“ This solo show is a gut-punch. powerful exploration of heartbreak and identity. I especially love how Osmundsen illustrates Bob’s exact thought process through the monologue and leveraged those words well to illustrate Bob’s relationship with four other characters named in the script. I also appreciate the unique framing of this play being a story told 10+ years removed from the incident—young enough that it still hurts but old enough to develop perspective. Looking forward to seeing it at Rogue Theater Festival! ”

“ On concept alone, Jillian Blevins had me with THE POLYCULE. This one is a conceptually super contemporary scenario but written with such a deliberate, "old timey" rhyme scheme that could stand with the best of Shakespeare and Wilde, which added such whimsy and comedy to the whole scenario. The unique formatting on the page helps the reader (and thus, directors and actors) get a sense of the pace of the dialogue which Blevins executed her structure superbly. Not to mention... this play is just so damn funny! ("bless this gig economy") ”

“ We all could use a mom like Tonya. Damn. This monologue by Sam Heyman hits home in all the best ways and says so much without saying the word "gay" or "queer"—I'm all for any opportunity for there to be more love in the world and this monologue works in that way to great effect. ”

“ Wow! This was a bone-rattling, incredibly brutal family drama with no clear winners and no clear losers. Jennifer O'Grady's FERTILE GROUND is a tightly-written tragedy exploring motherhood and filicide and a classically Machiavellian "ends justifying the means" story that just leaves you gutted. The dialogue and characters are grounded in such a way that hits way too close to home in all the best ways. It's easy to see how this play was a semifinalist for the O'Neill and I highly recommend any black box theater take a serious look at this one. ”