Recommended by Nick Malakhow

A funny and intelligent play that explores the complex ways family dynamics intersect with economics and money, caretaking, mental health, self-imposed and internal expectations, and much more. I loved the "natural yet heightened" feel of this which lends a compelling theatricality to the piece. I love, in particular, how the catch-22 Jane is caught in can apply to any number of people whose economic status and/or cultural context are roadblocks to the idealized/over-romanticized world of academia.

A powerful, tightly-written play about mental illness and the intricacies of taking care of one's mental health in the transition into adulthood. Bourque-Sheil uses humor with a deft hand to disarm readers and make some of the key reveals all the more poignant. I appreciate the ways he explores mental illness directly while approaching the characters' humanity first. Additionally, this piece could've ended in high theatrics, but goes a much subtler, more ambiguous route that illustrates mental illness not as a hurdle to overcome but as a reality folks live alongside.

The theatrical world that Cain establishes here, in all of its existential dread, in engrossing and compelling! The conceit of two strangers trying to solve the mystery of their strangely repeating encounter is made novel here with bold, theatrical images and stage pictures, and intimate, revealing monologues that punctuate their scenes. Their yearning for connection and how that intersects with their grappling with their intersectional identities also feels fresh and like an of the moment exploration of being an adult in an increasingly self-destructive, chaotic, and lonely world. Funny, charming, thought-provoking, and a showcase for two stellar actors!

It's rare to see such complex humans trade wicked barbs, engage in discussions of power, and 'behave badly' who AREN'T cis-white-het-men. The conversations in "Rich B*tch" take on a profound depth and nuance because they're executed by women who live at such distinct identity intersections. In giving us these women, Lynett explores race, gender, power, and so much more. I felt for each character even as I reeled with the pain they sometimes inflicted on one another. The exploration of how proximity to wealth influences someone and the multitudinous ways of "being wealthy" was engrossing and compelling.

Boldly theatrical, intersectionally-rich, uncompromising, and full of pathos, comedy, tragedy, terror...a whiplash of powerful moments. The pliability of space and time give this piece an expansive, impressionistic feel, and the order in which we learn things about these three women throughout their girlhood, young adulthood, and adulthood is so incredibly impactful. Goldman-Sherman's acrobatic language that vacillates between lyrical poetry, theatrical collage, and naturalistic banter is engrossing. The extended metaphor of plants/flowers is so brilliant in its execution and supportive of this examination of the toxicity and deleterious impact of misogyny, racism, and sexualization on all women.

A thought-provoking meditation on intersectional identity and power, breaking through barriers, compromise, and the thorny work of institutional or systemic change. Charlene, Charlotta, and Patsy are incredible characters that would be juicy gifts for the actors that play them. I just loved the way that these rich monologues were so intricately in conversation with one another. Lynett manages to capture so much here about the compromises, victories, and setbacks faced by "glass ceiling shatterers" while also illuminating the complex groundwork that seemingly ideologically opposed figures sometimes lay out for one another. Celebratory and critical all at once.

This is such an amazing piece! It manages to feel both like this super focused, human, beautiful, sad, funny, and painful exploration of a complicated and loving relationship from all sorts of angles while also being something bigger. Lynett examines how intersectional and evolving identity impacts relationships, the complexities and nuances of emerging and in-progress poly identity and exploration, and the ways people both overtly and subconsciously sabotage or triage relationships. I appreciated how this ended with a mix of pathos, love, and moving forward.

I loved how this utilized, played with, and subverted fairy tale tropes and stories to create a distinctly new aesthetic whole. St. Croix wryly comments on the social expectations established by fairy tales in the ways he employs them here. The queer romance/journey was adorable and full of fun twists and turns, and Crick's poetic "songs" were beautiful and lyrical and broke up the rhythm of the piece interestingly. The double casting and room for creative design heightened the theatricality. A well-done, satirical look at fairy tales with a queer lens, appropriate for/deserving of a wide audience!

A hilarious and briskly moving satire that skewers virtue signaling, superficial DEI efforts, and white privilege while also exploration the complex socio-cultural dynamics that are characteristic of the greater Boston area. King captures a wonderful sense of place. The heightened, farcical setup has shades of classic pieces like "The Government Inspector," but content-wise it is pitched so perfectly at the current individual and institutional roadblocks to change, progress, justice, and equity. King also tosses in an apt critique of various kinds of art--relics, responsive art, and art of unclear authorship and intent.

I really enjoyed reading this continuation of the world established in "Generation Red," though I actually read this one first and enjoyed it as a piece all on its own. Utz explores moving on and evolution, familial patterns and inherited behaviors and ideas, and more using sci fi tropes. There's much fodder here for designers and directors to interpret creatively, and the roles, which balance drama and comedy well, are meaty ones for strong actors.