At the New Victory, the Acting Company presents the Shakespeare comedy, directed by Pig Iron Theatre Company's Dan Rothenberg. Opens March 1. Opens March 3. Sean Mathias directs Richard Greenberg's new play, adapted from the Truman Capote novella, about a capricious young woman who falls in love during the nineteen-forties in wartime New York. Emilia Clarke stars. Previews begin March 4. This musical, based on the film, has a book by Harvey Fierstein and music and lyrics by Cyndi Lauper. Jerry Mitchell directs. Previews begin March 3. Hirschfeld, 302 W. 45th St. 212-239-6200. Tom Hanks makes his Broadway début in a new play by Nora Ephron, about the tabloid columnist Mike McAlary. Also starring Maura Tierney and Courtney B. Vance. George C. Wolfe directs. Previews begin March 1. Broadhurst, 235 W. 44th St. 212-239-6200. Matthew Warchus directs a musical based on Roald Dahl's children's novel, with a book by Dennis Kelly and music and lyrics by Tim Minchin. Shubert, 225 W. 44th St. 212-239-6200. Guillermo Calderón wrote and directs this play, set in St. Petersburg in 1905, about Olga Knipper, the widow of Anton Chekhov. Opens March 5. Opens March 4. Opens Feb. 28. Kneehigh Theatre employs bluegrass music to tell the story of a girl whose father sells her to the Devil. Opens Feb. 27. The title refers to the Irish slang for "fistfight," and in this musical, set in 1951 in the small town of Innisfree - where the women like their alcohol hard and their men tough - there's no more longed-for entertainment than a brawl. Because of this, the fiery maiden Mary Kate (Jenny Powers) angrily withholds sex from her new husband, Sean Enright (James Barbour) - a retired boxer from America - when he refuses to fight her brother (Ted Koch) for her dowry. There's good reason why this musical, based on the film "The Quiet Man," played on Broadway for a short time, in 1961, before it closed: though the music, by Johnny Burke, is pretty, it would be hard to get behind the values in Robert E. McEnroe's script. Directed by Charlotte Moore. Irish Repertory, 132 W. 22nd St. 212-727-2737. In Lloyd Suh's new comedy, produced by the Ma-Yi Theatre Company and directed by Daniella Topol, Jesus of Nazareth (Justin Blanchard), a rebellious teen-ager, runs away to India with the foul-mouthed Abigail of Galilee (Molly Ward) in search of adventure, and ends up falling in with two local potheads (Neimah Djourabchi and Vedant Gokhale) who are looking for a bass player for their punk-rock band. The three boys go on the road in the hope of attracting acolytes, but the band disintegrates when Jesus impregnates a beautiful young slave (Meera Rohit Kumbhani). These talented young actors clearly enjoy playing blasphemous airheads, but the play loses its way near the end, turning sentimental and pious. Theatre at St. Clement's, 423 W. 46th St. 212-352-3101. Kirsten Greenidge's new play, directed by Rebecca Taichman, begins in the early two-thousands, in the fictional town of Bellington, Massachusetts, where Hannah (Marsha Stephanie Blake), a married black woman with children, co-owns a home with her single younger sister, Nessa (Carra Patterson). A visiting couple, the Donovans, who knew Hannah and Nessa's late grandparents, Lucy and Rex Taylor, the previous owners of the house, say that they actually own the house, and Mrs. Donovan wants it back. The action shifts to an apartment in nineteen-fifties Boston, where Lucy (Eisa Davis) and Rex (Victor Williams) want to buy a home in Bellington, where blacks are not welcomed, and they devise a plan to use the working-class Joe and Patty Ann Donovan (Dashiell Eaves and Amanda Quaid) as a front. But she is too bourgeois-minded when it comes to the play's structure and its plot points, which give her male characters far more space than her interest in them warrants. Reviewed in our issue of 2/25/13. The director Arin Arbus and her excellent players in the Theatre for a New Audience present a bold, bifurcated version of the Shakespeare comedy. Before intermission, the show, stuffed as it is with nonstop banter and wordplay, is wonderfully airy and nimble. But in the second half, the mood is palpably altered, as the consequences of the characters" various schemes against one another turn deadly serious, good nature curdling in an instant. Much of this could be played with a wink, but, in exploring the darker implications of the play's jests, the company succeeds in tapping into a wide emotional wellspring. As Beatrice and Benedick, the central sparrers in this progenitor of the modern rom-com, Maggie Siff and Jonathan Cake are whip-smart and fantastically foolish. David Cromer directs this drama by Paul Downs Colaizzo, for MCC. The night before the action is set, Cooper (the physically bold and true David Hull) and Davis (the poetic Matt Lauria) hosted an "epic" party, and Davis is anxious to keep it a secret that he hooked up with Leigh (Zosia Mamet), the girlfriend of his buddy Jimmy (Evan Jonigkeit). After all, Leigh is pregnant with Jimmy's kid - or maybe not. Other questions remain, such as how did the sheets of Leigh's roommate, Grace (Lauren Culpepper), get so bloody? What really happened at the party? In Colaizzo's world, love is less a battlefield than a minefield littered with nasty negotiations. At the end of the play, the characters enact their futures, but with the kind of ironic edge that could have spoiled all that came before, had Cromer and his actors not established a world that was so unassailably painful, erotic, and real.