←The Depot for New Play Readings

Set in London, during the plague of 1609, Rich Rubin’s “Four Sparrows” immediately captivates, moving rapidly from one crisis to another: secret burial, imprisonment, near starvation, and breach birth. The events are drawn from history, a time when physicians operated within a sphere they believed was ruled by God and the movement of the stars. Yet the drama’s sober topic does not preclude moments of humor or poignancy. Without explicit references, the play also resonates with the AIDs era and the Covid pandemic, when the effects of plague beset reason and morality as well as bodies. Highly recommended.

Set in 1974, Surrey Houlker’s “for the fish” connects the political turmoil of Watergate with the emotional turmoil of Susanna, a gay thirteen year old searching for acceptance in a small conservative town. Susanna finds solace with her lonely non-binary uncle, who salves alienation by going fishing. Structured lyrically, scenes alternate with “in between bits” (dumb show and monologues), and culminate in wrenching surrealism. The play’s power builds from the accumulation of small consolations: cigarettes, dancing, new shoes. Ultimately “for the fish” revels in brave acts of love and hope in an age of reaction. Very highly recommended.

Amy Tofte’s “Righteous Among Us” raises tough questions about state violence, whether that of Nazis or American law enforcement. The story focuses on Mila Stevens, a young black volunteer at a civil rights center. In scenes that alternate between Mila’s interviews with subjects of a planned Holocaust exhibition and Mila’s monologues, the play delves into reckonings with secrets and lies. With consummate skill, Tofte interweaves multiple family stories and historical settings and throws an emotional wallop. One of the Depot’s actors described her participation “as an honor.” An important play. Strongly recommended.

In “It Ain’t Pinter,” Jack Rushton deftly satirizes the power dynamics among archetypes of theaters artists: callous director, over-the-top actors, and insecure playwright. As two clueless actors make a mash of his new play, the playwright devolves from simpering to sniveling, and things get worse when the producer Eddie shows up. A treat for actors and a delight for theater lovers, “It Ain’t Pinter” ain’t Pinter—it’s irreverent, hilarious, and whole lot of fun. Ideal to open a night of short plays. Highly recommended.

Set in Amsterdam—city of canals and crossings—John Mabey’s enchanting “The Legend of Snails” offers a masterclass in activating what is left unsaid. Sophie is a scientist who knows snails but not herself, her desires, or her sexuality. On city tours guided by Tess, Sophie slowly begins to bridge the gap between certainty and vulnerability, knowledge and understanding, data and romance. A beautifully realized expression of the complicated identities we live with, “The Legend of Snails” speaks about intimacy and love with innocence and charm. A truly magical play. Highly recommended.

In “Time Wounds All Heels” Glenn Alterman sits Ted and Tom on a bench and proceeds to baffle our expectations with the passing of time and a new watch. As the two men muse about their jobs, their relationship, and karma, the purpose of their meeting becomes clear. Tensions rise, and audience imaginations are left to run wild, a treat but also a sleight of hand. “Life’s what happens when you’re making other plans,” John Lennon said. In Glenn Alterman’s hands, the saying receives the theatrical attention it so archly demands. Highly recommended.

In John Minigan’s unsettling “Covenant,” the leader Creed avers bones grow back stronger after a break. This play aims to break some bones. Why do we believe? Why do we trust? Why do we obey? “Covenant” begins with an interrogation, and through flashbacks, reveals parallel systems of belief and hierarchy. Surprises come almost moment-by-moment and keep the audience on edge with a claustrophobic study of the psychology of manipulation. Ultimately, we are left to ponder who the believers are and what tragedies result when loss of faith results in violent intervention. Strongly recommended.

Donna Latham’s Southern Gothic “Yella Jack” powerfully renders an unlikely sisterhood who convert a brothel into a hospital for the indigent. In language that is closer to poetry than prose, and dotted with extraordinary monologues, Latham plumbs medical history, women’s history, class, race, and the traditions of multiple religions in a story about a yellow fever epidemic in Memphis, 1878. Like Shakespeare, Latham employs humor and pathos, and like the Greeks, she structures the play around short scenes and choral-like odes. The result is compelling and unforgettable. A gem for an ensemble of diverse actors. Strongly recommended.

In Michael Perlmutter’s theatrical “Open Meeting Closed” four women in an AA group close one afternoon’s meeting to confront another woman about her behavior, and the intervention quickly derails into unpredictable chaos and bickering. The play’s strength lies in Perlmutter’s expert creation of unique characters. These women are tart in their own ways, yet through finely crafted monologues in which they reveal their traumas, they earn our sympathy. The action is well paced and the reversals and revelations by turns humorous and heartbreaking. A perfect vehicle for a strong ensemble of women. Highly recommended.

In her masterful retelling of the Gospels, “James of Nazareth,” Lisa Dellagiarino Feriend imagines the mundane lives of Jesus’ mother Mary, brother James, and James’ wife Hannah and son, Daniel. The entry point is pitch-perfect comedy, but the play envelops current concerns about violence, resistance, and love and compassion. The plot centers on the conflict between the brothers, one who understands too much and one who understands too little. Neither preachy nor doctrinaire, the play strikes multiple notes and ultimately speaks to the sorrows of not one singular family but many families across time and place. Highly recommended.