Every two years, the Adelaide Festival (adelaidefestival.com.au) places South Australia on the global cultural map. Australian maverick director Benedict Andrews stages Moving Target, by leading German contemporary playwright Marius von Mayerburg (through March 8); and Thomas Ostermeier, of Berlin’s acclaimed Schaubühne theater, directs the company’s reinterpretation of Cat on a Hot Tin Roof (March 11–16).
The Histories, at the Roundhouse (April 1–May 25; 44-870/389-1846; rsc.org.uk). The Royal Shakespeare Company, galvanized under the artistic leadership of Michael Boyd, presents the Bard’s complete history plays: Henry IV, V, and VI, and Richard II and III. For the series, the RSC will re-create the intimately scaled Courtyard Theatre, from its home in Stratford, within the Roundhouse.
God of Carnage, at the Gielgud Theatre (opens March 25; 44-20/7812-7482; gielgud-theatre.com). Yasmina Reza’s new comedy about dueling couples pairs Ralph Fiennes with Tamsin Greig and Janet McTeer with Ken Stott.
In the Heights, at the Richard Rodgers Theatre (opens March 9; 212/307-4100; ticketmaster.com). The breakout musical by Puerto Rican– American composer Lin-Manuel Miranda and librettist Quiara Alegría Hudes tackles young love, ethnic identity, and big-city ambition. A rich mix of salsa, merengue, and hip-hop set in NYC’s Washington Heights.
Gypsy, at the St. James Theatre (opens March 27; 212/239-6200; telecharge.com). The classic musical, one of last summer’s most sought-after tickets off-Broadway, returns in a full-scale revival with Patti LuPone as Mama Rose, along with Laura Benanti in the title role.
August Wilson’s 20th Century, at the Kennedy Center for the Performing Arts (March 4–April 6; 800/444-1324; kennedy-center.org). Seven directors stage readings of 10 plays, also known as The Pittsburgh Cycle, by the Pulitzer Prize–winning playwright who considered the African-American experience in the 20th century. —Bill Rosenfield