Recommended by Greg Burdick

Arthur M Jolly takes a satirical swing at one of Mamet’s best known works. He does so with a tongue-in-cheek, Christopher Durang touch... and it all plays really well. Read it. And then go to lunch.

Minigan does a lovely job humanizing two lost souls who might otherwise become socially marginalized. And we instantly connect with both. Sandy, an aging stripper who is feeling the sting of being no longer relevant, and Benny, her biggest fan- who yearns to connect with her beyond the exchange of dollar bills. Their Friday post-shift ritual is at risk, and the play showcases some wonderful exchanges as they attempt to navigate forward.

Delvyn Case, Jr. has a monster of a short play in “DRESSED TO KILL.” As it begins, we’re almost instantaneously filled with dread as Lami makes the final preparations, (clearly against her will,) for a suicide bombing. Manhandled by her partner, as I read I had a dull ache in my stomach... anticipating the worst. And this play does end violently. It’s horrific. It’s unsettling. It’s disquieting. But it will surprise you. And there’s a grim satisfaction in this young woman’s choice. Stunning work. I’m compelled to read more from this playwright.

Pisaturo has crafted a beautiful and touching treatment of a subject not easily talked about. His characters’ words and actions, carefully folded and creased, soar far, easily, and true. At the play’s end, they touch down gently, effortlessly- leaving us to marvel at the journey. Wonderfully written.

If you are familiar with the concept of a “found poem,” you will appreciate Lee Kitchen’s theatrical application of this idea in his clever short, FORTUNE KOOKY. After ten years of visits to Chinese restaurants, 95% of his dialogue is culled from the signature dessert. The story’s premise is simple, but there are immediate escalations and reversals that would make this play fun and challenging for its actors. Looking for a good short play for your festival? “Stop searching forever. Happiness is just next to you.”

Gartner’s play depicts one of those conversations that you instantly want to remove yourself from shortly after it begins, but you can’t. And as you’re forced to navigate deeper into the thicket, regretting it all the way, it becomes increasingly likely that you’ll never escape. But after Kay hears Annabel’s take on a subject that strikes painfully close to home, Kay’s world view radically shifts. Both of these women make strong arguments, and the tension created in the room is remarkable. A sharp use of dialect and characterization yields two strong female characters.

They say that funerals are more for the living than they are for the dead. Hayet’s play digs in deep to themes of grief and guilt, and how they’re processed at times of significant loss. As Taylor and Kelly continually raise the stakes throughout the scene, betting on who was a better friend to Kate, (and aggrandizing their own level of suffering,) ultimately they have to show their cards. When they do, it’s no longer a contest... they both want the same thing: their friend back. A strong piece tackling a difficult subject.

If you want to laugh out loud, (and get the heebie-jeebies at the same time,) check out “Parasite” by Joanna Castle Miller. Just don’t read it before bed... you’ll be itching like crazy, whether you have a bedbug infestation or not. Clever dialogue full of memorable gags. Great opportunity for costume designers. The streetwise insects were a fantastic contrast to the weak-willed Frank. It’s comically satisfying to watch him get pushed to his limit, and the outrageous consequences. This play will get under your skin, and stay with you.

Read this play by Rachael Carnes right now. Then read her play “In Training.” Next, immediately produce both as companion pieces... if you’re looking for an uproarious take on the devastating absurdities of corporate life... in your next evening of shorts. Both plays are home runs.

Harmon has hilariously taken what must surely be two rejected characters from an earlier draft of “Beauty and the Beast,” and for extra measure sprinkled on a little Tarantino. Lil’Goblet may appear fragile, but this chick is streetwise, and is ready to throw down. Shun, despite his former emotional trauma, has a razor sharp wit, and tongue to match. I’d love to see these two, (and maybe more!) in a musical version. This short would be crazy fun for costume and prop designers!