“Beasley’s Christmas Party,” a charming adaptation of a Booth Tarkington story, is told with such a light touch that you might overlook its contrivances.
Stephen Belber’s enjoyable if flawed “Fault Lines” is part of a genre about vaguely homoerotic male friendship in which the towel-slapping banter usually hides much deeper divides.
“Artefacts,” the compelling bullet of a play in this year’s Brits Off Broadway festival, takes place on a smoky stage in the round that has the dark, hazy look of a bad dream.