Steve Humphrey was charmed by John Morris' motley collection of superheroes so ill-equipped for their jobs that they disappeared from popular memory. A few standouts from The League of Regrettable Superheroes? "Bozo the Iron Man (1939) was a simultaneously silly-looking and terrifying robot whose frozen grin and beanie propeller belied an ability to fight crooks and sharks, and stop missiles with his huge metal hands (inspiring his strapping sidekick Hugh Hazzard to quip, 'Nice catch, Bozo!')," he writes. He also generously provides a list of heroes who "are joyous enough without further description; such as Professor Supermind & Son, Kangaroo Man, Dynamite Thor, Stardust the Super-Wizard, Mr. Muscles, and the narcoleptic crime-fighting team Nightmare and Sleepy."

NIGHTMARE AND SLEEPY. REALLY. Those are the names of superheroes. Let's just let that sink in for a minute.

At Profile Theatre, Sarah Ruhl's infamous* Vibrator Play proves to be about exactly what you think, and also way more. I really liked it! And best of all, it means I don't have to write yet another grousing review about great acting wasted on uninspired source material. From my review: "Her dialogue moves freely between the lyrical and the everyday. She's one of those rare playwrights (think Mary Zimmerman) who can toss off convincing drawing-room conversation, then hit you with an image so poetic and destabilizing that you're shocked to attention. Ruhl does what I wish more playwrights would: She makes the ordinary strange."

Remember when the internet almost killed the music business as we know it? Remember that innocent time when you could still buy a CD or watch a DVD without being subjected to an angry-looking warning against piracy? Stephen Witt's new book, How Music Got Free, looks back on those days—and at what happened when major players in the lawsuit-happy music biz started fighting back. "Witt's writing is feisty and, at times, unnecessarily snarky, but his intertwined narratives are fascinating and brisk, and he imparts huge amounts of information and complex macroeconomic analysis in very readable chunks," writes Ned Lannamann of the book. "There's a lot to learn from the music business' antagonistic relationship with the technology that defined it, and Witt lays it all out on the page."

In other art news: High-brow, sophisticated, European jokes in Artist Repertory Theatre's The Liar, which closes this weekend. Never send a pill to do a book's job. Disjecta announces Michelle Grabner as curator for the Portland 2016 Biennial of Contemporary Art.

*By infamous, I clearly mean Tony-nominated.