Recommended by David Valdes Greenwood

  • Deux Femmes on the Edge de la Revolution
    18 Feb. 2018
    This is epic—a work not for theatres faint of heart. But the physicality, the scope, the fire inside all really would make for a killer theatrical experience. But do be warned: like Millennium Approaches, you will go on multi-story journey that “ends” at a beginning. Can’t wait to read Part 2.
  • The Book of Mountains and Seas
    18 Feb. 2018
    Liu takes the quieter personalities on either side of a colorful character and throws them together in the wake of his loss to see what combusts when they meet. The audience gets its own loss too as the play’s visible characters dwindle from three to two, and we see the gulf between them. It’s a play about answers that can’t be found, and how we make and remake family in unexpected ways.
  • World Line
    18 Feb. 2018
    This is so lovely. Lerch takes a familiar narrative—coming of age during the loss of a parent—and repopulates the story with characters who too rarely share the stage in American theatre. Eddie’s internal language is beautiful and external language appropriately clipped in sullen teen fashion.
    28 Nov. 2017
    Friends with Guns offers just what a contemporary play should: discomfort for everyone. By turns hilarious and dark, it constantly turns the tables on its characters and its audiences.
  • Skin and Bones
    1 Jul. 2017
    You've never met anyone exactly like Katherine or Marly, the characters in Skin and Bones, and yet you've met (or been) them in a thousand other guises. Boasting, cowering, lying, connecting in a conversation made possible by being strangers, they're complicated humans who expose their feelings more nakedly the more fully they try to disguise themselves. A character jokes that something is bittersweet; audience members would be hard pressed not to extend that description to the entire play.
    20 Jun. 2017
    The Housekeeper is a touching drama that wrestles with big themes--loss, grief, broken families, and how we shape our sense of self. But Lazarus never gets bogged down: the scenes flow along with grace and agility thanks to the sharp dialogue and the author's restraint. Treating the supernatural element as equal to the naturalistic material, the play feels round, rich, and moving.
  • bread/blood
    20 Jun. 2017
    Cecilia Raker demonstrates what makes theatre truly a distinct form here: what takes place in this fictive memoir-meets-baking class could only happen live in a theatrical space. Using the bread-making process as both metaphor and practice, she muses beautifully and with increasing intensity on identity, and the rare space in which she is "not being asked to give up any of myself for the other parts of myself."