Recommended by Donna Latham

This play of white supremacy/nationalism, abuse, gossip, and vengeance is ripe with theatrical potential and unfolds at a taut, compelling pace. During a thunderstorm, Sylvia stumbles into a KKK-infused “model American town” that conceals nefarious activities behind community do-gooding. Through vibrant, strong female characters, powerful language, and a breathtaking sense of impending danger, a brewing whirlwind unfolds. Both the weather and Sylvia’s moral compass go haywire when an unlikely gaggle of women unexpectedly unites to create its own tornado. The play and its rich subtext deeply resonate with our “post-truth” and increasingly nationalistic times.

Sex and violence sell. In sweltering swamplands, opportunistic reporter JC Cohen sensationalizes a female murderer’s hideous slayings. She tarts up Violet Haight, pig farmer and Pentecostal snake handler. Violet transforms from demure poof-haired gal to sexpot in feathered heels—ideal for lurid images in True Crime magazine. As events unfold and the creepy mood intensifies, the audience wonders, “Who is using whom?” Vivid characters, suspenseful theatricality, and excellent use of regional and colloquial speech. Explorations of sensationalized crime, dubious celebrity, and mutual exploitation. A highly recommended scalp-prickling piece.

The Americans are coming, the Mexicans are leaving, and Death is patiently waiting….
The Hall of Final Ruin is ripe with theatrical atmosphere. From the opening, when Doña Sebastiana hauls her death cart onstage, the stacks are high, and the audience is perched on the edge of their seats. The pace is quick; the dialogue, both English and Spanish, sizzles. With wicked humor, magical realism, and fierce female characters, the play is at once stylized and historical, with resonance for today’s audiences. Explorations of female identity, religion/morality, and colonialism, as Death hovers. Highly recommended.