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Based on the novel by Gregory Maguire, Wicked looks at what happened in the Land of Oz…but from a different angle. Long before Dorothy crash lands her house in Oz, there is another young woman, Elphaba, born with emerald-green skin—smart, fiery, misunderstood, and possessing an extraordinary talent. When she meets a bubbly and popular blonde, Glinda, their initial rivalry turns into the unlikeliest of friendships…until the world decides to call one “good,” and the other one “wicked.”

The score by Stephen Schwartz ('Godspell,' 'Pippin,' 'The Prince of Egypt') includes the songs 'Defying Gravity,' 'Popular,' and 'The Wizard and I.'

'Wicked' opened in 2003 and in 2019 became the fifth-longest-running show in Broadway history.

The worldwide sensation and winner of six Tony Awards, including Best Musical, Best Direction and Best Costumes by Julie Taymor, is based on the beloved 1994 animated Disney movie. Simba will someday inherit the throne of the Pridelands, but he isn't quite ready. When his devious Uncle Scar murders King Mufasa, Simba flees to escape his guilt. Time and new friends keep Simba company until his past comes back to remind him of his rightful place.

The music is by international superstar Elton John with lyrics by Tim Rice. The score includes 'Can You Feel The Love Tonight' and 'Circle of Life.' 

The musical is the third-longest-running show on Broadway - and the eighth longest-running show in the West End - and is notable for director Julie Taymor's concept which incorporates puppets to bring the animals to life.

Set in 1914, this immersive play takes place during a private séance hosted by the eccentric Madame Montfort. The gathering is disrupted by the arrival of a mysterious guest, prompting those in attendance to confront their beliefs about love, the supernatural, and the unknown. Among the participants are a skeptical magician, a paranormal researcher, and a practitioner of blood rituals, each bringing conflicting perspectives to the unfolding events.

Presented in spit&vigor’s “embedded” immersive style, the production places audience members within the séance itself, seated among the performers as observers to the escalating tensions and revelations.

I'm Assuming You Know David Greenspan is a first-person monologue about a woman in her mid-thirties confronting one of the most consequential decisions of her life, performed in its entirety by a sixteen-person choir. The piece sets plainspoken, contemporary language against the structures and stylings of classical choral music, using the tension between form and content as a central dramatic device. The work is auto-fictional in nature, drawing on the writer's own experience to shape its narrative.

Written by Mona Pirnot and composed by Jack D. Coen, the world premiere is directed by Sarah Benson. Pirnot and Benson are both Obie Award winners, and Coen is a recipient of the Relentless Award. The production marks a return to Atlantic Theater Company for all three collaborators.

Petite Rouge offers a bold reimagining of Charles Perrault’s classic Little Red Riding Hood, transforming the familiar fairy tale into a lavish Baroque burlesque fantasy. Journey into an enchanting forest where temptation, desire, and transformation take center stage as Red abandons innocence and embraces a world driven by passion, appetite, and self-discovery.

Blending opulent costumes, breathtaking aerial performances, and sensual choreography, this visually stunning world premiere creates an immersive theatrical spectacle that celebrates beauty, indulgence, and liberation. Rich in atmosphere and artistic flair, Petite Rouge invites audiences to experience a seductive retelling where danger and pleasure intertwine, revealing an unforgettable vision of one of literature’s most iconic tales.

Psychic medium Jess Perlman leads an evening that explores the space between the living and the unseen. The production combines live audience readings with ghostly inspiration and improvisational music performed by the Ghost Notes Band, creating a format that incorporates audience participation and spontaneous collaboration.

The creative team includes Michael Schwartz (Hulu’s *Snatched*), who co-writes the production with Jess Perlman and Briga Heelan (*Once Upon a One More Time*) and also directs. Rebekah Greer Melocik (*How to Dance in Ohio*) contributes an original title song.

This genre-blending solo play recounts the experiences of a New York actor arrested on a drug charge and sent to a Texas prison. Recognized by fellow inmates for his role on One Life to Live, he is offered protection by a member of the Texas Aryan Brotherhood in exchange for acting lessons. The narrative moves between the drug-fueled chaos of the Chelsea Hotel in the 1970s, encounters within the Los Angeles music scene, and the stark routines of incarceration. Performed by Ned Van Zandt and directed by Amir Arison, the piece traces a personal descent shaped by sex, celebrity, and addiction, alongside the search for meaning and change.

La Gringa follows a young woman born and raised in New York City who travels to Puerto Rico for the first time to meet her family and explore her cultural heritage. What she encounters challenges the assumptions she has carried about the island and the people she comes from, gradually reshaping her understanding of what it means to be Puerto Rican beyond geography or upbringing.

Written by Carmen Rivera and directed by René Buch, the play is presented in Spanish with English translation. The production centers on questions of identity, belonging, and cultural inheritance as experienced by someone navigating the distance between the place they are from and the place that formed them.

Performed in Spanish with English subtitles

The poignant story of three sisters from Puerto Rico's upper class as they grapple with the devastating loss of their parents, social standing, wealth, and possessions. Isolated in their deteriorating home on Cristo Street in Old San Juan, the sisters confront themes of love, jealousy, and the relentless passage of time.

Woven into their conversations are reflections on the American invasion of Puerto Rico, contrasted with memories of Spanish colonial rule, revealing complex emotions of pain, victimization, and longing. Their journey highlights personal and national struggles during a period of profound cultural and political change.

Six patients with obsessive-compulsive disorder meet in the waiting room of a renowned psychiatrist, hoping to find relief from their struggles. When the doctor’s flight is unexpectedly cancelled, he never arrives for their scheduled session.

Left to wait together, the group decides to conduct their own therapy session. As they confront their individual challenges and interact with one another, they are pushed to find their own ways forward in this unconventional and unexpected meeting.

Greg and Margaret are struggling to hold their relationship together on a remote South Pacific atoll, where Margaret studies a dwindling population of migratory birds while Greg remains uncertain about his own purpose. Their isolated routine is disrupted when Bo and Darce arrive after crashing their beloved Hula-Hoop into a nearby coral reef.

The unexpected arrival brings tensions and upheaval that threaten to transform the lives of all four characters, as personal relationships and the wider world around them begin to shift.

Joanna, a woman in her mid-thirties who is eager to become a parent, invites her three siblings to her New York City apartment to ask them for a shocking favor. The gathering forces the siblings to confront their relationships with one another as adults, raising questions about whether the visit will bring them closer together or create further divisions.

Playwright Bryna Turner is an award-winning writer whose plays include Bull in a China Shop, At the Wedding, and Phases of the Moon. Turner received the Blanche and Irving Laurie Foundation’s Theatre Visions Award, Lincoln Center Theatre’s Emerging Artist Award, a MacDowell Fellowship, and a New Roots Residency. Director Jenna Worsham previously directed At the Wedding at Lincoln Center, a New York Times Critic’s Pick, as well as Agnes, also a New York Times Critic’s Pick, and Street Children.