←Recommendations of Come Back Right

Aly Kantor stitches together humor, horror, hope, and tragedy into the highly engaging Come Back Right. The protagonist’s determination to save her dead girlfriend causes her to turn a blind eye to the warning signs that nature shouldn’t be meddled with and sometimes people don’t want to be saved. Dark and beautiful. I loved it!

Call me biased as a noted Frankenstein lover (if you must), but Kantor truly captures the horror of what it means to do anything it takes for love (for love, for a second chance, for guilt). "Come Back Right" is morbidly funny, sharp, brutal and bleedingly vulnerable from one viginette to the next about the variations on resurrection. There's no one way to get it right, and that may be the most painful part. Dying (hah!) to see this put on over and over again.

Somebody reanimated on the wrong side of the bed - in the early going of Aly Kantor’s fantastic short horror play COME BACK RIGHT - and then things get deep, complex, amazing. I really admire the use of repetition with variation - how each plot segment is more fascinating than the one before - creating a sense of anticipatory delight that I seldom ever feel in a short play. Tremendous work! Compares well with one of my favorite short plays: The Death of Trotsky by David Ives. Thank you so much for writing this gem!

I don't know how Aly Kantor does it, but she did it again. In this short, a woman brings her dead girlfriend back to life over and over, trying to get it right. The results of her efforts heighten perfectly each time (I was most delighted by the variation dealing with social security numbers), and the play manages to be the perfect combination of funny, scary, and sad. We learn the events that led to this woman needing/wanting to bring her dead girlfriend back to life, and then we're left with a crazy cliffhanger of an ending. Brilliance.

Both hilarious and horrifying, "Come Back Right's" greatest accomplishment isn't its fascinating escalation of resurrection scenarios, it's how it concludes by bringing everything back to its human core.

A hilarious gut-punch! Kantor juxtaposes the initially darkly comedic premise with an evocative dissection of trauma which makes each of these aspects stronger as a result and it does not waste a single line of it's 10 minutes.

A heady mixture of horror and comedy permeates this play. The set up is amusing and the repetitions engaging and full of surprises (little Bobby was an especial favorite). It all builds to a chilling crescendo that is shocking, yet tantalizingly unresolved.

I LOVE this darkly funny play by Aly!
How many times does a mad scientist experiment with their subject until they get it spot on? Aly explores this to great effect with many takes on the Frankenstein troupe, each reawakening is unique but wrong.
This fun short would provide a wonderful piece for two budding actors, especially for the one lucky enough to play Patient.
BRILLIANT!!

Aly Kantor's range is captivating. In this hauntingly funny piece, Kantor, like Mary Shelley and her Frankenstein, brings "a modern Prometheus" to the stage, demonstrating in the series of scenes that clip along, all the Titan's love and care for humanity and all the pain. Over and over again. And like the scream of Edvard Munch at the end, we're left feeling just as vulnerable, waiting for the pain to start all over again.

Funny, dark, and unexpectedly touching. Like David Ives gone dark... and gay. Fantastic.