairy tale needs a prince…and Prince Fiyero Tigelaar, a Winkie prince from the Arjiki tribe who is iintially is self centered, becomes the love interest of Glinda while they are at Shiz University,. 

Claudia Bennett as Glinda and Ethan Kirschbaum as Fiyero:: photo by Joan Marcus      But ultimately, Fiyero decides to join Elphaba’s cause. In turn, the evil Wizard encourages the people of Oz to find and capture Prince Fiyero, hopefully torturing him to reveal Elphaba’s location so the Wizard can destroy her. 

Ethan Kirschbaum as Fiyero and Aline Mayagoitia as Elphaba: photo by Joan Marcus  Our now famous Dorothy Gale from Kansas, so she can get back to Kansas, is thus manipulated by the Wizard to kill Elphaba for the Wizard of Oz  Hold your breath when that proverbial bucket of water is thrown at Elphaba and she melts on stage. But what happens next ????  This story is completely surprised filled. The outstanding cast for this touring production include Aline Mayagoitia as Elphaba; Claudia Bennett as Glinda; Ethan Kirschbaum as Prince Fiyero; Susan Cella as Madame Morrible; Tom McGowan as The Wizard; Pablo David Laucerica as the Munchkin, Boq; Cristina Sastre as Nessarose; Drew McVety as Doctor Dillamond; and Adelina Mitchel as Elphaba Standby. They are joined by 25 ensemble members, swings, and dance captains, creating a spectacularly plush production. The creative team includes Scenic Design by Eugene Lee,; Costume Design: Susan Hilferty; Lighting Design by Kenneth Posner; Sound Design by Tony Meola; Projection Design by Elaine J. McCarthy; Hair and Wig Design by Tom Watson; and Makeup Design by Joe Dulude II. Your heart will soar with this production of Wicked. Even if you have seen this a dozen times….the magic will always remain! Tickets are available here at www.BroadwayInBoston.com

NOV. 17 – 22: THE SOUND OF MUSIC

Concord Theatricals and NETworks Presentations, bring to the stage of the Boch Center Wang Theatre at 270 Tremont St. in Boston this new, critically acclaimed North American tour of Rodgers and Hammerstein’s beloved musical. Directed by three-time Tony Award® winner Jack O’Brien, this production honors the 65th anniversary of the musical’s original stage debut in 1959. It captured five Tony Awards including Best Musical.  Director Jack O’Brien states, “A few years ago, I was part of a group of collaborative artists who, almost inadvertently, stumbled on original conceptions for the stage mounting of THE SOUND OF MUSIC that had never found their way into production. We felt as if we were awakening Sleeping Beauty herself, and the results exposed a version of this classic virtually unknown before, and yet more dramatic, more detailed, more rapturous and more touching than any we had experienced.” “It is with extreme enthusiasm and a keen sense of anticipation those same artists once more return to complete the work we began, and give this most beloved of all musicals the creative face-lift it deserves. We truly believe the original authors would be thrilled. And we believe you will be, too!” The 1965 motion picture won five Academy Awards including Best Picture to become one of the top grossing films of all time. This smash-hit musical classic will transport the next generation of Theatergoers to the hills of Austria. It is the spirited, romantic and beloved story of Maria, a young novice at the Nonnberg Abbey, a Benedictine nunnery located in Salzburg, Austria. She was a restless girl who loved to sing and hike in the mountains and struggled with convent rules. The Mother Abbess assigned Maria to be a governess for the 7 children of a stern, widowed naval captain Georg von Trapp. who controlled his children with a series of Bosun’s whistles They were Liesl von Trapp (age 16), Friedrich von Trapp (age 14), Louisa von Trapp(age 13), Kurt von Trapp (age 11),Brigitta von Trapp (age 10), Marta von Trapp (age 7), and Gretl von Trapp (age 5). Traditionally the children have rebelled with pranks on their nannies but are quickly warmed by Maria’s kindness and teaching them the joy of music. Captain von Trapp is initially displeased with the noise and freedom Maria had allowed but her spirit captures his heart. He calls off his engagement to the wealthy Baroness Elsa Schraeder and marries Maria. Following the honeymoon the couple return to discover the Nazi’s have annexed their much loved Austria and they expect the Captain to accept a commission in the German Navy. To avoid persecution, the family hatches a plan to enter the Salzburg Music Festival, using it to stall the Nazi authorities. They engage in an exciting flight to escape across the Alps to Switzerland.  The musical features an unforgettable Tony, GRAMMY® and Academy Award®-winning Best Score, including legendary favorites “My Favorite Things,” “Do-Re-Mi,” “Climb Ev’ry Mountain,” “Edelweiss” and “The Sound of Music.” Soundtrack ranked the album as Billboard’s #2 Greatest Album of All Time. Choreography is by Danny Mefford, Set Design is by Tony Award nominee Douglas Schmidt. ; Costume Design is by Jane Greenwood while Lighting Design is by eight time Tony Award-winner, Natasha Katz. Sound Design is by Kai Harada, with Musical Supervision is by Andy Einhorn. Hair/Wig Design are by Tom Watson. The Executive producers are Sean Patrick Flahaven for Concord Theatricals and Trinity Wheeler for NETworks Presentations. Producer Sean Patrick Flahaven, Chief Theatricals Executive of Concord, said, “It’s a great privilege to bring a new tour of this landmark musical to theaters across North America. People of all ages will discover or rediscover their love of this classic story that remains so appropriate for our time. Thanks to our distinguished team, led by the master Jack O’Brien, audiences can expect a truly magnificent production of THE SOUND OF MUSIC.” Tickets for this marvelous musical for the entire family guarantees it will captivate all with its universal thenes of love, resilience and the power of music. Tickets may be obtained here at www.bochcenter.org

