Recommended by Daniel Prillaman

Hilariously raucous and ultimately moving, Bavoso’s take down of MLMs is the best kind of comedy, giving us laughs, but more importantly some real food to chew on. Holding a knife and grimly lurking beneath the surface of this play is a brilliant commentary and exploration of marriage, one’s purpose in the cogs of capitalism, and society’s eternal obsession with murrrrderrrrrr. The pyramid scheme item of choice will provide costume designers no end of fun, and each actor gets a chance to really dig into some lovely material. And don't forget the fight scenes. Highly recommend.

A brisk, darkly whimsical tale of love (be it genuine or at any cost) in the end times, "Our Black Death" infects us with visceral stage pictures and a vast, complex web of manipulation and desire. It's also ridiculously, absurdly funny, underplaying most of its cards until the shocking acts of the characters are already upon us, surprising themselves as much as the audience, if not moreso. This one is going to stick with you for a LONG time, and it deserves to. This would be tremendous to see on stage and I hope it soon will be.

Everybody has that one moment when they realize that their parents don’t know everything. That they’re just human like us. So what if they’re wrong? “GEN” is a blistering, indicting tale of family loyalty wrapped up in a haunted, bloody bow, and I would do anything short of committing murder to see it on a stage. The atmosphere seeps out of the page and the visuals, instilling a slow dread that never quite stops, even when the bodies start dropping. A devilish play with teeth that bite, it is exactly what we need more of in theatre.

I have a difficult time putting into words my obsession with Jac’s work. Her plays are urgent and keening, but measured and composed with a succinct, deft charm that just sucks you in. “T Club” relishes in the silences and the awkward uncomfortable, unafraid of showing its fatigue with the questions life forces us to ask, and the rage we feel when we get less than justifiable answers (if we get them at all). A stellar play that deserves a long life. Highly recommend.

It starts with a perhaps...too conversational gentleman getting a massage. I won't spoil where it goes, but I will spoil that Cathro has done it again. He has a deft, deft knack for going places we never expect, but those places always mean and reverberate with so much more than whatever we anticipate. Another instant classic that would be a perfect addition to any short festival.

A confrontational, thought-provoking exploration of family loyalty, love, and the ethics of storytelling. McClain sets the stakes and draws the battle lines early, and drops the bombs of family secrets with well-earned aplomb. Each family member is wonderfully formed to be at perfect odds with the others, resulting in a dysfunctional pressure cooker where we know something is going to get worse, but never quite exactly what or how. When it does, it’s not what we expect. And that’s even better. One of the best endings I’ve come across in a hot minute as well. Wonderful work.

This a powerhouse gem of a play. My favorite stories are the ones that make us laugh, then make us stop. They make us go "woah." They make us think. And then they go one step further than we ever imagined. Without spoiling any of the twists in Cathro’s astounding play, I will simply say it is worthy of your attention. It demands it. It is funny, it is heart-wrenching, it is timely, and it’s a hell of an accomplishment in just under ten minutes. The title is also perfect. Highly recommend.

How do we end toxic friendships? How do we even realize we’re in them? Hendricks’ play tackles these questions and gives us a fascinating, uncomfortable, real-time depiction of a friendship deteriorating before our eyes. As an audience, we certainly (and obviously will) take sides, but are never asked to take any particular one, a stroke of skill that makes the reality of the situation all the more tragic. Hate and inconsiderate behavior exists in people everywhere, and everybody has their line for tolerance of it. We have to live with those consequences. Well done.

Invoking glorious memories of the President’s infamous phone call to Dimitri, Busser’s short piece is a masterclass in comedic build. A simple, genius premise gives us some stakes, and slowly takes them to extremes with horror terrifying to imagine, but oh so hilarious to listen to, and it provides the actor playing Kasey a rare opportunity to take total command of the stage. Such a fun, mischievous piece. Even the sound designers get a playground here. Highly recommend.

This is delightfully charismatic and masterful writing. I shall not commit the injustice of calling Lady d'Aubigny "sensational," but this play, in the most marvelous and praising sense, is. Cross has written an actor's (and costumer's) playground, and I cannot recommend it enough. The Gossips are especially brilliant, not only a clever device to fill in (and play with) the historical gaps, but a Chorus that transform the story into a Greek epic, elevating the cast of characters while also revealing the heroes within as truly human people, looking for a way through life like the rest of us. Amazing.