Recommendations of feminine octagon [or, aristotle can eat me]

  • Nick Malakhow: feminine octagon [or, aristotle can eat me]

    This play is so inventive and the theatrical landscape so vividly rendered that it just begs to be produced by a creative and resourceful group. The allegorical connections to mythology underscore the entrenched, cyclical, and ever-looming nature of the forces of toxic patriarchy and the male gaze on sex and sexuality. The thread of Medusa's story throughout is particularly potent. The razor-sharp humor is undeniable, even as it unearths and explores gutting truths about the aforementioned issues. I'd so love to see this on a stage!

    This play is so inventive and the theatrical landscape so vividly rendered that it just begs to be produced by a creative and resourceful group. The allegorical connections to mythology underscore the entrenched, cyclical, and ever-looming nature of the forces of toxic patriarchy and the male gaze on sex and sexuality. The thread of Medusa's story throughout is particularly potent. The razor-sharp humor is undeniable, even as it unearths and explores gutting truths about the aforementioned issues. I'd so love to see this on a stage!

  • Reinette LeJeune: feminine octagon [or, aristotle can eat me]

    I’ve known Amy for a long time, and I remember their first full length play, and their incredible amount of growth as a storyteller is admirable - I actually got a little jealous of this play. It’s a fantastic ride that captures some of the under notes of life with a humorous and abstracted realism that has a nice bite. It’s a play with versatile possibilities, and I greatly appreciate all the silent symbolism that gives a good chuckle when you catch them!

    I’ve known Amy for a long time, and I remember their first full length play, and their incredible amount of growth as a storyteller is admirable - I actually got a little jealous of this play. It’s a fantastic ride that captures some of the under notes of life with a humorous and abstracted realism that has a nice bite. It’s a play with versatile possibilities, and I greatly appreciate all the silent symbolism that gives a good chuckle when you catch them!

  • Emma Goldman-Sherman: feminine octagon [or, aristotle can eat me]

    I love this brilliant play so much I want to die with it. It's an incredible journey that everyone should read and produce right now, as soon as we get out of the pandemic. Some of the most fun scenes ever. Plus meaning. Inventive language. Fucks with structure in the best of ways. It is the party it searches for.

    I love this brilliant play so much I want to die with it. It's an incredible journey that everyone should read and produce right now, as soon as we get out of the pandemic. Some of the most fun scenes ever. Plus meaning. Inventive language. Fucks with structure in the best of ways. It is the party it searches for.

  • Cheryl Bear: feminine octagon [or, aristotle can eat me]

    Spun with imagination and great storytelling, an exciting and magical ride that takes us beyond. Well done.

    Spun with imagination and great storytelling, an exciting and magical ride that takes us beyond. Well done.

  • C. Julian Jiménez: feminine octagon [or, aristotle can eat me]

    Super rich dialogue and a biting sense of humor. This play surprises and dazzles with great parts for women!

    Super rich dialogue and a biting sense of humor. This play surprises and dazzles with great parts for women!

  • Matt Minnicino: feminine octagon [or, aristotle can eat me]

    Amy's plays are a genre-smashing kaleidoscope of tone and form and character and this strange brilliant rave/fever-dream is no exception. It was my pleasure to be witness to its evolution, and I can't recommend it enough. It's jam-packed with perfectly-executed contradictions: joyous morbidity, shallow depths, magical postmodernism -- all while skewering traditional storytelling and plunging us deep into an exciting, scary cyber-pantheon of gods and snakes and everything else you could imagine.

    Amy's plays are a genre-smashing kaleidoscope of tone and form and character and this strange brilliant rave/fever-dream is no exception. It was my pleasure to be witness to its evolution, and I can't recommend it enough. It's jam-packed with perfectly-executed contradictions: joyous morbidity, shallow depths, magical postmodernism -- all while skewering traditional storytelling and plunging us deep into an exciting, scary cyber-pantheon of gods and snakes and everything else you could imagine.