←Recommendations of Octavia

  • Collin Smith: Octavia by Daniel Prillaman
    “

    This play reminds me of a quote from Roddy Piper: "Just when you think you have all the answers, I change the question!" From the first moment, the answer to why these two characters are where they are evokes a sense of dread. Then, after the reveal of what happened, Prillaman utilizes his strong character writing to create authentic twists and turns. This feels like a lens into the immature and often cruel psyche of young adulthood. These characters are authentic and likable while still acting foul to each other. This scene will stick with me for a bit!

    This play reminds me of a quote from Roddy Piper: "Just when you think you have all the answers, I change the question!" From the first moment, the answer to why these two characters are where they are evokes a sense of dread. Then, after the reveal of what happened, Prillaman utilizes his strong character writing to create authentic twists and turns. This feels like a lens into the immature and often cruel psyche of young adulthood. These characters are authentic and likable while still acting foul to each other. This scene will stick with me for a bit!

    ”
  • Aly Kantor: Octavia by Daniel Prillaman
    “

    Yes! Take that deep, dark repression and turn it into queer horror! From the first image, there is a serious sense of dread and foreboding that only grows as the depraved dialogue (I LOVE Audrey's deliciously specific dialogic voice) brings the truth to light. From there, the delightfully effed-up scenario becomes downright riveting, with the power dynamic shifting and crumbling and rebuilding itself before our eyes. It is not at all romantic - it's just hungry and desperate from beginning to end, with the high stakes dictating every choice. This is creepy, uncomfortable, unsettling...

    Yes! Take that deep, dark repression and turn it into queer horror! From the first image, there is a serious sense of dread and foreboding that only grows as the depraved dialogue (I LOVE Audrey's deliciously specific dialogic voice) brings the truth to light. From there, the delightfully effed-up scenario becomes downright riveting, with the power dynamic shifting and crumbling and rebuilding itself before our eyes. It is not at all romantic - it's just hungry and desperate from beginning to end, with the high stakes dictating every choice. This is creepy, uncomfortable, unsettling, disturbing fun! Plus... poor Octavia!

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    ”
  • Vince Gatton: Octavia by Daniel Prillaman
    “

    As is often the case in Prillamanland, Octavia is both deliciously right and horribly, horribly wrong. The characters are vividly drawn, the dialogue crackling, the stakes suitably high; and when the power shifts and counter-swerves arrive, they are unexpected, icky, exciting, and unsettling. Prillaman knows uncomfortable truths about the human condition, and is unafraid to play them out. We are all better for it.

    As is often the case in Prillamanland, Octavia is both deliciously right and horribly, horribly wrong. The characters are vividly drawn, the dialogue crackling, the stakes suitably high; and when the power shifts and counter-swerves arrive, they are unexpected, icky, exciting, and unsettling. Prillaman knows uncomfortable truths about the human condition, and is unafraid to play them out. We are all better for it.

    ”
  • Scott Sickles: Octavia by Daniel Prillaman
    “

    Nothing reveals people like burying a body.
    A hole, a shovel, and the truth. The truth about the living. Who they are to each other... who they've been and will be. Who has power.
    The poor dead person barely matters at all.

    The character descriptions tell you who HAD the power. "More popular." "Less popular." Popularity is the currency of curfew set. Prillaman has set things up for maximum flexibility in casting race and gender, allowing greater social dynamics to be explored on top of power and sexuality.

    Maybe I'm a bad person, but I'm #TeamHarriet all the way.

    Nothing reveals people like burying a body.
    A hole, a shovel, and the truth. The truth about the living. Who they are to each other... who they've been and will be. Who has power.
    The poor dead person barely matters at all.

    The character descriptions tell you who HAD the power. "More popular." "Less popular." Popularity is the currency of curfew set. Prillaman has set things up for maximum flexibility in casting race and gender, allowing greater social dynamics to be explored on top of power and sexuality.

    Maybe I'm a bad person, but I'm #TeamHarriet all the way.

    ”