Recommended by Ryan Stevens

  •

    Such a smart and humanist version of the post-apocalyptic perspective. A laser-focused depiction of a few scared, lonely people at the end of the world. Not a line of dialogue wasted, not a stage direction out of place.

    Such a smart and humanist version of the post-apocalyptic perspective. A laser-focused depiction of a few scared, lonely people at the end of the world. Not a line of dialogue wasted, not a stage direction out of place.

  • juice

    by Mackenzie Raine Kirkman

    An incredibly confident, singular, and riveting play. Like slowly realizing you're in a bad dream but not being able to wake up. Great theatrical fundamentals bolstered the tremendously queasy atmosphere!

    An incredibly confident, singular, and riveting play. Like slowly realizing you're in a bad dream but not being able to wake up. Great theatrical fundamentals bolstered the tremendously queasy atmosphere!

  •

    A wonderfully well-constructed, laugh-out-loud funny and deeply relatable look at the life of retail workers. It's fast, frenetic, and full of characters you'll swear you've known and worked with before, and the dignity under pressure depicted in these workers is remarkable.

    A wonderfully well-constructed, laugh-out-loud funny and deeply relatable look at the life of retail workers. It's fast, frenetic, and full of characters you'll swear you've known and worked with before, and the dignity under pressure depicted in these workers is remarkable.

  •

    This script kicks ass. Such a smart and playful spin on the one-person show form, while also being an engrossing character study and a skin-crawling piece of horror theatre. Johnson's genre moves are imperceptibly subtle until they're jumpscare-loud, and the pace of progression is basically perfect. I gotta see this show!

    This script kicks ass. Such a smart and playful spin on the one-person show form, while also being an engrossing character study and a skin-crawling piece of horror theatre. Johnson's genre moves are imperceptibly subtle until they're jumpscare-loud, and the pace of progression is basically perfect. I gotta see this show!

  •

    A very apt title - for the characters and for the audience. It's like an exquisite piece of glasswork; the language and playful theatricality are so lovely to behold, with a clear sense that the atmosphere and sense of memory is *so* precarious. This short play will stick with you far longer than its runtime.

    A very apt title - for the characters and for the audience. It's like an exquisite piece of glasswork; the language and playful theatricality are so lovely to behold, with a clear sense that the atmosphere and sense of memory is *so* precarious. This short play will stick with you far longer than its runtime.

  • Ryan Stevens: [the feminine urge to disappear] by Anna Watts
    “

    A fascinating linguistic and formal excavation of femininity, corporate culture, and modern language itself. You can feel the dynamism this show would have onstage rippling out the page and the bright pink text!

    A fascinating linguistic and formal excavation of femininity, corporate culture, and modern language itself. You can feel the dynamism this show would have onstage rippling out the page and the bright pink text!

    ”
  • Ryan Stevens: The Warren Commission Spectacular by Courtney Taylor
    “

    An absolutely hilarious and deviously smart send up of an overlooked black eye on American History. Taylor finds so much stage magic out of the circumstances around an 800+ page government document, and the terrible fallout it's wrought. This would tear it up on stages of all sizes!

    An absolutely hilarious and deviously smart send up of an overlooked black eye on American History. Taylor finds so much stage magic out of the circumstances around an 800+ page government document, and the terrible fallout it's wrought. This would tear it up on stages of all sizes!

    ”
  • Ryan Stevens: Britney Approximately: A Pop Greek Tragedy by Megan Tabaque
    “

    This script is just dripping with fun and creative radiance! I love a show with a big cast and bigger ideas, and Tabaque's Greek/Pop mashup is thrillingly ambitious in how it blends all of its elements into one cohesive whole. This is a slam dunk script for any college theatre program, or really any theatre that dares to cultivate young artists, all of whom will find something to sink their teeth into here.

    This script is just dripping with fun and creative radiance! I love a show with a big cast and bigger ideas, and Tabaque's Greek/Pop mashup is thrillingly ambitious in how it blends all of its elements into one cohesive whole. This is a slam dunk script for any college theatre program, or really any theatre that dares to cultivate young artists, all of whom will find something to sink their teeth into here.

    ”
  • Ryan Stevens: The Waterfall by Phanésia Pharel
    “

    I had the joy of seeing a production of The Waterfall at WP Theater. This is a riveting family drama that drops us right into the heart of the mother-daughter relationship and keeps us close and warm for the entire duration. A tight, smart, loving, and excellently-paced picture of two generations and everything that was lost and gained between them. Spellbinding stuff.

    I had the joy of seeing a production of The Waterfall at WP Theater. This is a riveting family drama that drops us right into the heart of the mother-daughter relationship and keeps us close and warm for the entire duration. A tight, smart, loving, and excellently-paced picture of two generations and everything that was lost and gained between them. Spellbinding stuff.

    ”
  • Ryan Stevens: Die Off by Maximillian Gill
    “

    An endlessly clever and cuttingly human look at working during the end of the world. What starts as a dynamic tale of four funeral singers seeking better working conditions warps into a slow-motion end of days in a really smart way. Gill balances big ideas and insightful personal moments to make a show that feels universal in its specific examination of how we have to keep showing up for work even as everything falls apart.

    An endlessly clever and cuttingly human look at working during the end of the world. What starts as a dynamic tale of four funeral singers seeking better working conditions warps into a slow-motion end of days in a really smart way. Gill balances big ideas and insightful personal moments to make a show that feels universal in its specific examination of how we have to keep showing up for work even as everything falls apart.

    ”