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"Chances are that you have had a friend who fell in love with someone you felt was, to put it kindly, unsuitable. Yet the more you listened to your friend talk, the more you saw this object of adoration through her eyes. And maybe you came not only to understand the attraction but even almost to share it. Such is the experience of listening to Erica, the enraptured heroine of Nick Robideau's INANIMATE, the sly and very likable comedy...the 30-year-old Erica has for the first time found true romance, and-yes, yes, oh yes-she never knew it could be like this. She'd shout it from the rooftops if she could. But she fears society is not ready to accept this relationship. Erica, you see, is in love with a wonderful-wait for it-fast-food restaurant sign. A Dairy Queen sign, to be specific. Erica fondly calls it Dee, after the first letter of its illuminated name. Or rather, his name. Erica knows that 'his energy is male'. The category of loves that dare not speak their names, at least from American theater stages, keeps shrinking. In 2002, Edward Albee's THE GOAT, OR WHO IS SYLVIA? presented a married architect's affair with a barnyard animal as a means of exploring the limits of erotic tolerance. INANIMATE takes this investigation a step further, with a fractured lyricism all its own. The brave new world-or perhaps not so new, just previously unmentionable-that Mr Robideau has ventured into is clinically known as 'objectum sexuality', or objectophilia. As Erica eventually discovers, it is a condition that now has its own websites, online forums and support groups; it has even been the subject of documentaries, such as Strange Love: Married to the Eiffel Tower. Clinical, though, is definitely not the word for INANIMATE...this play unfolds as a sort of normcore comic variation on ROMEO AND JULIET, which insists we regard its central relationship as worthy of high flights of poetic fancy. Such a perspective could so easily lean toward smirky voyeurism or cloying cuteness. And in the opening scenes, I worried that a perverse preciousness might dominate. But INANIMATE wins us over by contextualizing its exotic subject in the bedrock of the familiar. Subjectively, most of us went through what Erica is experiencing when we were teenagers, terrified by the insistent promptings of our libidos. And as the play progresses, and Erica confesses her once secretlove, Mr Robideau drolly insinuates that all tales of coming to terms with sexuality are 'coming out' stories. The provincial New England that Erica inhabits is not unlike the dead-end environs of an Annie Baker play. As in Ms Baker's THE ALIENS and THE FLICK, the outsider characters of INANIMATE are trapped in a state of protracted adolescence, equally terrified of being stuck in or ever leaving their insular Massachusetts hometown."Ben Brantley, The New York Times

"BOATS ON A RIVER, a new play by Julie Marie Myatt, can be distinguished both by what it is and by what it is not. What it is, is a play by an American playwright that reaches beyond the borders of this country, to examine life in other parts of the world and to use that examination as a prism to reflect back on our own culture. In that regard, it is a singularly refreshing departure from the navel-gazing that occurs in much of American theater. What it is not, is melodramatic or pat or clichéd or shrill. And for a play that deals with the trafficking of young girls in the Cambodian sex trade, it deftly works in a quasi-journalistic fashion to tell its story palatably without diminishing or glossing over the horror of its subject matter. Myatt traveled to Cambodia to create a fictionalized story of an American who runs a center that pulls girls out of prostitution. Sidney Webb has clearly gotten too close to his job and, after 15 years at it, is on the verge of burnout. His condition isn't helped when a headstrong American blows into town, raids a brothel and drops a trio of his "rescues" -three girls ages 13, 8 and 5-into the already over-crowded center. Plus, Sidney is having difficulties with his wife, a Vietnamese woman scarred by her own past in the sex trade. The script ranges all over the place-attempting to climb into Sidney's head, examining the circumstances and attitudes of the young girls, even giving an unflattering glimpse of an American tourist awash in his own sense of entitlement and willfully ignorant about life in Cambodia and his own small-but-damning contribution to the sex trade. Myatt calls for adult actresses to play the young prostitutes, an obviously necessary concession and one that allows audiences just enough distance to absorb her thematics without recoiling in revulsion.… But Myatt also conjures a final stage image that hammers the play home with heart-stopping clarity. …If it gets to our heart a bit too much through our head, BOATS ON A RIVER still has a certain poignant grace to it as a story of those struggling mightily to do the right thing against a vast, invisible and diabolical machine."Dominic P Papatola, Twin Cities Pioneer Press

