Theater: New and Noteworthy

Lost Girls

(Theatre Exile). Three generations of working-class women try to rise above their constricted horizons. Thursday to March 12.

The Matchmaker (People's Light). Thornton Wilder's farce/satire about romance and mistaken identity, the basis for Hello, Dolly! Wednesday to March 12.

Seussical the Musical (SALT Performing Arts, Chester Springs). A musical featuring all 18-and-under talent. Friday to Feb. 26.

Reviewed by Julia M. Klein (J.M.K.), Wendy Rosenfield (W.R.), Jim Rutter (J.R.), John Timpane (J.T.), and Toby Zinman (T.Z.).

Bedlam: Hamlet/Saint Joan (McCarter Theatre, Princeton). Four actors in amazing stripped-down versions of Shakespeare's Hamlet and Shaw's Saint Joan in rotating repertory. They don't quite hit Hamlet, but Saint Joan is a masterpiece. Ends Sunday. - T.Z. and J.T.

Driving Miss Daisy (Bristol Riverside Theatre). Daisy is a fiercely independent Jewish widow; Hoke is her African American chauffeur. Their growing relationship has a lot to say to our present moment. Ends Sunday. - J.R.

For Sale! (Camden Repertory Theater). This collaboration with Mickalene Thomas takes on slavery, sex, and sisterhood. Through Feb. 25.

Garfield: The Musical with Cattitude (Walnut Street Theatre). A musical about a cat and his birthday . . . and it's not going to be purrfect. Ends Saturday.

Grand Concourse (Theatre Horizon). A young woman with a secret barges into a soup kitchen, and the folks running it face all sorts of challenges. Through Feb. 26.

Having Our Say (Philadelphia Theater Company). Based on the true story of the Delany sisters, who lived almost all the way through the 20th century, many of those decades together. Kindly, slow, charming. Ends next Sunday. - J.T.

Informed Consent (St. Stephen's Theater/Lantern Theater Company). A geneticist is on a quest to solve a mystery that could save an indigenous tribe in Arizona - and her own family. Worthy, challenging issues, but the result is arid and often irritating. Ends Sunday. - T.Z.

John (Arden Theatre). Pulitzer-winner Annie Baker's new play, set in Gettysburg. Through Feb. 26.

Lagan (Villanova Theatre). American premiere of Irish-born Stacey Gregg's mosaic of Northern Ireland, post-"Troubles." Ends next Sunday.

Last of the Red Hot Lovers (Walnut Street Theatre). An updated version of Neil Simon's celebrated comedy. A blistering, funny, and profound production. Ends Sunday. - J.R.

Laughter on the 23rd Floor (Walnut Street Theatre). Neil Simon's classic, drawing on his time as a joke writer for the 1950s comedy revue Your Show of Shows. High-energy, very funny. Through March 5. - J.T.

Leper + Chip (Inis Nua Theatre). Man meets woman at a party in Dublin. They fight - but the impulse for revenge undergoes a certain change. Through March 5.

Lizzie (11th Hour Theater). Four actresses perform this rock setting of the life of ax-wielder Lizzie Borden. Powerful vocals, great themes, but needs some cutting. Through Feb. 29. - W.R.

Marcus/Emma (InterAct Theatre Company). Mary Tuomanen's play mashes up the stories of Marcus Garvey and Emma Goldman to interrogate issues of sexual and racial polarization and much more. Ends Sunday.

Rock of Ages (Eagle Theatre, Hammonton, N.J.). Learning to play - and to be - loud and great. Ends next Sunday.

Romeo and Juliet (Media Theatre). The star-crossed leads, played as very young, in Media's first foray into Shakespeare. Neighborhood Shakespeare, but the leads make it worthwhile. Ends next Sunday. - J.T.

The Seagull (EgoPo Classic Theatre). Chekhov's mystical, elevating heartbreaker takes on art, a mother's smothering love, the pleasures of the lakeside, and the need for connection. Ends next Sunday.

Uncle Vanya (Hedgerow Theatre Company). The estate, the pistol, the pencil, the selfishness, the remorseless, clear-eyed Chekhov vision. Through March 5.

Water by the Spoonful (South Camden Theatre Company). Philly-born Quiara Alegría Hudes won the 2012 Pulitzer for this play about a returning Iraq war veteran searching for meaning. Through Feb. 29.

White Guy on the Bus (Delaware Theatre Company). A white businessman meets, and learns both to like and to clash with, an African American single mother. An assault on political correctness, very much worth seeing. Ends next Sunday. - J.R.