Recommended by Nick Malakhow

A tightly written, unsettling theatrical exploration of grief and loss and how those things shut you off from and infect your relationships with others. The sparely written scenes are economic with their language but contain multitudes in their silences and specific word choices. The horror is palpable, psychologically taut, and builds slowly throughout to a few well-chosen grand gestures. The use of the doll is absolutely brilliant as well, and I'd love to see it manifested onstage. Abby's revisit of Joe in the future is haunting and a poignant punctuation to Joe's arc when he retreats inside himself.

The simmering tension that pervades this piece is evident at every moment, particularly in the well-constructed, lengthy silences and periods of non-verbal action. Neither Brandon nor Michael, each complex and flawed, are "exonerated" by the piece, which makes room for a thorny and uncertain kind of hope and path forward at the end. I appreciated experiencing the narratives of two queer men from different generations and backgrounds and the ways their paths intersected and so clearly diverged. I also appreciated the illumination of the specific traumas of conversion therapy that Brandon gave voice to subtly, concretely, and powerfully.

A potent and highly theatrical exploration of a woman's scars and trauma connected to her dance instructor. The refraction of the relationship through the lens of her child, teen, and adult selves provides such compellingly and elegantly visualized insights into the way it formed and impacted her identity throughout the years. "Him" is certainly not left off the hook in the slightest, but he is rendered with disarming complexity and nuance. I loved the alternation of gorgeous theatrical moments and sequences with microscopically painted moments of layered, human, and often unsettling naturalism--particularly the final scene between girl and Him.

An absolutely beautiful and human exploration of grief, loss, family, inherited and learned behaviors and coping mechanisms. It is also *extremely* funny, and I love a play that will make me alternate laughing and crying! I can totally see how well this would work as an audio play--especially the chorus. That said, it would be super compelling fully staged as well. By the end of the piece, I felt well acquainted with the family portrayed and appreciated how they were rendered--warts and all--seemingly without judgment because of the narrative self awareness of the messiness of family, love, and loneliness.

A beautiful, subtle, and vividly-drawn portrait of a family in mourning as the world slowly slides into the early stages of the pandemic. I really appreciated that the play captured nuanced elements of the first year of COVID without drowning in them. To see seasons pass and Jessica's world transform and evolve along with the needs of her abuela, mother, brother(s), and the world was to observe a masterclass in fine character-defining brushstrokes. I'd love to see the visual conventions of the piece realized onstage! The ending is cathartic, beautiful, and yet a satisfying "ellipsis" of sorts.

Boldly theatrical exploration of the objectification of women and the male gaze, and the silencing and repression of female sexuality and agency and desire due to those things. The piece manages to intricately explore the humanity of Eliza, in particular, but others in this theatrical world, while also making some huge theatrical grand gestures utilizing powerful visual metaphors. I would so love to see some of these bold stage pictures fully realized.

Equally funny and heartbreaking, "The Reservoir" is an absolutely amazing piece about family, addiction, mental health and how those things intersect with one's identity when grappling with recovery. This manages to have the raw, confessional feel of solo performance with Brasch's protagonist making such a clear and unique connection with the audience, while also taking full advantage of having several bodies in theatrical space. I cannot emphasize just how hilarious this piece is...until it made me catch my breath with some potent (and never sentimental) heart punches. The exploration of recovery is deep, comprehensive, complex, and important.

Such a beautifully observed, delicately rendered piece that explores huge themes--immigrant/first-gen experiences, queer coming of age, gentrification, adult and adolescent friendship and fellowship and more--with fine and gentle brushstrokes. So many of the scenes didn't end with huge dramatic flourishes, but small little seismic shifts and ellipses and open-ended questions. I especially appreciated the potent queer storyline that eschewed trauma in favor of examining how the two boys supported and cared for one another. The sense of place of this particular city block was also crystal clear--I'd love to see it all fully realized onstage.

A super compelling, in-the-microscope view of a tempestuous and powerful relationship. Evelyn and Raymond are infinitely compelling characters, and I loved seeing the core of who they were remain consistent even as they changed and evolved throughout the piece--all this done very subtly through dialogue, small moments, mannerisms, and lots of deft theatrical "showing." Raymond's highly logical approach to the relationship becomes all the more poignant later in life when they realize the ways they need each other despite the "logic" of their relationship not working out. It's heartbreaking to see their impact on Annie; her coda is wonderful!

A sharp, hilarious satire that that examines white privilege and allyship, friendship, reality tv, the multitudes within the Latinidad that are often conflated together by the white American POV, and more! All of the characters, buffoonish papi chulos and all, are uniquely rendered. I so delighted in the irony of Tony and Brad developing their own white savior narrative that they kept to themselves while the audience is privy to the true wants, hopes, dreams, and needs of Jenni, Gloria, Celia, Sophia, and Maria. The comedy is a perfect vehicle for Reilly to skewer these problematic assumptions and behavior.