Discover Audible Theater’s Six Brilliant New Productions for Fall

In the long and storied history of Austen spin-offs and adaptations, I now have a new favorite. Sarah Page's new Audible Original Theater production imagines the years directly following Lydia Bennet's disastrous marriage to Mr. Wickham (zero apologies if you haven't picked up Pride and Prejudice yet—you've had time), and follows the pair up to his new posting in Newcastle, where Lydia finds herself to be a social pariah. Austen never showed us this end of the story; in her narrative arc the judgment against the Wickhams was swift and decisive. But this marvelous listen teaches us that villains, too, go on to seek their happily-ever-afters, and that they are perhaps equally deserving. The production is as unexpected as the story, enriched with a London nightclub beat underpinning the modern dialogue delivered by UK darlings Jessie Buckley and Johnny Flynn. The Wickhams are undoubtedly the most conventionally flawed of all Austen characters, but they certainly have the most fun—and so will you, if you pick this one up. —Emily C.

Joy to my world that Amber Iman has graced me with this one-woman play that she originally performed and recorded at Audible’s Minetta Lane Theatre. Iman walks us through impactful moments in her life and slays that mic with songs that had me singing out loud along with her. It didn’t bother me one bit that certain people (who shall remain nameless) started closing their doors thanks to my vocals—their loss! Her stories were thought-provoking as much as they were light-hearted, and a much-needed reminder that finding even a small amount of joy can change your life for the better. Oh, and that it’s okay to actually want to be in a relationship despite having to pretend to your friends that being single is totally fine by you. Fingers crossed Iman calls me so we can go find boyfriends together! Until then, this will continue to be my pump-up jam for when I need some inspiration. —Caitlyn L.

After Cush Jumbo, the British actress best known for her role as Lucca Quinn on The Good Fight and The Good Wife, worked with director Phyllida Lloyd (Iron Lady, Mamma Mia!, Tina: The Tina Turner Musical) in an all-female production of Julius Caesar a decade ago, she said it gave her the confidence to write her own play (that first one was a one-woman show about cabaret idol Josephine Baker). The two creative women went on to collaborate on other projects and now Jumbo and Lloyd have reunited once again in this brave and haunting one-woman show that Jumbo wrote and performs. Set in an empty house in northern England, the young woman, a new mother, at the center begins to reminisce about her family’s history while baking in her grandmother’s house. She unravels her family’s dark history of abuse in a whip-smart monologue that includes a creepy-sweet children’s song embedded with emotional landmines. It’s never easy to explore such horrific realities, but Jumbo handles the trauma, suffering, and healing through unforgettable writing and a stunning performance. —Jerry P.

This is the workplace drama I didn’t know I needed! I’m a sucker for any Hollywood story with the “trying to make it” premise, but this is not your typical tale. When Mexican-born Lucia (performed by Karla Souza) lands her first job in a TV writers' room, she starts out at the bottom of the totem pole. When she meets the Latino janitor, Abel (performed by Carlos Miranda), they become fast friends despite their obvious, and comical, differences. As their friendship grew, I began to adore their connection, but I also longed for their next squabble. As Lucia’s status rises at work, it’s in large part at the expense of that friendship since she uses stories Abel has shared in confidence. Betrayal may be common, but the story behind this one is so captivating I couldn’t stop listening. I’ve never been so mad at—yet so proud of—a character by the end of a story. —Caitlyn L.

Anyone who’s ever witnessed Ali Stroker onstage never forgets the joy and enthusiasm she brings to her roles. I first saw her when she made history as the first actor in a wheelchair to appear on Broadway when she appeared in Deaf West's acclaimed 2015 revival of Spring Awakening. Then she transformed the role of Ado Annie in an unconventional revival of Oklahoma! in 2019, winning the Tony Award for Best Featured Actress in a Musical. Now, Ali brings her warmth and passion and jaw-dropping singing to her one-woman show, which she developed with her husband, director David Perlow. Recorded this past spring at the Minetta Lane Theatre in New York City, it encompasses personal stories, favorite songs, and pop hits. Just watch out: Ali's rendition of Aretha Franklin's “Natural Woman” will make you want to belt it out no matter where you're listening. —Jerry P.

Stand-up comedians have long used their routines to mine personal traumas for laughs—but what happens when two comics are dating and using their evolving relationship as material? Philip Dawkins's wickedly funny (and often cringey) two-hander (which was commissioned as part of Audible's Emerging Playwrights program) explores the dynamics of a gay male couple who volley the barbs and one-liners while one sinks further and further into alcohol dependency. Chauncy (Drew Droege) is older and has been schlepping to clubs longer while not finding success when he meets José (Gabe Gonzalez), a younger comedian whose career is about to explode. The love story is tender and poignant at moments—the men are by turns competitive, envious, generous, and cruel, while also remaining hilarious, reminding listeners: "Relationships have rock bottoms too." —Jerry P.