Recommended by Doug DeVita

Put a gaggle of gays in a room and tell them an iconic gay celebrity will be joining them, stand back, and watch the fur fly. Everyone is right, no one is wrong, but how much responsibility can an icon actually shoulder before they break? That's the premise of Greg Brisendine's sharply observed, wryly truthful polemic; that he has also made this 10-minute play funny is a bonus.

Fantasy vs. reality, literary heroes vs. the cat-caller on the street... Morogiello's delightfully fizzy romantic comedy takes on Jane Austen with style, flair, and a never-ending barrage of punch lines that do double duty as surefire laughs and stinging social commentary. Pretty much as Austen herself did. Well done, sir.

A heady, fast-moving mix of disturbing, challenging, and fun, Hoke's "Elevator Girl" may very well be the paradigm of the modern well-made play.

What a poetic piece of writing; surreal, sad, funny, and genuinely touching, it's so emotionally real it leaves one with an aching sense of longing for what one can and can't have. Delicate, harsh, and beautiful.

I saw this at Abingdon Theatre Company in 2007, and I’ve never forgotten the wonderful time I had that afternoon. A smart, delightfully dizzy farce, “The Frugal Repast” offers great roles, a great premise, and actual belly laughs while asking an essentially serious question: who has the right to use your image for their own personal gain? It's a question that's become even more relevant, as people snap away with their smart phones and post the photos all over social media. A paint brush and canvas, a pixel and a screen, tomato, tomahto, "The Frugal Repast" is a theatrical feast.

What a wonderful piece of writing; funny, touching, warm, sad — from beginning to end, all the planets align in “The Goldilocks Zone,” and everything is just right in the lovely worlds Ian August has created. ❤️

Men are dicks, women are victims, the patriarchy must be destroyed, and anything written more than 10 minutes ago must be completely revised to fit current modes of thinking...

EXCEPT... in "Abigail," Sarah Tuft's unflinching look at the me too movement, nothing is as black and white as anyone on any side of the issue would like it to be; the still-developing script asks far more questions than it can answer. And that, along with vivid characters and sharply realized dialogue, is one of its chief strengths: it starts a conversation that needs to be had. "Abigail" is a winner.

This is one brutal, bruising, and terrific script. From his character descriptions on the first page and on through to "End Of Play," James McManus' use of language paints a portrait of small time meth dealers living a small town life in a drearily defunct Pennsylvania steel town so vividly it grabs one by the throat and never lets go. Intense. Horrifying. Heartbreaking. Gorgeous.

#creepy #spot-on #fun

Dazzling wordplay and sharply specific stage directions give Gary Garrison’s “The Unexpected Light On Azadeh Medusa” a visceral jolt of theatricality on the page I can only imagine will be breathtaking on the stage. That it also ties 6 disparate characters together with ballsy precision makes the piece one of the more exciting, and inspiring plays I’ve had the pleasure to read. Now I want to see it staged. Someone get on that, pronto.