Recommended by Christian Flynn

Blueprint for contemporary horror theatre. Three guys in a haunted house — two were born guys, one's turning into their grandmother. The dead grandmother upstairs reminds one of Hereditary, but McCarthy goes further. Sloane isn't just haunted by the past, they're forcefemmed. The guys won't see Sloane as one of the guys so they become the castrating femme of nightmares. The revenge isn't empowering as we've come to expect through camp. It's harrowing. We do not cheer.

I always think there's value in something that's disturbing or transgressive in a novel and boundary-pushing way. This is a play that goes there — in a way that most playwrights beside Martin McDonagh, Sarah Kane, and Mark Schultz generally only hint play at. What's on the surface is just a decoy, a twist in the titular knot. The real play is in the brutality behind it all

A great complicated play about real shit. No pulled punched. No easy answers. Not happy endings. Recommend.

A hilarious, tense, cringe-inducing thriller — and I don't take genre theatre lightly. Sci Fi in that it takes place, like, five years from now. The internet of things – not things-in-themself, things in your fucking house. A great play. And boy, does it have robofucking. Atona's monologue is one of my favorite pieces of writing I've found this year. And right before, some good advice for these upcoming times. "Whenever you want guidance, forget it."

Good luck everybody.

Lucas Baisch says this guy's really good at "excavating evils" and he's way smarter than me. I'll add that Schultz is a wizard of cruelty, he understands pain better than any other playwright I know. His characters walk around with holes in their spirits like open fucking wounds. They drip with pain and evil and beauty. A play like one of those great albums like Deathconsciousness that are nothing but grace and pain.

Holy shit. My new favorite play. Holy shit.

So funny. More people should know about Mitnick

The rare play that does exactly what it says on the tin. A fantastic non-narrative play in three scenes, featuring almost entirely debate, argument, which paints an entire life. Boyd shows us that sometimes the best way to capture the entirety of a person isn't to meet them at every moment, or even the most important moments of their lives, but when they are challenged most on their beliefs. Lev is a different character in each 20 year gap we see him in. Sort of. As are we. Fantastic genuine political arguments too. Read up.

Bailey Williams is hilarious and she knows just when to be brutal. A comedy play that's brilliant at raising it's stakes and playing it's characters like a fugue until it's natural endpoint — funny disaster.

What's there even to say — I'm late to the Bailey Williams party. One of our freshest new voices. The suburbs are hell. Long live Dingus. Long live The Claw. I love the guitar system.