The ideals and experiences that bond people together when they are young may be the very things that divide them when they mature. This we learn from the protagonists in Birthright, Jonathan Spector’s play that tracks the lives of six Jewish friends from 2006 through 2024. In each of the three nearly one-hour acts, perceptible changes occur in each character’s priorities and attitudes, at least in part because in their discussions, no topic is sacrosanct.    

For anyone who has ever believed mathematics belonged exclusively to gifted minds, That Math Show offers a joyful correction. Created and performed by Dr. Arthur Benjamin and directed by Eric Krebs, this lively production reveals the beauty and playfulness of numbers.

Neil Armstrong landed on the moon on July 20, 1969. Less than a month later, the Woodstock festival rocked America’s psyche. The run-up to these landmark events provides the symbolic dissonance for the bighearted and multifaceted new musical, A Walk on the Moon. With a score by AnnMarie Milazzo and book by Pamela Gray, this stage version of the 1999 film (also written by Gray) tracks a not-so-happy housewife through a risky voyage of self-discovery, just one short hike away from Max Yasgur’s farm in Bethel, N.Y., and one giant leap from her otherwise square and earthbound life.

Erica Murray’s The Loved Ones is a poignant meditation on grief and betrayal that offers a potentially melodramatic setup but largely avoids obvious broad strokes in favor of quieter pleasures—sharply observed dialogue, characters who defy the labels placed on them, and an exploration of the difficulties and power of empathy. An outstanding ensemble led by the great Maryann Plunkett depicts the international group of women—Irish, English, and American—brought together in rural West Clare, Ireland, through tragic circumstances that threaten to divide them yet end up eliciting a precarious and precious sense of solidarity.   

A tent creates a confined yet evocative space—the image might conjure up strong memories and associations, perhaps of childhood camping trips or adolescent backyard adventures or later-in-life attempts at experiencing the great outdoors. For Ari and Brit, the protagonists of Victoria Lynne Barclay’s new two-hander Camping, the tent is a world unto itself. From ages 15 to 40, the two women navigate life—including relationships with inadequate men—and feelings for each other that they can never quite come to terms with, through events that always return them to the same tent. That Barclay makes this contrivance feel largely natural is one of the strengths of this sensitively observed play.