Recommended by John Perovich

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    What at first seems like a familiar set up into teen/Ouija experimentation turns into something surprising and entertaining (and a bit frightening). I did not see that ending coming! A great piece for any season, but especially around Halloween.

    What at first seems like a familiar set up into teen/Ouija experimentation turns into something surprising and entertaining (and a bit frightening). I did not see that ending coming! A great piece for any season, but especially around Halloween.

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    AHHHHH! What a ride! An imaginative, singular exploration of contemporary living and the natural (wild?) world. I will never get over the FULL journey from page one to where we end up — something I always look for in a play…a complete, unpredictable journey. There’s beauty, strangeness, poetry, and magic…with the real. A complete, fantastical delight.

    AHHHHH! What a ride! An imaginative, singular exploration of contemporary living and the natural (wild?) world. I will never get over the FULL journey from page one to where we end up — something I always look for in a play…a complete, unpredictable journey. There’s beauty, strangeness, poetry, and magic…with the real. A complete, fantastical delight.

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    A fun, unpredictable, and clever sci-if story — we don’t get to see this genre often on stage. Weeks presents an enjoyable departure with memorable, quirky characters that stick with you. The play contains mysterious elements that slowly unravel during the course of the play with twists along the way. The genre, coupled with the characters and mystery — it’s a fun time that’s out of this world.

    A fun, unpredictable, and clever sci-if story — we don’t get to see this genre often on stage. Weeks presents an enjoyable departure with memorable, quirky characters that stick with you. The play contains mysterious elements that slowly unravel during the course of the play with twists along the way. The genre, coupled with the characters and mystery — it’s a fun time that’s out of this world.

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    Just saw a reading of this play at Valdez Theatre Conference. I’m a fan of Wellman’s work — particularly this piece. Honest, raw, poetic, intelligent, and unapologetic, KILL SHELTER explores family, loss, hope, trust, and navigating extremely difficult decisions. Wellman weaves unexpected and effective humor inside and through her characters and challenging/difficult landscapes. Highly recommend.

    Just saw a reading of this play at Valdez Theatre Conference. I’m a fan of Wellman’s work — particularly this piece. Honest, raw, poetic, intelligent, and unapologetic, KILL SHELTER explores family, loss, hope, trust, and navigating extremely difficult decisions. Wellman weaves unexpected and effective humor inside and through her characters and challenging/difficult landscapes. Highly recommend.

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    Tom developed ELEVATOR as a part of my Playwright Intensive Workshop in 2020. The story is comedic, familiar (but get ready for twists), and has its own moral code that -- at times -- cuts deep into our political discourse in obvious (and more nuanced) ways. ELEVATOR is a cautionary tale that takes its time and -- for that reason -- it's enjoyable how Tom keeps us guessing till the very end.

    Tom developed ELEVATOR as a part of my Playwright Intensive Workshop in 2020. The story is comedic, familiar (but get ready for twists), and has its own moral code that -- at times -- cuts deep into our political discourse in obvious (and more nuanced) ways. ELEVATOR is a cautionary tale that takes its time and -- for that reason -- it's enjoyable how Tom keeps us guessing till the very end.

  • John Perovich: A Life Assembled (10-min short) by Kirt Shineman
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    The piece presents the grandiose artist Louise Nevelson—as large in spirit as the works she created. At her side, friend and art dealer Martha Jackson—a pragmatic realist that counters Nevelson's feisty relentlessness. In 10 minutes, Shineman not only teaches us a great deal about Nevelson's art, but also about the important professional (and perhaps spiritual) relationship between the two women. At times confrontational and fiery and at other times poetic and reflective, Shineman takes us on an entertaining and enlightening journey.

    The piece presents the grandiose artist Louise Nevelson—as large in spirit as the works she created. At her side, friend and art dealer Martha Jackson—a pragmatic realist that counters Nevelson's feisty relentlessness. In 10 minutes, Shineman not only teaches us a great deal about Nevelson's art, but also about the important professional (and perhaps spiritual) relationship between the two women. At times confrontational and fiery and at other times poetic and reflective, Shineman takes us on an entertaining and enlightening journey.

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  • John Perovich: Pineapple Upside Down Cake by Catherine Weingarten
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    I've had a huge crush on this play since I saw a reading of it at Mid-America Theatre Conference (I think that's where it was?). Anyways...WOW! The language is gorgeous, unpredictable, and simultaneously hilarious and moving. I'm always amazed when writers go inside moments—fleeting moments...moments that would only occur for a brief while—and!—as is the case here, Weingarten allows us to go inside a beautiful, intimate moment between friends and live in the wonderful fireworks of their experience. A poetic, delicious, and sweet adventure.

    I've had a huge crush on this play since I saw a reading of it at Mid-America Theatre Conference (I think that's where it was?). Anyways...WOW! The language is gorgeous, unpredictable, and simultaneously hilarious and moving. I'm always amazed when writers go inside moments—fleeting moments...moments that would only occur for a brief while—and!—as is the case here, Weingarten allows us to go inside a beautiful, intimate moment between friends and live in the wonderful fireworks of their experience. A poetic, delicious, and sweet adventure.

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  • John Perovich: Accident on 80 by Dave Osmundsen
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    Tense and poignant insight into (what my Dad would call) rubberneckers—those drivers fascinated by car accidents. Osmundsen takes it further to not only show a dark fascination with accidents, but also how the characters' arrogance (perhaps our collective arrogance?) perpetuates the cycle of distracted driving. An uneasy story that keeps you guessing, ACCIDENT ON 80 is a dark, cautionary satire.

    Tense and poignant insight into (what my Dad would call) rubberneckers—those drivers fascinated by car accidents. Osmundsen takes it further to not only show a dark fascination with accidents, but also how the characters' arrogance (perhaps our collective arrogance?) perpetuates the cycle of distracted driving. An uneasy story that keeps you guessing, ACCIDENT ON 80 is a dark, cautionary satire.

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  • John Perovich: You Can't Say That! by Lucy Wright
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    Downs and Wright provide a crisp, sharp, and biting comedy that covers a lot of ground on how divided we are as a nation. The play focuses on a wide-range of identities and labels that demonstrate how difficult it is to navigate language in an attempt to connect authentically with others. With a surprising, unpredictable structure and style—and a moving resolution—You Can't Say That! is a story for our time.

    Downs and Wright provide a crisp, sharp, and biting comedy that covers a lot of ground on how divided we are as a nation. The play focuses on a wide-range of identities and labels that demonstrate how difficult it is to navigate language in an attempt to connect authentically with others. With a surprising, unpredictable structure and style—and a moving resolution—You Can't Say That! is a story for our time.

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  • John Perovich: Slowly Slowly Catch The Monkey (A Comedy About Identity) by William Missouri Downs
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    Downs and Wright provide a crisp, sharp, and biting comedy that covers a lot of ground on how divided we are as a nation. The play focuses on a wide-range of identities and labels that demonstrate how difficult it is to navigate language in an attempt to connect authentically with others. With a surprising, unpredictable structure and style—and a moving resolution—You Can't Say That! is a story for our time.

    Downs and Wright provide a crisp, sharp, and biting comedy that covers a lot of ground on how divided we are as a nation. The play focuses on a wide-range of identities and labels that demonstrate how difficult it is to navigate language in an attempt to connect authentically with others. With a surprising, unpredictable structure and style—and a moving resolution—You Can't Say That! is a story for our time.

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