Recommended by Nick Malakhow

As with Part One, Jaisey Bates has written a powerful and to the point piece of theater that balances direct and explosive storytelling with a sense of lyricism and an eye towards continuous connections. The pairing of a few specific contemporary stories, historical context, and the APA's 2005 statement on mascots speaks volumes about cycles and histories of identity erasure and mockery in an amazing example of theatrical "showing vs. telling." Fantastic!

A potent, poetic, theatrical event that is so much more than just a short play! Bates' piece feels rooted in many different places--ritual, poetry, protest to name just a few. The exploration of past and its echoes in the present is thorough and direct and gives voice to two stories that I imagine the majority of theatre-going audiences haven't experienced or considered. The Facebook post from Rhiana Yazzie so powerfully captures a central tension in this piece and in activism, protest, and affinity spaces as a whole.

A potent, briskly-moving one act that is a fresh and original take on the "prodigal son returning home" narrative! As evidenced by the structure, Young has a great grasp on tension and revelation given the pace at which we meet, get to know, and are then surprised by all of the characters. I really appreciated that the "queer reveal" of the piece was not necessarily the main event and that it was met by love. It also definitely served as a powerful symbol for the need for communication and honesty in this family's dynamic. Powerful and producible!

Adam Ashraf Elsayigh has created such a dynamic and impeccably-drawn ensemble of characters. Even with the sizeable cast, each character had a distinct voice, a complete arc, and nuanced development. So much is explored here--generational differences and divides, tradition vs. culture, identity and the complexities of living in a place that can feel at war with your emerging sense of who you are. It is all explored through a brilliant mosaic of surprising and human character interactions. Hanem's house and what becomes of it is a beautiful and poignant central image/event. I'd love to see this live!

A powerful and poignant examination of the fallout of police violence, and of the different ways people grieve, process, linger, or move on from such violence. Each of the characters in this piece is vividly rendered, and I appreciated the sense of love and familiarity that pervaded the piece. Young does such an excellent job of painting the portrait of a constellation of closely-knit people whose lives and relationships have been disrupted by grief. The interjecting scenes with Martell and the final performance of his poem added a beautiful layer of theatrical magic and potency. Excellent!

A moving, surprising, and potent exploration of adolescence, trauma, friendship, and faith. Lily's journey is compelling throughout, and I found her grappling with the guilt, shame, fear, and anger of what happened to her incredibly poignant and directly but sensitively handled. I appreciated Lang's exploration Lily and Shea's specific challenges and experiences as young professional actors--the way the business commodifies you and complicates your relationship to adolescence, growing up, and finding and cultivating relationships and allies. Jordan and Chelsea's conversation with Lily at the end of the play is telling and heartbreaking, but gestures towards healing. Moving and powerful!

I truly loved how Malone used Sam and Nick's riffing on/mansplaining of "I Want You Back" as a background to and metaphor for Sam's inability to see the truth in his own relationship. The exploration of the rationalizing mental gymnastics we do to keep the comfortable status quo and to not accept uncomfortable truths is very astute and accurate. The banter between Sam and Nick is hilarious, and Steph is an energetic and compelling presence who changes the temperature and dynamic with her entrance. A thoughtfully executed comedy that is clever and producible!

A brilliant, unsettling, and truthful piece that draws powerful and incontrovertible connections between violence and toxic masculinity, complacency/complicity, and what happens to the rage and terror that is the result of such violence. This play is so impeccably structured, drawing you in with the fast-moving, human, and messy post-class conversation, and then completely subverting expectations and shaking up the world with the sudden introduction of physical and aural violence. The characters are vividly-rendered, dynamic, and singularly voiced. This should be a staple in college theater programs, read and unpacked by people of all genders different generations.

A brilliant and beautifully told story that makes excellent use of live theater with the design elements and transitions described within. Taha, Moody, and Khalid are such distinct and supremely complex characters, and Adam Ashraf Elsayigh renders them with nuance and care. What a fascinating and powerful examination of the very different paths people carve out for themselves when living within oppressive circumstances. The playing with chronology raised tension and stakes, and it allowed for a careful and intentional unfolding of information and character growth. I sincerely hope I see a production of this potent story sometime soon!

This energetic comedy was the perfect balm as I looked for a lighthearted but adult piece. The premise is hilariously odd, and I appreciated how the revelations come about at a steady clip, never leaving us much room to breathe or get the least bit bored! The priceless humor also came from action and intention, and never as the result of contrived or quippy jokes, showing Malone's deft skill as a comic writer. Through the humor, Malone says wonderful things about letting go, grief, and growing/changing in relationships. A queer rendition/adaptation of this would be delightful as well.