Recommended by Nick Malakhow

I loved this haunting, funny, and unsettling piece that crossed genres to explore the effects of self doubt, mistrust, and mental health on relationships. The dream sequences captured the weird, messy specificity of dream logic, and Jean's journey through this juncture in her relationship with both Elise and her friends was poignant and real. The use of surreal and semi-fantastical elements highlighted the themes explored--particularly self-doubt. I'd love to see this onstage!

What a spectacular ensemble piece! I loved its poetry, complex structure, and deftly rendered cast of characters. The use of the characters to voice male voices on AIM was also a brilliant detail that underscored the central thread here--the toxic, long-lasting, deleterious effects of the cis-het male gaze. Sagan-Gutherz's text vacillates between complex and lyrical monologues to astutely-observed naturalistic scenes to sequences with the potential for play with movement and physical poetry. They bring together such unique and disparate theatrical elements into a coherent aesthetic vision. I would so love to see this staged on its feet!

A gentle and haunting piece that explores family, race, generational divides, the complexities of being outsiders in a hostile environment, and so much more. The intimate ensemble is full of well-developed and nuanced characters. The tension around the selling of the restaurant and the next steps in this family's existence is ever-present and escalating, but it manages to maintain itself without contrived theatrics or melodrama. Rather, little important seismic shifts between and within the characters keep things moving briskly. I'm so eager to see this on its feet one day soon!

As a queer, multi-racial artist currently based in Boston, I found oh so much to relate to and resonate with here. Even beyond that very specific experience, anyone who reads this will gain important insights into the intersection of identity and art. To be specific--the complexities of feeling like you are commodifying and coopting your own identity to market yourself as an artist to a market that, ultimately, doesn't value what you truly have to give. The conversations in this play are necessary. The satire was funny and gentle. The inclusion of dance is an exciting opportunity.

A briskly-moving piece that examines important aspects of the queer community--generational divides, chosen family mentors, and more. I loved the use of Atlantis as what felt like a larger metaphor for the isolation and loneliness that is part of the queer experience, and the creating of one's own identity and "mythology" so to speak. Rick and Scotty's friendship is touching and unexpected and complicated, and I appreciate how it consistently runs counter to Mary's assumptions and expectations.

Yet again, Haygen-Brice Walker creates a compelling and totally out there theatrical world that explores queerness, social norms, identity, collective history/trauma, and the tension between who you are and who you show to the world. The use of horror tropes is supremely creepy/unsettling and the haunting aspects amplify the themes of living vs hiding one's truths. All of this is done with a hefty dose of pitch-black humor and some impeccably crafted, unique characters who are all so distinctly drawn. Works like this make me yearn for live theater to see this world come to life.

A tightly written and highly theatrical piece that shifts seamlessly between beautifully-observed naturalistic scenes, revealing monologues, and expressionistic sequences. In Khady, Kareem Fahmy has written a compelling character whose questions about her family, faith, and how those things are tied up with her identity, sense of herself, and her athletic career really propel this play forward in a dynamic way. I loved the room for theatrical movement sequences and how they coexisted with subtle and nuanced character study. Each supporting character in the small ensemble has an organically urgent stake in Khady's actions as well. Exciting work!

The titular itch becomes a skillfully used extended metaphor for cycles of family dysfunction, made particularly more complex by its intersection with mental health struggles and recovery. This is a really original family portrait, and I appreciated how each character felt well-rounded and human, while also serving as an interesting, metaphorical piece of the aforementioned exploration of mental health. I look forward to following this play's trajectory!

A compelling ensemble piece that examines an important cross section of folks within the queer community. In highlighting these particular people, Wilson illuminates how intra-community dynamics are informed by gentrification/economic privilege, white-cis-male privilege, addiction and desire, and generational changes. This is definitely not a play of easy answers or the proposition of a future utopia. There is something so beautiful and symbolic, however, in Jonathan and Mary Christ's final conversation--it feels like both a missed connection and the possible seed for growth or rethinking community.

A genre-defying, fabulistic piece that navigates a variety of theatrical styles and motifs, and issues both micro and macro level in such a compelling and engaging way. Sam Hamashima creates a distinct theatrical world and their skill in bringing together a variety of threads into a cohesive, aesthetic whole is supreme. I loved the dual narrative focus, as well, on this humorous, heightened fable-like tale from the past and a grandmother and grandson's more immediate and intimate journey through the results of generational, cultural, and familial trauma. This play begs to be staged and soon I hope!