Recommended by John Bavoso

This play is such a naturalistic, poignant examination of grief, loss, regret, and love. The format is familiar, but the characters are so fully formed and swing from perfectly reasonable to totally absurd—in the way we all do in the wake of the sudden death of a loved one—that you can’t help but want to follow them wherever they lead.

In RAVAGE, Nina Ki uses the lens of pop culture to look at the ways in which we attempt to process trauma and how that can affect our relationships with the people in our lives. I found the character of Arsenic to be be particularly compelling, as a sort of trauma tourist or vampire in her own right. It was my love of Buffy that drew me to this play, and I’m glad it did, because it led me to a highly original, nuanced piece of theatre. Everyone should give this play a read.

I just saw UAB’s gorgeous production of this tender, lyrical piece that shows off Partain’s gift for writing beautiful words that feel both lovingly crafted yet free of artifice. An exemplary solo show and a gift to actors. Highly recommended!

I love a cozy mystery, and Cozzola has created a darkly comedic one full of ruminations about art, professional jealousy, and more. But what really shines is the depth of characters. A delightfully theatrical piece, this would be a fun challenge for the right cast and director. Well done!

My body is still tense from reading this script (I can’t wait to SEE it), despite its humor and breakneck pace—but it was all worth it for that ending! Phillip has taken the typical living room dramedy and ratcheted up the stakes, delivering fully fleshed-out characters you grow attached to, all in the context of a terrifying reality in which queer men are being rounded up and kept in camps. THE CHECHENS is a piece that forces us to asks tough questions about what we’d do during times of persecution without being heavyhanded. Read this play!

This play asks thought-provoking questions about parenthood, genetic engineering, and “gifted” education, but it’s the characters and their very real, human conflicts that draw you into this play. I found myself compelled to keep going, as if this were a thriller or horror script (which in some ways it is). Clyman has created some really juicy characters for actors to inhabit, especially Claire. Highly recommended.

In ORION AND THE GOATMAN, Murdock has crafted a taut two-hander about ritual—an annual camping trip, a story meant to ward off an urban legend, the making of the perfect s’more, the spreading of the ashes of a loved one. Punctuated with familiar moments of horror, the play really shines in its natural depiction of two brothers coming to terms with their relationship, past, present, and future. Perfect for an outdoor, site-specific performance, this script has just enough scares and more than enough heart to keep audiences enthralled.

I love queer horror, especially on the stage, and King has created an excellent addition to the genre in SON OF MOURNING. Taut and atmospheric, this play builds in intensity, touching on topics of current events, mental illness, and homophobia (internalized and external) while still delivering interesting characters and some real scares. Highly recommended!

In AFTER JANE, Strayer has crafted a play specifically for teens that not only educates about a less-known historical figure, but also speaks to issues and feelings—like grief and romantic uncertainty—that transcend age and time. Very much worth a read!

If Molière, The Golden Girls, and To Wong Fu had a drag daughter, it would be HOTEL PUERTO VALLARTA! Davila has crafted such fun, over-the-top characters, and the badinage absolutely sparkles on every page. Underneath the bawdy double-entendres are classic themes of love, jealousy, betrayal, and finding the thing that makes you feel (w)hole. A delightfully campy read that would be a blast for an exuberantly queer cast—highly recommended!