Recommended by Jordan Bird

Utterly chilling, and heartbreaking, and necessary. In the wake of the events of the last month (including, incredibly, a teacher a few miles from my home firing a gun at school) -- this monologue play is NECESSARY. Asher creates complex, engaging, enraging, extraordinary characters in his monologues, and TEACH is no exception. There is so much here to unpack -- from the title itself (TEACH: noun and verb) to the topic of discussion in the classroom (To Kill a Mockingbird). I was in tears by the end of these three pages. Because this is where we are.

What a wonderfully weird, delightful short play that keeps you guessing moment by moment -- with an ending that will leave you with conflicting emotions. It's so wickedly funny and such a big bummer at the same time: which ultimately means that Perlmutter made me care about these characters in such a short space. A great, fun play for an artistic team.

A beautiful, haunting look at the cyclical nature of civilizations: war and violence begetting more war and violence, all in the name of "progress" and "salvation." Balancing the work of a Christian missionary alongside the life of a journalist was a nuanced, deft stroke: the ways that we believe we can save individuals, countries, ourselves. Ultimately this is a story about hopes deferred and lost; it will break your heart and cast a bright light on these turbulent political days.

Absolutely chilling, and hauntingly beautiful. Carnes uses rhythmic, poetic repetition to draw us close to the truth and horror of the world these characters inhabit. Aching memory and aching hope intertwine in a striking, heartbreaking way.

This play is so much fun. Biting satire of the "aesthete's" life -- it's absurd, confrontational, hilarious, and fun. Three actors would have such a blast nailing the rhythms of this piece.

WOW. This play is GORGEOUS. It's hypnotic, rhythmic, poetic, romantic -- I'm totally blown away by how much ground this play covers in such a short space. I love it.

Fun, hilarious, quick-witted. Such a strange and wonderful idea executed to perfection. This would be such a fun project for every artist involved: from dramaturg to sound/lighting/set designers to director to fight choreographer to actors. Craig-Galvan writes in such a way that I can see the action in my mind while reading the script -- it's really a delight. Theatres should be queuing up to produce this play!

What a fun, fantastic play. Thompson strikes an impressive balance between lighthearted humor and exploration of African-American female stereotypes through the ages. Intriguing, challenging roles for women, this play would be a blast to produce and to see.

As I finished this play, I realized I'd been holding my breath -- this play is intense, immediate, in your face. The shifting balance of power between these two characters makes this play truly sing. The tenderness, gentleness between W and her gun is juxtaposed so shockingly and effectively with the violent intensity of her shadowboxing and chanting. This is an important piece of the conversation about the relationship between gun violence and domestic violence -- about what it means to bring violence home with you in your body and in your mind. Brilliant, beautiful, timely.

I was lucky enough to see this play in different phases of its development and am blown away by the depth of its dignity, honesty, and intensity. WHEN MOUNTAINS MOVE houses some of the most engaging, strong female characters I've encountered -- women who faced often-overlooked, desperate circumstances and turned the tides in favor of their own well-being. This play has epic breadth, both in the vastness of the time it covers, and it's far-reaching significance for this moment in our country's economic and environmental history. Isom Campbell has gifted us with truly unforgettable moments and characters.