For Love Or Money
updates a 1709 French drama, Turcaret by Alain-René Lesage, in which money – as much as passion – spins the plot. , shortly to bid farewell to Northern Broadsides, directs and stars in this Yorkshire-based version of the riotous comedy about a man who is clever with finance but a clot with women.
• (box office: 01422 255266), from 15 September. Then .
We’re Still Here
Six years after they staged their glorious production with Michael Sheen on the streets of Port Talbot, return to the town for a site-specific piece that gives voice to the community. When its steelworks was faced with closure in 2015, the people of Port Talbot came together to speak out. Based on interviews with those who live and work in the region, this co-production with the always invigorating Common Wealth company is a show about making your own future.
• , 15-30 September.
first played Lear for the RSC in 2007. Now he has another crack at the role in the kind of intimate setting that often proves ideal for Shakespearean tragedy. Jonathan Munby directs, Kirsty Bushell, Dervla Kirwan and Tamara Lawrance are Lear’s daughters and, following the cross-gender pattern in the recent Globe production, Kent is played by Sinéad Cusack.
• (box office: 01243 781312), from 22 September.
Pink Sari Revolution
Purva Naresh adapts Amana Fontanella-Khan’s book about India’s all-female, 400,000-strong Gulabi Gang, led by the charismatic Sampat Pal Devi, who came together to fight injustice and stop the abuse of women. A story about using hot pink saris to fight for freedom and discovering the truth when the odds are stacked against you.
• , 27 September-7 October, then touring.
The Tin Drum
bring to the stage Günter Grass’s sprawling masterpiece about Oskar, a boy who decides never to grow up and takes on the world with his tin drum. Mike Shepherd directs Carl Grose’s gleeful adaptation that promises all the verbal fireworks and rotten nastiness of the original, which was written in the long shadow of fascism.
• , 28 September-14 October. Then .
When the performance artist was young, masculinity meant drunkenness and aggression, and the local boys grew up into violent men. Part memoir and part examination of what it really means to be a man, his solo show sets out on a tour of male-dominated spaces throughout the UK, including social and lap-dancing clubs. An evening that should offer blood, sweat and tears.
• , Manchester, 28-30 September. Then .
Labour of Love
With plays such as This House and Ink, has shown an extraordinary gift for recreating momentous public events. Now he has taken on the turbulent recent history of the Labour party from Neil Kinnock to Jeremy Corbyn. plays an MP and his principled constituency agent in a play, directed by Jeremy Herrin, that gets outside the Westminster bubble to look at Labour’s northern strongholds.
• , London (box office: 0844 482 5140), from 3 October.
Heisenberg: The Uncertainty Principle
Marianne Elliott and Chris Harper launch their newly formed production company with a play, first seen off-Broadway, about a chance encounter that radically changes two people’s lives. More screwball comedy than physics lecture, the play stars and and reunites many of the team behind the massively successful The Curious Incident of the Dog in the Night Time.
• , London (box office: 0844 482 5120), from 3 October.
directs Jonjo O’Neill and Sharon Duncan-Brewster in a new play by Chris Thorpe who had a big hit with , about how confirmation bias influences our worldview. This one is billed as an attempt to “get to grips with the fact that everything happens at once” and looks at the disconnections we experience in a hyper-connected world.
• , London (box office: 020-7565 5000), 5-21 October.
Bridget Boland’s lost 1947 classic gets a rare outing. The Lyceum stage is turned into a provincial German theatre used as a makeshift transit camp for displaced persons facing forcible postwar repatriation. ’s production promises to be an immersive experience and is bound to raise important questions at a time when Europe faces a contemporary refugee crisis.
• , Edinburgh (box office: 0131 248 4848), from 6 October.
Given that title, and with as author, it is clear that we are in for a state-of-the-nation play. Further clues are provided by the fact that the setting is the ruins of a garden in rural England that suggests a mix of Shaw’s Heartbreak House and Chekhov’s The Cherry Orchard. Victoria Hamilton, as a woman searching for the seeds of hope, heads a cast that includes Helen Schlesinger and Margot Leicester. directs.
