“ This play has me with the very first lines of dialogue! Cochran dives right into the conflict as Jennifer finds herself “experiencing a normal, healthy response” to discovering she is now a ghost. The idea that even after death we may still be held to the rules and regulations in the icy grip of corporate America, where the unfeeling, dead behind the eyes ghosts make for perfect worker bees. The piece abounds with humor, hope, and delicious word play, all balanced between lovely juxtaposition between the living and the ghosts who walk and work amongst them. ”

“ Weaver injects love, want, humor, and heartache, all within the brief span of one minute. The Roof perfectly illustrates the idea of missing what is right in front of us in this quirky, shout-it-from-the-rooftops play. ”

“ An adaptation that grips the audience in it’s fluid embrace, CLYT; OR THE BATHTUB PLAY, strikes the heart of what makes Greek Tragedies great. Through effortless dialogue and swimmingly smooth transitions, Elisabeth Griffin Speckman has given us a modern adaptation that speaks volumes to our most basic instincts while still managing to utilize traditional Greek theatre building blocks. A concrete script filled with sweet and tender moments that give way to the brutality of humankind. It is a piece that begs to be staged! The stage directions alone strike up insane visuals in my mind. HIGHLY RECOMMEND. ”

“ “Let me have this.” - Anna, She’s Not There.
This script gutted me in all the right ways. Depression is delicate. To some, still taboo to acknowledge. This play lets depression rear its ugly head. And that is why this piece is so lovely. Maclean’s page manifestation of The Form captures what living with this disease can be like. Anna’s struggle is believable. To see this fully stage would be much needed cathartic theatre. ”