Recommended by Greg Burdick

The concept. The tempo. The phrasing. Hageman executes this five minute short perfectly. It’s excellent. Just reading it, I could instantly picture the sights and sounds a fully produced version would feature. Pelting men dodge-ball style at the office to get your point across? Yep. Sometimes you’ve got to be fluent in Neanderthal...

Asher Wyndham has carved a unique niche with monologues like this... his voice is distinct, and his sense of the world is always playful on the surface, but be advised there’s darkness lurking underneath. The World’s Best Husband is at first charming, but quickly becomes utterly repellant. The saddest part, is that I’ve met people like this. They totally exist. And that’s the secret to Wyndham’s success here: holding up the mirror to us, exposing it all... the good, the bad, and the ugly.

Willy Loman. Joe Keller. And now Papo. The dark family dysfunction once chronicled by Arthur Miller has been reimagined, and newly realized in a fresh voice throughout this compelling work by Diaz-Marcano. The salesman and factory owner both blame their station in life for the choices they made for their families... and so does this failed ball-player-turned-plumber. Yet, while “World Classic” digs deep into themes of guilt, identity, and self-worth, the tender ending allows audiences to see a glimmer of hope that Miller never afforded us. Produce it, and make the cast Bomba at the curtain call.

This play is a masterpiece. Villanueva weaves the past and present together seamlessly to create a story that is achingly raw. The memory play format gives the depictions of Mel’s PTSD flashbacks an authenticity that is boldly theatrical. The long development history of “The Veils” is not at all surprising, and I sincerely hope it has a rich future of many productions. It absolutely deserves to. An exceptional work.

Wildly quirky, mildly kinky, and just plain fun. An early morning visit to the local coffee shop gives a much needed espresso shot to the libido of a disillusioned couple. Tamer than “Crash,” but it’ll still make your heart race much more than the caffeine might.

I’m so glad most people aren’t watching me when I read a Rachael Carnes play like this one... because as I did, I grew conscious of a goofy grin that was spreading across my face, which later became helpless laughter, chortles, and outright snorts. The sock monkey, Minky, in INERTIA, is a one-of-a-kind creation. Just when you hear what might be one of the best retorts ever written, Carnes gives the plucky stuffed animal an even better one. A definite crowd pleaser. If you need a really good laugh, look no further.

Much of Hageman’s work is grounded in kidhood, with younger characters driving her storylines. Not this one. Dani and Jason are adults facing a very grown up problem... and yet, the relationship feels doomed because of their failure to move beyond the adolescent tactics of their romantic entanglement. This is a play about manipulation, and settling. And it’s very, very good. Hagerman’s stage directions are spare, but reveal so much about the toxicity between her characters, that actors will know precisely what she’s after.

Craig Shemin’s experience in television and film sparkles in this tightly woven one-act. As three actresses are hemmed in during an anniversary DVD commentary recording session, the warm glow of nostalgia quickly fades... and they’re forced to square off. The career paths of these ladies diverged considerably since they’ve last met, and Shemin’s characterization demonstrates this masterfully. The recording sign’s on, they’re running out of time, and whatever they say... it’s all legally binding. Three very juicy parts for women. Give this one a look!

Growing up, we all dreamed the future held the promise of flying cars. But now, it seems the collective fantasy for what’s to come is Stepford-style sex robots. Hagerman’s work here is startlingly cautionary: she warns about tech’s potential to strip us of our humanity... our ability to love... to show kindness... and, most fearfully, our willingness to connect with other people. An upsetting commentary on the objectification of women, it’s nothing like you’ve ever seen before on “The Jetsons.” But it will make you plead: Stop this crazy thing!

Drew Michele has crafted a beautiful meditation on an important rite of passage: questioning what we believe to be true about the universe. This moment can be life-affirming, or it can shake those closest to us to their core. In Michele’s play, both scenarios tug against one another, as Luna sets off for the next chapter of her life. Excellent use of multi-generational characters, and rich imagery that absolutely stuns. Would that more of us endeavored to think for ourselves as Luna aspires to.