←Recommendations of The Boy on the Beach

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.

"The Boy on the Beach" is poetry in its most elegant form. It is languid and sensual, beautiful and easy. The prose flows gorgeously and elegantly. The story is a simple one, one that has been told many times--a boy on the cusp of manhood and the women who gently lead him over the threshhold, but Weaver tells the story lovingly, respectfully, tenderly. A first kiss is a precious thing--and Weaver treats it thusly, creating a play that is pure magic, pure sweetness, and pure Weaver.