WITH all the wailing and gnashing of teeth that’s been going on since the beginning of the Broadway strike, you’d think that there was no other theater in this town. Well, think again. There are hundreds of off- and off-off-Broadway shows still going strong. We mean it – literally hundreds of productions in every genre you can think of. The tricky part is figuring out which of them are actually worth seeing. That’s where we come in: The Post’s highly selective guide to New York’s non-Broadway theater.

Musicals

Off-Broadway can’t offer the production values of a “Wicked” or “The Lion King,” but then you don’t have to shell out the big bucks, either. Where “Young Frankenstein” (which is still playing, by the way) can cost up to $450 per ticket, a typical off- ticket is $TK. But there are plenty of off-Broadway musicals that offer pleasures of a more cerebral kind, including “The Glorious Ones,” about a 16th-century Italian commedia dell’arte troupe; “Gone Missing,” the Civilians’ cheeky ode to misplaced objects; and “Make Me a Song: The Music of William Finn,” a musical revue featuring songs from the composer of “Falsettos” and “25th Annual Putnam County Spelling Bee.” You can also enjoy the nostalgic pleasures of “The Fantasticks,” the campy fun of “Altar Boyz” and the soaring voices of “Three Mo’ Tenors” – not to mention something you can’t find on Broadway – namely “Naked Boys Singing!”

Plays:

You’ll have to wait a while to get your Tom Stoppard fix or see if the tremendous buzz about “August: Osage County” and “The Seafarer” is justified. In the meantime, there is no shortage of serious dramas, including “The Overwhelming,” about the 1994 Rwandan genocide; “Peter and Jerry,” Edward Albee’s pairing of his classic “Zoo Story” with a freshly written companion piece, “Homelife “The Joy Luck Club,” an adaptation of Amy Tan’s best-selling novel about Asian-American immigrants; “Crime and Punishment,” an inspired, 90-minute distillation of the Dostoyevsky novel; and “Yellow Fever,” David Henry Hwang’s new play based on the controversy over the casting of Jonathan Pryce in “Miss Saigon.” In a lighter vein, Charles Busch is once playing an archetypal diva in his campy comedy “Die Mommie Die!”

The classics:

Sure, you won’t find movie stars like Jennifer Garner – now cooling her heels while “Cyrano de Bergerac” is on hold – but off-Broadway has always been where the classics have thrived. Especially Shakespeare, as evidenced by the Wooster Group’s avant-garde take on “Hamlet” as filtered through the 1964 filmed stage production starring Richard Burton, and the CSC’s “Richard III,” with Michael Cumpsty offering a disarmingly charming take on the title role. If you want something more obscure, check out the Pearl’s revival of “The Constant Couple,” a rarely seen Restoration comedy by George Farquhar, or “Hamlet, Prince of Denmark,” as performed by a cast of marionettes on a vintage carousel.

Family shows:

Kiddies are bawling cause they can’t see “The Grinch” or “The Little Mermaid?” Feh. The “Radio City Christmas Spectacular” is up and running in a spiffy new rendition celebrating its 75th anniversary; Cirque du Soleil weighs in with its first show aimed at children, “Wintuk the venerable Big Apple Circus is back in town with its latest production, “Celebrate! and the “Gazillion Bubble Show Holiday Spectacular” offers soapy interactive delights. Teenagers will certainly enjoy the nonstop percussion of “Stomp,” the deadpan humor of “Blue Man Group,” the martial arts exertions in “Jump” and the sheer sensory overload of “Fuerzabruta.”

One-person shows:

Who needs Chazz Palminteri’s “A Bronx Tale”? Go solo with “Edge,” featuring Angelica Torn’s searing turn as poet Sylvia Plath; “Dai (Enough)”, Iris Bahr’s multicharacter portrait of the Middle East; “Tings Dey Happen,” in which Dan Hoyle plays myriad figures involved in the oil politics of Nigeria; and “My Mother’s Italian, My Father’s Jewish & I’m in Therapy,” Steve Solomon’s comic monologue now being performed by Paul Kreppel.

Miscellaneous:

We’ll just put a bug in your ear about the Metropolitan Opera, helpfully reminding us in their ads that “Great Opera Is Great Theater,” and comedy clubs like Carolines on Broadway, which is offering a 50 percent discount to Broadway ticket holders left in the lurch. And though the Great White Way is mostly dark, “Forbidden Broadway: Rude Awakening” is still around to sarcastically remind us of what we’re missing. One can imagine that its creator, Gerard Alessandrini, is working on a new number about the strike even as you read this.