Cooper’s biting “Ain’t No Mo’,” a series of sharply satirical vignettes about race and America. This category boasts three previous Pulitzer Prize winners for Drama: Martyna Majok’s wrenching yet unsentimental caregiver drama “Cost of Living,” starring two actors with disabilities Stephen Adly Guirgis’s searing morality play “Between Riverside and Crazy,” exploring paradoxes about racism, police violence, and victimhood and James Ijames’s “Fat Ham,” a fierce, funny, and moving spin on “Hamlet,” set at a backyard barbecue and centering a queer character who is grappling with trauma and toxic masculinity. Created by South Boston native David Lindsay-Abaire (“Good People”) and composer Jeanine Tesori (“Fun Home”), this masterful musical shifts seamlessly between wildly profane comedy, antic absurdity, and heart-rending poignancy.Īlso nominated: “Cost of Living,” “Between Riverside and Crazy,” “Ain’t No Mo’ ” But the season’s best show is “Kimberly Akimbo,” about a teenage girl suffering from a rapid-aging disease and her budding friendship with a nerdy, anagram-loving classmate. The upstart underdog “Shucked” is a rollicking good time with its parade of puns, double entendres, and deadpan one-liners. A sharp, ebullient adaptation of the classic 1959 film “Some Like It Hot,” in which two Chicago musicians flee mob hitmen by posing as women, expands the movie’s coy-yet-subversive exploration of gender into a full-blown awakening. Kander and Ebb’s “New York, New York” boasts dynamic performances from Colton Ryan and Anna Uzele and a roof-raising rendition of the ubiquitous ode to the city that never sleeps, but its edginess is ersatz. “& Juliet” weaves together the infectious pop anthems of Swedish hitmaker Max Martin (“Since U Been Gone,” “Can’t Stop the Feeling”) into a clever feminist spin on Shakespeare, but the show can feel as synthetic and jejune as its disposable earworms.
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