Jamie Lloyd’s bold new production of Much Ado About Nothing transforms Shakespeare’s sharp-tongued romcom into a pulsating, high-energy spectacle. Set against a 1990s clubland backdrop, the show reimagines Messina as a world of neon-lit hedonism, where Beatrice and Benedick’s famous war of words crackles with fresh urgency. Lloyd, known for his radical interpretations of classic texts, has described the production as an experiment in fusing Shakespeare with the electrifying rhythms of nightlife. With a soundtrack of club anthems and a design steeped in Y2K aesthetics, this Much Ado promises to be anything but traditional.

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Leave Greek tragedy expectations at the door in Daniel Fish’s (Oklahoma!) arresting take on the Sophocles classic. A shaven-headed, Bikini Kill T-shirt-wearing Brie Larson (Room) brings feminist rage to the stage as the titular daughter of Agamemnon, who is out to avenge her father’s death at the hands of her mother, Clytemnestra (a commanding Stockard Channing). In Canadian poet Anne Carson’s stripped-back translation, Larson half-sings, half-screams her emotional torment, enlisting her brother Orestes (Patrick Vaill) to commit matricide, with predictably bloody results.

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Brian Watkins’s one-woman show picked up a Scotsman Fringe First Award when it ran at the Edinburgh Festival Fringe last year. “I’m your rise and shine” announces Stacey, the Californian weather girl who valiantly tries to maintain her rictus grin in the face of impending personal and environmental meltdown. Off-Broadway star Julia McDermott reprises her acclaimed Edinburgh performance in a dramedy that is both an engaging character study and rallying call for climate action.

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Playwright Ryan Calais Cameron’s story of a young Sidney Poitier trying to pursue his Hollywood dream in the 1950s returns to London after an acclaimed season at the Kiln Theatre. Retrograde stars Ivanno Jeremiah as the screen legend himself, alongside Stanley Townsend and Oliver Johnstone. In this true story, at this height of censorship against minorities, Poitier faces dark temptations that challenge his sense of self.

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Nick Hytner’s production of Shakespeare’s history play illustrates the timelessness of its central battle between the “born to rule” Plantagenet monarch and his arguably more capable adversary (and cousin) Henry Bolingbroke (here styled Bullingbrook). Hytner recently told The Guardian that the play asks the basic question: “What do you do when a ruler is absolutely inadequate? How do you get rid of the rightful leader?” In a modern world of political volatility, the Bard’s themes feel increasingly prescient. The drama stars Jonathan Bailey (Bridgerton) who earnt his Shakespeare stripes in Hytner’s production of Othello in 2013 and Chichester Festival Theatre’s King Lear (opposite Ian McKellen) in 2017.

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This “Bram-new comedy” by Gordon Greenberg and Steve Rosen promises 90 minutes of gothic giggles. In a high-camp reimaging of the horror classic, Count Dracula is a Gen Z pansexual having an existential crisis. After receiving a visit from timid estate agent Jonathan Harker, the Count leaves his Transylvanian lair to get a taste of some English beauty – in the form of Jonathan’s fiancé! Dianne Pilkington (The Wizard of Oz) and Charlie Stemp (Kiss Me, Kate) are among the cast sinking their fangs into the vampy wordplay.

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