THROUGH NOV 22 : I AND YOU

Umbrella Stage Company at the Umbrella Arts Center, 40 Stow St in Concord brings this work by the noted playwright Lauren Gunderson and directed by Michelle Aguillon, the poignant play shines a positive light on youth, life, love, and the unique beauty of human connectedness. It has become one of the most produced plays across the country. The story surrounds two polar diverse teenagers. Caroline has been home bound for months because she has a serious liver disease and is in desperate need of a transplant. Anthony is the popular jock at their school. He knocks at her door while clutching a copy of Walt Whitman’s Leaves Of Grass . He insists that their English teacher has assignment this project and it urgently needs to be completes soon. As these two let down their guards and share their secrets, this seemingly mundane poetry project unlocks a much deeper mystery that has brought them together. Bu this unique poetry by Whitman begins to expands the teens’ sensibilities as they explore the depths of Whitman’s work. Whitman uniquely uses grass as a powerful metaphor. Just as individual blades of grass form a common field, individual humans make up a shared society and return equally to the earth in death The two ultimately travel hand in hand on an emotional trip of self discovery that proves itself to be not only funny and philosophical, but quite moving. as well Tickets for this production that beautifully explores the unseen bonds that unite people across experience and time may be obtained at www.theumbrellaarts.org

THROUGH NOV. 22: ‘Til DEATH DO US PART…LATE NITE CATECHISM

The Huntington Theatre at 264 Huntington Avenue in Boston concludes its epic, citywide, two-and-a-half-year, nine-play journey by celebrating the final Ufot Family Cycle where it began…at The Huntington. Mfoniso Udofia ends her play cycle by writing the book, the libretto and the lyrics to music composed by  Michael Ellis Ingram. When nationally acclaimed playwright Mfoniso Udofia grew up in Southbridge, Massachusetts and went to Wellesley College, she rarely saw stories about Africans and African Americans that felt like her family. Inspired in part by meeting August Wilson at The Huntington, she set out to create a richly textured and emotionally engrossing cycle of nine plays that follows one family through three generations: parents, children, grandchildren. Each play stands alone, yet together form a rich tapestry of storytelling traditions that will resonate with everyone.   Directed by Awoye Timpo (The Grove), this last installment is a rousing folk opera that has been set in the marshes of South Carolina. Clora Abernathy opens her front door to a stranger from Massachusetts — Adiaha Ufot — and something unnamed stirs within them. Both are dutiful daughters who’ve devoted their lives to their parents – but as the sparks fly, a life-changing question takes shape: What might happen if they dare to be good to themselves? To wholly experience desire, pleasure, and joy as grown-ass women — for the very first time.  The music is composed for a cappella voices, Adia & Clora Snatch Joy breaks new ground while bringing the Ufot Family Cycle to a joyous, musical finale. Awoye Timpo, who brilliantly directed The Grove, returns to helm this landmark production that you can enjoy whether it’s the first play you are seeing in the Ufot Family Cycle or your ninth.   