Recommended by Abe Johnson

A gorgeous howl of a play-- not to mention the craft it takes to sustain the journey of this one-person show?? This script is so rich and imaginative, with dramaturgy expertly balanced between its protagonist and the immediate history that haunts them. I'm blown away at the razor-sharp process of unpeeling Georgia's history of slavery and hotspot ICE detention centers-- never didactic, deeply rooted in the humanity of The Writer and his wry, refreshing, clear-eyed experience chasing this thread across the Georgia landscape. And funny? And wrenching? Gorgeous script!

This play is so haunting in the loss that hums underneath the central friendship of Gabriel and Ana Teresa-- even in its lighter moments, the hunger for community and language, and the "should I root for this friendship?" tension hangs over everything. And what a meal for these actors! Gabriel and Ana Teresa are tense and open-hearted and growing up all at once, and it would be a joy to see the transformations onstage as they portray these different ages. Quinn's attention to these characters' interior worlds is flooring and nuanced-- and that last scene!!! Oof. Masterful. Produce it!

This play is a singular, visceral, tense, miraculous, wonderfully strange ode to art-making and human touch in deteriorating times. The hair-pin tension of Pearl and Alice’s cast scenes are wonderfully broken up by the fascinating, ritualistic chorus of taxidermied animals. A brilliant play. A strange play. Thrilling and disconcerting in the best possible way. Love!!!

This play!!! A gift to designers, a gymnastics routine for two actors, and five-course meal for an audience, I'm obsessed with how funny and tender and technicolor the worlds of this play are. A will-they-won't-they love story that sprawls across 4,000 years, I don't know that I've ever seen a couple like Tanner and Archie onstage. They are hairy and FUNNY and, sure, at times toxic--but overall written with such a reservoir of genuine love for each other (platonic or romantic, unimportant). Producers: this is a two-hander, hilarious, wildly imaginative, award-winning script. What more can you ask for?

Part fundamentalist-fantasia, part prodigal-daughter odyssey, this script somehow balances the hilarious and heartbreaking with equal, can't-look-away depth. I'm blown away by the textures in this script-- the blend of theatrical forms is so fun as we rocket between campy "Jesus Date Nights", the meta-creation of the Hell House, the memory-play splices, the reinvention of altar-calls, and the *spectacle* of purgation at the end. And it's so funny! And tear-jerking! What a gorgeous, wildly entertaining, monstrous play.

A rocket-fueled, verbose, and excitingly theatrical play that balances the comedy and sadness of the central father-daughter relationship on their road trip across the US, this play feels primed for production! At times scary, nostalgic, funny, and irreverent, this is a very special script! Highly recommend :)

So fun! So strange! This script is a joy to read, and so primed for the stage. Part summer-camp-romp, part coming-of-age-friendship story, every aspect of this script functions on all cylinders. Definitely going to be seen at one-act competitions, especially for high school directors looking for bubbly, female-heavy, hilarious comedies with a sneaky heartbeat running throughout. I adore this play! The "wild Lindsay" moment? Chills.

Deeply theatrical with a dreamy backdrop and some huge retina-burn moments (Claudia's "Spring" moment??? Wreck me!), this play is sharply crafted and inventive as the 5 families blur across generations. The stakes are driven by the wonderful drama of the mansion fire and the racial/financial tensions it inspires, but even more driven by these 5 teenagers standing on the edges of themselves, confronted with decisions so beyond their years. Nuanced. Intentional. Really, really smart writing. I love this play! College programs would be especially wise to produce it!

Searing and nuanced, while never sacrificing laser-precise jokes and a flooring sense of theatricality, this play is incredibly special. Wow. The characters are lived-in and funny and heartbreaking. The writing is poetic and disarming all at once ("God-mom"? Break my heart!) Everything in this play feels carved with such intention (from such painful material), but what's so impressive is the hopefulness that steers the final moment of the play. The craft alone is running on all cylinders, but to add the clarity? Towards patriarchy, purity culture, and teen girls reaching for something more? So special. A rare, one-of-a-kind play.

This play is a rocket-fueled, laugh-a-minute, breath of fresh air. Filled with instantly loveable characters, super smart writing, and a playground for designers, it was an absolute joy to see this produced at the Kendeda Festival this year. Other theaters should JUMP on producing this script if they're smart! It is tight and bubbly and so, so much fun. The "weird little aliens" line will stick with me for a while!