Mary Stuart

Performances begin March 30

Broadway's been experiencing plenty of Sturm und Drang of late—early closings, difficulties capitalizing, those troubling Broadway League ads—though little of that genre has appeared onstage. But Friedrich Schiller's Mary Stuart, a history play about rivalry for the British crown, in a new translation by Peter Oswald, includes a storm and plenty of stress. In Phyllida Lloyd's production, a success at London's Donmar Warehouse, Harriet Walter plays a forbidding Queen Elizabeth, with Janet McTeer as her Scottish rival. Broadhurst Theatre, 235 West 44th Street,

No one will farm potatoes at P.S.122: Levine in rehearsal
Daniel S. Neuner
No one will farm potatoes at P.S.122: Levine in rehearsal

Le Serpent Rouge

Performances begin April 3

"An apple a play" might well be the motto adopted by dance-theater troupe Company XIV: Their last show began with the golden apple bestowed on Aphrodite, which incited the Trojan War, and their latest features an equally bothersome Red Delicious—the forbidden fruit Eve so fatefully munched in Eden. Doubtless Company XIV will bestow their signal combination of baroque dance, found text, and scantily clad chorus to represent this holy tale. 303 Bond Street, 303 Bond Street, Brooklyn,

Waiting for Godot

Performances begin April 3

Those awaiting another revival of Samuel Beckett's masterpiece now know when Godot will arrive. In this incarnation, directed by Anthony Page, actors Nathan Lane and Bill Irwin play the expectant tramps, with John Goodman and John Glover as Pozzo and Lucky. Beckett productions remain common, so if this production isn't a success, those involved can comfort themselves with lines from Beckett's Worstward Ho: "Ever tried. Ever failed. No matter. Try again. Fail again. Fail better." Studio 54, 254 West 54th Street,

9 to 5: The Musical

Performances begin April 7

Dolly Parton proclaimed that workin' 9 to 5 was an inferior way to make a livin': "Barely getting' by/It's all takin'/And no givin.' " Yet in the present financial climate, gainful employment of any sort has become a valuable commodity. Will workers of the world unite for the musical version of the 1980 film? Allison Janney, Stephanie J. Block, and Megan Hilty star as the beleaguered employees, with Marc Kudisch as their loutish boss. Marquis Theatre, 1535 Broadway,

the Norman Conquests

Performances begin April 7

In 1066, Duke William of Normandy scored a very nifty combat victory, beating out homonym rivals Harold and Harald for control of England. But Alan Ayckbourn's trilogy, The Norman Conquests, quite elides the Battle of Hastings. Instead, it offers three interconnected plays—Table Manners, Living Together, and Round and Round the Garden—that chart a weekend in the life of assistant librarian Norman. Having conquered London critics, director Matthew Warchus exports his Old Vic production to New York. Circle in the Square, 1633 Broadway,

The Gingerbread House

Performances begin April 11

Mark Schultz doesn't usually sugarcoat his dramas. Works such as Everything Will Be Different and Deathbed have emphasized the most acrid aspects of human nature. So don't expect too many gumdrops and lollipops to decorate his latest play. But producers the stageFARM have assembled a remarkably sweet cast—Bobby Cannavale, Jason Butler Harner, Jackie Hoffman, Sarah Paulson, and Ben Rappaport—for The Gingerbread House, which concerns a couple desperate to belong to a sinister club. Rattlestick Playwrights Theatre, 224 Waverly Place,

Bloody Bloody Andrew Jackson

Performances begin May 5

President Andrew Jackson and religious reformer Martin Luther may seem to have little in common, but Jackson greatly admired Luther's maxim, "No one need think that the world can be ruled without blood. The civil sword shall and must be red and bloody." That sanguine element is very much on display in Les Freres Corbusier's impertinent ode to Jackson's administration. Alex Timbers's script and Michael Friedman's emo rock songs compass Jackson's invention of the Democratic party and devastation of Native Americans. Public Theater, 425 Lafayette Street,

The Merchant of Venice

Performances begin May 6

Gender doesn't trouble most productions of The Merchant of Venice. Shakespeare's depiction of the relationships between Portia and Bassanio and Jessica and Lorenzo usually give over to the play's views on religion and commerce. But the all-male Propeller company, under Edward Hall's direction, should offer a fresh take on these foul Venetian doings. Following in the footsteps of their revelatory Taming of the Shrew, the U.K.-based Propeller will bring this uncongenial comedy to BAM in a highly physical staging. BAM Harvey Theater, 651 Fulton Street, Brooklyn,


Performances begin May 7

It's a rare child who does not wish to exchange her parents for another set. And it's a rarer one who gets the chance. That's the case for Coraline, the young heroine of Neil Gaiman's eerie children's book. Opening a door in her new apartment, she discovers a replica family. Her story has already inspired a 3-D film, and now it has instigated a musical adaptation, with a book by David Greenspan and music and lyrics by the Magnetic Fields' Stephin Merritt. Who'd want to exchange them? Lucille Lortel Theatre, 121 Christopher Street,

Our House

Performances begin May 15

Apparently, Theresa Rebeck is mad—and she isn't going to take it anymore. The author of The Scene and Mauritius has shifted her focus from predatory ingenues and rare stamps to prime-time television. Her latest play concerns a young newscaster who hosts a reality-TV show and an obsessive fan who covets a more high-definition relationship with her. Directed by Michael Mayer, the comedy questions the overlap of news and entertainment. Playwrights Horizons, 416 West 42nd Street,

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