Recommended by Daniel Prillaman

I've wondered often about how to construct a choose-your-own-adventure play, but haven't had the courage or moxie to try it. Thankfully, Marchant is a master of less conventional forms, and has proven here yet again why she is a playwright everyone needs to know. Hilarious, quirky, endlessly re-stageable, "1st Impressions" is nothing short of amazing. I want to do, see, and make this play forever.

Old West? Campy as hell? Duels? Sign me up! Levine's radio script is more than a hoot. It is many. Many, many hoots, one after another after another. From the dry remarks to the slapstick (which a sound designer would have oodles of fun translating from the images in our heads), every single one is a gem. So much space to play here.

I want to gush about every moment in this short play that I utterly loved, but I don't want to spoil each beautiful flick of the pen. Karuc's skill with pacing and dialogue is unmatched, and Vasilisa and B.Y.'s conversation in a grimy fast-food eatery is enchanting, funny, somber, and gratifying. Not only would theatres delight at the riff on a lesser staged folktale, but the opportunities in the worldbuilding here would be a thrill for actors and designers alike. Such a solid, delicious (you'll see) scene.

In short, my favorite kind of play. Witty, funny, honest, and the more I keep thinking about it, the more I uncover. Schlomann's short piece is deceptively deep, and leaves us thinking just as much about what's outside of the cave as our duo trapped inside. I also love the choice in the character descriptions, to define each character by what the other thinks of them is a daring, subtle, genius move, and it gives actors and directors a delicious place to start.

I will add my voice to the chorus not demanding a full-length version, per se, but saying Floyd-Priskorn has outdone herself, and we want more. Thankfully, the bite-size length here is perfect for schools and younger audiences, and is a story that is beautiful, hopeful, heartbreaking, doesn't talk down, and truly brilliant in how it meshes "reality" with the world L'Sea and D'Nova conjure up. The characters are fully drawn and wonderfully charismatic, whether making magic or irreverently breaking the fourth wall. I'm hard pressed to think of a play people would have more fun with, in any capacity.

While I could joke that Weaver writes of kissing to ensure intimacy directors will never be out of work (perhaps not untrue), I continuously think there's something more. Always. There are so many layers to Weaver's work, but "The Kissing Bandit," in particular, reminds us of the innocence of the act. It's supposed to be a good thing, but humanity has taken even the kiss and corrupted its beauty. This is a delightful, stylish, pure, and sexy! one-act, and will be adored by any old enough to think that kissing isn't gross.

I must admit I am one to get frustrated at paywalls on news sites. Forbes, Washington Post, New York Times, I always think they can handle it. Smaller papers, however? Richter's short play is masterful and gives us loads of thought beyond just the matter of what it costs to run a paper. We only start there, soon diving into murky waters of politics, passion, and human kindness (or decency). A brilliant two-hander for actors and directors to explore.

A fantastical, alluring play about the spaces we create as children (or adults), be they out of a wish for whimsy and wonder, or our need for escape and a coping mechanism. St. Croix dives deep into exploring our connection with these spaces as we grow older. Do we lose them? Forget about them? What happens to them if our connection weakens? What happens to us? The cast of characters is brilliant and the playground at hand even more so, with opportunities for playful choreo and fight sequences alike. Absolutely engrossing all around and a hell of a play.

Deliciously thought-provoking, darkly funny, and somehow simultaneously one of the most innocent and creepy things I've ever read, Kane's play is pure fire. The best character studies make us empathize, but leave out a voice of judgment and condemnation, letting us make that final call. Is what Claire's doing really so bad? Healthy? Is Jenna's personality really that genuine? What really is any interaction we've ever had ever? I will be thinking of this one for a long time, and I need to "watch" somebody do it. This play instantly turned me into a Kane fan, you'll feel the same.

Brutally feeling, deeply layered, and mired in heartwrenching and hope in equal measure, Temesgen's play will blow you out of the water. The ethical, nigh impossible choices at hand deftly bring us to the line of "what you would do?" and the scenes move at a brisk, neatly escalating pace. Atop everything else, the haunting visage of Solymar's daughter is brilliant, adding the perfect touch of pure theatricality into the otherwise realistic world. The picture "Lawnpeople" paints of grief (for those living, for those gone, and for those who never were) is absolutely stellar. Highly recommend.