‘MEMENTOS MORI’ at the Fishman Space at BAM Fisher (performances start on Oct. 18). Manual Cinema, a Chicago troupe that uses shadow and light to otherworldly effect, arrives at BAM with this puppet play about what happens when Death takes some personal days. More than a hundred paper puppets contribute to this meditation on movies, ghosts and iPhones.
‘OFFICE HOUR’ at the Public Theater (previews start on Oct. 17; opens on Nov. 8). Though Julia Cho is a playwright of subtlety, violence and devastating loss haunt many of her works. In this new play, directed by Neel Keller, Sue Jean Kim and Ki Hong Lee star as a teacher and a student trying to assess which threats are real and which are fiction.
‘PEOPLE, PLACES & THINGS’ at St. Ann’s Warehouse (previews start on Oct. 19; opens on Oct. 25). In this play by Duncan MacMillan, an actress suffers a nervous breakdown mid-Chekhov and is shunted off to rehab. In Jeremy Herrin’s staging, which arrives from the National Theater and Headlong Productions, Denise Gough reprises her Olivier-winning role as a woman of passionate addictions.
‘TORCH SONG’ at Second Stage at the Tony Kiser Theater (in previews; opens on Oct. 19). More than 30 years after this play’s first production, a nice Jewish boy is still trying to find a nice man. Michael Urie stars in Harvey Fierstein’s play about a drag queen longing for a husband, children and the love of his mother (Mercedes Ruehl). Moisés Kaufman directs the balladry.
‘KPOP’ at A.R.T./New York Theaters (closes on Oct. 21). This immersive piece — imagined by Ars Nova, Woodshed Collective and Ma-Yi Theater Company, and inviting soju-sipping spectators to help K-pop stars work their way up the American charts — closes its hit factory. Ben Brantley noted that while the show “vibrates with the frenzy of its contradictions,” audiences are gamely incited to “shut up and dance.”
‘PRINCE OF BROADWAY’ at the Samuel J. Friedman Theater (closes on Oct. 29). This revue, celebrating the storied career of the producer and director Harold Prince, sets down its black-framed glasses. Ben Brantley likened this scattered show, which spans six decades and includes a bounty of showstoppers, to “hearing a rushed raconteur drop name after famous name.”
‘THE RED LETTER PLAYS’ at the Pershing Square Signature Center (closes Oct. 15). Suzan-Lori Parks’s twinned riffs on “The Scarlet Letter” conclude a rosy run. Ben Brantley described “In the Blood,” a work about a harassed mother, directed by Sarah Benson, as a “first-rate revival” of an “enduringly fresh work.” He called its paired play (which closed Oct. 8), directed by Jo Bonney, a dark fairy tale (with an unprintable title) about a woman who performs abortions, “quick, sharp and perfectly paradoxical.”
‘THE TERMS OF MY SURRENDER’ at the Belasco Theater (closes on Oct. 22). The filmmaker, raconteur and activist Michael Moore remains staunch, but his solo performance is yielding its Broadway berth. Jesse Green called this “shaggy and self-aggrandizing Broadway showcase,” directed by Michael Mayer, “as confusing politically as it is theatrically.”