From Huntington Artistic Director Loretta Greco: “The Ufot Family Cycle has been a wild, beautiful, one-of-a-kind, city-wide odyssey — one that you’ve been on with us from theatre to theatre, falling in love with Abasiama, her  children and their journeys as deeply as we have. Adia & Clora Snatch Joy is the Cycle’s jubilant, heartfelt finale. Mfoniso Udofia’s rich, captivating language meets Michael Ellis Ingram’s extraordinary music in a rite of passage that feels both personal and expansive. This production is a radiant celebration of spirit, legacy, and the joy that can emerge when we dare to imagine more for ourselves and for one another.”  Director Awoye Timpo shared,“Adia and Clora continue the fierce, messy and necessary work of becoming—wrestling with who they have been and moving toward their destinies. It is a joy to travel through time in song and text as we arrive at this luminous final chapter of the Ufot Cycle.”  Playwright Mfoniso Udofia stated, “Adia & Clora Snatch Joy closes out 100 years of storytelling and, by the time it opens, will mark the culmination of 17 years of writing. I am so honored that The Huntington, along with producing partners across the city, made it possible—from the very beginning—for these plays to be seen. I cannot fully express what it means to have produced all of the Ufot Cycle plays—from the earliest, most tender “baby” play to the tried-and-true works—and now to return to The Huntington to mount the final piece: a folk opera. It feels right to me that the Ufot story ends in love and hope, and that Boston will be the first community to experience this final installment. I am deeply grateful, beyond words. I hope you’ll come, share in the joy, and carry a little of it with you.”  Mfoniso Udofia and the Ufot Family Cycle has earned extensive praise as follows: “In terms of concept, scope, and execution, Mfoniso Udofia’s nine-play cycle about three generations of a Nigerian American family has proven to be one of the most exciting things to happen in Boston theatre in a long time.” – The Boston Globe  “Boston theatre companies and other arts organizations placed a dauntingly big bet on a playwright many — most? — local theatregoers had never heard of. So far, that bet is paying off not just handsomely, but excitingly.” – The Boston Globe  “Playwright Mfoniso Udofia has given us an extraordinary theatrical gift which exceeds all the demands of the medium.” – Joyce’s Choices    “Udofia’s writing makes one feel like part of the family, sharing the Ufots’ happiness and pain.” – The Harvard Crimson  Tickets may be obtained at www.huntingtontheatre.org

NOV. 25 – DEC. 14: THE COMPLETE WORKS OF JANE AUSTEN, ABRIDGED

The Merrimack Repertory Theatre at 50E Merrimack Street in Lowell, in partnership with the Cincinnati Shakespeare Company, brings Jessica Bedford, Kathryn MacMillan, Charlotte Northeast, and Meghan Winch’s clever production surrounding a delightful and fun blend of The Complete Works of Jane Austen. Directed by Jenny Lavery, the Cincinnati Shakespeare Company, in Cincinnati is bringing their cast, creative team, costumes, scenic design, lighting, sound, and props that delighted Cincinnati audiences this summer. To MRT’s stage. In this Abridged, comedic work the cast race through Pride and Prejudice, Sense and Sensibility, Emma, Mansfield Park, Northanger Abbey, and Persuasion while using sketch comedy, improvisation, physical comedy, audience participation, pop culture references, and lightning-fast costume changes. One can think WWE, Beyoncé, Sports Center, Dungeons and Dragons, Movie Trailers, and Game Shows all delightfully blended together. You don’t have to be a Jane Austen lover to have a really great night out. Tickets for truly fun production may be obtained at www.mrt.org

