Recommended by Paul Donnelly

This delicious little comedy is indeed kooky in a most engaging way. It is surprising and delightful to see the way that the exchange of fortune cookie bromides that comprises most of the dialogue has actual build and reveals real character intentions. This must be laugh-out loud funny throughout in production!

A vivid and subtly terrifying exploration of self-aware privilege. The very scary story the creative writing student is presenting becomes even more horrific as its real world ramifications come into focus. Among the many exhilarating and fresh aspects of this short piece is the fact that the credibly disturbed student is a young woman who understands her own power.

What at first seems to be a completely justified revisionist take on an iconic photo evolves into a deep and rich meditation on loss and connection, without losing its focus on moral agency. Both the sailor and the nurse reveal surprising aspects of their characters and a capacity for growth. Eisenstadt remains stuck in the regrettable ruthlessness a commercial artist needs to survive.
And my lengthy recommendation doesn't do justice to the brisk wittiness of this piece!

A chilling, but undeniably accurate portrayal of the damage wrought by white fear and racism among even self-proclaimed liberals. I will never be able to look at an Obama sticker the same way again. And the poison of racism is represented skillfully in both a literal and a metaphorical sense.

Equal parts engrossing and unsettling (in the best possible way), this play offers a deliberately incomplete portrait of a single day of national horror and all the dreadful days that followed. It is mercifully non prescriptive and the richer for the gaps and inconsistencies that the viewer must try to fill and decipher. It even manages the feat of humanizing a bigot without justifying or rationalizing her bigotry. All in all a surprisingly complex, nearly sprawling work presented in a spare, tight frame.

Lovely, just lovely. A perfect snapshot of mature love responding to an extraordinary circumstance. NIcely structured and punctuated with well-observed humor.

Watching Nicole overplay her hand in this tart, honest two-hander brought to mind Lena Horne's description of Pal Joey as someone who "ain't always quite as slick as he's s'posed to be." She's got her money and she's got her attitude and she's as alone at the ending as she was at the start, but her time with Steph had clearly disrupted her complacency about many aspects of her life.

This extraordinary play offers an exploration of many kinds of hunger - spiritual, emotional, sexual, and literal - that manages to be both astringent and lyrical. The hurtling narrative grabs you by the throat and doesn't let go. Each character is rich, compelling, and precisely drawn. The play's more fantastic elements, which feel deeply earned and are quite breathtaking, lead to an unexpected and deeply satisfying conclusion.

The simplicity and clarity of the exchanges between Roger and Beth makes their loss all the more shattering. This play gets at the truth of how people endure the unendurable and how sometimes they just don't for a time. Zubel offers an extraordinarily humane portrait of life in the midst of harrowing grief.

A witty parody of the Robert Wilson/Philip Glass collaboration (which I admit to only knowing from criticism and snippets on YouTube) that also gets at some of the strengths of the Wilson/Glass reliance on images as the central narrative device. There is also real poignancy in Hamlet's recollection of the burial and retrieval of toy cars despite the absurdity of the premise. There are many levels of meaning contained in these three brief pages.