Recommended by Nick Malakhow

I was hooked by this bold dramatic world and the human-yet-mythic/fabulistic characters from the first few pages! This feels both like a totally unique, heightened world and a clever intellectual exploration of how opposing forces clash and how total repression of and complete indulgence in one's baser instincts each have their own pitfalls. When the action moves to Isaac's house, the atmosphere changes and we are treated to some magical stage pictures and poignant moments to counterbalance the hyperactive "id" feeling of the first part of the play. I'd love to see this theatrically realized on its feet!

A propulsive and surprising play! Daniel McCoy really captures the irregular rhythms of natural speech quite well, but in such a way that both helps illuminate character and story rather than just rendering "reality" onstage. The heightened and explosive circumstances take turns I definitely didn't see coming. The battles back and forth between these characters for control of the scenario, their own lives, and their experiences of one another are very clearly mapped out. The final coda of a scene is a poignant and unsettling punctuation mark at the end of the piece.

Absolutely amazing! I've read/seen several plays that use superhero/comic tropes and motifs, and this is surely top of its genre! Femia deftly utilizes the conventions of the comic world to explore what happens when your real-life mentors' character flaws just might outweigh their positive qualities, mental health, hunger, compulsions and addictions, and living through and overcoming family trauma. Double-casting is done with deft skill, and the dialogue--not a word of it wasted--is absolutely propulsive and dynamic. The ending is unexpected and nuanced, much like the entire play. How I'd love to see this wonderful piece onstage!

This wrenching, lyrical play examines the cannibalistic nature of addiction by showing us the lives of several well fleshed-out characters. The visually compelling scenes flash in and out like strobe lights, and I appreciated the irregular rhythms of the piece. As destructive as they are, Faye and Dom are dynamic characters. Those who love them--Ana and Clara--are just as complex and well-drawn, and their redemptive and poignant arcs provide needed counterbalance to Faye and Dom's implosion. A well-done and intersectionally rich look at the opioid crisis with excellent roles for Latinx and black performers.

A beautiful piece about grief and how one's journey through losing a loved one is inextricably tied to their identity. Berry establishes a bold, often hilarious, always poignant theatrical universe here and utilizes Henry's model world as an excellent extended metaphor. He also captures the stumbling rhythms of anxious, yearning colloquial speech so well. Henry's aria on grieving and loneliness and gay culture in the final portion of the play is funny, on point, moving, and glorious. How I'd love to see a staged version of this in the near future!

Berry has created an incredibly dynamic and cohesive theatrical world in ROUGH TRADE, and I couldn't put down the play from start to finish. He manages to render the intersectionally rich lives of four unique individuals while also exploring broader truths about the gay male community and history, hook up culture, sex, shame, masculinity, art, selling yourself to and being beholden to others...really the list could go on! It is a rich mosaic and, yes, there are some huge moments and gutting truths, but the overall portrait drawn here is finely-shaded, nuanced, and generous to its characters. Wonderful!

I enjoyed this intimate look at the lives of five gay men. Washington successfully renders distinct and interesting characters while also exploring larger questions about intimacy, friendship, connection, and relationships among gay men. After a compelling, collage-like opening that draws you in, the place proceeds through a series of intimate and realistic two character scenes that are subtle and nuanced, but offer twists and revelations that contribute to the engaging manner of the piece. I'd be excited to follow the journey of this play's development! There is also lots of potential for intersectional casting to add rich layers.

This is an engaging piece that utilizes a reverse chronology to really excellent effect. We know the tragic outcome at the beginning of the play, and Rucker provides twisty and intriguing insights and character developments as we learn all of the convoluted factors that contributed to that outcome. All of the characters here are rendered with sensitivity and distinct voices and personas. It was heartbreaking how the tragedy's roots in insecurity and a desire to be wanted were obvious at both the adult and teen level. A powerful, theatrical statement centered on women good for teens and adults!

In just five dynamically-rendered characters, Gina Femia both tells a compelling story and provides a nuanced sense of place and time. Azul and Sweetie are excellent "nuclei" for the narrative, but Femia doesn't skimp on the humanity of Shannon, Vinnie, and Ma. Each of those three is as defined as our central protagonists. The theatrical stage pictures suggested, the dreamlike moments, and balance of melancholy atmosphere with human and funny interactions all combine to create a bold and cohesive onstage world. Lastly, I appreciated the tone of hope in this exploration of trauma, identity, and family.

Wow! What a gorgeous piece with such nuanced and multi-dimensional characters. Like all of Gina Femia's work, this play renders a unique and eclectic assortment of characters with such fine brushstrokes while also articulating profound truths about loss, grief, love, friendship, depression, loneliness, connection, identity...the list could really go on! I devoured this easily in one compelling sitting. While completely eschewing contrived dramatics/fireworks, each conversation so clearly propels the action forward. It is easy to tell from reading that this would be an amazing night of theater to see live--I hope I have the privilege sometime soon!