Recommended by Shaun Leisher

This is the kind of play that feels like it started as a "If you could meet one famous dead person" writing prompt and became this moving and thoughtful reflection on art and legacy. These two lead roles are the kinds that actors dream about and Izumi is exploring so much about their identities as women and people of Asian descent. The theatre should be a place to here stories of people and achievements long forgotten as both a way to remember and connect with in our modern time.

As president of the Northeast Pennsylvania chapter of the Gina Femia fan club I wholeheartedly recommend this play to anyone looking to produce work with complex roles for female-identifying actors. The dialogue is so honest and smart and I love how Femia balances moments of that ask existential questions with looks in the everyday lives of teenagers. This is a play that gives a big middle finger to Shakespeare while also nodding down to the dude. This needs to be seen everywhere but especially in educational settings where so many young people need to know they are not sins.

Theatre can't just be fluff spectacles and when it does tackle serious topics it can not just be about white people learning to not be racist and saving people of color. The stage sorely needs plays like this that are about messy conversations that need to be had. I'm finding it hard to recall a play that delves into white guilt as inventive and with as much courage as Steph Del Rosso does with this piece.

PRODUCE THIS PLAY!!!! PRODUCE THIS PLAY!!!! PRODUCE THIS PLAY!!! It's a raw, ballsy, guttural, super smart primal scream against the patriarchy. So hysterical and will inspire you to take action!!

Love how this play just plops you in the lives of these two different characters that quickly realize how much they need each other. A tense, nuanced one act with beautifully crafted roles for older actors.

We are in great need of more art like this that turns Westerns on their heads. A genre that has bred so many harmful stereotypes and toxic masculinity needs to be torn apart and investigated. Georgina Escobar proves to be more than qualified to do just that in this searing exploration of patriarcy, queer identity, mental illness and a turning point in Mexico's history. It's the kind of family play with such rich characters that has for so long belonged to white people and belongs in conversation with the work of Williams, Miller and O'Neill

We are constantly told that technology will keep us connected. It will keep us in touch with our loved ones. What if it doesn't though? What if it just separates us more? What if it makes us forget about those we care about the most? These questions are explored in this experimental play about a couple trying to make it work as the ways we communicate advance.

This play is an absolutely brilliant blend of realism and fantasy. A play that is in conversation with the history of our nation and how the non-white people that built it are portrayed in art. This unique take on the Western is both epic in scale and so intimate with wonderful roles for actors of color and folks in the LGBTQIA community. We need writers like Nelson Diaz-Marcano who are willing to take on and redefine the American theatre canon.

This play needs to get produced at colleges and high schools all over the country. Belflower effortlessly brings this classic play in conversation with what is happening today for young women. I'd love less productions of The Crucible and more of this play.

A funny, awkward, heartwarming two-hander about girlhood. Perfect example of how specificity is key in great art.