• , London (box office: 020 7359 4404), from 10 October.
Fire Below (A War of Words)
Owen McCafferty’s 2012 play was a superbly restrained yet emotionally explosive look at violence and reconciliation. This piece returns to the subject through the prism of two neighbouring couples enjoying a drink together 20 years on from the peace agreement. But who knows when a grenade might be lobbed into the conversation?
• , Belfast (box office: 028-9038 1081), 12-29 October. Then at , Dublin.
The Cherry Orchard
Writer Gary Owen and director Rachel O’Riordan have proved themselves a formidable partnership with and . Now they take on Chekhov with a production that relocates the original to Pembrokeshire in 1982 as Thatcher’s government sweeps away the old certainties and those trees come crashing down.
• , Cardiff (box office: 029-2064 6900), 13-28 October.
This comedy by and Clive Coleman launches a new, 900-seat commercial theatre: the first to be built in London for 80 years. Situated near Tower Bridge, it is the brainchild of and Nick Starr and holds enormous potential. One hopes the building doesn’t overshadow a play in which plays the young Karl who, broke, horny and bubbling with revolutionary ideas, is hiding away in Soho.
• , London, (box office: 0843 208 1846), from 18 October.
The Last Testament of Lillian Bilocca
tells the story of Hull’s forgotten heroine who took on the power of the trawler owners at the end of the 1960s and fought for better safety conditions for the fishermen. A salty, site-specific tale, steered by Sarah Frankcom, and played out in Hull’s historic Guildhall with folk music contributions from .
• , Hull, 3-18 November.
Paddy Chayefsky’s Oscar-winning about a news anchorman who goes berserk on screen and turns into a populist prophet has been dramatised by . Its vision of a world where opinion trumps fact sounds eerily topical and what ups the stakes is that it is directed by the ubiquitous and stars who, even before his phenomenal performance in , was a highly accomplished stage actor.
• , London, (box office: 020-7452 3000), from 4 November.
Derek Jarman’s chaotic and giddily incendiary punk classic is reimagined and updated for the stage by Chris Goode, 40 years after it first appeared in cinemas. One of the original cast members, , returns, this time taking on the role of a time-travelling Elizabeth I who finds herself in a contemporary London where girl gangs rampage across the streets and order has given way to violence.
• , Manchester (box office: 0161-833 9833), 2-18 November.
’s Roman season comes to an epic climax with Mike Poulton’s two-part adaptation of ’s sequence of novels about Cicero. The story takes Cicero from his election as consul and the conspiracy to destroy him up to his determination to save the Republic from a military dictatorship under Mark Antony. Poulton’s skill in adapting Hilary Mantel’s Thomas Cromwell novels, and the fact that Greg Doran directs, suggests the omens are favourable.
• , Stratford-upon-Avon (box office: 01789 403493), from 16 November.
All-female roller derby is a thrilling spectacle and one of the fastest growing sports in the world. Fresh from the superb , Rachel Mars teams up with Nat Tarrab to bring all the visual spectacle of a skate-fast, hit-hard sport to the theatre. A show about women’s bodies, competitiveness and breaking through the pack.
• , London (box office: 020-7638 8891), 23 November-2 December.
This is the big one. ’s hip-hop musical swept all before it on Broadway winning a record-breaking 11 Tony awards, becoming a box-office smash and even provoking the ire of President Trump. Inspired by a biography by Ron Chernow, it tells the story of one of America’s founding fathers, Alexander Hamilton, and signally shows his white colleagues played by racially diverse actors. It will be fascinating to see if it makes as big an impact in London.
• , London, (box office: 0844 482 5138), from 6 December.
There are comedy festivals all around the UK this autumn – in Belfast, Nottingham, Greenwich and elsewhere – but for a trip to the art form’s cutting edge, look no further than this intense shot of up-and-coming standups in a West End pub. Over a few days only, there are hits including ’s Hymen Manoeuvre, about the anxieties the Chinese-Swedish comic experienced around losing her virginity, Jordan Brookes’ convention shredding , and about the failings of the left. ’s endearingly strange Maid of Cabbage and ’s latest compendium of tales of life as a fun-loving British Muslim also feature.