NOV. 27 – DEC. 20: IT’S A WONDERFUL LIFE…A LIVE RADIO PLAY

The Greater Boston Stage Company at 395 Main Street in Stoneham brings this holiday classic to their stage as a Radio Play. Adapted by Joe Landry and Directed by Tyler Rosati, the story is set on Christmas Eve in 1946. A group of actors gather in a Manhattan radio studio to bring a familiar story to life. Through voices, music, and a bit of theatrical magic, they transport us to Bedford Falls and into the life of George Bailey, a man who has spent years putting his own dreams aside to lift up everyone around him. When George reaches his lowest point, a guardian angel shows him what the world would have been like if he had never been born. Through humor, heart, and holiday spirit, this joyful production celebrates the power of community, the impact of one life on so many, and the timeless magic of love, sacrifice, and second chances. Tickets for this joyous holiday production filled with heart, hope, and a touch of vintage charm may be obtained at www.greaterbostonstage.org

NOV. 27 – JAN. 3, 2027: SISTER’S CHRISTMAS CATECHISM…THE MYSTERY OF THE MAJI’S GOLD

At this holy time of the year, our dear Sister, who brings us guidance through her Late Nite Catechism classes has something weighing heavily on her mind. As the holidays approach, Sister has decided to change her lesson plan surrounding Christmas Catechism and decides to pursue the mystery that even historians are yet to figure. What happened to the gold that the Maji brought to the infant in the manger? She creates her own CSI (Crime Scene Investigator):Bethlehem. Using her unique, highly unconventional, investigative methods, Sister decides to recreate the Nativity story by enlisting audience members to see if she can find the weak link in the event. Thus she manages to create the most hysterically funny living Nativity. The result becomes a holiday celebration filled with audience participation, lots of surprises and rewards for good behavior, along with Sister’s laugh out loud improvisational take on one of the most familiar stories ever told. Late Nite Catechism has enjoyed a remarkable homecoming for a theatrical phenomenon that grew dramatically since Boston audiences first took their seats in Sister’s classroom 31 years ago. It went on to become a nine-title theatrical franchise that has entertained more than 12 million people around the world. Tickets for this fun evening at The Charles Playhouse at 74 Warrenton Street in Boston may be obtained at www.BroadwayInBoston.com

DEC. 3 – 23: A CHRISTMAS CAROL

Bill Hanney’s award-winning North Shore Music Theatre (NSMT) at 54 Dunham Road, in Beverly celebrates it 37th year bringing their annual award-winning production of Charles Dicken’s holiday ghost story. It was originally adapted by Jon Kimbell  specifically for North Shore Music Theatre and has been seen by more than one million people since its debut in 1989. Kevin P. Hill continues as Director/Choreographer with Milton Granger leading the orchestra. It has now become one of New England’s brightest holiday tradition and stars New England’s favorite Scrooge, David Coffee. Having performed the role for decades, he faithfully returns again as the greedy curmudgeon Ebeneezer Scrooge from Dickens classic novella.

Cherly McMahon as Mrs. Dilber: Photo@Paul Lynden  Ebeneezer is an ill-tempered, cantankerous, old man who frequently complains about everything and everybody. He especially rails against anything to do with Christmas or even being nice. This is a delightful musical ghost story that follows a series of strange, magical journeys visited upon Scrooge in just one Christmas eve night. It is filled with dazzling special effects including his deceased partner who floats above him but is tethered to the earth by the chains of his own greedy life. He comes to warn Scrooge that he will be visited by three spirits. These spirits of Christmas past, present and future show Scrooge who he once was, is now, and soon will be unless the old man discovers the true spirit of the holiday season and understands that that spirit can be carried throughout the entire year. The production includes traditional songs like God Rest Ye Merry Gentleman, Here We Come A-Wassailing, The Boar’s Head Carol, and We Wish You A Merry Christmas. This is a marvelous and exciting family event designed to celebrate the holidays. Since it contains sudden loud noises, pyrotechnics, and dark images it may not be suitable for all audiences. Also…No children under the age of 4 will be permitted in the theatre including babes in arms. Tickets for this wonderful production may be obtained at www.NSMT.org

