What I love about this play is that every time you read it, you find new tidbits to muse over. It's twisted, unexpected, and you should be reading it now instead of these schmucky reviews.

I've just finished acting in this play. I played Rachel, the Alice in Wonderland-esqe protaganist who keeps getting tossed and turned, from Springfield to Springfield, until she is finally forced to make some very interesting conclusions about the reckless world she discovers she is living in.

RECKLESS conveys such a wide range of emotions, and any reader who can remember the magic of Christmases past, the glorious expectations of childhood, the DREAM of what life was supposed to be, will enjoy this play.

It also happens to be one of the funniest plays I've ever read, and even if you're not acting in it or directing it, it is a play that you will enjoy reading, because it is so well-written and elegantly crafted. In fact, it is a very intricate text, with so many hidden meanings and word plays, that a close reading of it IS necessary if you are going to act it as it should be acted.

Touching, beautiful, sad and true, RECKLESS is a gem of a play.

The play is existentialist in nature, but not unapproachable. It is funny and sad, lighthearted and dreary. It layers daily, late 20th century, silly modernisms and affectations with subtle philosophical ponderings. Rachel is delightful and strange. The audience feels for her as she endlessly quests from one Springfield to another, realizing that Santa and Satan are inherently related and that you can never really know anyone . . . not your husband, your son, your assasin, not even yourself. A must-read. A must-perform. You'd be "reckless" not to. A comedy, with some serious edges.

A twisted and creative play. I enjoyed it thoroughly along with the passionate romance behind it.

These are two of the best contemporary American plays being performed today. BLUE WINDOW, reminiscent of Virginia Woolf's "Mrs. Dalloway", explores the possibility of sharing thought, words, and perception, through the device of a party attended by several disparate people. RECKLESS is a wildly funny and disturbing trek across America with Rachel, an Everywoman whose optimism is betrayed at every turn. Both can be seen as movies.

Craig Lucas' amazing THE DYING GAUL is the centerpiece of his latest collection of full-length and one-act plays, WHAT I MEANT WAS. Lucas' provocative drama responds to the perils of cyberlife, one of contemporary drama's most recently popular subjects (as in Kopit's Y2K and Marber's CLOSER). However, Lucas delves deeply, chronicling the pain of a screenwriter who has recently lost his lover to AIDS. He has sold his script to a heartless producer, and enters an affair with him, even though the producer is both married and simultaneously attempting to rid his manuscript of any trace of its gay subject matter. As an outlet to his suffering, he surfs the loveless yet safe confines of the Internet. However, the series of events which ensue are both blazingly theatrical and a sobering statement on the capacities of the human spirit in the age of technology. Presented here with a number of other recent Lucas plays, the playwright exhibits a longing and passion which could not be seen in his earlier work PRELUDE TO A KISS. Readers cannot miss Lucas' introduction to the plays, which identifies the new found anger inherent in his "new" theatrical voice.