Ms. Drury’s “Fairview,” which just won the Pulitzer Prize for drama, and “Marys Seacole” are just as daring as “Slave Play” — and maybe more out there. “Fairview,” very loosely, is about a family dinner that gets dysfunctional after one act, farcical after two and like Armageddon after three. The meal being prepared and fretted over is restaged, but the dialogue in the repeated version has been replaced by the voices of white actors having an increasingly specific conversation about race. The mounting tension blows up in the finale, after which one of the show’s actors invites the white people in the audience to come to the stage so she can have a moment to herself with everybody else.

“Marys Seacole” — very, very loosely — is about a Jamaican caregiver, in both the 19th century and this one, whose ambitions exceed the white medical establishment’s interest in her. The show moves, among other places, from aristocratic old-world Kingston to a modern medical facility in the United States to a battlefield in Crimea. But the locations keep bleeding into one another.

The thrill of both plays is how metaphysical and structurally unstable they are. Ms. Drury likes repetition and circularity and how that circle is really more of a spiral and how, after two or three acts, the spiral starts to look an awful lot like the fuse of a bomb. For the audience, the stress (the riveting, delightful stress) comes from not knowing when this play is going to detonate — and how?

Ms. Harris might be the biggest surprise of these three — her second piece is an ornate elegy called “What to Send Up When It Goes Down” — since her work is the least obviously polished. But to watch “Is God Is” is to see a playwright as lawless as any of her peers has been. It’s about twin sisters who fulfill their mother’s wish that they execute their father. (“Make your Daddy dead. Dead. Dead. All the way dead.”) In 90 minutes, it manages to get from somewhere in Atlanta to the American West.