DEC 4 – JAN 10: MEXODUS

The American Repertory Theater brings to their stage at the Loeb Dtama Center at 64 Brattle Street iin Cambridge an all new conceptual production written, composed and performed by Brian Quijada  (Carlos) and Nygel D. Robinson (Henry). It is a poignant account that surrounds the Underground Railroad. Directed by David Mendizábal and Choreographed by Tony Thomas, this story, traditionally reclaimed with the known legacy about the treacherous journey many took from the South to the North to find freedom from slavery. But little is known about those who journeyed from the South, across the Rio Grande and into Mexico? This Helen Hayes Award-winning production reveals a hidden chapter of American history presented as a hip-hop musical. It follows a freedom seeker and an unlikely ally as they forge a bond that transcends borders. The story takes place in 1851 against the backdrop of the southern branch of the Underground Railroad. Mexico had officially abolished slavery decades earlier in 1829. The audience joins the journey of these two men. Henry is an enslaved Black man from a Texas plantation who flees southward after a violent altercation with his plantation master. He washes ashore near the border after escaping across the river. Carlos is a Mexican-American War veteran and former army medic struggling with personal guilt over deserting his comrades. Initially the two men are wary of one another, but quickly realize that in order to survive they must trust and rely on each other. Thus they begin to forge a strong bond as they discover the historic commonalities in their Black and Brown histories which creates a strong bond. The score weaves together rap, hip-hop, R&B, gospel, ranchera, classical piano, and traditional Mexican boleros. Although this tale is fiction, the stirring reality of what people had to endure to attain freedom is vivid. Tickets may be obtained at www.americanrepertorytheater.org

DEC. 5 – 13: CHRISTMAS TIME

The Reagle Music Theatre at 617 Lexington Street in Waltham brings the return of their annual Christmas extravaganza. It features a cast of more than 100 performers accompanied by a live orchestra. The production is an absolute delight for all ages so gather family and friends and get into the Christmas spirit.

The production features a glimpse of Victorian Christmas in Boston, precision dancers, more than twenty yuletide tunes, A touch of the Nutcracker, Christmas elves and most certainly, a visit from Santa Claus himself.

The show also includes their poignant living nativity. So haul out the holly, string the lights, bake the cookies and come to one of Greater Boston area’s best seasonal show. Tickets may be obtained at www.reaglemusictheatre.org

