Recommended by Nick Malakhow

I loved the malleability of space and time in this piece and the ways Jeoly's and Zora's stories echo one another and intertwine in subtle and palpable ways. There is text that moves at a brisk and natural pace as well as words that lean into lyricism and some of the profound inner workings of these characters' minds. While the play deals with the traumas connected to being confronted with and having to confront white supremacy, it is all done in a gentle and intentional manner that honors but never exploits the pain of Zora, Nanay, Jeoly, or Judy.

An intimate, compelling, and compassionately written two hander that looks at the ways people expand and contract in relationships and how those changes disrupt careful equilibria and unearth fissures that people desperately try to seal. Samira and Jason are both multi-dimensional, flawed, funny, loving humans and to see them struggle through this moment in their lives is, at turns, poignant, painful, and humorous. Some deep universal truths about love and partnership are shared here, but they are rendered with such a powerful and distinct eye for the characters' intersectional identities. I'd love to see a production of this!

Sharply satirical piece that explores the multitudes within the Latinidad, the complexity of identity and ownership over it, thorny and often painful family conversations about love, self-worth, and beauty, and a lot more! Lana and Susi's parallel journeys are compelling to watch, from Susi grappling with the family inheritance that she believes will betray her health early to Lana's often amusing reunions with half-siblings and poignant reflections on the ways her own sense of self worth and success have been wrapped up in her perceived and then newly revealed heritage. I'd love to see a production of this soon!

An original and theatrically compelling exploration of family, grief, and how those two very personal spheres of one's life are inextricably tied to larger cultural and political ones. I appreciated how it felt the play became more expansive and symbolic as it progressed, while still not losing its specific and familial core. I am absolutely obsessed with the theatrical conceit of the audience being blindfolded and I was excited at what the aural landscape of the play would be as I read. Eager to follow the developmental trajectory of this and to experience a performance of it!

An honest and unflinching exploration of mental health, therapy, and the bodily impact of major depression on one's physical, physiological, and emotional beings. Franky manages to capture such potent and wide reaching themes while telling this unique and specific and personal story. One of the things I find most compelling about it is how he illuminates and theatricalizes therapy in a way that is genuine and eschews any tropes of "dramatized therapy" one finds in media depictions of it. This piece should be produced far and wide and will be helpful for many people--myself included.

A quick and compelling read that explores a lot in a compact space--influencer culture, the commodification of the lives and bodies of women, addiction, storytelling, and more. Romeo probes important explorations about how technology and obsession with celebrity and consumer culture destroys as quickly as it builds a person's self worth and livelihood. The storytelling tricks and reveals are all very clever here, particularly the poignant final moments. I'm interested in following this piece's developmental trajectory!

So sharp, incisive, and hilarious. It's a piece that's definitely so spot on re: the state of American theater that it is as cringe-inducing and uncomfortable (in a good way!) as it is funny. While the setting and world of the play is uber specific, there are such profound and universal conclusions it draws about the hypocrisy and dysfunction of ostensibly liberal institutions (much like Spector's "Eureka Day"). I'd love to see this in production!

An intimate, nuanced piece populated by some fascinating characters! The exploration of the question of who has the right to tell certain stories, specifically ones based off of real people, is complex and approached from many different angles. The potent conflict between Finn and Silas is juxtaposed so intriguingly to Silas' connection with Maxie. The spare beauty of the language felt, at once, wholly naturalistic while also extraordinarily poetic. Carla is a master as building multi-faceted central characters whose actions you question just as much as you desire for them to succeed and be ok.

A subtle, powerful, potent work that captures so many of the fears, anxieties, and questions swirling around in the United States right now. In a society that so often equates self-worth and power with money and employment, each of these characters' dashed dreams or hopes for the future (sometimes coexisting at once) feels so urgent. It's so easy to see how and why these tensions and characters bristle against one another, but Deborah renders all conflicts with such a light, deft hand. With its intersectional focus and relevant themes, this play needs to be produced now, many times!

I will never look at a corn field the same way again. Also, this play is hilarious. Also, it examines anxieties, friendship, family, and neuroses...mining genuine insights about those things in quite an original way. The vibe is Dazed 'n Confused meets Waiting for Godot meets David Lynch meets Gregg Araki. Never did I realize I wanted those aesthetics combined. I would love to see this staged and look forward to hearing about its developmental trajectory.