John Krasinski first made a splash on the TV series The Office (2005–13), and after that with the creepy horror film A Quiet Place (2018) and its goosebump-laden sequels. He has a long film resume as actor, writer and director, and lately he has boosted his credits as an action star in the Amazon Prime series Jack Ryan. Yet, although Krasinski appeared in the play Dry Powder with Hank Azaria and Claire Danes in 2017, film acting doesn’t necessarily point toward stage prowess. But the confidence with which Krasinski takes the stage in the first moments of Angry Alan gives one hope that he’s an exception, and it only increases as the actor’s masterly performance opens Studio Seaview (formerly 2nd Stage) with a bang.

In a whirlwind of wit and whimsy, Abigail Pickard Price’s (with Sarah Gobran and Matt Pinches) new stage adaptation of Jane Austen’s Pride & Prejudice offers an unexpectedly funny take on the classic, featuring just three actors who embody 18 characters. Directed by Price, this madcap rendition breathes fresh life into Austen’s sharp social satire, as the performers navigate cultural pitfalls of Regency England.

In life, people are all haunted by one thing or another. For some, it might be love, loss, or anything in between. For the characters in Tim Mulligan’s latest play, Point Loma, what haunts them are literal ghosts. The play explores the supernatural with an immersive production by the Manhattan Repertory Theatre.

Kelundra Smith’s The Wash is an inspiring play about the originators of the Atlanta Washerwomen’s Strike of 1881, a little-known chapter in American labor history. Making its New York premiere, Smith’s drama captures the black strikers’ struggles during the Jim Crow era in the post–Civil War American South, including public indifference to the women’s working conditions and the demeaning, hateful attitude of their white customers toward them.

Lunar Eclipse, Donald Margulies’s 2023 play now receiving a Second Stage Theater production (at Signature Center), opens with one of the two characters, George, sobbing alone. George is a farmer in his 70s, sitting in darkness in a field in western Kentucky, where he is soon joined by his wife, Em, to watch a lunar eclipse. George and Em will not simply observe the overnight event: they will overcome George’s gruff exterior and look back over the course of their life together, facing difficult subjects, including the death of a child, and ultimately reaffirming their connection.

The Imaginary Invalid is of interest to historians not just because it is Molière’s last play and not just because Molière himself performed the lead role of Monsieur Argan. It is also due to the fact that, while Argan is a hypochondriac, Molière suffered from dire, real-life ailments that caused him to collapse on stage during just his fourth performance. He died soon afterward. Such dark irony does not haunt his lighthearted comedy, though, and so it has floated, for more than 350 years, from one fizzy reinterpretation to the next. The latest, adapted by Jeffrey Hatcher and produced by Red Bull Theater, is a loosey-goosey affair. The vibe is French farce à la The Marx Brothers. The company is a puff pastry stuffed with ham. And the story is King Lear, but with enema jokes.