The new Off Broadway show "The Legend of Georgia McBride" by Matthew Lopez is a comedy about a young Elvis impersonator named Casey who’s barely making a living performing in a Florida Panhandle bar. With an empty bank account and pregnant wife, during the course of the play Casey makes a rather surprising career switch from struggling Elvis impersonator to successful drag queen.

New York Times theater critic Charles Isherwood lets us know if "The Legend of Georgia McBride" is something to get all shook up about.

The MCC Theater production directed by Mike Donahue with choreography by Paul McGill runs through Oct. 11 at the Lucille Lortel Theatre.

Labor Day, the semi-official end to the summer, is now in the rearview mirror. Which means that theater-watchers will be eagerly getting ready for the fall season. Broadway already has seen one smash musical open, the hotter-than-hot ticket “Hamilton,” but there’s much more to come, both on Broadway and Off.

New York Times theater critic Charles Isherwood takes a look at the new fall crop of shows and suggests some highlights.

A new Off Broadway play by Sherie Rene Scott and Dick Scanlan tells the semi-autobiographical account of their experiences working with prison inmates.

The play's unusual title — "Whorl Inside a Loop" — refers to a particular fingerprint pattern. Scott also stars in the play as a well-regarded actress who agrees to teach six inmates how to tell their stories behind the bars of a men's maximum security prison. Sharing intimate and sometimes hilarious details of their former lives, this unlikely group forms a bond.

New York Times theater critic Charles Isherwood offers his review.

The latest play from the prolific A.R. Gurney comes with a forthright title, "Love & Money." The Signature Theater Company production features Maureen Anderman as the wealthy, elderly Cornelia Cunningham, who has decided to give away her entire fortune to charity, at least until an unexpected visitor arrives.

As the work of divesting herself of the money continues —with good intentions — complications arrive in the form of a young man who is — or at least, claims to be — the woman’s grandson.

New York Times theater critic Charles Isherwood offers his thoughts on "Love & Money," directed by Mark Lamos. The Signature Theater Company production runs through Oct. 4 at the Pershing Square Signature Center.

Annie Baker won the Pulitzer Prize in 2014 for her play "The Flick," which has been restaged this summer at the Barrow Street Theatre. But Baker also has a new play concurrently on the boards called simply "John," and presented by the Signature Theatre Company.

The drama tells the story of a young couple with relationship problems who the week after Thanksgiving pay a visit to a rather odd bed and breakfast in Gettysburg, Penn. New York Times theater critic Charles Isherwood lets us know if "John" is worth the trip to the theater.

The production plays through Sept. 6 at the Pershing Square Signature Center.

The Public Theater’s second free Shakespeare in the Park presentation this summer is the late romance “Cymbeline,” a twisty tale of duplicity and betrayal directed by Daniel Sullivan. The cast features Shakespeare in the Park regulars Lily Rabe and Hamish Linklater as young newlyweds separated by the titular king and his conniving queen.

The convoluted "Cymbeline" plot involves, among other things, a headless corpse, a beautiful heroine who fools everyone into thinking she’s a boy simply by putting on a boy’s clothes and Jupiter flying in and out of the action on an eagle’s back.

The play has been in and out of fashion over the years, with many detractors over the last century or so. New York Times theater critic Charles Isherwood has seen several productions, so he has a sense of perspective to offer as he evaluates Shakespeare in the Park’s "Cymbeline" at the Delacorte Theater in Central Park.

The story behind one of the best-known hymns in the English language is the subject of the new Broadway musical "Amazing Grace." The show tells the story of the man who wrote, “I once was lost, but now am found; was blind, but now I see.”

John Newton worked in the English slave trade before changing his ways and becoming a spokesman for abolition in Great Britain — and a hymn writer. The production at the Nederlander Theatre features a score by Christopher Smith, a newcomer to musical theater, and a book by Smith and Arthur Giron. 

New York Times theater critic Charles Isherwood reviews it in this conversation.

The young playwright Joshua Harmon made a splash with his comedy “Bad Jews” in 2012, which was initially presented at the Roundabout Theatre Company’s black-box theater and was later produced at its larger Laura Pels Theatre. The play not only got great reviews, it also received productions at numerous regional theaters around the country.

Now Roundabout is mounting another Harmon play, “Significant Other,” a romantic comedy about a gay man in his 20s watching his female friends pair up around him as he remains single and a little lonely. It stars Gideon Glick and is directed by Trip Cullman.

New York Times theater critic Charles Isherwood explains why Harmon’s new work is good summer entertainment.

Even when everybody knows what’s planned, you can never be sure of what will actually happen when friends get together. In Bruce Norris's new play “The Qualms,” what’s supposed to be a quiet evening of dinner, drinks and what used to be called “swinging” doesn’t go as expected. It’s a barbecue with a side of sexual dallying among four couples.

Norris’s comedy, directed by Pam MacKinnon, is running at Playwrights Horizons through July 12. New York Times theater critic Charles Isherwood lets us in on the story and the performances.

The 2015 Tony Awards ceremony was Sunday night at Radio City Music Hall. The new musical "Fun Home" had the most fun, winning awards for Best Musical, Book, Score, Leading Actor and Director. "The Curious Incident of the Dog in the Nighttime" was named Best New Play.

As the statuettes were being handed out, New York Times theater critic Charles Isherwood was keeping track — not only of the winners, but also of the nominees who he thought should have won. Isherwood shares his list, as well as a few thoughts on the telecast itself.