DEC. 8 – 20: THE NOTEBOOK

Lexus Broadway In Boston, as part of their 2026/2027 season, brings to the stage of the Emerson Colonial Theatre at 106 Boylston Street this recipient of three 2024 Tony Award nominations, as well as Drama Desk and Critics Circle nominations. Based on the best-selling novel by Nicholas Sparks that sold millions of copies worldwide, it also inspired a film that became one of the highest grossing romantic dramas of all-time. Now it is a stunning and poignant musical. Get your handkerchiefs out as this love story will soften your heart with its poignant tale of true love. Directed by Michael Greif (Dear Evan Hansen, Next to Normal, RENT) and Schele Williams (Aida, The Wiz), with choreography by Katie Spelman (Associate Choreographer on Moulin Rouge! The Musical). The book is by playwright Bekah Brunstetter (writer and producer on NBC’s “This Is Us”). The gorgeous music and lyrics are by multi-platinum singer-songwriter Ingrid Michaelson. Following its release, THE NOTEBOOK (Original Broadway Cast Recording) debuted at #1 on the Top Broadway chart in Music Connect, with the breakout single “My Days” becoming a viral sensation, amassing millions of views and streams. The story surrounds Allie and Noah and begins with an elderly man, calling himself Duke, who is actually Noah, daily visiting a fellow nursing home resident Allie, who suffers from severe dementia. She does not realize that Duke is her husband as he reads to her from a handwritten notebook hoping that this chronicle of their life together may help spark her memory. The production then fades backwards to their lives when they first met in 1940 and had a passionate summer love. But she was a rich girl and he just a worker at the local mill so her family forced them apart and moved from Seabrook, South Carolina to New York. Noah writes Allie daily but her mother hides all the letters so Allie thinks Noah did not care. WWII starts and Noah enlists in the army along with his friend Finn. Meanwhile, Allie serving as a nurse, becomes engaged to the wealthy soldier Lon Hammond Jr. After the war, Noah uses inheritance money from his father to buy and renovate the historic Windsor Plantation that he had promised Allie they would live in. Allie sees a newspaper article about the completed house and travels back to Carolina to see Noah. After an emotional struggle, Allie chooses life with Noah. But will these stories of their years together that are written in the notebook restore Allie’s memory and bring her back to Noah. “THE NOTEBOOK is ultimately a celebration of life, love, and the power of memory,” Stated producers Kevin McCollum and Kurt Deutschm, “Audiences first fell in love with this timeless story as a novel, then as an iconic film, and now they can experience it anew as a moving musical event…..THE NOTEBOOK comes to life on stage in a way that will resonate deeply with audiences across North America.” The production features Angela Birchett as Older Allie, John Rubinstein as Older Noah, Alysha Deslorieux as Middle Allie, Ken Wulf Clark as Middle Noah, Makena Jackson as Younger Allie, Kyle Mangold as Younger Noah, Anne Tolpegin as Mother / Nurse Lori and Connor Richardson as Johnny. They are joined by a supporting cast of thirteen additional singers and dancers. The creative team for the tour includes scenic design by David Zinn and Brett J. Banakis, costume design by Paloma Young, lighting design by Ben Stanton, sound design by Nevin Steinberg, hair and wig design by Mia Neal, and projection design by Lucy Mackinnon. The production’s music supervisor is Carmel Dean, who also collaborated on arrangements with Ingrid Michaelson and on orchestrations with John Clancy, and the music director is Tina Faye. Tickets for this profound and stirring tale surrounding the power of enduring love may be purchased here at www.BroadwayInBoston.com

DEC. 4 – 6: CIRQUE DREAMS HOLIDAZE

Due to popular demand, the Boch Center Shubert Theatre at 265 Tremont Street brings the return of this brilliantly breathtaking holiday spectacular for the entire family. Cirque Dreams theatrical event wraps a Broadway-style production around awe-inspiring contemporary circus arts. This nationally acclaimed annual tradition captivates audiences young and old. The story surrounds the young Clara. She returns home on Christmas Eve and sadly realizes that a snowstorm may keep her family from joining her. Just as loneliness begins to settle in, two whimsical singers appear and whisk her away into HOLIDAZE, a fantastical world full of color, wonder, and breathtaking circus acts. As she journeys through this magical realm, Clara becomes part of the adventure, forming unexpected friendships and discovering her own courage. Reimagined for 2026, CIRQUE DREAMS HOLIDAZE features a world-renowned cast of performers. The ensemble includes aerial circus acts, sleight-of-hand jugglers, fun-loving skippers, eye-popping acrobatics, and much more. With new music including beloved holiday favorites sung live, new sets, sparkling scenery, and stunning costumes, guests from children to seniors will be on the edge of their seats as holiday characters come to life on the most magical of nights. Both critics and audiences alike agree that CIRQUE DREAMS HOLIDAZE is a show for all ages to enjoy where families can make unforgettable memories together. Tickets may be obtained at www.bochcenter.org

DEC. 15 – 25: “A NEW HOLIDAY SURPRISE”

Blue Man Group bring its first-ever holiday production to the stage of the Boch Wang Theatre at 270 Tremont Street in Boston. “A New Holiday Surprise,” on the road this season including this limited engagement in Boston. Blue Man Group is a vibrant, interactive experience that has captivated audiences from all around the world. The non-verbal group communicates through music, art, and comedy, creating powerful connections without saying a word. As the Blue Men navigate our world with curiosity, audiences are invited into a captivating, communal experience that sparks creativity and ignites the imagination.

