←Recommendations of WE ARE BLOOD

  • Mike Rice: WE ARE BLOOD by Ryan Bernsten
    “

    Ryan Bernsten's "We Are Blood" is a frightening and engaging tale of a dysfunctional family with dark secrets. The characters are fleshed out and compelling. The conflict is compelling. And the ending satisfies. I too look forward to seeing this play getting staged.

    Ryan Bernsten's "We Are Blood" is a frightening and engaging tale of a dysfunctional family with dark secrets. The characters are fleshed out and compelling. The conflict is compelling. And the ending satisfies. I too look forward to seeing this play getting staged.

    ”
  • Jessie Salsbury: WE ARE BLOOD by Ryan Bernsten
    “

    Had the privilege of watching this as part of KC PUBLIC’S theatre lab series. The audience was engaged and holding their breath in the final scenes. Ryan is an exceptional story teller and I look forward to a fully realized production of this glorious play. There is a lot for actors and technicians to mine in this script for inspiration.

    Had the privilege of watching this as part of KC PUBLIC’S theatre lab series. The audience was engaged and holding their breath in the final scenes. Ryan is an exceptional story teller and I look forward to a fully realized production of this glorious play. There is a lot for actors and technicians to mine in this script for inspiration.

    ”
  • Beau Ryan McCoy: WE ARE BLOOD by Ryan Bernsten
    “

    A horror play in the vein of Ari Aster's 'Hereditary', Bernsten manages to take the tired tropes of 'family drama' and twist it into something both exquisitely haunting while at the same time, deeply moving. That idea of being hunted by your past is disturbing on any number of levels but to then couple it with deep-seated feelings of inadequacy, misdirection, loneliness, and isolation... a play that by the end might read as 'improbable' to some feels anything but. That the only way to overcome one's circumstances is by transcending them.

    A horror play in the vein of Ari Aster's 'Hereditary', Bernsten manages to take the tired tropes of 'family drama' and twist it into something both exquisitely haunting while at the same time, deeply moving. That idea of being hunted by your past is disturbing on any number of levels but to then couple it with deep-seated feelings of inadequacy, misdirection, loneliness, and isolation... a play that by the end might read as 'improbable' to some feels anything but. That the only way to overcome one's circumstances is by transcending them.

    ”