Recommended by Greg Burdick

Thompson gives this short a retro feel that conjures the sensibilities of a Carol Burnett sketch, or perhaps something from “Laugh-In.” Theatrical, farcical, playful. But it also captures a distant moment in time displaying power dynamics in gender, and how American culture handled unmarried couples trying to secure a hotel room. In the end, it’s Shirley’s vision of her future that empowers her to get what she wants. A nostalgic bit of sketch comedy.

A great premise opens this 10 minute play. It’s the evolutionary social consequence of a culture Tweeting: where word count is invoiced, but in this case, self-expression is finite. You only get so many words in Grogan’s world of information control. How her characters handle this is sharply contrasted: for Lily, words are precious, and carry significance, so she’s careful with hers. Brian needs more real estate to get his point across, and he’s willing to risk the bean-counters’ punishment if he reaches his limit. But, to get the girl, will he find the right words?

Hageman’s experience as an educator shines in this play. She has a clear ear for teen dialogue, giving the work an authentic feel. What’s more, she’s deeply tapped in to her student’s fears and insecurities. “Next Year and Other Indefinable Things” is a fantastic piece for older teens on the brink of the high school/college transition... a time fraught with uncertainty, anxiety, and self-doubt. This play shows she understands her students... she must be a fabulous teacher. A wonderful piece for three female performers.

Tiffany Antone has harnessed an almighty power in this outrageously funny, and thought provoking play. Maybell’s “wormhole” (how will I ever be able to hear this word again and not giggle like a middle-schooler?) possesses great strength. Superhuman. Goddess-level. And as she learns how to wield it in “THE SPACE BETWEEN HER LEGS,” we’re taken on a daring ride. What I loved most: while Antone makes all the male characters look like absolute nitwits, she gives their female counterparts equitable eccentricities. The takeaway? We’re all a hot mess trying to figure things out. Equally powerful. Equally powerless.

This would make a beautiful companion piece to Lee Lawing’s play “Trinkets for Jenkie.” Caroline and Aaron have what all of us want- a lifelong love affair that can overcome any adversity, big or small. This short play is loaded with stunning imagery, gorgeous speeches, and excellent interplay between an aging married couple that feels familiar and wholeheartedly realistic. I’m looking forward to reading more of this playwright’s work.

If you’ve dealt with a loved one battling dementia, you’ll immediately connect with Lawing’s imaginative and touching story. It’s important to play along with the reality of a person who has lost touch with it, but sometimes it’s nearly impossible . This is seen in the the struggle between brothers Joseph and Shane. But Jenkie’s relationship with, and explanation for the crows is so convincing (despite the madness of it all,) it makes us want to believe every word. A gem role for a senior actress- a gift that Lawing has dropped at your feet.

Young parents Tina and Ryan make the uncomfortable realization that, yep... everyone’s got a little freak to them. Including Mom/mother-in-law Peggy, who wears the badge shamelessly... no, with honor. And in Staats’ deliciously awkward short, like it or not, everyone involved is gonna leave satisfied. Audiences will too. Don’t be bashful- give it a look.

Put Frances McDormand and Laurie Metcalf in this scene immediately. Gatton’s play BETTER deserves performers with such chops. The characterization is full, their arcs rich, and the tension created between them when the scene comes to a head is an unforgettable hold-your-breath moment. Strong commentary on what women are capable of, their perceived limitations, and the consequences of settling for less. Outstanding.

Ooooh! Ahhhhhh! This is such a clever short play. We’re left to conclude that there’s someone for everyone, and not everyone’s for us. If the spark just isn’t there, it’s going to be doomed from the start. The two characters in Osmundsen’s play are so polarized, it’s not surprising that their impending relationship turns out to be a “misfire.” Yet, both leave the date more self-aware, and we’re left hopeful that, eventually, they’ll find connection with someone. Wonderful pacing, and escalation toward the finale.

This quirky romance delves into the morals and ethics surrounding our relationships with technology, when they intersect with our relationships with flesh and blood. Sophia is a brilliant, hot mess, and understandably gun shy after a failed engagement to former boyfriend Mark. Yet her desire to unplug from the real world short-circuits her chances for true connection. I particularly loved how Bergamo uses the animal puppets and the zoo as a microcosm for what’s happening in Sophia’s larger life. In the end, she contains her technological desires, and lets her animal side run wild. Great fun.