←Recommendations of ABIGAIL

A marvelously smart and entertaining dissection of gender and power dynamics, ABIGAIL skewers media celebrity and the pretensions of classical theater alike. Each of the four characters is well drawn and would be a joy to play. Youtube star Ashley Hart is especially interesting and complex, driving the action, and surprising the audience - and herself - again and again. A challenging, fun, exciting role for a young female actor.

An ingenious capture of the nature of the beast in regards to the treatment towards women. The vehicle of "The Crucible" allows us to explore the values and social structure we continually promote phenomenally. And as much of a threat as it may seem, perhaps the hashtags and videos have given us more power than we realize. We toast to the new!

This is a dramaturg's dream - expertly researched and contextually airtight. Ashley's journey grabbed me from start to finish - I can't wait for audiences to meet her.

This play takes everything we think about Miller and The Crucible and turns it upside-down with wit, humor and sharp insight. Looking for something to produce that's timely, funny, sensitive and achingly smart? This is it.

The play about the Me Too movement and the entertainment industry that we not only need, but deserve. What I love about ABIGAIL is its layers, humor, extremely well-drawn characters and its surprises. Tuft's writing had me on the edge of my seat-- laughing, squealing, cringing and gasping. I love that it never feels like an "issue play" but it is absolutely so present and now and needed. I especially appreciate the exploration of an artist's responsibility in storytelling as explored through Arthur Miller's Crucible. Produce this! Please. I'm a big fan!

Sarah Tuft's ABIGAIL moves along a path you think you know well, until you find yourself someplace you don't recognize. And it plays this trick over and over again, and still: you don't see it coming. The pleasure of following this female protagonist--named Ashley, surprise--is real and uplifting, right to the inevitable surprise of a happy ending. This should get produced. And produced. And produced some more.

This was the kind of play that left my skin crawling from how horribly, awfully, and believably real it was. Sarah Tuft lampoons the sacred cows in entertainment and explores, almost grimly, the cycle of predatory behavior and the excuses we make for the sake of our "geniuses." But that's not to say there aren't laughs here. Sarah creates witty, hilarious dialogue that actors wait whole careers to be able to sink their teeth into. ABIGAIL is compelling theatre and insightful critique of our industry. It's a play you need to read, produce, and watch real honest debate unfold afterward.

Men are dicks, women are victims, the patriarchy must be destroyed, and anything written more than 10 minutes ago must be completely revised to fit current modes of thinking...

EXCEPT... in "Abigail," Sarah Tuft's unflinching look at the me too movement, nothing is as black and white as anyone on any side of the issue would like it to be; the still-developing script asks far more questions than it can answer. And that, along with vivid characters and sharply realized dialogue, is one of its chief strengths: it starts a conversation that needs to be had. "Abigail" is a winner.

Like all great plays, ABIGAIL leaves me with more questions than it answers. Can we separate art and artist? Where we do we draw lines? Do we really need to revive classic works that perpetuate models of humanity we're trying to eradicate? These are all the questions swirling in the modern zeitgeist, begging not just to be asked, but to be discussed, addressed, answered, resolved. The play proves what a monumental task that is by constructing a denunciation of a revered text and playwright and creating an all-too-believable denial of it, the perfect metaphor for the #metoo movement.