←Recommendations of One Month Along

A beautiful and heart-stopping anatomy of both friendship, marriage and collaboration. It’s spare and unsparing. Gonzalez pays homage to a play that came before but has his own voice in the subject of betrayal, art and the nuances of love. A layered play which gives so much to all the artists involved.

Raw, spare, and yet packed to the rafters with tension and depth, “One Month Along” is an autopsy of a marriage, a friendship, and a career. Gonazlez has an economy of words in this piece that is remarkable. Rhythms created by the moments when his characters speak (and when they don’t,) will make for a compelling evening for audiences, and a delicious challenge for the actors.

Sharply written, with finely-turned characters and a series of moments that unravel like a coiled spring, spilling out tension and tragedy, with Gonzalez's powerful, humane approach to relationships onstage. This piece would be a playground for a creative team, stocked with opportunity to develop rich, real emotion.

A stark and heartbreaking portrait of the universal fragility of love, or what we think is love, and a cold look at how even in love, we are alone and unknowing. Franky's powerful ending brings this home in a sad and tragic way.

This is a really exciting piece! What seems a familiar set-up has an effective spin that makes it Gonzalez's own - the dialogue and the characters are deeply and intelligently written but Gonzalez has held back from giving us everything at once (or everything at all), leaving room for its performers to bring their own nuances, but also for the audience to keep guessing. Most of all, it's terribly honest, in the best possible way.

A fascinating script that will stay with you long after you experience it. Gonzalez uses minimal dialogue and staging to tell a striking story about the muddy motivations in relationships, especially among those who make art together. Well worth the read, and I'd love to see this staged.

There is something so impossibly raw about "One Month Along." There is no pretense to this script. The dialogue is incredibly minimal, and yet somehow, he has painted three incredibly complex portraits of characters that are deeply inscrutable in the most fascinating way. This is one of the most real plays I have ever read. These people are people, real people, and Gonzalez somehow simultaneously writes them with love, but with a clinical quality. They are who they are. They are neither good nor bad. But make no mistake, "One Month Along" is very, very good.

Gonzalez uses a reverse chronology to yield and wield the ripest effects of secrets, friendships, and betrayals. The tension is quiet and still, and yet the play moves. Even though it goes backwards, we witness the disintegration of relationships troubled by auditions and abortion, money and marriage, faithfulness and (in)fidelity. Gonzalez makes mention of a popular play that clearly has influence upon his story - and his script serves as a fine sibling, not just in structure; it even has the waiter! - and he concocts a playground for actors to use their chops in nuance, disdain, and disappointment.

So intimate it feels like we're intruding. Gonzalez delves DEEP into this story of complicated, flawed, messy love and lust and friendship and betrayal and, it bears repeating, love. Love runs through the entire script, as Gonzalez examines it from many angles, even the warts, especially the warts. Gonzalez never fails to deliver, and here is one more fine example of his excellence. Give it to your performers who know how to play with the forbidden; set them free and watch the stage catch fire.