One of the most original, provocative, and haunting new plays I’ve seen in more than 20 years as a critic was Jordan Harrison’s “Marjorie Prime,” a 2015 Pulitzer Prize finalist that was later adapted into a film. Set in the mid-21st century, it follows an elderly woman who enjoys the constant company of her late husband, in the form of a sophisticated hologram that has brought him back as a 30-year-old man.