JESUS CHRIST SUPERSTAR ignites the Lyric Opera stage in a never-ending burst of electrifying energy. This production is brilliant from start-to-finish, and it beautifully unites Lyric Opera’s commitment to providing first-rate talent and stunning visuals with director Timothy Sheader’s contemporary, invigorating vision. Originally staged at London’s Regents Park Open Air Theatre in 2016, the Lyric’s production is big and bold in every aspect. Set and costume designer Tom Scutt’s rock concert atmosphere design combines a stark, modern look with a backdrop of lush greenery—a nod to the play’s outdoor theater roots.

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Hockadoo! Porchlight Music Theatre’s MEMPHIS bursts onto the stage with joy and earnest energy. Under the direction of Daryl Brooks, this musical sheds light on timely historical issues while milking the show’s sweetest, most exuberant moments for all they’re worth. Set in the 1950s, MEMPHIS follows the fictional white DJ Huey Calhoun (based on the real-life DJ Dewey Phillips) as he strives to overcome the city’s racial barriers—and attract radio listeners—by showcasing music from black artists on the radio. Along the way, Huey meets the aspiring young black singer Felicia Farrell. He aims to help Felicia find her place in the spotlight, and of course, also find a spot for him in his heart. Written by Daryl Adams and Joe DiPietro, MEMPHIS does not at all hide the realities of life in Memphis under the laws of Jim Crow. Yet the musical overall treats its subject matter with an optimistic sunniness and places the emphasis on Huey’s attempts to forge racial unity.

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Stephanie Allison Walker’s THE MADRES, now in a Teatro Vista production as part of a rolling world premiere through the National New Play Network, is a gut punch of a play. Set in 1979 Buenos Aires, Argentina, THE MADRES follows three generations of women in a family during La Guerra Sucia (“Dirty War”). Under the Dirty War, the Argentine military went after anyone within the country thought to be subversive or connected to socialism. Those taken hostage became known as Los Desaparecidos (“The Disappeared”). The titular Madres in Walker’s play are the mothers of the disappeared, who would march in front of the Casa Rosada in Buenos Aires to demand the return of their loved ones. Though Walker’s play highlights a moment in Argentina’s history, her portrait of the silencing of voices, the torture of loved ones, and the women who rose up against injustice finds complete alignment with the present moment.

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Matthew-Lee Erlbach’s THE DOPPELGANGER (AN INTERNATIONAL FARCE), now in its world premiere at Steppenwolf Theatre Company, is a wild, swift-moving, and hilarious ride. As indicated by the numerous doors on Todd Rosenthal’s opulent set, Erlbach’s play employs many of the hallmarks of classic farce. And under the direction of Steppenwolf ensemble member Tina Landau, the production’s first-rate and comically expert cast take Erlbach’s combination of zippy one-liners and absurd physical antics and run (sometimes literally).

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Boo Killebrew’s world premiere play LETTIE is profoundly heartbreaking and brilliantly conceived. Under the direction of Artistic Director Chay Yew, the production devastatingly unfolds the narrative of the titular working class ex-convict Lettie. Both Killebrew’s masterful, raw writing and Yew’s superlative ensemble—with Caroline Neff in the title role and doing some of the best work so far of her career—bring immense pathos and a swirl of shifting emotions upon the audience.

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