"…Myatt excels at using small details to evoke larger truths.… BIRDER explore[s] fatherhood, mortality, the post-recession economy and the illusory nature of the American dream… BIRDER revels in quirky, meta-theatrical artifice, complete with flashbacks, overt symbolism and fourth-wall puncturing monologues. Its protagonist, the accountant Roger, is a poor excuse for a dad…. Roger has always played by the rules in pursuit of an affluent lifestyle. Like so many in the disappearing middle class, Roger grapples with the pressures of living beyond his means; his atypical answer to midlife crisis, however, is to quit his job and take up bird watching…. Roger maintains a disarming boyish charisma as he chronicles how the growing appreciation of birds hiding in plain sight among us come to represent everything else that's missing from his life. …[BIRDER] offers a quiet vision of hard-won hope amid adversity…"Philip Brandes, Los Angeles Times

"WILLISTON by Adam Seidel is a fresh piece of theatre that successfully shines a light on the power of greed and money in modern day America. Three leasing reps travel to Williston, North Dakota to get mineral rights to the last big piece of undeveloped land.… I was thoroughly impressed with the play. …a story that is relevant and fresh."Brian Stanczak-Tuscany, Broadway World "Something's not quite right in the small town of Williston, North Dakota. That much is obvious just from the fact that oil company deal closers Barb and Larry are expected to share quarters in a trailer camp setting. And how is it that their parent company didn't let them know that they were sending a new numbers guy, Tom to bring in the lease on one of the largest and possibly most productive tracts of land? After all, the killer team of Barb and Larry has been working for years on "Indian Jim," the Native American holdout who is reluctant to allow drilling on his land. Playwright Adam Seidel crafts a nifty three-hander where everything and everyone is not as it seems.…"Lauren Yarger, theaterlife.com

Combat photojournalist Matthew Milton is charged with flying from Afghanistan to pick up his sister, Lizzie, after a two month stint in rehab for heroin addiction. Lizzie's wealthy Connecticut lifestyle is no match for her desire to get high, and Matthew's own addiction to war is masked by his sense of duty to show the public the truth behind our endless wars. With no where else to stay, Sergeant Mac Johnson, just retired, comes home to stay with Matthew, in a building full of fellow photojournalists. The subject of one of Matthew's documentaries, Mac reveals that Matthew's search for the truth, came at the expense of Mac's sense of self, life and privacy. Both drugs and war prove inescapable addictions, in a nation that continues to both feed and hide them.

"…In returning to a familiar theme, the wandering away from and abandonment of small town America to seek fortune and enlightenment, Myatt scores by unusually and effectively staying with those who have been left behind rather than with the one who has left. The result is a beautifully written reflection on time and place, and the inconstancy of love and loss.… The play follows the investigations of a private detective hired by a couple to find their grown son. As he interviews assorted friends and a mysterious stranger, he finds that nothing is quite what it seems. And in the process, as so often happens to theatrical detectives, he experiences a significant transformation. With few exceptions, each of the roles is carefully written, and several of the characters are vividly and imaginatively conceived.…" Laurence Vittes, A P

"…Myatt excels at using small details to evoke larger truths.… JOHN IS A FATHER explore[s] fatherhood, mortality, the post-recession economy and the illusory nature of the American dream… In impeccably spare dialogue rarely longer than single-sentence exchanges, fragments of John's troubled past come to light during his encounters on a trip to reconnect with what's left of his estranged family.… It's utterly compelling naturalism rendered with economy and grace…. Myatt's new play offers a quiet vision of hard-won hope amid adversity.…" Philip Brandes, Los Angeles Times

ONLY IN AMERICA is oracular, mythic, wicked satire, with outrageous humor and provocative subject matter. In this play, Aishah Rahman achieves a synthesis of Jazz and secular speech, as she creates a language for America's "invisible women".ONLY IN AMERICA is set in an imaginary Animal Bureau of Civil Rights in Washington DC, and was written, in part, in reaction to Anita Hill's testimony about working with Clarence Thomas.