Recommended by Eric Pfeffinger

  • The Last of Jack (One Act)
    27 May. 2024
    Not so much slice-of-life as a series of slices; lay them end to end with all their fleeting slights and pleasantries, and before you know it you're watching a nuanced portrait of life in all its fullness.
  • The Rekindling
    27 May. 2024
    It's got the velocity of a killer comedy vignette, the metaphorical fecundity of Kafka's weirdest dreams, and the heart of a great romantic comedy. All in three pages. Teach me your ways.
  • [Working Title: OPTIONAL BOSS BATTLE]
    27 May. 2024
    Profound and affecting: an unsentimental yet tender story of humans fumbling toward growth, set in an all-too-vivid historical moment when everyone was plagued with fear and fatalism and a terror of interpersonal contact.
  • MERCUTIO LOVES ROMEO LOVES JULIET LOVES
    27 May. 2024
    Every moment in this play vibrates with an urgent momentum, with the heedlessness of youth and also with its paralyzing insecurities. The playwright knows how people talk and the play conveys how these people feel and the whole thing's so alive it almost demands to be staged.
  • (and i feel fine)
    26 May. 2024
    This absurd and knowing comedy is unexpectedly one of the most plausible representations of post-apocalyptic human interactions that I've seen. And its vision of post-apocalyptic theater is uncomfortably evocative of pre-apocalyptic theater.
  • Me.
    20 Mar. 2024
    This short play is a master class: breathlessly funny, effortlessly ingratiating, the script's surgical skill with a punch line drives the story inexorably into darker themes about toxic mentorship and sexualized workplace coercion, wrapping up with a deftly engineered conclusion that's redemptive and encouraging without being pat.
  • fire ants (co written with Lily Houghton)
    20 Mar. 2024
    This play is a wild ride, grounded in its thematic concerns but unfettered in its imagination. Each turn it takes is one you didn't expect, and Clementine's free-associative, self-interrupting, increasingly desperate pitch to an imaginary Hollywood executive is virtuosic and hilarious and unhinged and alarmingly relatable.
  • THIS IS MODERN ART
    29 Jan. 2024
    Art imitating life commenting on art: a thoughtful and character-centric exploration of how the art society values speaks volumes about which human beings it values.
  • IN COMMON
    21 May. 2023
    Yes, it’s intense — complicated, flawed, and recognizable characters embroiled in a twisty, brainy story about justice, integrity, loss and redemption. But IN COMMON also finds unexpected opportunities for humor in its completely absorbing and dimensional storytelling. By the time it ends (“Already?” you think) you feel like there are five new people in your life.
  • Wendy and the Neckbeards
    21 Mar. 2023
    Bold and ingenious, angry and surprising. Opportunities for inventive and balletic theatricality coexist with gripping scenes of menace. And in its most audacious gambit, the play's violation of conventional dramaturgical expectations enacts a resonant critique of a metastasizing social crisis. Regrettably, this play gets more urgently relevant with every passing day.

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