A range of theatrical productions offering dark comedy, solo performances, and innovative adaptations are running across New York City this fall, reflecting a variety of themes from personal loss and political satire to mythology and technology.

Manuel Oliver’s play “Guac,” which explores the aftermath of his son’s death in the 2018 Parkland shooting, has been performed at the Public Theater downtown and now opens in a bilingual English-Spanish version at the People’s Theater in Upper Manhattan. Running through Saturday, the production brings a deeply personal narrative to a new audience.

At NYU Skirball, Brazilian director Rodrigo Portella presents “Tom at the Farm,” a Portuguese-language production with English captions. Michel Marc Bouchard’s play delves into the complexities surrounding a man’s discovery that his deceased boyfriend’s homosexuality was concealed from his family. The production runs through Saturday.

Vaclav Havel’s dark comedy “Unveiling,” directed by Edward Einhorn for Untitled Theater Company No. 61, is being staged at the Torn Page theater through Oct. 17. The play explores the moral compromises often made in pursuit of comfort.

New works also feature prominently this season. Caryl Churchill’s “Triumph,” a 20-minute micro-play directed by Saheem Ali at the Public Theater through Oct. 18, stars Annaleigh Ashford and Joe Tapper in roles that evoke ancient imperial politics. Admission is free.

On the solo performance front, Layla Khoshnoudi writes and stars in “I’m Not Even Half” at the Bushwick Starr through Oct. 24. The show follows a Brooklyn woman struck by a car while witnessing an Iranian uprising on her phone, with Machel Ross directing.

Kate Vozella’s dark comedy “Machine Learning,” exploring the intersections of intimacy and technology, features a cast including Emma Ramos and Douglas Smith. The production runs through Oct. 30 at Manhattan Neighborhood Network, presented by Little Engine Theater and directed by Colm Summers.

“The Nicest Body Ever Seen Around These Parts,” a solo show by Catalan playwright Josep Maria Miró, addresses a small-town murder and its implications. Rachel Crowl stars in the production directed by Mei Ann Teo, running through Nov. 7 at the 2nd Floor Theater at 122 Community Center.

French playwright Laurent Baffie’s “Toc Toc,” a comedy about psychiatric patients, is performed in Spanish without English translation at Repertorio Español through April 2024. Directed by Rafa Sánchez, this adaptation by Julián Quintanilla brings a European work to New York audiences.

Additional notable productions include Sarah Kane’s intense one-act “Crave,” revived by Hoi Polloi and directed by Alec Duffy at the East Village Basement through Oct. 24, and “Prelude,” an outdoor free production at BAM’s Next Wave Festival featuring excerpts from ten Charles L. Mee plays, directed by Anne Bogart and running Tuesday to Thursday on the plaza at 300 Ashland.

The New Group presents “Rope,” Gordon Greenberg’s adaptation of Patrick Hamilton’s classic play about two Princeton students entangled in a chilling murder, with Scott Elliott directing. The show runs through Dec. 6 at Theater at St. Clement’s.

Manual Cinema’s “The 4th Witch” at NYU Skirball through Oct. 17 combines live performance with shadow puppetry and projections to reimagine Shakespeare’s “Macbeth” from the perspective of a war orphan taken in by a witch.

Other highlights include Maiko Kikuchi’s puppet theater piece “Kojiki de Creation” at Japan Society through Oct. 18, the political satire “Show Trial” by Laura Zlatos based on the 1950 trial of Czech dissident Milada Horakova, premiering Nov. 8 at The Tank, and Lauren Yee’s “King of the Yees,” a surreal comedy about family and heritage starring Tony Award winner Francis Jue, running at Signature Theater through Nov. 15.

Musical theater offerings include a new adaptation of F. Scott Fitzgerald’s “The Curious Case of Benjamin Button,” with Andrew Durand in the title role, at the Public Theater through Dec. 6, and “The Heart,” a Roundabout Theater Company musical focusing on the urgency of heart transplantation, playing at the Laura Pels Theater through Dec. 6.

This diverse slate of productions offers audiences a wide range of tones and topics, reflecting contemporary social issues alongside experimental performance styles and classic adaptations.