She Loves Me (Williamstown Theatre Festival, Williamstown, Mass., closes July 12). Nicholas Martin’s Boston revival of the 1962 Jerry Bock-Sheldon Harnick musical version of The Shop Around the Corner has transferred to the Williamstown Theatre Festival for a three-week run. Catch it if you can. She Loves Me is the most sweetly romantic musical imaginable, give or take The Fantasticks, and this lovely production does it full justice. Kate Baldwin is letter-perfect (right down to her high C) in the role created by Barbara Cook (TT).

Richard Stark, Dirty Money (Grand Central, $23.99). Flash: Parker’s back. The ruthless burglar you hate to love is out to retrieve, launder, and spend the money he stole and stashed four years ago in Nobody Runs Forever, and–as usual–he’ll do anything to get what he wants. Cold, amoral, and impeccably professional, Parker is Donald E. Westlake’s most memorable and disturbing creation, and the twenty-fourth of his published capers is every bit as satisfying as its predecessors. Mr. Anecdotal Evidence had an instant conversion experience after reading No. 23, Ask the Parrot. What are you waiting for? (TT).

Boeing-Boeing (Longacre Theatre, 220 W. 48). Bliss comes to Broadway in the unlikely form of a half-remembered French comedy that crashed and burned when it last played the Great White Way in 1965. Marc Camoletti’s seven-door farce, in which two hapless bachelors juggle three sexy stewardesses and a haughty Parisian maid, is feather-light, totally dated, utterly irrelevant, and rib-crackingly funny, in large part because of the brilliant performances of Mark Rylance and Christine Baranski. Give your brain a night off and do some serious laughing (TT).

Hilary Hahn, Schoenberg/Sibelius Violin Concertos (DGG). America’s best young classical violinist has taken on a real nutcracker this time around: Arnold Schoenberg’s 1936 concerto, a finger-twistingly hard piece of twelve-tone neoromanticism that sounds like Brahms gone bonkers. Even if you don’t buy Schoenberg’s music–which I don’t–you’ll find this specimen perversely fascinating, and Hahn has taken out a gilt-edged accident insurance policy by coupling it with Sibelius’ ever-popular D Minor Concerto. Needless to say, the violin playing is fabulous, and Esa-Pekka Salonen and the Swedish Radio Symphony Orchestra provide immaculate support (TT).

William Maxwell, Early Novels and Stories (Library of America, $35). How did I fail to laud this collection when it came out earlier this year? Too busy, I guess, but it’s never too late to sing the praises of Maxwell, a legendary New Yorker fiction editor who doubled as one of this country’s most remarkable and least appreciated novelists. The Folded Leaf, written in 1945 and included in this collection, is the place to start, a deeply intelligent tale of adolescence angst that avoids all the pitfalls common to that genre. Also included is “The Writer as Illusionist,” a 1955 essay in which Maxwell discussed his soft-spoken art with characteristic acuteness (TT).

Legendary Piano Recordings: The Complete Grieg, Saint-Saëns, Pugno, and Diémer (Marston Records, two CDs). Edvard Grieg, the first composer of significance to make records, cut nine 78s of his own compositions for piano during a visit to Paris in 1903. One year later Camille Saint-Saëns made the first in a series of sixteen recordings in which he plays piano solos and accompanies a good violinist and a not-so-good mezzo-soprano. All these stupendously rare performances, plus other important piano recordings of similar vintage, have now been transferred to CD by Ward Marston in meticulously pitch-corrected versions. The sound may be primitive, but the interpretations come through with uncanny, even eerie clarity, and as you listen to Grieg rippling blithely through “Butterfly” or Saint-Saëns tossing off his “Valse nonchalante” with fey elegance, you will feel closer to the lost world of nineteenth-century pianism than you ever before thought possible (TT).

The Four of Us (City Center, 131 W. 55, extended through May 18). Prodigy playwright Itamar Moses’ latest is a sharp-witted study of two young writers whose friendship is endangered when they succeed at different rates of speed. It has the feel of a first-rate indie flick, enhanced by the intimacy of an off-Broadway stage production. Smart, crisp, touching (TT).

Damages (Season 1). This show has it all: Smart scripts, stylish direction, and a phenomenal cast anchored by Glenn Close. Not to mention murder, skullduggery, and noir action galore. Yet despite a fistful of Golden Globe nominations (and a Best Actress award for Close) this FX series still seems to be flying under the radar. With Season 2 not scheduled to air until January 2009, now’s the perfect time to catch up. Close plays Patty Hewes, a high-profile litigator who is gunning for Arthur Frobisher (Ted Danson), a billionaire CEO accused of emptying his company’s retirement coffers. Patty Hewes’ protégé, Ellen Parsons (Rose Byrne), is the young lamb/ first-year associate who ends up on the dark side of the looking glass (CAAF).