Recommended by Daniel Smith

A very funny parody of cable network Christmas romantic comedies, with lots of scope for actors to play with over-the-top humor and heart. I recently saw a successful outdoor production by Ixion Ensemble in Lansing, Michigan.

I just watched the streaming production from Know Theatre and really enjoyed it! Shifting back and forth between direct address and stylized sitcom aesthetics, the play offers trenchant criticism of its teen comedy source material in which the "American, Caucasian, Heterosexual" leading man never faces consequences for his bad behavior. There are very funny moments of subverting nostalgia (including a pretty great parody of Jessie Spano's infamous "I'm so excited" moment). Complicated plotting of the final prank leads to a satisfying ending.

An engaging narrative monologue that features a character transformation in the vein of romantic comedy. There is also a clever connection between Harlequin romance novels and Harlequin as a stage character.

A funny and thought-provoking piece that considers the convergence of the material world and digital media, with characters who fail even to attempt to find meaning in an apocalyptic event. Stella's Francophilia adds an intriguing layer, elevating her beyond caricature.

This is a fascinating "post-dramatic" piece that would work well as a template for a production with a devised feel. A prescient meditation on the isolation of our mediatized engagement with the world.

A moving and provocative play about problems of justice and revenge. Experimentation with style and genre gives actors and designers a lot to chew on!

This is a powerful play about what it means to be an artist and citizen in the twenty-first century. Compelling characters in their teens and early 20s offer strong roles for young actors. A thoughtful reflection on the problems of entertainment experience vs. aesthetic experience vs. real experience in our media-saturated world.

Very smart and intriguing script! I just saw Ixion Theatre Ensemble's production in Lansing, MI and enjoyed it. Starts out feeling like a science fiction version of "No Exit," then takes a clever narrative turn.

Sexy, funny, and fast-paced. With poetic language, witty repartee, and physical comedy, the play remains accessible to general audiences while including quite a few Restoration Comedy and Gender Studies in-jokes. I have been involved in productions of “Or,” with small companies in Chicago and Ann Arbor. Audiences were delighted by both!