Charlie and the Chocolate Factory the Musical, tour presented by Broadway in Boston at the Opera House, Boston, through January 20. BroadwayinBoston.com or 800-982-2787

A Doll's House, Part 2, Huntington Theatre Company, Boston, through February 3. 617-266-0800, 617-933-8600 or huntingtontheatre.com

Charlie and the Chocolate Factory the Musical,

Roald Dahl was a kind of literary master chocolatier. The late Welsh short story writer and novelist skillfully whipped up edgy narratives like "Lamb to the Slaughter" and "Mathilda." So it goes with "Charlie and the Chocolate Factory." Unfortunately the 2017 Broadway musical version of this popular 1964 classic lacks the delicious nastiness of its dark predecessor. Although the audience for the Opera House tour performance this critic saw gave the show a standing ovation, "Charlie and the Chocolate Factory the Musical" needs the Cordon Bleu caliber that distinguished the stage edition of "Matilda."

Admittedly there are Michelin quality performances in a show featuring a David Greig book that ought to be darker—namely Noah Weisberg as factory reopening Willy Wonka and Rueby Wood (at certain performances Henry Boshart or Collin Jeffery) as plucky hero Charlie Bucket. Under Jack O'Brien's skillful direction, Weisberg has the right energy and vibrant singing voice befitting eccentric Wonka-particularly on the Marc Shaiman-Scott Wittman winner "Candy Man" and the Leslie Bricusse-Anthony Newley standout "Pure Imagination."

Disconcertingly, though, this musical makes the hearty entrepreneur—who ensnares the other four Golden Ticket-bearing children and their generally unquestioning parent—more charming than menacing. Wood captures Charlie's decency and resourcefulness as well as his devotion to family. James Young as Grandpa Joe convincingly moves from being bed-bound to action with Charlie. The factory-working Oompa Oompas are vividly realized. Basil Twist deserves special kudos for his puppet wizardry and illusion design.

Wonka Bars may be a singular treat, but "Charlie and the Chocolate Factory" needs more unprocessed Dahl.

A Doll's House, Part 2

Henrik Ibsen ignited a multi-alarm world-wide cultural fire when profoundly discontent Nora left her Norwegian banker husband Torvald and their children at the end of his provocative 1879 drama "A Doll's House." In 2017, American playwright Lucas Hnath daringly made his Broadway debut with "A Doll's House, Part 2"—a work controversial not the least for its striking title. While speculating on what happens to Nora after that departure, this exhilaratingly thoughtful 90-minute Tony-nominated play possesses a raison d'etre much more satisfying than simply being a sequel. In fact, the area premiere—tautly directed by Les Waters for the Huntington Theatre Company—both respects its landmark predecessor (in eminent domain for many years) and demonstrates that Hnath himself is a writer of considerable talent.

That gratifying combination of respect and talent has clearly moved Hnath to open his play with Nora knocking insistently—on the very door she slammed in leaving home—and seeking as much dialogue and understanding as possible. At the same time, the wife now writer admits that she is also looking for Torvald's actual signature having learned that he failed to sign their divorce document. To his credit, the playwright gives fair attention to Nora and Torvald's very different points of view as well as the insights of nanny Anne Marie and her discomfort at being "in the middle" between the verbal combatants. Nora herself expresses sadness at having left her children even as she defends her needs as a woman. Revealing moments are also given to now grown-up daughter Emmy, who has clearly been raised by Anne Marie in the absence of her mother.

Director Waters orchestrates the verbal confrontations and revelations with the nuance of a master conductor. Mary Beth Fisher has all of returning Nora's determination and drive. As a fully empowered Nora, she smartly displays self-motivation with John Judd's rightly conflicted Torvald, tough respect with Nancy E. Carroll's richly feisty Anne Marie and sadness coupled with admiration for Nikki Massoud's arrestingly resolute Emmy. Fisher and Judd finely calibrate Nora and Judd's alternately volatile and sensitive truth-telling with the result some of the play's most moving moments. Body language—particularly as characters turn away or move confidently towards each other—is sharply enhanced by the purposely spare Andrew Boyce set (with Torvald having sold off Nora's items).

Near the end of Hnath's luminous follow-up to Ibsen's prescient drama, Nora voices the feeling that someday the world will be different and free. "A Doll's House, Part 2" beautifully adds to the on-going blueprint for changing gender mindsets. Huntington Theatre Company's well-drafted premiere is a must-see residence.

Of note

Small stage best list honoree "Ripe Frenzy" was a collaboration of Boston Center for American Performance and New Repertory Theatre.

If you missed SpeakEasy Stage Company's inspired production of the Tony Award-winning musical "Fun Home "at the Calderwood Pavilion, you have a second chance June 8-30. Virtually the entire strong cast will return in this 'Best of 2018' staging.

Seth Rudetsky—whose Huntington Theatre Company presentation at the Calderwood Pavilion with Chita Rivera made the special theatrical portion of this critic's 'Best of 2018' list—returns January 26 at 5 and 8 p.m. in the BCA's Calderwood Pavilion. This time the IRNE Award winner will be joined by two-time Tony Award honoree Christine Ebersole ("42nd Street" and "Grey Gardens"). This critic was wowed by Ebersole's brilliant work as the Beales—mother and daughter—in "Grey Gardens." She recently played Elizabeth Arden with compelling tenacity in the somewhat absorbing Broadway musical "War Paint," which also featured bravura work from Patti Lupone as Helena Rubenstein. Gifted Ebersole is always a must-see for her glorious voice and superb dramatics.