With Breakin’ NYC, director and choreographer Angel Kaba transforms the stage into a pulsing time machine, tracing hip-hop dance’s rise from the pavement of the Bronx to the global spotlight of the Olympic Games. More than a dance showcase, the production is a celebration of resilience, rhythm, and rebellion—told through the language of hip-hop. After a popular holiday run of 20 performances last year, Breakin’ NYC returns with its vibe intact. The charismatic Ajalé Olaseni Coard hosts the 75-minute show and keeps everything moving along.

Abby Rosebrock’s 2018 dark comedy, Dido of Idaho, featured an act of extreme violence carried out with a household object. Her 2019 follow-up, Blue Ridge, focused on addicts trying to form relationships in the midst of a recovery program. Her new work, a twisted tale of good will and bad romance called Lowcountry, utilizes both of these dramatic elements in its exploration of a first date warped by bouts of desperation and deception. In this Atlantic Theater Company production directed by Jo Bonney, some scenes might be over-extended, but the sexual tension simmers, then boils over.

Taylor Mac is chronicling slapstick goings-on backstage at a not-for-profit’s fundraising gala in his new comedy Prosperous Fools. Murphy’s Law is in high gear, and things are haywire. Since the not-for-profit is called National Ballet Theater, it’s clear this is Mac’s assessment of the state of the arts under the new federal administration that has made its leader chair of the board at the John F. Kennedy Center for the Performing Arts in Washington, D.C.

LightningCloud, a portmanteau of the wife-and-husband writing team Crystle Lightning and Henry Cloud Andrade, have rumbled into town with their touring production of Bear Grease. Inspired by a certain 1972 stage hit, and even more so by the subsequent film version starring John Travolta and Olivia Newton-John, this Indigenous take on an old favorite asks the musical question: What if the hot boys and cool girls of high school also happen to be Enoch Cree and Huichol? However, as directed by Lightning, the more relevant query for this rambling vehicle is: What happens when a piece that began life as a one-hour parody is stretched into a two-hour variety show?

In A Letter to Lyndon B. Johnson or God: Whoever Reads This First, playwright-directors Natasha Roland and Xhloe Rice blur the line between 1960s Boy Scout rituals and the drafting of U.S. soldiers to Vietnam. What emerges is an absurdist meditation on masculinity, obedience, and the perilous passage to manhood.

Jordan Tannahill’s drama Prince Faggot, a love story about a gay heir to the British throne and his boyfriend, is admirably multifaceted: part fantasia, part social and political commentary, part agitprop. At heart, though, Prince Faggot is a bittersweet romance about a royal and a commoner, a sort of Roman Holiday for the 21st century—if Audrey Hepburn’s princess had become a devotee of drug-assisted intercourse and Japanese rope bondage.