Recommended by Emilio Williams

Mata Gee is a spectacular family saga centered around four generations of women. I can't recommend this play enough for its humanity, its humor and a very keen sense of theatricality. This is one of the those instances of the form of a play reflecting its soul. The show has stellar roles for four actresses of Indian descent. The family story is universal because of its detailed specificity.

While set in a very specific time period, and with historical characters, the play transcends its time and space to deal with questions of grief, and believe. I highly recommend this profound play filled with humanity and resonant questions.

I love this heartfelt dramedy about aging having to balance needs and independence. The specific dilemmas will resonate with adult audiences who are facing aging or facing the aging of a love one. In that sense it is the perfect multi-generational play. Please, read.

I love this play. For me, it is a new take on Noël Coward's style, or on those rapid fire comedies from the 1930's. I highly recommend theaters near a golf club to check out this comedy that will enthrall golfers and non-golfers alike.

This is one of the magical plays that will make you laugh until you cry, and will make you cry until you laugh. The story of this girl growing up in 1970-80's Chicago may sound at first too specific, but through great humor you will realize that this is the universal story of how we are all trying to find our place in the world. Great potential for a musical, YA, or university production. Juicy roles for all actors involved.

This play is about our collective grief... and about the impossible to make right in a world that has gone SO wrong. The play is told with humor and pathos through the lens of three humans who are not boys, and not yet fully-formed men. Like all of us, Americans.

This play filled with humor and pathos foretold our current Cold Civil War. While we kick out our country asylum seekers, we may not be paying enough attention to the terrible mess in which our own collective or personal asylum is. A dark tragedy with soul.

Austin brings us once more into the most desperate and least discussed corners of our failing America. Austin's work doesn't shy away from showcasing those failings in a way that is filled with humanity. After all, this is not "their" failing, and our success: this is our collective failure as a culture. American needs this mirror more than ever. The cockfights would make for a perfect match for any director or theater company interested in integrating puppetry. The five roles are stellar.

This two character play will make a feasible production for any theater company interested in new voices in the American stage. Austin reflects like nobody else the most sordid, and therefore tragic, aspects of the failing American experiment. Don't let the humor in the first part of the play fool you, these characters will fall and the tragedy lands as a punch in the gut.

Kelsey Austin has a very powerful body of work, and as soon as the first major world-premiere takes places the rest of her work is going to fall on the American stages in a domino effect. I find this one to be her most accessible of her plays. While the psychology of the piece is as deep, and ultimately as dark, as her more violent pieces, this one will find its perfect home at a major regional theater.