Robert Alexander Wray

A wonderfully written piece that dazzles lyrically (and theatrically) but that explores a fearful situation that women way too often find themselves in: being stalked. Scott deftly turns the tables here though, and it exhilarates even as it terrifies ("For the first time since I entered that piazza, one of us is truly, deeply afraid. It is not me.") The dark humor also adds a great deal of richness to the story. Superb!

A beautifully rendered two-hander that keeps its mystery even as it reveals. You come to feel for both Mallory and Evan, mother and son, in ways that defy explanation. Just like some art defies explanation.

A funny and delightful take on all things Hamlet, and two super fun roles for actors. If brevity is the soul of wit, this play proves that axiom and then some.

Gleaming with Chekhovian structure and style, the play--about gender politics, about family, about religion's place in the world, about art, about love--revs its engines in classical form and takes off and soars under the power of its exploration of dreams both dashed and achieved. Reading it was akin to taking in a Dickens novel: Rich characters in a fully realized world with stories told against the backdrop of looming death. That said, it's also funny! This is a play that should be produced asap, and often.

Powerful, poetic, and not without sardonic humor that helps singe this into one's memory. A gift for any actor of any gender to play. To quote just one line: "She was a force of not nature/but what is wrought when nature/gets ignored." Great piece, great writing.