La Femme Theatre Productions, dedicated to “exploring the female experience through classic and contemporary plays,” is presenting the first New York revival of Wendy Wasserstein’s An American Daughter. This largely forgotten play premiered on Broadway in 1997 with a first-rate cast, including the late Lynne Thigpen, who won a Tony Award for her superb performance as the protagonist’s best friend Judith. It closed after a paltry 89 performances. The revival, directed by Sarna Lapine, utilizes post-Broadway revisions by Wasserstein, who died in 2006 at age 55. The script-tinkering hasn’t fixed the problems of the original, and it undermines what Wasserstein accomplished in this not-so-bad high comedy, which, in the late 1990s, was timely and diverting (though it fell far short of the political heft she had intended).

Even a powerful story can become more compelling when told through the traditions of its culture. Such is the case with Samantha Blain’s new play Isla, which embraces puppetry, music and magical realism to tell, in 75 minutes, a story of how Blain’s family fled Cuba. The world premiere production is a bilingual shadow play with beautiful, lilting songs, accompanied by guitarist Claron Hayden. All the artistic elements come together in a wonderful, multifaceted production.

“A sad tale’s best for winter,” says Mamillius, the young son of Leontes and Hermione, king and queen of Sicilia, in Shakespeare’s late play The Winter’s Tale (ca. 1610). Mamillius may be right, but a sad tale can also work on a sweltering night in Central Park, as Daniel Sullivan’s no-frills, emotionally intense staging demonstrates.

In John Donnelly’s The Pass, directed by Max Hunter, two rising British soccer stars confront the volatile intersection of masculinity, desire, and celebrity when a hotel-room encounter threatens to upend their carefully constructed futures. Spanning 12 years and three hotel rooms, this provocative drama tackles the high stakes of being young, ambitious, and closeted in a world where the pressure to perform extends far beyond the playing field.

Well, I’ll Let You Go, Bubba Weiler’s drama of grief and Midwestern angst, opened Off-Broadway a year ago this month, elevating the author from yeoman actor to New York’s most prominent emerging playwright. The Saviors, Weiler’s second play (now at the Atlantic’s Linda Gross Theater) substantiates his promise, extending and arguably deepening his collaboration with director Jack Serio.

“A combination of the Eiffel Tower and the Rockefeller Center Christmas tree.” “Upside-down pineapple. Honeycomb spaceship/shawarma.” These descriptions of Vessel, the tourist attraction in Manhattan’s Hudson Yards, are the most memorable lines in Brendan George’s well-intentioned play The Vessel, which has a lot to say but doesn’t say most of it in a theatrically exciting manner.