Recommended by Daniel Prillaman

There's nothing more thought-provoking than the ethical quandary: "What would you do to achieve your dream?" Rafala's musing is manic, sardonic, and filled with moments to provoke (uncomfortable?) laughter. It takes shots at systemic poverty, religion, television, and more, but most of all, does so with distinct style and layered characters. There's so much for producing companies to run with here. This is my favorite kind of play, one that I could spend hours unpacking, but most notably, one that gives me something I sure as fuck have never seen before. Check this one out. Highly recommend.

Growing up is hard. As kids, we're expected to make increasingly weighty, life-altering decisions when we're still just trying to figure out ourselves. Poor Mo has to make decisions for two! And the other person is an imaginary elephant! What turmoil! Heyman's short play is an outstanding hoot, but also has a very tender heart at its center. It is a lovely way into the complex issues of letting go, growing up, and a gentle reminder that sometimes, the best thing a friend can do is to remember that your friends are their own people. Or elephants.

Roleplaying has a remarkable capability for therapeutic benefit. This play is proof. And it is brilliant. Now, I love theatre and I love DND, so I am perhaps biased, but Kantor does a fantastic job of giving each of these women a unique, distinct voice and history. And each monologue LANDS. You'd think there'd be a weakling in the bunch, one that shines less than the others, but no. They are all amazing, and deal with delicate, soul-searching topics with the deft construction of a skilled DM. Highly recommend.

Anytime Medusa shows up to have a chat, you have to acknowledge maybe there's something you're pushing down. Wry, twisting, and visually arresting, Karuc's play is a fantastic descent into the nightmare-scape of figuring out the self in the aftermath of trauma. Gabby's uneven internal battle for love, hope, purpose, acceptance, and everything in-between is mirrored beautifully by the constantly shifting world. There are so many delightful, theatrical images at play here, and producing companies would have a hell of a time mounting this piece of work.

Few people on this earth have the deftness to create beautiful monsters like Scott Sickles. Creatures that could break your heart both figuratively and literally. In his newest, The Minotaur (that one!!) meets a new meal. Wait...no. Human? Uh...Doesn't matter, I guess. What matters is the journey that follows, a fascinating adventure of finding connection, illusion, and kindred spirits. Actors and designers alike will have a hell of a time crafting this world and its characters.

Aside from the damn good advice, what's most magical here is the amount of room Elisabeth Giffin Speckman gives producing companies to play. The only thing more fun than an atmosphere that jumps off the page is one that jumps off the page in hundreds of ways. You could stage this infinitely, and never see the same thing twice. This play is a hug. A comforting rite of perseverance. In 4 words...this play is astounding.

Pure fun. Just pure, absolute fun. And helpful! I want so much to talk about how this play provides the perfect answer for any befuddled actor or writer, but I will not spoil Richter's delivery. Rest assured, this short is hilarious and an ultimate truth. If you read one play today, make sure it's this one.

I just got engaged recently. This is not an attempt to fish for congratulations. This is relevant information. If you have also recently gotten engaged...hell, if you're THINKING about getting engaged, if you're dating someone, if you've ever had a crush, if you've ever been anywhere ever with literally anyone else, Sickles has provided immaculate advice.

Write your vows beforehand.

Or don't. Fuck it.

If you're with the right person, nothing else much matters.

There's something inexplicable about encountering something (or someone) we know is powerful or otherworldly. Do they pose a threat? What are their intentions? Is the pleasantness of the company enough to override that? As someone unfamiliar with the folklore at hand (but so excited now to dive in), Karuc's short play blew me away. This is an incredible piece of writing, with serene, slightly empty (or it is sinister?) visuals and dialogue that cuts like cold ice. A surreal musing on death, grief, and moving (not even forward, just moving) after loss. Highly recommend.

It's almost frightening to think of God (or whatever deity came before) as more human. The idea that our creator doesn't know what the hell they're doing might be comforting, but not exactly reassuring. Heyman's thoughtful comedy explores the insanity of creating and managing the entire universe(s), but also bravely meditates on the most important part of the story, the end. Even if you're God, we all have a finite amount of time to do what we choose to do, or make what we choose to make. That can mean everything. Lovely short work.