Recommended by Craig Houk

I had the great good fortune to catch a ZOOM reading of this beautifully composed play. Melodious, atmospheric, shadowy, ethereal, complex, riveting, extraordinary. At the center stands a conflicted young man caught up in a whirlwind of tremendous obligations, caught up in a (losing) battle against fate. A modern tragedy of epic proportions. Gorgeously drawn characters, incredible dialogue, highly theatrical. This work could and should elevate Love to the ranks of other notable eminent American playwrights. A must stage. Highly recommend.

Vince Gatton is a force! DOUBLE HELIX is epic, visionary, atmospheric and wholly original. A scifi thriller full to the brim with tension and emotion. While this is a work in progress, there is no denying there's a masterpiece buried just beneath the surface. A must read and, ultimately, a must produce.

Exquisite. With Phillie McDougal, DeVita gifts the audience with one of the most uniquely layered queer & quirky characters ever devised. Unapologetic, defiant, vulnerable, volatile & antagonistic all rolled into one. And in fact, every single character in this play is captivating, the relationships between them genuinely complex and entwined. Phillie’s Trilogy is also cinematic in scope as DeVita nimbly moves backward and forward in time, expertly accentuating various tense moments with flashbacks & voiceovers. There’s plenty to ponder, but at the center of this play is an extraordinary love story between a gay man and his best girlfriend.

So excited to discover that YOU MAY HAVE 6 will receive its world premiere this year! And no surprise since this is a deliciously dark and superbly funny comedy about a self-absorbed man forced to make amends in the afterlife. I mean what's the point...? but that IS the point. There's a sucker dies every minute. Exceptional dialogue, fully realized highly comedic characters, and some fantastic otherworldly world building. This play is hella good!

Rowan tackles some tough topics: cancel culture, homophobia, white privilege, racism, cultural appropriation, sexual misconduct, by deftly weaving each into a gripping story centering an instructor hellbent on staging a ballet based on The Tempest. Is it the end of art if we can no longer access our own or others’ life experiences, pains, oppression, without being accused of exploitation? It’s a difficult play, forcing us to reflect on our willingness/unwillingness to compromise when it means we may lose a part of ourselves, when it means our art might be diminished. Stellar writing/character development. Stage this!