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Cult of Love, the upcoming new Broadway play by Star Wars: The Acolyte writer and showrunner Leslye Headland, will feature a cast that includes Shailene Woodley (Big Little Lies), Zachary Quinto (American Horror Story), and Barbie Ferreira (Euphoria), producers announced today.

The Second Stage Theater production, directed by Trip Cullman, also will feature Molly Bernard (Younger), Roberta Colindrez (Broadway’s Fun Home), Rebecca Henderson (Star Wars: Acolyte), Christopher Lowell (Glow) and Christopher Sears (Off Broadway’s The Harvest).

Quinto is no stranger to Broadway – his credits include The Boys in the Band and The Glass Menagerie – while Woodley and Ferrari will be making their Broadway debuts.

The play, in its New York premiere, will begin previews on November 20 at Second Stage’s Helen Hayes Theater, with an official opening on December 12.

Additional casting will be announced shortly.

As previously announced, the synopsis reads: “It’s the holiday season for the Dahl family!

Shailene Woodley has joined the cast of the upcoming Broadway play Cult of Love from Leslye Headland, the creator of The Acolyte.

She joins Zachary Quinto and Euphoria star Barbie Ferreira, who have also boarded the play about four adult children from the Dahl family returning to their childhood home with their partners for the Christmas holidays, only to see their harmony interrupted as old and new conflicts arise.

Big Little Lies star Woodley, who currently appears in the Three Women TV series for Starz, is making her Broadway debut, as is Headland. The play’s ensemble cast also includes Molly Bernard, Roberta Colindrez, Rebecca Henderson, Christopher Lowell and Christopher Sears.

Woodley’s other credits include the Divergent film series and roles in The Fault in Our Stars, The Spectacular Now and The Descendants. Bernard is best known for playing Lauren Heller on Younger. She also starred in Milkwater and...

Christine Lahti has joined the cast of Sarah Gancher’s Russian Troll Farm: A Workplace Comedy, set to open Off-Broadway this winter.

The Oscar and Emmy winner will portray Lubja, a supervisor of a professional troll farm who hands down increasingly specific asks to her subordinates, in the office comedy-meets-political satire opening at off-Broadway’s Vineyard Theatre on Feb. 8. She will star alongside Haskell King, Renata Friedman, John Lavelle, and Hadi Tabbal in the play’s New York debut, directed by Tony winner Darko Tresnjak.

Set during the lead-up to the 2016 presidential election, Russian Troll Farm: A Workplace Comedy explores what happens in a place where office romances abound and one employee who just wants to win a microwave mix with a concerted, collective daily effort to lie. Steve (Lavelle), Masha (Friedman), Nikolai (Tabbal), and Egor (King) are among the fictional employees of the Internet Research Agency, a real Russian...

Exclusive: Emily Mann, who directed Daphne Rubin-Vega in the 2012 Broadway production of Tennessee Williams’ A Streetcar Named Desire, will re-team with both the actor and the playwright in December with an Off Broadway revival of The Night of the Iguana co-starring Tim Daly.

Also featured in the cast will be Lea DeLaria, Austin Pendleton and Jean Lichty. Previews begin December 6 at the Irene Diamond Stage at the Pershing Square Signature Center, with opening night on December 17. The engagement will run through February 25, 2024.

The staging is a production of La Femme Theatre Productions, a company dedicated to showcasing the diverse female experience. The announcement describes the production as “an evocative 21st century production of Tennessee Williams’s timeless masterpiece.”

“The Night of the Iguana poses critical questions of faith and identity that are particularly relevant today as we navigate a paradoxically divided yet open world,” Lichty said in a statement.

The scene of “Paradise Blue,” Dominique Morisseau’s black-and-bluesy play, is the Paradise Club, a drink and dance joint in Paradise Valley, the entertainment district of Detroit‘s black community known in 1949 as Blackbottom. The drinks are strong, the rooms are cheap, and you can hear live music by terrific jazzmen like Blue, who plays a mean trumpet when he isn’t too depressed to lift his horn to his lips.

Program notes inform us that Paradise Valley is not long for this world, doomed to fall under the wrecking-ball projects that would soon “urban-renew” the entire black community out of existence. That bit of background lends a good deal of perspective to the play, and it’s too bad that the playwright didn’t make it integral to her plot-thin drama. Lacking that kind of thematic core, the play restricts itself to being an atmospheric but insubstantial slice of dramatic life.