Recommended by Heather Helinsky

I appreciate how this piece is able to weave together mythology, Christmas, and a fascination with ancient ritual (goddess Inanna) into this nuclear family drama. This play never settles into a realistic world with its masked characters, red and yellow roses, and Mary's Hercules vase. I like how the writer guides the audience through complex experiences of dementia and insomnia in this heightened, theatrical, symbolist family drama.

From the first moment I read this play, I was drawn in by Aglaonike's journey, with all her frustrating twists and turns. The writing is complex, layered, but also clear---and young women need to hear this story of an aspiring astronomer from ancient Greek mythology! Well-researched by the playwright and yet also imaginative, poetic and lyrical, I enjoyed dramaturging this play in the early phases of development.

This piece is about the danger of being a "well-meaning, good-hearted person". We quickly learn that this teacher-in-training is way over her head. The play doesn't let anyone off the hook (like a good play should). I first encountered this piece as the dramaturg for the Great Plains Theatre Conference and it got great feedback, the audience was very engaged in the response session. If you have company that cultivates an active conversations with your audience, check this one out, they'll want to stay and talk afterwards.

What was compelling for me was not just the realistic depiction of the anxieties of the girls, but also the doubts and fears that result from grieving a classmate. For the three surviving young women, there’s a nice slow build to reveal how they’ve all been dealing with that grief in high school. The character of Linney is a fresh voice that I rarely see depicted on stage. And for educators, who are always searching to find plays with roles for their student actresses, give this one a look, it's enjoyable and demands to be staged.

Jennie Webb is an original-thinker, a strong voice, and a risk-taker and my hope is someone takes a risk on her work. I first encountered CRAZY BITCH as a dramaturg for Great Plains Theatre Conference and I was engaged by the nuanced relationships between the women (including the needy immortal jellyfish!). Jennie doesn't write about the world being a safe place, nor is her story a "safe" story, but even in the play's most abstract qualities, be assured Jennie delivers a play with a lot of heart and brutal truths.

Jared Strange is a good craftsman and has built a vivid, detailed world in this small town play about the monsters that live within us. It's clear this tale about monsters has contemporary relevance. Jared also know hows to build tension. One of my favorite moments in the play is a speech delivered by Agnes, Jeremiah's wife who has been silent for most of the play, but her speech packs a punch to the gut.

I also saw the Azuka Theatre production and the Southern Gothic humor pulled in the 20-30-something demographic which is what we often mean when we say we're "in search of new audiences", so perhaps think of Jackie like Stephen Colbert and Jimmy Fallon taking over late night talk shows. But what I appreciate from reading this play is that the characters are clinging on to dear life to their old world while the menacing presence of corporate America is pressing in on these weird, quirky sisters.

It was pure joy to dramaturg the NNPN rolling world premiere of GUAPA and live with these characters: sitting with them at the kitchen table as well as their interior, poetic dreamscape. The audiences are down for the ride, as women's soccer is such an accessible, universal experience and we can all recognize the tragedy of an aspiring character who is aging out of her sport. Caridad's plays are always soaring poetic and political theatre and I had recommended this to university programs looking for more relevant plays to serve their students.

Matt & I worked together on THE CAUSE at GPTC with director Mary Beth Easley, where we were all focused on the rhythms of the play. Matt is precise with language and has created an intense journey for these historical characters. Dr. Rock facing off with John Brown is certainly a compelling reason for doing the play, but it is Harriet Tubman's emotional journey. It's how Matt explores the terrain of her prophetic dreams which makes for a unique point of view on Tubman that we have yet to see before on stage.