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All aboard for a theatrical adventure with the latest innovative journey from the experimental geniuses of Cheerful Secrets. This time, the audience is the cast: As you board the train, you’ll be handed your script, and you and three friends will be playing the parts of either the band or the bachelorette party. Intermission is at Black Star Co-op at Crestview before you board the train and return Downtown for the second act. Read more online. – Richard Whittaker

For generations of children, Arnold Lobel’s stories of amphibian best buds Frog and Toad have been a charming guide to the complexities and joys of friendship. Now the pair take to the stage for this delightful Tony-nominated musical. It’s truly a family affair, adapted by Lobel’s son-in-law Mark Linn-Baker with music by Robert Reale and book & lyrics by his brother, Willie. This new production, directed by Best of Austin winner Sara Burke, features Jillian Sainz and Victoria Brown donning the signature jackets and trousers of Frog and Toad, respectively. – Richard Whittaker

The first night on a giant floating casino/discotheque just off Manhattan: What can possibly go wrong? Well, since this is the 1970s, the decade of the disaster movie, how about earthquakes, tidal waves, rats, explosions, and deadly slot machine handles? Jack Plotnick and Seth Rudetsky’s Broadway jukebox musical features toe-tappers from the decade of AOR and disco, so there’s no better place to be for a night of mayhem and Chuck Mangione. Just watch out for the sharks … – Richard Whittaker

The worst myth about William Shakespeare was that he was a unique genius who penned his greatest plays and sonnets in pristine isolation in his home in Stratford-upon-Avon. Lizzy Duffy Adams’ scathing comedy gets to the reality: that he was a jobbing playwright, a controversial upstart crow in Elizabethan London’s vibrant, tumultuous theatre scene. A long day with his contemporary, the radical Christopher Marlowe, becomes an examination of collaboration, influence, politics, desire, and the wild energy of life behind the stage. Austin Playhouse’s production runs Thursday-Sunday through April 28. – Richard Whittaker

Who’s ready for a bedtime story? Because there’s nothing like Stephen Sondheim’s grand unification theory of the Brothers Grimm’s collection of German fairy tales. All your childhood folklore favorites become tangled up in the search for the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold. Underneath the toe-tappers and cunning one-liners, there’s a fable about the perils of getting what you wished for and not paying attention to what you have, a moral reiterated by a witch who’s not good, not nice; just right. – Richard Whittaker

Wherefore art thou, bilingual adaptation of Shakespeare’s iconic play about rivalry, young love, and sword fights? The romance is closer than you think: Writers KJ Sanchez and Karen Zacaría along with director Anna Skidis Vargas bring this timeless work into a new context, right on UT-Austin’s campus. The tale that pits Montague against Capulet settles in fair Alta, California, circa 1840. “Set in the limbo between Mexican rule and new statehood,” the event description reads, “this retelling shifts between English and Spanish, bringing new life to a well-loved tale of love, bloodshed, family and fate.” Now there’s an idea you won’t bite your thumb at. – James Scott

Black cultural studies scholar Lisa B. Thompson’s “theatrical love letter to Black women and girls” premieres to a sold-out crowd this Friday at the Vortex. The choreopoem – which incorporates music, movement, and design, and culminates in an audience dance party – is “about embracing the ‘soft life’ for Black women, whose labor and dedication has sustained people, communities, and institutions,” says Thompson, who conceived of the idea during her 2021 MacDowell artist residency. The show was subsequently developed during a 2023-24 Texas Performing Arts and Fusebox residency, and includes songs co-written with composers Guthrie P. Ramsey, Jr. and Vince Anthony, as well as collaborations with choreographer Sadé M. Jones. The show runs Thu.-Sun. through May 4, and tickets are selling fast! – Lina Fisher