Fun Home avoids simple resolution of complex issues, and the musical feels faithful to the tone and storyline of Bechdel’s 2006 memoir. But memoir and musical are distinct forms. The former relied on its author’s childhood journal and an astonishing cache of saved letters, memorabilia, notes, photos, news clips, and literary quotes to generate drawings and captions. The musical, on the other hand, displays not thoughts or images but behavior: it uses actors to tell the story.

IT’S THE SEASON of gay revivals on Broadway and Off, and the latest is Harvey Fierstein’s Torch Song, formerly known as Torch Song Trilogy. The original four-hour production of 1982 has been trimmed into a two-act version under three hours, including intermission. Yet the play still covers the same ground: the travails of Arnold Beckoff, a flamboyantly self-dramatizing and wisecracking drag queen seeking true love.

Indecent is at once a compressed history of a daring Yiddish play, God of Vengeance, written by the Polish novelist Sholem Asch in 1907, and a celebration of the stagecraft that makes theater distinct from film.

Afterglow, based in part on S. Asher Gelman’s own experience with an extra-marital relationship, shows that he can write strong individual scenes for his actors that have the ring of truth.

Lane’s performance in this production is simply jaw-dropping. Kushner’s pleasure in writing such a dark character is evident: he gave Cohn a lot of the best lines.

In keeping with its name, Gently Down the Stream proceeds at a leisurely pace, but Gabriel Ebert’s hyperactive Rufus keeps the emotional narrative percolating.