Recommended by Tracey Conyer Lee

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    This play is yet another triumph in Mfoniso Udofia's Ufot cycle of plays. The sparse dialogue in this tale of fated, destined and patient love is so fully buoyed by the theatrical movement and music of the Gods/ancestors she uses to push this couple together is a great director's dream. Can't wait to see this play fully realized on a stage.

    This play is yet another triumph in Mfoniso Udofia's Ufot cycle of plays. The sparse dialogue in this tale of fated, destined and patient love is so fully buoyed by the theatrical movement and music of the Gods/ancestors she uses to push this couple together is a great director's dream. Can't wait to see this play fully realized on a stage.

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    I'm obviously part of a wonderful peanut gallery of fans of this play/playwright. Recess packs so much in ten minutes that comes at you slowly and stays with you long after the lights black. A charming work for two facile actors.

    I'm obviously part of a wonderful peanut gallery of fans of this play/playwright. Recess packs so much in ten minutes that comes at you slowly and stays with you long after the lights black. A charming work for two facile actors.

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    Ten minute plays are hard. So hard that I usually feel like they went on too long...cuz they're bad. This is not that play. I wanted more. Not because it wasn't complete or finished, but because these characters are so rich and specific and their circumstance so wonderfully inviting that I just wanted more. This is a great play for ANY audience who just wants an enjoyable, well structured story.

    Ten minute plays are hard. So hard that I usually feel like they went on too long...cuz they're bad. This is not that play. I wanted more. Not because it wasn't complete or finished, but because these characters are so rich and specific and their circumstance so wonderfully inviting that I just wanted more. This is a great play for ANY audience who just wants an enjoyable, well structured story.

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    Somebody produce this play so I can pay to go see it! No kidding and pretty please. I saw a reading of this piece last year and boy did it rock my world. Okay...a play about family angst. I know, it's been done and done. But the ingenious theatricality of the storytelling paired with the absolutely identifiable-to-anyone-with-a-family-but-wholly-specific-to-this-family dynamics are a joy and heartache to witness. This is a triumph. Now...somebody put that cast on a stage with rehearsal, a set and costumes.

    Somebody produce this play so I can pay to go see it! No kidding and pretty please. I saw a reading of this piece last year and boy did it rock my world. Okay...a play about family angst. I know, it's been done and done. But the ingenious theatricality of the storytelling paired with the absolutely identifiable-to-anyone-with-a-family-but-wholly-specific-to-this-family dynamics are a joy and heartache to witness. This is a triumph. Now...somebody put that cast on a stage with rehearsal, a set and costumes.

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    Stand up comedy is hard. Writing material for a stand up character in your play, much harder. Having done it, i speak from experience. Enter Ms. Blaustein-Lyons who makes 1950s humor feel so good and rightly topical that you wonder if this isn't autobiographical. It isn't. I asked. From her other plays I know she is a strong dramatist, but TYBB in particular shows her deftness with multiple genre work. As a Black playwright I also applaud the cultural specificity she uses. It embraces, instead of alienates, you into its world of Yiddish hilarity (is that a thing?)

    Stand up comedy is hard. Writing material for a stand up character in your play, much harder. Having done it, i speak from experience. Enter Ms. Blaustein-Lyons who makes 1950s humor feel so good and rightly topical that you wonder if this isn't autobiographical. It isn't. I asked. From her other plays I know she is a strong dramatist, but TYBB in particular shows her deftness with multiple genre work. As a Black playwright I also applaud the cultural specificity she uses. It embraces, instead of alienates, you into its world of Yiddish hilarity (is that a thing?)

  • Tracey Conyer Lee: YOU, ME, AND ENNUI by Kara Emily Krantz
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    The four rich characters is this piece are an actor's dream. Millenial hijinks gets its warm and fuzzies in this drama about family, friendship and how we "decide" to be both to one another.

    The four rich characters is this piece are an actor's dream. Millenial hijinks gets its warm and fuzzies in this drama about family, friendship and how we "decide" to be both to one another.

    ”
  • Tracey Conyer Lee: My Utmost Devotion by Becky MacDormand
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    An actually well executed farce is a rare thing and this play had me laughing hysterically throughout. Surprising, freshly sending up the not so fresh idea of a play that goes wrong. A fantastic ensemble offers work to young and old alike, and a little music to boot. Having read her comic film scripts as well, Ms. McDormand's work is what original comedy should be about.

    An actually well executed farce is a rare thing and this play had me laughing hysterically throughout. Surprising, freshly sending up the not so fresh idea of a play that goes wrong. A fantastic ensemble offers work to young and old alike, and a little music to boot. Having read her comic film scripts as well, Ms. McDormand's work is what original comedy should be about.

    ”