Recommended by Tira Palmquist

    15 Feb. 2020
    A Witness is a sometimes funny, sometimes heartbreaking story of what it means to be show up for the people in our lives. One of the things I loved in the play is how we understand why Billie, an end-of-life nurse, has fashioned such thick emotional armor, why she behaves in ways that makes it almost impossible for anyone to get close. There are moments of real sweetness in the play, where we see how people find comfort, solace -- how preparing for death means showing up for life, and what it takes to do that.
  • Clippings
    30 Jan. 2020
    Clippings pulls no punches. Telling the story of three women who have experienced violence and trauma, Shiree unflinchingly takes us right to the heart of their experiences, and dares us not to look away. There is a starkness (and yet a poetry) to the storytelling here: monologues, music, movement -- centering us on the story that matters: LEXI, AFRIKA and THIS WOMAN are, in the end, survivors. Their survival wasn't easy -- nor was it inevitable, or without costs -- and their strength and heart and ability to love themselves despite everything is the real story.
    4 Nov. 2019
    I was lucky enough to see this gorgeous play at Antaeus in Los Angeles this past month, and it is a beautiful gut-punch of a play. For many Americans, this is likely their first introduction to The Abuelas, and the children murdered, the grandchildren abducted by a despotic administration. But beyond that, it's a heartbreaking portrait of what it means when your identity (or, what you thought was your identity) is shaken to its core. An important and visceral play.
  • Those Days Are Over
    2 Sep. 2019
    I have been a fan of David Hilder's work for years, and this piece lives up to everything I admire about his plays: fierce, quick wit, unflinching portraits of what is worst (and, sometimes, best) in us, almost magical pacing. What moves me most is how we see these sisters cope (often badly) with the loss of their mother, with what happens next, now that, as the titles says, those days are gone. Selfishly, I wanted to play all of these women, and with a cast of 7 women, actors will have many fantastic choices. Produce this play!
  • Hyannis
    12 Apr. 2019
    This play is a heartbreaking, gut-punch about the costs -- financial, emotional and physical -- of addiction. The choices that these characters make aren't easy, and the ripple effects of their decisions impact their relationships, their livelihoods, their homes. Just when we think that the characters are on solid ground, the play reminds us that, no, addiction's not like that. Like I said, a gut-punch. I'd love to see this play produced immediately.
  • Babel
    13 Aug. 2018
    BABEL lives at the intersection of what we can and can't control about genes, our children, their future. Goldfinger has situated these thorny questions in a near-future world -- far enough away that this genetic tweaking seems possible, near enough that we still see ourselves in this perilous landscape. This is a funny, quick-witted, tense and nimble play that explores what we'd do in the name of safety, what it would feel like to play God, what happens when playing God ends up being just as difficult and messy as you'd guessed. We'd like to be sure: we can't.
  • The Moment Before It All Went Wrong
    5 Apr. 2018
    One of the things that I love about David Hilder's work is that the minute you think you know where the play is going, he deftly and unapologetically uncovers something that you should have seen the whole time. The first pages hooked me. Viveka Granič, the artist, asks, "When a part of our world is collapsing…what do we do?" -- and it's certainly easier for Viveka to answer this question when it pertains to her art -- much harder when it's her own life. Viveka is brutal, brilliant, caustic -- and terribly broken. I adore her.
  • MUSEUM 2040
    3 Apr. 2018
    This piece is chilling, funny, smart, terrifying -- in short, an unflinchingly accurate portrait of who we are right now, or who we could become, as a nation. One thing (of the many things) that Renee does so well is to quickly and deftly create clear and specific characters, sometimes in just a line or two. Her facility with language and gesture is enthralling. Someone please do this piece, and soon.
    2 Apr. 2018
    I am so glad to have gotten to know Darcy Parker Bruce and her voice. GLIMMER manages to find the beauty and magic in a decidedly un-magical or un-lovely place. The characters have such compelling desires to find their place in the world -- if not this world, then some other, better world, and I am rooting for them the whole time.