Now where were we?

Ah, yes, sharing some pithy thoughts on shows that have opened this season for those Connecticut folks who want to take in a Broadway show after a long period of being without that show biz fizz.

To help as a guide for Connecticut theater-goers heading to Manhattan, here is the second part of my highly opinionated, short-and-snappy takes on shows I’ve seen. (I’ve already posted my deep-dive Variety reviews of the revival of “Take Me Out,” the new musical “Six,” the “Funny Girl” revival and the new musical “Mr. Saturday Night” with Billy Crystal .

In Part 1, I gave my take on “Plaza Suite,” “MJ,” “The Music Man” and “Company” and a few shows since closed.

Now for a look at a few more plays and musicals…

“Hangmen:” For those who are familiar with Martin McDonagh’s plays (The Pillowman,” “The Beauty Queen of Leenane,” “The Cripple of Inishmaan”), the subject and tone of this dark, dark comedy should be no surprise. Set in 1965 England when hanging as the method of capital punishment was recently outlawed, Harry (David Threlfall) — a famous hangman, England second most famous — now owns a pub and lords over his family and cronies. But a stranger arrives (Alfie Allen, who also got put through the ringer in “Game off Thrones”), adding suspense, paranoia and horror to the surroundings — not to mention lots of uneasy laughs, An off-beat fare for those who whistle in graveyards.

“A Strange Loop:” When I first saw this existential musical before the pandemic, off-Broadway, I was blown away by its dare, creativity, humor and musical muscle. I thought it needed some fine- tuning and editing but it never-the-less won the Pulitzer and is now a critics’ darling on Broadway. It’s still a force of nature but I still have some issues of its raunch and its last quarter doesn’t fulfill the work’s ambitions for me. Still, it’s the most exciting new show on Broadway.

“Girl From The North Country: What an extraordinary night in the theater where grace, sadness and hope are presented in such an honest and artful way. Written and directed by Conor McPherson, the career-spanning songs of Bob Dyan are used to express the emotions of a group of people living (barely) through the Great Depression. Move over Woody Guthrie; Dylan’s words and music touch the soul of a complex, diverse people. It’s 1934 Duluth, Minn., (Dylan was born there) and things are pretty bad and yes it’s mood is often bleak but it’s not depressing. Well, truthfully it is in a way, but the show is lalso rich and profound . It is like a wondrous, enigmatic prayer with voices rising up with amazing grace. Mare Winningham — she is one of the best American actresses around — is luminous. as one of the folks at this boarding house setting. Of all the shows I’ve seen this season, this is the one I’d go back for seconds.

“How I Learned To Drive”: How could I have missed seeing this quiet power-house play since it won the Pulitzer 25 years ago for Paula Vogel and is just now making it to Broadway.? Don’t you miss it. It has some of the best acting on stage around. It’s a meditation of abuse, trust, betrayal and understanding as an adult woman looks back at the relationship her younger self had with her all-too-loving uncle. David Morse and Mary Louise Parker return to the roles they originated (director Mark Brokaw, too) and are simply astonishing, The alway- great Johnna Day also returns for this production and has a monologue that is stunning. This isa production for those who crave deep drama on serious subjects. This one will haunt your dreams for a long time. Side note: I first saw Morse in a musical “The Point” in Boston nearly 50 years ago and knew then that he was someone to watch and I’ve been continual;ly impressed with his talent for all these many decades.

MORE TO COME IN PART 3