←Recommendations of The Boy on the Beach

The exploration of a first kiss on a beach is never awkward, shameful, or part of a conscious act of curiosity on the the part of the boy. Whatever it may be, Weaver takes the audience on a seemingly spiritual ride of sensuous human connection. Whether a dream or real, it feels as though this boy will never be the same after the experience. Beautiful and truly evocative in the best sense of the word.

A dream come true. Great writing.

An intriguing and captivating tale of sirens finding a boy on the beach, sensual and dangerous. Well done!

And now I’ve read the first of Weaver’s beach boy plays, and this is perhaps the most poetic and magically ambiguous of them all. While all three perfectly capture an adolescent moment of change, this one has a slight undertow of menace which adds an even more realistic — and alluring — tone to these tales of sexual awakening. Beautiful.

Weaver's poetic dive into this world of mythology and magical realism is as haunting as it is sensual. A creative piece exploring the tug-of-war between innocent and not-so innocent. With expert skill, "The Boy on the Beach" presents to us a beautiful subversion of a typical trope.

Dreamlike, with beautiful flourishes of language, but also an undertow of menacing ambiguity that stays with you long after you've read it. Favorably brings to mind the early work of Edward Albee, but Weaver's work here is wholly original and deserves to come to life on stage. Outstanding!

Lyrical, sensual, and with more than a touch of mystery about who are the women who prepare to kiss a sleeping boy and what is the true nature of their intentions. This play offers a fresh and truly unique take on a classic coming of age trope.

A poetic and beautifully written fantasy suggestive of an adolescent boy's initiation from childhood to sexual awakening. Weaver leaves open the possibility that this could be either the sleeping boy's dream or a supernatural magic realism. The play is ambiguous: are the three young women innocent initiators of a passive, semi-nude boy's first sexual awareness, or are their motives more sinister and self-serving? There are suggestions of sirens, vampires, Dracula, plus an unseen cautionary voice. "I don't have good intentions." "Shouldn’t someone say again how wrong this is?" "But it's fiction, a fantasy." "Sugar on our tongues."

Poetic, sensuous, and seductive, THE BOY ON THE BEACH is not a coming-of-age play at all--or is it? Our expectations whirl and revolve as three sensuous young women surround a sleeping teenage boy on the beach and debate who should be the administrator of his first kiss. But are they real women or are they representative of myth-like sirens? Or are they part of the boy's dream? Who leads and who gets to follow? This is definitely a "warm-weather" play, as it oozes the sense and possibilities of summer. Would love to see this on stage.

This is a play unlike any other play by Weaver. The language here is his most poetic, most experimental -- it has a playfulness like Edward Albee, a delicacy of ancient Greek plays (if the characters were sirens), the speech of sexy vampires (I've never been around vampires, but I think they would sound like the women in this play)-- it seems to borrow from various genres and styles to create something surprising to the ear. The world he has created just by dramatic language is captiviating. This is a good example why Weaver is a finalist for festivals.