Recommended by Matthew Weaver

A pleasure to read. Harnetiaux goes above and beyond informing us of the rich innerworkings of her characters and their history, creating a wholly unique experience. Told in reverse, we go from Irene and Lana under a table during a bank robbery; after a high school reunion having just killed a deer and finally in the eponymous science class, trying to coax Sarah Sun into saying the C-word. We don't come to fall in love with Lana and Irene; we come to realize we ARE Lana and Irene. How does she do that? Includes a glossary of unseen supporting characters.

A powerful, emotional grabber. Shows a pre-teen or teenager on the autism spectrum, which is something that should be shown more, and also captures the relationship of a heartbroken girl and her equally heartbroken aunt trying to come together. Very well done and moving.

A gem of an inanimate object play. Poetry in motion. Captures an American pastime from the POV of a key element. A killer ending, made me laugh out loud. Stubbles at his best. Truly good stuff.

An interesting, quirky philosophical discourse set in a casino. Strong, fun characters, whom Hendel isn't afraid to portray warts and all. Action builds and builds to over-the-top, in a way that makes complete and utter sense for the story. Every part here would be fun for the lucky performer who wins the chance to play it.

Wow. Wow. Amazing, astounding, astonishing and accomplished all in one breath. Historically honest and pure fun at the same time, from beginning to end. Johnson writes smart, compelling, SMART, lovable characters, and we as readers/viewers are putty in her hands.I especially adore that she allows her characters to figure things out. A pleasure. Exceptional. Please, Michelle, write more things!

Had the pleasure of seeing this put on during the Gallery Players Black Box Festival in Brooklyn, NY, in June. Fun and heartfelt, the gentle beginnings of a love story. Real kids, hanging out, trying to make their way in a confusing world. And everyone has to contend with Elliott Danziger and his darn biceps in some form or fashion. A good offering from a truly kind gentleman.

A truly epic feat, slimming THE ODYSSEY down so that each line of dialogue is a single word. A marvelous read, a good way to convey the story and an interesting adventure, told with style and natural humor which embraces the conceit and delivery. A pleasure to read, would be a joy to watch unfold on stage. I particularly liked the members of the Greek Chorus electing to skip Aeolus' island because it's boring, but still have the secret bag on Ulysses' ship. Thoroughly enjoyable.

Bold. Strong. Powerful. Goldman-Sherman handles sensitive subjects unflinchingly, dares the audience to both watch and to look away. Important words here that need to be said, and shared, conveyed in a style that is all her own.

I cannot stop thinking about this script. So simple it's elegant, and amazing in its depth and compassion for its sole character. "My son asked me to make him an apple pie. So I'm going to make him one." Fawcett's masterpiece shows us a woman laying her aching heart bare for us. A tour de force.

Fucking fantastic. Fucking funny and fucking quick and fucking ends with a fucking fabulous conclusion. Really fucking captures the playwright's fucking dilemma of how much fucking cursing should the fucking dialogue contain and remain fucking true to the fucking story. Fucking brilliant.