Recommended by Scott Sickles

I have never partaken of The Ecstacy but if it’s even half as joyous as this play, I’d be in serious trouble.

I remember the eve of the millennium. So much anxiety. Gatton lands us in the middle of an oasis of bliss. Of hope. Of possiblity. At the end of an era where teenagers knew what checks were. And then… WOW!

The characters are as vivid and complex as the colors on an acid trip. The heart of this play overflows, grounded in an ordinariness that demands to be overcome by unconsidered delights.

A masterpiece.

While I didn’t picture Fred Savage and Peter Falk, this definitely has some Princess Bride Grandpa/Grandson vibes. A sweet celebration of intergenerational bonds that transcend separation while providing potent commentary on a society addicted to being indoors. A gem.

All sagas must come to an end and after traversing decades and jumping genres, Great Britain’s First Ever Vampire Teddy ties a snazzy bow on his adventures… for now… (He IS immortal…)

This epic finale (15-20 minutes!) is a solo tour de force!

What I’ve always loved The Bear that he’s a master of embellishment. It’s impossible to tell if he’s making it all up or, if in the universe of the play, this insanity is really happening. Does it matter? No! Which makes the magic more magical!

Give in to his dark plush embrace!

The path to glory does not always follow the map! Sometimes, one must journey away from the trodden path. Storming the castle can wait. There are other dragons to be slain, smaller in stature but formidable nonetheless, guarding even more precious treasure. Time time comes in every quest where one must roll for initiative… and GO!

SIDEQUEST is a delightful distraction from the quest of your day. It presents beautifully awkward likely neudivergent folks using real world magic to fight interior monsters in the maze of connection. Surprises abound, big and small. Roll the bones and cast that spell!

I CHALLENGE ANYONE TO PRODUCE THIS WITHOUT USING HARP MUSIC!!!
DO I HAVE ANY TAKERS???

I didn't think so!

But seriously, the possibilities for beautiful creative stage composition, costuming, music, and soundscapes are vast at the sky in this ode to longing with the most elegant lunar "get up off your ass" bitch-slap. The apathy of celestial beings to the plight of mere mortals has a blithely profound impact on the proceedings, reminding us we're all on our own... now what?

It is an open secret that Vince Gatton is a timeless being bearings witness to the passing of the ever-moving epochs of civilization.

Here, he's not even trying to hide it.

Past, present, and future all converge and diverge in the wake of a single indelible tragedy. Yet this is no time-travel tale: it's a simple domestic scene between mother and son, replete with cruelty-as-amusement, intergenerational music/fashion/tech/ideology, the parallels of rebellious youth in different eras, and rare affection.

The sociopolitical commentary is intimate as the wounds it recalls, but despite anguish there is beauty and somehow hope.

We’ve all been party to maddening conversations like this one, especially about the climate. Just as there seems to be no winning with the climate itself at this point, victory is even less likely when ideological elitists find fault with everything.

Millar miractulously finds a way to make an exchange that’s usually unbearable in real life utterly effervescent on paper. It’s a fun satire peppered with great personal touches. And the fate of the plant is surprisingly moving.

I love a great Fractured Fairy Tale and this is a fantastic take on Cinderella from Teen Prince Charming. It’s the teen thing that really makes this sing! The attitude toward (shudder) girls and how rare it is to find one a prince that age has anything in common with… It’s funny no matter which silly accent you use to play him (and I tried a couple)! This would be a great audition piece for a young actor as well as a great standalone in an evening of monologues.

Oh the names I've called Siri. Shameful!

I just got done watching The Orville, so the Robot had Isaac's calm even voice.

I have to say, I was expecting a different reaction from the non-organic entity but what transpires instead is far more satisfying. Cross magnifies the frustration, angst and entitlement of being a teenager in the Information Age in such a way where, while everything is bigger, the details are in sharper relief. As with any good story about an android, the human audience can learn a valuable lesson.

I can't tell if this play is autobiography or wish fulfillment. Either way, it's deeply gratifying! We've all dealt with some high-handed asshole's broad preemptive condemnation about a situation that we have under control and/or which does not involve them. And yet! Fortunately, Harriet is prepared to make both symbolic and practical gestures in her defense with props both dry and wet.