Women on the verge of an OOO

Susanna Kaysen's memoir of a 1960s psych ward gets a world-premiere stage adaptation, scored by Aimee Mann's Queens of the Summer Hotel — the album she literally wrote about the same material. The young women on the ward are fighting for stability, control, and a way out, in a place that's both refuge and prison. At The Public through June 21.

Two women would rather drink the immortality potion than lose to each other — at staying young, at stealing the same man, at coming out on top. The 1992 cult film is now a Broadway musical, and the whole arc is two girlies refusing to log off the competition. Eternal life, eternal exhaustion. At the Lunt-Fontanne.

Beverly cheerfully answers the phones, brews the coffee, and manages the office gossip — until someone from the Central Office walks in and the whole tone shifts. A jet-black office comedy, slow-revealing what happens when the work you've been doing politely turns out to be something else entirely. At Signature through May 24.

Two New York doctors so burnt out they sign up for a couples' backpacking retreat, and end up trapped in a Golden Age musical that won't let them leave until they've found true love. The gag is that escaping their exhaustion looks suspiciously like falling for a Rodgers-and-Hammerstein cliché, and the score commits all the way. At the Nederlander.

The British secret-service typing pool runs a corpse-based deception that turns the tide of WWII, and the women who actually do the work spend the run-time watching the men collect the credit. A five-person troupe plays every role at full sprint, with office-supply choreography that became the show's calling card. At the Golden after sold-out runs in the West End.

Catherine is a brilliant young mathematician who put her own work on hold to take care of her brilliant, unstable father. Now he's gone, a notebook of breakthrough proofs has surfaced, and nobody — not her sister, not her father's protégé, not Catherine herself — is sure who actually wrote it. Ayo Edebiri leads at the Booth through July 19.

The Moulin Rouge's headliner is also the only thing keeping the lights on, the investor at bay, and the consumption at a manageable level. The pop-mashup score puts every working-too-hard ballad ever written ("Rolling in the Deep," "Royals," "Chandelier") in her mouth, and the corseted exhaustion lands. At the Al Hirschfeld.

Little Red ditches the cape and goes into the woods anyway. Company XIV's baroque-burlesque rework of the Perrault fairytale is all aerial silks, opulent costumes, and the kind of decadent choreography that earned the company its reputation as New York nightlife's longest-running fever dream. Twenty-one and up. At Théâtre XIV.

Julia, a successful TV journalist, discovers her attorney husband owns a Manhattan apartment she didn't know existed — and the young woman waiting inside who seems to know him a little too well. The two women face off and discover the burdens they're each carrying have more in common than the husband they share. At the Anne L. Bernstein Theater off-Broadway.

Henry VIII's six wives swap the history textbook for a pop concert and finally hold the mic, each taking a turn pitching the divorced/beheaded/died crowd on whose CV got worst-treated. Eighty intermission-free minutes of arena-energy pop reclamation in a Broadway house. The original girl-boss reclamation arc, with a Best Original Score Tony in tow.