Recommended by Shaun Leisher

This play is a super smart blending of guided history lesson, exploration into folklore and quest to get one's family history "right." This play goes to some pretty fantastical places but I never felt lost due to Izumi's steady authorial hand. This play was such a joy to read. It's deeply funny while exploring some really sad and heartbreaking issues.

I love plays like this that leave you really moved but not totally sure what exactly happened. This play is creepy to the max and the possibilities are endless for directors, actors and designers in terms of capturing the atmosphere spelled out on the page. Like all great horror this play is about real fears that all humans deal with. In this play those fears are death and living a purposeless existence and McVay explores them in really unique ways with these rich characters. PRODUCE THIS PLAY!!!

Love this play and it's bad ass female hero. Want to see more work that explores folklore of non-white cultures like this.

Yes!!! Yes!!! Yes!!! I am obsessed with plays that adapt well know stories, plays about art and plays about memory. This play is all those things I love in one. PRODUCE THIS PLAY!!!!

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