Mr. Love’s focus here is the Black queer HIV+ community. It isn’t meant to connect to other communities although it invites a more universal cry for help to end the epidemic and save the Black queer HIV+ community. See it. Do the work.

Veteran actors of screen, stage, and television Harry Hamlin and Stefanie Powers do their best to bring Joshua Ravetch’s “One November Yankee” to the stage at 59E59 Theaters on Manhattan’s Upper East Side.

Broken relationships, family dysfunction, irreversible age-related illness, and loneliness insert themselves uninvited and unannounced into the lives of individuals and families. “Super great” dissolves into the realm(s) of the languorous.

Successful entrepreneurs like Harry (an overzealous but hypersensitive Raúl Esparza) typically attempt to guard their “art” from “commerce” for as long as possible. They feel frightened by the prospect of commercial success overwhelming their sense of artistic integrity. At least that is Harry’s point of view in Theresa Rebeck’s “Seared” currently running in the Susan & Ronald Frankel Theater at The Robert W. Wilson MCC Theater Space.

Harvey Feinstein wisely chooses to “be” Bella Abzug and not simply “portray” her. There are no gimmicks here, no backups, no filters, no frills – just Bella. Mr. Fierstein draws on his skills of connecting with his audience to raise the rich and enduring questions raised by Ms. Abzug’s life and legacy.

The characters continue to cascade through the decades – all suffering from those initial injuries of twisting the wrong way (an event not to be taken literally) and becoming fatherless (one of many tragedies that “stifle” growth).

As a whole, “One Discordant Violin” satisfies the theatergoer’s palate with an enchanting story that rings true, is compellingly relatable, and plucks the strings of the heart with cosmic vibrations.

“Dr. Ride’s American Beach House” does not rise to an epic tale of “queer anti-heroes” forging a pathway to self-acceptance and claiming true power and control. Under Katie Brook’s direction, the cast does what it can to authenticate their character’s conflicts despite the weakness of Liza Birkenmeier’s script.

This iconic and relevant work is for women, primarily women of color navigating their way through an often antagonistic world, making life-and-death decisions about survival and future.

“Under Leigh Silverman’s impeccable and focused direction, the ensemble cast creates a palette of strong emotions and enduring questions about the future of humankind.”

“Under Danya Taymor’s intuitive and exacting direction, the accomplished cast delivers believable and authentic performances and embodies the characteristics of Yeats’ rough beast with cathartic effect.”

“The competent cast does what it can but cannot transcend the inferior material they have to work with or the haphazard direction by Lonnie Price who usually delivers an exceptional product.”

“The stellar cast is more than competent but seems to have succumbed to the heavy-handed, muddled and indistinct direction of Michael Mayer.”

“It is unfortunate that the work of these two skilled performers are unable – due to the script – to usher the members of the audience into any morally satisfying catharsis.”