Having presented excellent revivals of Sean O’Casey’s three most important plays, the Irish Rep has turned to Little Gem, a new play by Elaine Murphy, that’s riskier. The play consists of three intertwined monologues. The structure may not appeal to everyone, and it’s a work that will find more resonance among women, but the performers, under the direction of Marc Atkinson Borrull, bring all their considerable power to invigorating a story that doesn’t rely on flash or action.

Jim Steinman’s Bat Out of Hell: The Musical is a high-octane show that has a way of staying with you long after the curtain closes. The songs are taken from Meatloaf’s 1977 debut album, Bat Out of Hell, which provided a narrative about love and teenage angst for a generation of rock-and-roll fans. Director Jay Scheib, best-known for contemporary stagings of classical and contemporary works, has combined straightforward musical theater elements with avant-garde practices (such as a handheld camera that isolates and projects the faces of the characters in situ). The overall affect is of a raucous rock musical that captures the spirit of a concept album.

Bess Wohl’s new comedy Make Believe portrays a quartet of Gen-X siblings at two points of life-changing family crisis. The first is in 1980, when the Conlees, two sisters and two brothers, are small children. The second is 32 years later. In both instances, the kids are gathered—it’s tempting to say “barricaded”—in a gargantuan nursery at the top of their parents’ luxe suburban home.

Shakespeare’s tragedy of Coriolanus isn’t often done—Daniel Sullivan’s production at the Delacorte Theater in Central Park is the first in that venue in 40 years. But Sullivan’s staging is not only for Shakespeare completists. It’s a brilliant rendering, crowned by a towering performance from Jonathan Cake in the title role.

Describing the internal conflict resulting from being an African American in a white-dominated society, W. E. B. Du Bois famously stated, “It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others.” The fragmented black identity is a guiding motif in Nambi Kelley’s theatricalized Native Son, currently running in repertory with Measure for Measure at the Duke on 42nd Street. Adapted from Richard Wright’s 1940 novel, this version eschews the socially realistic approach of previous stage and film treatments and thrusts the audience into a 90-minute expressionistic fever dream.