• , London, 16-26 September.
One of the most talked about shows at this summer’s Edinburgh fringe, this compelling oddity from won her the Best Newcomer comedy award. Directed by cult silent comic , Laid is a theatre-comedy hybrid that splays anxieties about fertility and parenting across a surreal clown show, as egg-turned-woman Palamides births, smashes, eats and finally rears her own eggs in an increasingly neurotic cycle. It’s hysterical, and weirdly profound.
• , London, 6-18 November.
It’s a first tour in four years for , a late comedy developer who’s made himself near ubiquitous since his break on The Inbetweeners. His 2012 show was his best yet, an uproarious celebration of his own idiocy. Expect more ridiculous autobiographical comedy in its follow-up You Magnificent Beast – the poster for which was banned for contravening Amazon’s “no-nipple policy”.
• , 15-16 September; , 19-20 September; then .
You’ve got a right to expect well-honed standup from 30-year-old Mae Martin, given that – as she recounts in this new show, – she’s been doing it since she was an awkward 13-year-old in her native Toronto. The show (shortlisted for this year’s Edinburgh Comedy award) explores Martin’s obsessive behaviour, from a Bette Midler fixation via her adolescent addiction to comedy to a destructive drugs habit in her late teens. Throughout, it’s intimate, thoughtful and highly entertaining.
• , London, 18-30 September; , 10 October; then .
“Deeply personal and horribly revealing,” is how describes his new touring show What Is This? – which means it will slot neatly into his canon of deeply personal and revealing standup shows. Now in a happy relationship and with less present-day misery to draw on, Amstell promises plenty of retrospective neurosis as he ranges across a lifetime of identity crises, confused sexuality and existential angst. His restless soul search should, as ever, be our delight.
• , London, 22-23, 27-28 September; , 24 September; then .
Rambert on tour
The always superb dancers of test themselves against two new works. Symbiosis is a full-tilt dance by Greek choreographer Andonis Foniadakis, while Goat is a company debut from the maverick dance theatre-maker Ben Duke (whose comically hubristic work Paradise Lost was a one-man adaptation of Milton’s poem). Duke takes the music of to anatomise the extremes of pleasures and pain experienced by performers on stage with a selection of her most popular songs, sung live by .
• Symbiosis, , 28-30 September, then touring; Goat, , 26-28 October, then .
London’s oldest but still most vital festival of contemporary dance returns with a programme that searches out the city’s hidden stages, from Battersea power station to a derelict part of Silvertown and Trinity Buoy Wharf. Standout shows include Fallen from Heaven, a sublime and raunchy investigation of what it means to be a woman by the fiercely individual flamenco dancer , and Lyon Opera Ballet’s epic, choreographic investigation of Beethoven’s , which is interpreted in .
• , 11-28 October.
Company Wayne McGregor: Autobiography
It’s typical of that, when he decided to choreograph his own life story, he put science at the heart of his narrative. The driving force of is his discovery of his personal genome, as sequenced for him by leading geneticists and then refracted through the prisms of his own dance imagination. Music is by the electronic sound artist and lighting as always is by the magically inventive Lucy Carter.
• , London, 4-7 October.
Kenneth MacMillan celebrations
brought new possibilities of risk, intensity and sophistication to the ballet stage and, 25 years after his death, companies around the UK are celebrating the choreographer’s work. and have their own programmes and are also taking part in a historic collaborative season at the , joining the , and Scottish Ballet to present six one-act ballets, including the little-performed Le Baiser de la Fee.
• Birmingham Royal Ballet, , 27-30 September; Northern Ballet, , 5-7 October; season, 18-27 October.
Royal Ballet: The Illustrated ‘Farewell’ / The Wind / Untouchable
The dazzlingly, unpredictably imaginative creates his first work for the Royal, mining depths of obsession and fear in choreography inspired by the haunted silent movie classic The Wind. In the same programme is a revival of ’s Untouchable and a new commission from , in which she revisits and expands her seminal work As Time Goes By, shaping it around the brilliant partnership of Sarah Lamb and Steven MacRae.
• , 6-17 November.