Your 2026 Boston Theater Calendar

The theater season is in full swing, and if you’re thinking about winter and spring performances, now is the time to make choices. I always have a hard time with this, and that’s why a beautiful, easy-to-use calendar is at the top of my must-have list for Scene in Boston.

Until we get that ideal calendar, I’ve assembled a bare-bones version—a stripped-down spreadsheet with just theater name, production, a summary from the theater’s website, and the run dates. You can find it here or download it at the link below. If there’s something missing—or something wrong—let me know and I’ll fix it.

A peek at my own calendar is below, and gives you some hints about where our first episodes are headed.

January is intense: Wonder (ART), Girl Crime (Boston Center for the Arts), Job (SpeakEasy Stage Company)—three totally different ways of talking about belonging, pressure, and the stories we tell about ourselves. If I can make it work, I’m taking my kids to Library Lion (Calderwood Pavilion), because they’ve already fallen in love with the puppet from the promo video.

February leans mythic: Penelope (Lyric Stage), Hadestown (Emerson Colonial Theater), and The Moderate (Central Square Theater)—a month that asks why we keep returning to old stories, and what happens when the internet eats our attention.

In March and April, the Ufot Family Cycle comes roaring back with In Old Age (Front Porch Arts Collective) and Lifted (Wellesley Repertory Theatre), and there are big questions about justice and community in shows like Weighting the Weight (Open Theater Project), The Outsiders (Citizen Bank Opera House), and Gem of the Ocean (Actor’s Shakespeare Project). And if I can swing it, I’m taking the kids to Charlotte’s Web at Wheelock Family Theater.

By May and June, things get fun and a little strange: Swept Away (SpeakEasy Stage Company), Something Rotten (Lyric Stage), The Mystery of Irma Vep (Central Square Theater), and Eureka Day (Eureka Day)—a mix of satire, spectacle, and moral chaos.

And in July, A New Era (Company One Theater) closes out the season with a look at political legacy and who gets remembered.

All of this means you’ll hear episodes about how we learn to be audience members, why Boston is obsessed with Greek tragedy right now, how theaters are talking about trauma and the internet, and what it means to follow a nine-play family story across the entire city. But what I’m really aiming for is this: to see a wide enough range of work that I can bring you real comparisons, real patterns, and real questions—not just a list of what’s on stage, though we’ll have that, too!

We’re close to launch. Until then—what are you planning to see?