Recommended by Doug DeVita

Another pointed, intelligent script from Maximillian Gill; one of the things I love about his work is how sharply he probes into his characters' psyches and creates complicated, warts and all human beings of wonderful depth and beauty.

Superior, sublime silliness, this homage to 19th century melodrama is a lot of fun. With a large cast offering meaty roles for performers of any gender to sink their teeth into, this is the kind of show that is like a vacation for its audiences: pure, delightful entertainment.

I saw a production of THE ACTORS in NYC recently, and can happily and heartily recommend it. Outrageously funny, yet at the same time quite touching, it is a wonderful piece of theatre, with meaty roles for performers of “a certain age.”

What a hoot! A sly commentary on celebrity, power, family dysfunction, and life in the gilded towers of the Real Entitled Idiots of NYC, Rowan aims at a lot of targets here and hits his marks with slyly hilarious ease.

A work of aching beauty — timeless and timely, terrifying and heartbreaking, yet full of hope and humanity.

Gatton’s extraordinary work asks more questions than it answers, but those questions are deeply probing and important; there may be no answers, but that’s not the point here. “Double Helix” is theater for those who want to be provoked, challenged, and yes, entertained into questioning, well… everything. A superb work from a superb playwright.

I saw a production of this play last fall at New Ambassadors Theatre Company; what a delightful piece of theater. A farce with an unexpected heart, it is by turns outrageously funny and deeply moving; Gill writes truly human characters, puts them in increasingly outlandish situations, and sets them all spinning merrily along their way to crash, burn, and recover. And we, the audience, willingly go along for the ride because it's just so damn entertaining. And truthful. And funny.

Houk tackles toxic masculinity here with his accustomed caustic wit and singularly off-kilter view of the world, and proves once again he can write straight male characters with strength, heft, and grit while being unforgiving of their sometimes idiotic foibles.

This trio of ruminations about the various aspects of love is a wonderfully theatrical work, rife with heightened language, witty verbal ripostes, wonderfully apt homages to other writing styles/authors, and deep, universal questions tossed off with a sure, light hand. By turns funny, charming, touching, even at one point horrifying, this would be a blast to direct and perform, and a delight for its audiences. Bravo, Ricardo!

This is a gorgeous piece of theatrical storytelling; both intimate and epic, Garcia’s characters and their tales settle into one’s heart and stay there. Beautiful. Simply beautiful.