Recommended by Nick Malakhow

Utz has created a rich speculative reality whose details are slowly revealed to us throughout the course of the play without ever slipping into unnecessary exposition. The examination of storytelling, friendship, coming of age, and the tension between following preexisting paths vs forging one's own unique journey is complex and comprehensive. I enjoyed the use of storytelling and genre archetypes to engage with conversations about social and cultural evolution.

The stage images, the malleability of space and time, and the compelling and unique relationships all make for an engrossing read. The examination of family, grief, and moving on is complex and made more nuanced by the unique ensemble assembled for this piece. I also appreciated Martinez's restraint--this could have gone the overwrought family drama route, but it remains subtle and unconventional while still maintaining palpable tension throughout. I'd love to see this realized onstage!

A gloriously theatrical exploration of friendship and the ways that tragedy can disassemble and reconfigure relationships. Using a combination of direct address, hyper-naturalistic and acutely observed speech, and lyrical, heightened sequences, Martinez renders a small but memorable ensemble whose interactions are impacted by their unique intersectional identities. The juxtaposition of acts one and two was compelling. Additionally, there is a lot here for a whole production company to creatively work on--from actors to directors to designers.

This play manages to be humorous and light-hearted while exploring a bunch of different kinds of complex, frustrating, and at times toxic romantic relationships--as well as how and why people get into them. I appreciated Jenny's journey as it illustrated how both self doubt and outside prejudgments can take root and pathologize and interfere with relationships and intimacy. The final scene is a funny, poignant button that provides closure without the fairy tale finale.

I loved the intergenerational aspect to this piece, as well as the centering of these three women's voices. It made the piece a really interesting exploration of the evolving (and not evolving) expectations women face in society concerning love, relationships, and motherhood in subtle and nuanced ways. Additionally, folks of all genders can appreciate what Lisa says about dynamics within relationships and how one's identity shifts and changes in partnership with someone else. It was also funny and charming to boot!

A thoroughly engrossing piece that examines family history, trauma, and identity in a human, fascinating way. The tension between Lydia's quest for truth and Stan's determination to preserve a certain version of history is palpable throughout, even as the characters engage in gentle and humorous interactions. Things escalate steadily, however, and the reveals about Abraham's true nature and Stan's stake in the lie manage to feel both major and organic. I loved the theatrical grand gesture in the final moments--how I'd so love to see it realized visually and aurally onstage!

Gorgeous, gorgeous play that uses visual, verbal, and emotional juxtapositions to explore the depths of PTSD, war, and intergenerational trauma and conflict. The echoes of Leila and Johnny's experiences and the ways their experiences depart from one another present a human, nuanced, and intersectional portrait of war. The intimate, subtle conversations between father and daughter speak volumes. Many of the stage images--including the final moments--have stuck with me beyond my initial reading. I hope to see a full production of this!

The three characters at the center of the piece are all multi-dimensional and vividly-realized. I also feel I have a keen understanding of the world and other humans around these people without having those folks onstage. Maxine, in particular, is an admirably nuanced and complex human! Brandon explores the bounds of friendship, acceptance, and preconceived judgments and the ways those things collide with intersectional identity. There are no easy answers, which I appreciated as well--it mirrors the way we oftentimes must learn to live friends who are growing and learning and messing up even as they nourish us.

I loved this piece! It doesn't shy away from the messiness of adolescence--anxiety and mental health, body image, friendship, the ways society pits women against one another and themselves--while leaving much room for hope, happiness, and health. Lucie is a strong central nucleus to the story, and to see her relationships evolve with Ianna, her mother, and Harrison (with the help of Judy of course!) is poignant, compelling, and real. An excellent piece for teens and adults alike. I'm eager to see this in production!

A complex variation on the "prodigal child" story--in fact no character in this piece gets off as either a hero or a villain. Jo and Simon's relationship, in particular, is nuanced and compelling. A searing look at how family trauma informs relationships. While we see Jo and Simon perpetuate some of the harm done to them, the ambiguity of the ending allows for us to imagine a world where they escape the cycles they've been trapped in. The dialogue is human and characterized by the unique irregularities of natural speech.