Recommended by Nick Malakhow

Wow! What an original and compelling play! I absolutely loved the (mis)translation theatrical device as well as the haunting reappearances of Tommy throughout. The theatrical universe Robideau has created here is unsettling, hilarious, off-kilter, and at times magical, and it is used to tell a potent story about addiction, mental health/PTSD, and toxic relationships. It manages to be genuinely funny, at times sweet, a little sexy, occasionally scary, and surprisingly touching--if that sounds chaotic, it's not. This world, on the contrary, feels very aesthetically coherent. Theatrical and begs to be seen in a live production!

I loved spending time with these rich, layered characters. The pairing of short, potent scenes with longer ones that embraced the irregularities of natural speech gave this overall sense of hanging out with and getting to know a group of humans at key turning points in their lives. Carr's attention to the rhythms of humanity is amazing. What a joy to see an ensemble of young Black and brown queer characters in a story focused on small seismic shifts in relationships and nuanced goals and dreams. The theatricality of the shelter setting, dance, and music was also exquisite!

An unsettling and effective piece that challenges the viewers' assumptions about sexual assault, violence, gender roles, and relationships. Beneath the urgent and at times shocking unfolding narrative and denouement is also a complex exploration of the ways that toxic patriarchy informs our ideas of power and distorts the agency of folks who don't identity as cis-men. Yasmine is an endlessly interesting character because of this exploration--yes, we cringe and gasp at what she does, but it is clear how her twisted sense of what should happen is informed by years of such conditioned/ingrained societal messaging.

A gloriously original piece that explores queer identity of various kinds, coming of age, and family. Seeing the characters at these three pivotal moments in their lives provides us an exquisite window into their growth. The fast-paced dialogue crackles with hilarity. The interjections of the priestess between acts and the blending of theater with ritual and poetry in the final scene adds a real sense of heightened theatricality. The way Flores parallels these young people's quests about their identities and families with their exploration of Wicca and paganism is powerful and complex. I'd love to see it staged!

A deeply intersectional look at intimacy, loneliness, connection, and grieving. This play gutted me in all of the good ways--I love how it paired humanity and humor alongside its painful examination of letting go of a dead loved one. It also presented a nuanced portrait of a polyamorous human in Jacks (despite them never being seen onstage!) and their complex relationships with Aisling and Noah. The piece was so tender, and I loved how gentle these characters were with each other even as painful truths were revealed and relationships seismically shifted. There was not a false note!

An interesting piece about intimacy and sex and where those two things overlap and diverge. All four characters here are multi-faceted and would present fun challenges for performers to sink their teeth into. I also enjoyed the way Moore examined and discussed the social expectations around sex for folks based on age and gender and how he offered nuanced portrayals of the kind of intimacy teens need and desire.

In this powerful two-hander, we come to see the evolution of the relationship between Caleb and Blake. Chronology jumps are used effectively and the irregularly paced mix of shorter and longer scenes give us the overall scope and impression of this relationship in a nuanced, thoughtful, intentionally constructed way. Coming out, conceptions of masculinity, friendship, and identity are all explored with a refreshing complexity. It's also wonderful to see a coming of age/coming out story about young cis men grappling with masculinity that doesn't resort to physical trauma, but rather focuses on smaller emotional seismic shifts.

This is a great ensemble piece that explores queer identity--I especially appreciate its exploration of coming out and bisexuality in fresh and novel ways that don't center and focus on trauma that characters inflict upon one another. Dylan's journey feels real and well-rendered, as does Logan's arc as he struggles with his self-image and the expectations and barriers erected around him as a gay man. Finally, I appreciated the straight character of Austin and the conversation he catalyzes about allyship and what that looks like.

An exquisitely told love story that explores both Nora and Stephanie's emerging relationship with one another as well as each individual character's conception of and relationship to themselves. Charming, naturalistic scenes that show the progression of the couple are interspersed with whimsical and fantastical elements in the form of Mrs. Hyena and her other guises and puppets. St. James has created a bold, aesthetic theatrical world that feels cohesive and compelling, and their focus on the key seismic shifts between and within Nora and Stephanie feels subtle, nuanced, and complex.

This manages to be a engaging, highly theatrical commentary on wellness, fad, and cult culture while also being a unique exploration of relationships--toxic and nourishing--and the ways we self-sabotage our own actualization as adults. The characters and connections explored here are fascinating and complex and Sievers' eye towards their intersectional identities lends nuance, specificity, and layering to a piece that also digs out some universal truths. There is a lot of interesting ensemble and design work to explore onstage as well! An offbeat and original piece.