Recommended by Nick Malakhow

Superb piece that tells a gorgeously rendered, human story amplified with moments of high theatricality and some potent and powerful metaphors and stage images of biblical proportions. Johnson manages to explore huge themes of privilege, race, gentrification, found and blood family, legacy, and much more with his microscopic focus on the relationship between Jay and Evan. All the characters are compelling beyond those two, however, especially Stacy who is so awesomely empathetic and antagonistic all at once. I hope to see this on its feet sometime soon!

This manages to be both VERY funny and VERY profound. Stafford does so much. She explores the relative importance of responsibility to self vs responsibility to others as a central ethical question and connects it elegantly with social expectations and gender roles. Secondly, she examines a very real and finely rendered relationship between two people who love each other, but whose priority shifts, communication failures, and waning abilities to be deeply honest with one another have shaped their marriage undeniably. The laughs flow quickly (and Leaf is a priceless character). The end is so poignant, well-earned, and deeply-felt.

This is a tightly-written, potent, atmospheric piece of genre-bending sci-fi/horror. The juxtaposition of the natural, rhythmically/humanly irregular support group scenes with the more heightened and theatrical sequences is very powerful. There were some incredible stage images which I will remember of would love to see crafted with lights, movement, sound, and bodies in space. Herrera's exploration of support groups, the multitude of experiences people have within them, conflicting journeys of healing and resolving trauma, and much more is rich and subtle and nuanced. I'd love to see this live and on its feet!

A surprising and engaging piece that looks at the intersection of faith, belief systems, acceptance, identity, family, and queerness. The looming stage image of Jonah and the whale provides a potent visual metaphor for the major themes and events within. The twists and turns in Ann's journey are powerful and organic. The connection between Daniel and Troy is, at first, poignant and illuminating and full of its own surprises, which makes the "resolution" of their relationship even more of a gut punch. I'd love to see this briskly-moving piece onstage.

Watching Andy dig himself further and further into a (fictional) grave was a delightful festival of schadenfraude to see unfolding before my eyes. Behind the quick-moving and comedic scenes, Mejia explored important themes like commitment and honesty in relationships, the importance of not seeing gay marriage as a panacea for issues facing queer people (and not always "the answer" in a perfectly functional relationship), intimacy, and getting oneself out of destructive relationship cycles. I'd love to see this staged with a truly diverse cast of queer men--which would no doubt add intriguing nuances and subtleties to the relationships.

In centering these five characters, Mejia explores social expectations, body image, and confidence in one's own identity (both in the gay male community and world at large). I appreciated the direct and difficult conversations the characters had and the unexpected turns in Amy's character that subverted expectations (though her final "last laugh" at the mess she was escaping was certainly satisfying). I also appreciated CJ's hang ups centered around preconceptions and social expectations of bisexuality. The dialogue flowed at a steady, easy clip, making this a good piece for folks looking for a queer comedy to read.

The theatrical, slightly heightened language and moments that veer away from straight realism amplify the conflict and exploration of buried secrets, identity, family conflict, and destructive masculinity. I loved how this managed to both examine those themes with seriousness and mine humor from that heightened, sometimes comedic space (any time the stoned Vicki made her way through the scene was an absolute highlight). The sizeable ensemble was composed of wonderful roles that any actor would enjoy sinking their teeth into. I'd love to see this realized onstage.

This lovely piece begins as a clever and warm hearted comedy about relationships with threads of speculative fiction subtly and finely woven through the text. The world building is great! It surprised me by becoming a much more poignant and nuanced exploration of modern relationships and intimacy, marriage, queer love, and eternally relevant questions about what it means to love someone "enough" to commit your life to them...and what that commitment entails. I was laughing at the beginning, thoroughly enjoying the normality of queerness throughout, and full-on crying at the end. I'd love to see this produced!

I love how this piece functions on two levels--one, as a juicy piece of historical fiction and two, as an exploration of the ways social expectations around masculinity impede, suppress, and destroy the ability for folks (of course, men in particular) from living their truths. Grant captures a slightly heightened sense of speech, which helps establish time, place, and character, without veering into a tropey stereotypes. The queer tension and romance was palpable throughout, and the small, seismic revelations were satisfying.

Ms. Pearl/Jamal is such a powerful nucleus around which the play revolves, and the punctuation of the alternating heartrending and humanly funny scenes with their cabaret performances and private moments in their dressing room shapes the rhythm of the play in a powerful way. The use of double casting is amazing as well--keeping the focus on this family's journey while allowing for more expansive use of characters. I also appreciated how Hicks doesn't shy away from especially Louis and Jamal's struggles, while also giving them room for hope, healing, growth, and acceptance. Beautiful, unexpected moments meet bold theatricality.