Recommended by Nick Malakhow

I love how this takes tropes of the "white people reckoning with problems in remote estates" genre and uses them to explode conceptions of Black culture and existence being a monolith. Gipson explores the line between ideological debate and ethical/moral truth, as well as exposes the innate fear behind so much political grandstanding and digging in--fear of losing power, fear of the ways others perceive you, the real fear of harm to yourself if you don't protect those like you. I loved the heightened moments that blended poetry, lyricism, and an unsettling/complex touch of ritual/horror.

A hilarious, theatrical piece that is original in form and content. The core familial relationship in this play is nuanced, human, and funny--the humor all coming organically from Skyler, Helen, and Dave's conflicting needs and wants. Loved how the absurdity around the theatricalization of the renovations mirrored the tensions and attempts to come together by the family. I also appreciated the narratives present here that aren't often given a place in theater--namely, women in sports and the social and personal expectations related to that. I'm eager to follow this play's developmental trajectory!

At its heart, this is a beautifully rendered family drama, but the elements of intrigue and the larger meditations on the ownership and value of art add layers of nuance! Portia's impulsive decision as a teenager has fascinating ripple effects, and the way the ramifications do or don't play out is unexpected but satisfying. There is such poignancy to the ending in that what seems like an ultimate "win" for Evelyn and a skirting of the worst possible outcome is its own ultimate tragedy. The exploration of art, what its worth, and authorship of creativity was fascinating too!

A powerful and human exploration of family and how time can both put family trauma into soft focus and also seismically shape the ultimate relationship one has with their parents. The intersection of generational, cultural, and and identity divides is woven through. I also enjoyed the structural and theatrical inventiveness of the two present day chunks of the play sandwiching a rich and illuminating scene of history that puts the present moment into context.

A really inventive and theatrically compelling play about living with invisible, chronic illness and navigating others' expectations surrounding those health issues. The Body as a separate character is so beautifully (and humorously...and uncomfortably) used here as a visual, extended metaphor for Amy's fraught relationship with her own. I also just loved Amy's sense of humor--a well-rendered and realistic coping mechanism--and how it disarmed me for the poignant, moments of crisis and catharsis. This begs to be put on its feet soon and I hope to see it some day!

A poignant story about family disassembling and reassembling, outsidership, addiction, redemption, and anxiety. The central relationship between Ray and Simon is so delicately and intricately rendered, but in a way that isn't marred by false sentiment or melodramatics. Indeed, all of the characters are so nuanced and there is a lot of care and vulnerability in every scene. Each scene manages to be so powerfully yet subtly loaded with conflict and inner turmoil, but we never lose the sense that the characters care deeply for one another and are just doing their best to carve out their paths.

A totally bonkers (in the best possible way) mix of sharp satire, horror, politics, and contemporary relationship drama. Taking the story at face value, one can enjoy this exploration of stagnant relationships, compromising to avoid loneliness, and boundaries. Looking more metaphorically, this piece touches on lots of relevant social issues, namely political divides and their impact on friendships and a questioning of what a "political difference" is vs a deep moral/ethical roadblock when trying to connect across beliefs. There is a totally amazing gorefest of a finale that leans into the horror elements beautifully.

An inventive, funny, frightening piece that captures the political existential dread of the moment. I appreciated the turnabout where the showdown of Mark and Chase goes from a light, satirical device to pointed and illuminating exploration of opposing sides--similar-but-different versions of masculinity and politics that each contain their own dangers--and when the presence of Dave and his verbiage in the final scene puts a harrowing button on the socio-cultural critique.

An original and compelling exploration of the lives of a few specific young women with broader and more widely sweeping implications and conclusions about what it means to go through life as a woman. The physicalization of terror and existential threat women and girls face in the form of the faceless men is unique and haunting. The dialogue rhythms are so on point. Finally, there's also lots of potential built in here for inventive theatricality. Pennycook provides a wonderfully drawn roadmap that would guide a creative production team while also leaving much room for individuality in interpretation.

Beautifully rendered portrait of the personal and the political. I loved the mirrors and echoes between Nieta's quest to find out more about her father's and grandfather's histories and the political turmoil and strife of their lives in Uruguay and present day political divisions in the US. The highly theatrical form of the play is also as exciting as the nuanced content. I appreciated how the form fractured and evolved and kind of broke down in a way that paralleled Nieta's journey as well. I'd love to see this compelling piece on its feet!