‘All Nighter’
One of the spring’s most intriguing ensembles gathers Julia Lester (“Into the Woods”), Kathryn Gallagher (“Jagged Little Pill”), Kristine Froseth, Alyah Chanelle Scott and the rising star Havana Rose Liu (“Bottoms” and a staggering number of upcoming high-profile screen projects). They portray the friends and roommates assembled by the gifted comic playwright Natalie Margolin (whose star-studded pandemic Zoom play “The Party Hop” is available on YouTube) for a nightlong studying marathon fueled by Adderall, hummus and kibitzing. (Through May 18, Robert W. Wilson MCC Theater Space)
‘I’m Repeating Myself’
Sometimes you can take a title literally: The main character of this autofictional new show is portrayed by five actors — Matthew Antoci, Alma Cuervo, Enette Fremont, Frankie Placidi and Jon Norman Schneider (“Poor Yella Rednecks”) — as well as by the playwright himself, Chad Kaydo. In a series of vignettes, we meet a refracted version of Kaydo and his family, most notably the sister who slowly emerges as a focal point. Staged in the round by Carsen Joenk, this gentle, slightly melancholy production seems to suggest that intimacy is hard, no six ways about it. (Through March 15, The Brick)
‘Metamorphoses (or How to Stop Your Child From Ruining Your Great Uncle’s Funeral)’
Since his home country invaded Ukraine, the Russian director Dmitry Krymov has been living in exile in New York, where he now creates work that is, quite simply, unlike anything else in town. In 2023 we saw “Big Trip,” based on texts by Pushkin, Hemingway and O’Neill. Now he returns to La MaMa with a new show that he wrote in collaboration with his company, Krymov Lab NYC, and that is said to explore grief in a surreal, darkly comic vein. Of course, what we’re curious about is what Krymov, who can spin wonders out of simple props, will pull out of his hat this time. (March 7-23, La MaMa)
‘Vanya’
New Yorkers can’t seem to go a few months without another dose of Chekhov, with “Uncle Vanya” being a big favorite. Hot on the heels of a production headlined by Steve Carell and two that were staged up-close-and-very-personal in lofts, comes this British import that combines star power and intimacy as Andrew Scott (“All of Us Strangers,” “Ripley”) takes on all the characters. Adapted by Simon Stephens — who used a modern vernacular and made the older professor a filmmaker, among other tweaks — and directed by Sam Yates, the London iteration won the 2024 Olivier Award for best revival. (March 11-May 10, Lucille Lortel Theater)
