Mask and Bauble’s latest show, the Tony Award-winning musical “Cabaret,” is a tough undertaking.

One moment, the doomed Scottish usurper Macbeth clutches at a dagger in midair, but his hand cannot grasp it — is it really there? Later, talking heads and even an entire person emerge from the steaming cauldron of the three witches to ominously deliver the decisive prophecies of Macbeth’s fate — but how on earth did all these figures fit inside?

David French’s “Salt Water Moon,” directed by Alex Kostura (SFS ’09), is a highly romantic, fresh and witty play that attests to the possibility of finding young and enduring love. Set on an August night in 1962 on the front porch of a humble residence in Newfoundland, the story is a cultural piece that touches on Irish immigration, romance and coming of age.

I left not really sure what I had just witnessed. A political satire? A tragicomic, philosophical metaphor on America’s current political situation? A modern Greek drama?

People’s inward desires do not always reflect their outward actions. The characters in “Black Comedy” are battling this conflict, but luckily for them, most of the play takes place in complete darkness, allowing them to go after what they really want without needing to hide their true desires.

The word “slut” is written across the tumbling down wall of a woman’s house, and the woman in question can’t read what it says.

The stage is simply set with a black backdrop and red curtains.

“Wisconsin Death Trip,” the Program in Performing Arts’ new production premiering now, is an appropriate title in more ways than one.

On a bare stage sit two chairs and a row of microphones; the actors are wearing jeans and colored T-shirts and stand reading their lines from the script. Yet one hardly notices the details — or rather lack thereof.