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The New York Times amphitheater critics Ben Brantley and Jesse Green abounding the aperture weekend of the Public Theater’s anniversary Below the Radar festival. Here’s the aboriginal of their letters on the beginning assignment on display. The anniversary runs through Jan. 13 at assorted venues; for added advice appointment publictheater.org.

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Through Jan. 13.

If you’re creeped out by Villanelle — the angel-faced psychopath from “Killing Eve” — you may appetite to beacon bright of the nameless woman who opens this acerb bifold bill of monologues. But if you adore unblinking journeys into accustomed hearts of black (and hey, I don’t adjudicator you), again this account of a blank-faced adolescent Brooklynite may be aloof your ticket.

She is embodied by a anemic and attenuated Julia Mounsey, who with Peter Mills Weiss created this icy diptych about giving and accepting pain. Admitting alone in her aboriginal 20s, Ms. Mounsey’s appearance has ample out her absolute purpose in life, and she’s absolutely air-conditioned with it: She exists to aching added people.

That description has annihilation to do with the rituals of consensual sadomasochism. She works by stealth, and back she accomplishes her goal, these victims are absurd to accusation her for their suffering.

Recounting such victories is about abundant to accompany a smile to her face, except ad-lib smiles are not allotment of her concrete vocabulary. She has acquainted alone from her anatomy back she was a child, she says. And Ms. Mounsey’s uncannily apathetic attendance suggests a action amid anatomy and anatomy that has concluded in the coiled antithesis of a draw.

If you encountered this appearance at, say, a Williamsburg bar, you apparently wouldn’t attending alert at her. But as Ms. Mounsey’s restless, appraising boring makes clear, she would alarm you, for sure. (The abode lights are larboard on during her monologue, so you are in her band of vision.)

The adolescent woman who inhabits the evening’s additional bisected is appealing abundant the adverse of the one played by Ms. Mounsey. Portrayed with relentless, nerve-shredding shrillness by Mo Fry Pasic, she wouldn’t arise to acquire a atom of self-awareness as she careers through agitated buzz calls with her mother and her bestie. She seems as twittery and chargeless of anticipation as the parakeet apparent in an onscreen video.

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But as with the show’s aboriginal part, this articulation gives us an about achingly ordinary-seeming blazon — the narcissistic, apparent burghal article — and strips it to its annoying core. There is great affliction and self-hatred at the affection of Ms. Pasic’s performance.

The appellation of “50/50” comes from a GIF on the internet declared by Ms. Mounsey’s character. It’s a nasty, activated delineation of a woman trapped in a ache device. I wouldn’t advance attractive it up and watching it. But it speaks volumes about a ability that would aftermath both these acutely abashing women. BEN BRANTLEY

Through Jan. 7.

They are apparent aboriginal alone as shadows, 10 about airy forms in the darkness. But there is ablaze on the stage, too, in the anatomy of the tiny electric candles that prick the enveloping blackness.

These are blaze to be fanned into flame. By the end of “Hear Word! Naija Woman Talk True,” from the Nigerian aggregation iOpenEye Ltd., the accuracy beaming from its all-female casting has the blaze and calefaction of a angry bonfire.

Written and directed by Ifeoma Fafunwa, “Hear Word!” is advertising amphitheater of an awfully basic order. A aggregate of song, dance, sketches and soliloquies, this activation assembly traces the injustices below which Nigerian women live, afore axis into a celebrating abolishment of misogyny.

The appearance begins with a reference, in projected supertitles, to the internationally abominable kidnapping of 276 schoolgirls from the apple of Chibok by the Boko Haram. It again cannily segues into a satirically cadenced barter amid three women about annoyances accustomed to about any changeable on this planet — actuality catcalled, ogled and accidentally fondled by men.

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What follows is far harsher, an artfully staggered, more agonizing delineation of the institutionally accustomed forms of abasement and subjugation.

A 12-year-old bride, her anatomy ravaged by the adulterated commitment of a stillborn child, is alone by her bedmate and boarded to a activity of banishment in her father’s house. A wearily accommodated wife is alive by her bedmate to sexually account a physically abhorrent but locally able guest. A added is affected to sit for canicule and nights on the grave of her husband.

Ms. Fafunwa makes it bright that men are not the alone culprits. Censorious matrons are heard chattering and black about women who do not ally or aftermath progeny, or anticipate too abundant of themselves.

But almost amid through, the appearance is adapted from an activated account of grievances to a alarm to rebellion, abounding with songs and dances of defiance.

Perhaps best acceptable are the accounts of women demography ascendancy in the conjugal bedroom, in a association area “his admiration determines your value,” and affability is believed to end at 40.

These women accommodate Sister Esther, a born-again Christian who was brought up to accept that what exists amid her legs is Satan’s playground. On her honeymoon, she discovers that, on the contrary, sex is a allowance from God. And an orgasm? That’s “my vagina singing hallelujah.” BEN BRANTLEY

Through Jan. 13.

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Under the Radar sometimes seems like the Public Theater’s post-Advent calendar, with ability buried in every accouter cranny. “The Algid Record,” from the Rude Mechs aggregate in Austin, Tex., hangs out in a classroom about on what seems to be a apportioned attic amid floors. Appropriately enough, the amplitude is done up for the achievement as a basement rec room, complete with assorted chairs and a fridge abounding of beer.

I say appropriately because “The Algid Record,” accounting and performed by Kirk Lynn, is aggressively informal, ambuscade its ability and intentions below the angle of its setup. From the start, Mr. Lynn, a affable guy in an undershirt, tells us that “not much” is activity to happen. He’s there artlessly to accomplish us a mixtape and again acquaint a 28-minute story.

To that end, Mr. Lynn begins by calling out the titles of jailbait bedrock songs that admirers associates accept ahead identified, on a website, as their favorites. One by one the nominators are asked to explain what the called song agency to them, which is usually some aberration of “I admired it.” (Among the choices on Friday night were “Clampdown” by The Clash and “Rapture” by Blondie.) Mr. Lynn again plays a atom of anniversary and offers a bit of trivia about it.

If you are a jailbait bedrock fan, as affluence of the 20-person admirers seemed to be, you may acquisition this enthralling. I begin it aimless, alike admitting Mr. Lynn, an aesthetic administrator of Rude Mechs, promised to email anybody the consistent mixtape.

But again comes the story, which Mr. Lynn rattles off in mile-a-minute alacrity and a assured actor’s ascendancy of the audience. This part, too, is about jailbait rock, at atomic laterally: A 12-year-old misfit finds an alien announcement of his unhappiness, and appropriately a baby cure for it, in alert to the music. In adjustment to do so in clandestine and at the actual acrid volume, he pretends to be ailing best canicule at academy so the assistant will accelerate him home; in this way, he has appear abutting to assault the apprentice almanac for colds — appropriately the title.

As directed by Alexandra Bassiakou Shaw, the story, arresting and sad and beautifully delivered, is leavened by its pacing and its affably low-tech appropriate effects. (Stars on the ceiling? No problem!)

But I couldn’t advice feeling, as I accept with added Rude Mechs productions — including “Stop Hitting Yourself,” additionally by Mr. Lynn — that the advisedly anti-theatrical approach of presentation has bachelor itself from the able affair the appearance seeks to dramatize. At some point, a assignment charge accede its own ambition, or accident abrogation the admirers with a algid almanac of its own. JESSE GREEN

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