According to the program of Sexual Healing, which spices up Theater 3 through January 30, “Any similarity between any characters depicted in this play and any actual persons ... is strictly coincidental.” So while watching Dr. Munson and his assistant-turned-wife, Desiree, perform Kinseyian tests in a Cleveland obstetrics clinic from 1959 to 1992, don’t think of pioneering sex researchers William H. Masters and Virginia E. Johnson. The fictional clinic in this unfocused drama uses female sexual surrogates to cure impotency in straight couples and — vaginal entry only! — homosexuality in males. I prescribe that playwright-director Jonathan Leaf strip some poor storytelling techniques and clumsy attempts at humor, but in light of the lopsided male-to-female nudity and Hugh Sinclair’s unaffecting portrayal of two homosexual patients, Sexual Healing might be better cured with a dose of gay sensibility.

Gay if not always sensible, David Greenspan is a lot smarter than me. This has never been more evident than after seeing his solo play The Myopia: An Epic Burlesque of Tragic Proportion, which will leave audiences breathless and boggled until February 7 at the Atlantic Stage 2. An odd fixture of New York’s downtown performance scene (and an Obie award winner for Terrence McNally’s Some Men and a revival of The Boys in the Band), Greenspan demands we reconsider and reexamine all our preconceived notions about the theater as he upends stage conventions to create — only in your mind’s eye — a complex theatrical landscape involving Warren G. Harding, a Jewish Rapunzel, and Carol Channing. Last seen in 2003, this armchair-anchored one-man marvel is appropriately preceded by a slightly winky reading of Gertrude Stein’s 1934 lecture Plays as a double feature on weekends.