Our guide to plays and musicals coming to New York stages and a few last-chance picks of shows that are about to close. Our reviews of open shows are at nytimes.com/reviews/theater.
‘BETRAYAL’ at the Bernard B. Jacobs Theater (previews start on Aug. 14; opens on Sept. 5). It wasn’t so long ago that Daniel Craig was being deceived on Broadway. Now it is Tom Hiddleston’s turn. In a production that premiered in London, he stars, alongside Zawe Ashton and Charlie Cox, in Harold Pinter’s chronologically inverted drama about a married couple and the friend who complicates their relationship. Jamie Lloyd directs.
‘MAKE BELIEVE’ at the Tony Kiser Theater at Second Stage Theater (in previews; opens on Aug. 15). Bess Wohl’s play, about abandoned children who grow into unmoored adults, arrives at Second Stage under Michael Greif’s direction and starring Susannah Flood, Brad Heberlee and Samantha Mathis. Reviewing an earlier production, Laura Collins-Hughes described the drama as a “beautifully constructed play — a regret-tinged examination of family and trauma and sibling connections.”
‘BE MORE CHILL’ at the Lyceum Theater (closes on Aug. 11). The shutdown sequence has started for Joe Iconis and Joe Tracz’s show about a nerd who swallows a supercomputer with an operating code set on world domination. In his review, Ben Brantley questioned the musical’s craftsmanship, though he noted that unlike other Broadway productions about teenagers, this one “feels as if it could have been created by the teenagers it portrays, or perhaps by even younger people imagining what high school will be like.”
‘THE CHER SHOW’ at the Neil Simon Theater (closes on Aug. 18). Do you believe in life after Broadway? This jukebox bio-musical, which needed three actresses — Micaela Diamond, Teal Wicks and Stephanie J. Block — to play one pop diva, closes its sequined doors. While Jesse Green praised Bob Mackie’s extravagant costumes, the musical, he noted, is “all gesture, no craft: dramatically threadbare and surprisingly unrevealing.”
‘FAIRVIEW’ at the Polonsky Shakespeare Center (closes on Aug. 11). Jackie Sibblies Drury’s shape-shifting, frame-breaking, soul-shaking play, directed by Sarah Benson, ends its encore run. When this drama, which won the Pulitzer Prize, opened last year, Ben Brantley called it “dazzling and ruthless,” and added, “If you see it — and you must — you will not be comfortable.”
‘GET ON YOUR KNEES’ at the Cherry Lane Theater (closes on Aug. 18). The curtain is about to fall on Jacqueline Novak’s erudite history of fellatio (though it will reopen on Aug. 28 at the Lucille Lortel Theater). An author and a stand-up, Novak has a style that is brash, brainy and not as lewd as you might expect. Her show is less about the penis than it is about the indignity of being, as she says, “a woman that lusts after the common shaft.”
‘KING KONG’ at the Broadway Theater (closes on Aug. 18). An oversize ape is out of a job. This Broadway musical, notorious for its giant, intricate puppet, beats its chest for the final time. In a dual review, the New York Times chief theater critics evaluated a show that Ben Brantley described as “spirit-crushing,” dismissing the score, the book and even the one-ton gorilla himself.
‘PRETTY WOMAN: THE MUSICAL’ at the Nederlander Theater (closes on Aug. 18). Having stopped a while and talked a while, this musical based on the popular film concludes its Broadway run. Ben Brantley wrote that this show, which is directed by Jerry Mitchell and features songs by Bryan Adams and Jim Vallance, “lowers the already ground-scraping bar for literal-minded adaptations of film to stage.”
‘THE PROM’ at the Longacre Theater (closes on Aug. 11). This winning musical comedy, by Bob Martin, Chad Beguelin and Matthew Sklar, has its last dance. According to Jesse Green, this “joyful hoot,” about a quartet of Broadway vets who descend on the heartland to help a teenage lesbian, “makes you believe in musical comedy again.”
‘TONI STONE’ at the Laura Pels Theater at the Harold and Miriam Steinberg Center for Theater (closes on Aug. 11). Lydia R. Diamond’s play, about the first female professional baseball player, prepares for its last at-bat. Reviewing Pam MacKinnon’s production, Jesse Green praised April Matthis’s home-run performance and Diamond’s script. The play, he wrote, is “at its considerable best whenever, like its main character, it’s at its most unconventional.”