BROADWAY
Relatively Speaking
Because three family-life one-acts are better than one, especially when they come from the minds of Ethan Coen, Elaine May, and Woody Allen. John Turturro directs the trio. Brooks Atkinson Theatre. Previews begin Sept. 20; opening Oct. 20.
Chinglish
Because David Henry Hwang’s play about an American businessman getting a crash course in Chinese business feels very of-the-moment, down to the bilingual dialogue.
Other Desert Cities
Because Jon Robin Baitz’s dramedy made the rich-family-fighting plot feel fresh again last season at Lincoln Center. Stockard Channing, Stacy Keach, and Thomas Sadoski return, joined by Rachel Griffiths and Judith Light. Booth Theatre. Previews begin Oct. 12; opening Nov. 3.
Godspell
Because even if there’s a certain “huh?” factor to this revival, it’s going to be a revelation seeing such a seventies show updated for 2011. And Stephen Schwartz’s score is so catchy! Circle in the Square Theatre. Previews begin Oct. 13; opening Nov. 7.
Venus in Fur
Because comic goddess Nina Arianda is reprising the smart-sexy role that turned her into a hot commodity when the show played Off Broadway last year. Plus she’ll be facing off against the always formidable Hugh Dancy. Samuel J. Friedman Theatre. Previews begin Oct. 13; opening Nov. 8.
Seminar
Because a cast including Alan Rickman, Lily Rabe, and Hamish Linklater is better than we could have dreamed up. Plus it’s written by Theresa Rebeck and directed by wunderkind Sam Gold. John Golden Theatre. Previews begin Oct. 27; opening Nov. 20.
Private Lives
Because divorced couple Amanda and Elyot (and their tempestuous love-hate relationship) make great company for an evening, and remain among Noël Coward’s most enduring comic creations. And that’s not even considering Kim Cattrall, revisiting the role that won her praise in London. Music Box Theatre. Previews begin Nov. 6; opening Nov. 17.
Lysistrata Jones
Because this collegiate riff on Aristophanes’ tale of empowerment by chastity was fun and energetic when it was performed in a church basement, and it’s likely to get even better. Walter Kerr Theatre. Previews begin Nov. 12; opening Dec. 14.
An Evening With Patti LuPone and Mandy Patinkin
Because even if it were just a concert with two stools—which it’s not—we’d want to see these two inimitable stars together onstage. Fingers crossed for a big Evita moment. Ethel Barrymore Theatre. Previews begin Nov. 16; opening Nov. 21.
OFF BROADWAY
The Select (The Sun Also Rises)
Because it’s the final piece in the twentieth-century-lit trilogy from Elevator Repair Service, the company behind last season’s Gatz, and what’s not to love about Hemingway’s booze-soaked Paris and Pamplona springing to life? New York Theatre Workshop. Now in previews; opening Sept. 11.
The Submission
Because issues of identity politics and authorial integrity never get old. Especially when treated with humor, as in this story of a white playwright who submits new work in the guise of a black woman. And because we like Jonathan Groff better onstage than on Glee. MCC Theater at the Lucille Lortel Theatre. Previews begin Sept. 8; opening Sept. 27.
Dreams of Flying Dreams of Falling
Because it’s by Adam Rapp, and the premise of a Connecticut dinner party thrown in honor of the release of one couple’s son from a private psychiatric hospital sounds like the right balance of absurdity and realism. Atlantic Theater Company at Classic Stage Company. Previews begin Sept. 9; opening Sept. 28.
The Agony and the Ecstasy of Steve Jobs
Because Mike Daisey is one of the finest monologuists around, and his musings on the Apple CEO and on his visits to the Chinese factories where the tech giant’s products are manufactured will provide counterpoint to the iPhone 5 chatter. The Public Theater. Previews begin Oct. 11; opening Oct. 17.
Asuncion
Because it’s Jesse Eisenberg’s New York debut as playwright and his first stage turn since The Social Network. Rattlestick Playwrights Theater at the Cherry Lane Theatre. Previews begin Oct. 12; opening Oct. 27.
The Blue Flower
Because it’s a highbrow musical, that rare creation, about four friends—three artists and a scientist—and their intellectual pursuits and romantic entanglements between the wars in Paris, Berlin, and the U.S. Second Stage Theatre. Previews begin Oct. 12; opening Nov. 9.
Blood and Gifts
Because we’re still seeing the effects of the Soviet-Afghan War—and it’s a chance for director Bartlett Sher to make us forget about Women on the Verge. Mitzi E. Newhouse Theater. Previews begin Oct. 27; opening TBA.
Burning
Because it’s playwright and Guggenheim fellow Thomas Bradshaw’s Off Broadway debut, and he’s going big: an era- and continent-spanning psychosexual tale that challenges the conceits of the art and theater worlds. The New Group at Theatre Row. Previews begin TBA; opening TBA.
Krapp’s Last Tape
Because there are only so many times in one’s life when an actor as good as John Hurt reaches the age to play Beckett’s dyspeptic protagonist. BAM Harvey Theater. Dec. 6-18.
PLUS:
Broadway
Oct. 6: Man and Boy: Frank Langella’s back on stage as a bad dad in this Depression drama. American Airlines Theatre.
Dec. 1: Bonnie & Clyde: The movie becomes a musical with a Frank Wildhorn score. Gerald Schoenfeld Theatre.
Dec. 8: Stick Fly: Race and generational conflict in a family on Martha’s Vineyard. Cort Theatre.
Dec. 11: On a Clear Day You Can See Forever: Harry Connick Jr. in Michael Mayer’s revival. St. James Theatre.
Off Broadway
Sept. 11: Sweet and Sad: The family from That Hopey Changey Thing have lunch on the tenth anniversary of 9/11. The Public Theater.
Nov. 9: Fragments: Legendary director Peter Brook helms a collection of five Beckett shorts. Theater for a New Audience.
Nov. 19: Maple and Vine: Two people forsake the era of social media to join a community of fifties reenactors. Playwrights Horizons.
Nov. 30: Brits Off Broadway: The annual festival includes the premiere of Alan Ayckbourn’s Neighborhood Watch. 59E59 Theaters.