Marie-Josée Adam, President and CEO of Blue Man Group stated, “Bringing Blue Man Group’s first-ever holiday production to Boston is an exciting milestone and a natural evolution of the iconic Blue Man experience. The holidays are about creating unforgettable memories and we’re thrilled to offer audiences a fresh, immersive celebration that blends the music, humor, creativity and joyful unpredictability that have defined Blue Man Group for decades.” 

This brand-new production features classic holiday music that is performed on Blue Man Group’s iconic custom instruments. Audiences can follow the Blue Men as they discover the traditions, rituals and joyful absurdities of the holidays while exploring timeless themes of generosity, presence, creativity and human connection. It is equal parts hilarious, heartwarming and definitely visually unforgettable, “A New Holiday Surprise,” offers audiences a unique holiday tradition that celebrates what brings us together. “Blue Man Group has been woven into Boston’s cultural identity for more than three decades, and we’re incredibly excited to welcome the Blue Men home,” said J. Casey Soward, President & CEO of the Boch Center. “After the close of their historic 30-year residency at the Charles Playhouse in 2025, this marks a true homecoming for one of the city’s most iconic theatrical experiences. This December, audiences will have the opportunity to experience Blue Man Group in an entirely new way with a festive production created especially for the holiday season. We can’t wait to welcome longtime fans and first-time audiences alike to the Wang Theatre to celebrate together.” Tickets may be obtained at www.bochcenter.org

DEC. 21 – JAN. 3: OH, MARY

This Tony-winning and Pulitzer Prize finalist hit comedy makes its Boston premiere at the historic Emerson Colonial Theatre (an ATG Entertainment venue) at 106 Boylston Street in Boston for a two-week limited engagement. Written by Tony and Olivier Award winner winner Cole Escola and directed by Tony Award winner Sam Pinkleton, the production opened on Broadway on July 11, 2024 capturing several Tony Awards, Drama League Awards and a Pulitzer Prize for Drama finalist. It is still is playing at the Lyceum Theatre where It initially became the first show in the theatre’s 121-year history to gross more than $1,000,000 in a single weekend. It is still breaking box office record there. Additionally, the recent London’s West End production won the Laurence Olivier Award for Best Entertainment or Comedy Play. The show features RuPaul’s Drag Race All Stars winner Alaska Thunderf*ck  (Justin Honard) in the role of “Mary Todd Lincoln” and Tony Award® winner J. Harrison Ghee as “Mary’s Husband” (Abraham). It also features Pooya Mohseni as Mary’s chaperone, Michael Lepore as Mary’s Husband’s Assistant, Simon, and Wesley Taylor as Mary’s Teacher. Playwright Cole Escola has deliberately and irreverently skewed the lens over this fictitious tale. The story is a dark and ridiculously campy comedy, that is set in the weeks leading up to Abraham Lincoln’s assassination. Mary Todd is miserable and suffocated by her role as “First Lady”. She longs for her days when she was an aspiring cabaret star. Now struggling with unrequited yearning and suppressed desires she spends most of her time engaged with alcohol. Meanwhile our dearest President Lincoln is dealing with his own set of issues such as the Civil War as well as some of his own, very personal buried secrets that involve his meek aide, Simon. To keep Mary distracted and hopefully sober, he forces Mary to initially take painting lessons supervised by her uptight, super stressed chaperone, Louise. When that chaotically fails with Mary desperately drinking paint thinner, Abraham then hires an actor to instruct Mary in the fine art of Shakespeare. Mary’s erratic behavior escalates. The play satirical play constantly builds to an irreverent comedic conclusion. The full creative team for the Broadway production includes dots (Scenic Designer), Holly Pierson (Costume Designer), and Cha See (Lighting Designer). Daniel Kluger (Sound Design and Original Music), David Dabbon (Musical Arrangements) and Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer), and Addison Heeren (Props Supervision), Variety critic Aram Ideesh described the production as a “smartly stupid riot” and a masterclass in comedy as well as “unquestionably the funniest, gayest, campiest play Broadway has seen in years. Tickets may be obtained at https://us.atgtickets.com/venues/emerson-colonial-theatre/whats-on/

(*) Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States