Mark Morris’s Summer Season

Shortly after the conclusion of the fourth season of the Netflix blockbuster “Stranger Things,” in 2022, one of the series regulars, Joe Keery, released “Decide,” his second album as Djo. His career as a musician largely existed in the huge shadow of the show, and for a while it seemed as if it would stay that way—at least until, curiously, nearly two years later, one of the songs on “Decide,” the wistful “End of Beginning,” went viral on TikTok. The single became a bona-fide hit, and it spurred a cult following for Keery as a pop-rock sparkplug, culminating in the release of a new LP, “The Crux,” in 2025. He is joined in this show by the Australian psych-rock band Pond.—Sheldon Pearce (Forest Hills Stadium; July 17.)

Off Broadway

Based on the gently wistful 1999 film of the same name, the musical “A Walk on the Moon” tracks the sexual awakening of Pearl (Talia Suskauer), a housewife whose marriage to the TV repairman Marty (Max Chernin) is unsettled, during the sultry summer of 1969, by an encounter with the peripatetic blouse salesman Walker (Sam Gravitte). A giant moon in the backdrop swells like a balloon—an apt metaphor for a strangely under-oxygenated production that repeatedly treats epochal events such as the moon landing as screen savers for Pearl’s self-actualization. Despite its committed performances, the show, with music by AnnMarie Milazzo and a book by Pamela Gray, traces an all too familiar emotional arc, and does little to evoke the quicksand sensation of falling in love.—R.F. (Laura Pels; through Aug. 22.)

Movies

Ross McElwee, a longtime personal documentarian whose family figures prominently in his films, faces tragedy in “Remake”: the death of his son, Adrian, in 2016, at the age of twenty-seven, from an overdose of fentanyl. This loving, anguished memorial movie includes copious clips of Adrian from the director’s earlier films and from home movies. Adrian, creative and energetic from childhood on—and raised in the presence of movie cameras—became a filmmaker himself, fusing a passion for extreme skiing with his cinematic sensibility. He also struggled with mental illness and substance abuse, and had begun to make a documentary about his troubles. McElwee presents generous and poignant selections from his son’s work, while also reckoning with his own life and career—and with the practice, and the ethics, of filming his family.—Richard Brody (Film Forum; opening July 10.)