Recommended by Andrew Martineau

Empathy is a tricky emotion to convey onstage, particularly in a very brief play . A SHELL OF WHO SHE ONCE WAS is a play that conveys true empathy. It involves immense tragedy, shock and loss. Greg Burdick creates a glimpse of empathy so palpable that the audience may want to turn away from the action at first, but then should feel compelled to let it sink in and ruminate long after the final devastating moment. Actors will love to play these parts.

Nature is captivating, beautiful and isolating, and snow has the ability to both enthrall us and trap us. Szymkowicz’s play reminds me of one of those Twilight Zone episodes in which we realize the nature of the entrapment at the end. In this case, I imagined these four characters, not in a bar, but rather stuck inside a snow globe. They are safe and clean but are depriving themselves of the messy complications of genuine human connection. Fascinating and insightful work.

Art as a cultural commodity works well as the subject of a theatrical piece since performed plays are also cultural commodities that not everyone appreciates. I love the back and forth negotiating that takes place between these men, and the big reveal of the “masterpiece” near the end of the play is hysterical. It would be well worth the price of admission, whatever that may be!

When I read the title, I imagined that this might be a play about Vanilla Ice being left alone at Mar-a-Lago to entertain the guests on New Year’s Eve. Then I read it, and I realized the title made perfect sense. This is an awesome play for high school or college student audiences. The characters are grappling with creating a fresh presentation on a tragic hero, a task that many young people struggle with, especially when it’s the dreaded team project. Aristotle’s ideas are brought to life with smart humor and originality.

There are myriad teachable moments in this brief hysterical play about creative economics, implicit bias and the pitfalls of public education. I would love to see this play in action and hear these words out loud. The character descriptions are some of the best I have ever read and hopefully would be included in the program!

GOOD MORNING is an optimistic title, and this is a surprisingly hopeful story of loss and shock. Julie Zaffarano crafts a brief drama of a woman who has missed out on many years in her prime, and she has the courage to move forward despite the changes she must now accept. Like a falsely accused prisoner coming out into the world after many years of being denied freedom, this play makes us ponder how we all might deal with a similar sad fate. Very moving and compelling!

Dramatic stories about unlikely encounters between parents whose kids are friends make for intriguing conflict, both onstage and off. This play is highly relevant, especially during the current pandemic, and Donnelly avoids stereotypes and easy answers. A thought provoking piece that has opportunities for discussion and debate.

The short conflict presented in DELIVERY is raw, relevant and riveting. There is an ebb and flow to the uncomfortable exchange of words. I want to give the homeowner the benefit of the doubt when he claims he thought the tip was already included, even though it seems clear he denied the driver the tip intentionally. He seems apologetic at one point, but the man’s true feelings are soon revealed in ugly fashion. The ending is quite satisfying and says so much about how essential workers are often treated in these challenging times. Wonderful script!

The tension between the two brothers in FAVORITE SON runs the gamut of emotions in a very short period of time. It reminded me of the Smothers Brothers’ running gag about who was the favorite, but this scenario is played out with real sadness as they deal with a fractured relationship and a very fragile family situation. It is compelling to see how these brothers attempt to deal with familial responsibilities as their childhood recollections shed light on the causes of their sibling rivalry. This is also a good play for actors in their sixties.

There is something theatrically thrilling about imagining what a baby might look like and never actually seeing it. This couple’s wit and sophistication mask their insecurities, not only concerning the mysterious baby in their midst, but also with regard to a second trial run at marriage. Their sense of humor bonds them in a delightfully absurd fashion, and the laugh at the end adds the cherry to this little confection of a play.