Recommended by Greg Burdick

Svich takes us on a nostalgic ride through what could be modern-day Detroit. Or maybe any former steel town giant. Or anywhere an 11-year old kid dares to dream Tour de France big. Poetically spare yet lyrically rich, RED BIKE is a play I dearly hope to experience live one day soon. And I may not be the first to say it, but yes... I absolutely envy what she’s created here. Beautifully crafted.

If you’ve ever played Dungeons and Dragons, (or any role playing game for that matter,) you know how easy it can be for the edges of reality and the fantasy world to blur. Vansant achieves this beautifully in “BLUEHAIR.” Even with essentially only three characters, they are so well drawn and developed, that there is much for costume, lighting, and sound designers to play with in this imaginative short. Vansant’s biggest win: putting the onus on the audience to imagine the “Dude Harem.” Have a cookie, roll the die, and prepare yourself for one strange trip.

"Chaos will structure itself. Structure will turn to chaos again." When A DARK WOOD begins, chaos is scrambling to find structure. Coble envisions a terrifying world which feels like it might be our own in the not so distant future. Cleverly constructed into three overlapping vignettes, the play calls to mind "Waiting for Godot," and "1984," along with an epic monologue at the end that might make Martin McDonagh smirk. The play balances horrific and unsettling circumstances with unexpected flashes of humor and wit. It is, regrettably, a play for our politically troubled times. A smart and scary work.

Bold. Unforgiving. And funny as hell! Del Carmen cleverly weaves a discussion of sex and what to eat before an addicts meeting in this hilarious short. Loaded with laughs, lots of room for four character actors to play, and refreshingly honest dialogue. Thoroughly satisfying!

Just...wow. The empathy at play in this examination of a woman’s most desperate moment is off the charts. Trapped, looking at every angle, every imperfection, and concluding there is nothing of worth? It’s impossible to resist wanting to reach out. One less of her would most certainly be missed. This monologue could not be more timely in the wake of the national discussion we’re having regarding Kate Spade and Anthony Bourdain. Produce it. And maybe we’ll all be more inclined to check in with anyone in our lives who we fear might be like her.

This play starts taking crazy unexpected turns very nearly from its inception! What begins as a story examining dating in the digital world, very quickly escalates and shapeshifts into one examining deeply existential themes... is silence golden? Must the truth always hurt? Can anyone really be trusted? What version of ourselves do we present to the world? Should we keep one version all to ourselves? And while Wilton does not treat the subject of suicide lightly in this offbeat and quirky comedy, he manages to find humor in the way those left behind must find their way through it.

If you are, as I am, a hopeless fan of Agatha Christie, this play will most assuredly delight. O’Grady fantasizes about the genesis of Christie’s most famous detective. How did the Belgian with the “little grey cells” and signature moustache get his name? The imagined banter between Agatha and her husband is most decidedly British, and captures the wit and rhythms of the famed authoress. And, as in any of her works... the mystery is beautifully solved in the story’s final moments. Thoroughly loved this!

Interconnectedness. It’s what the Digital Age has afforded us. In “Grindrd” we see teen-aged Steve struggle to connect with his dad, in his own home. It takes the Internet for that moment to finally come... and when it does... oh boy. Cox has a fantastic ten-minute play here that sheds light on dark secrets, and the more awkward consequences that inevitably come with social networking when they are exposed. Swipe right on this one.

In SUPER-DEATH!, Goldman-Sherman gives the audience a beautiful portrait of two young men forced to abruptly grow up, as one is on the verge of dying. Luke’s altruism, as he endeavors to erase the grief from his surviving twin brother’s memory, is awe-inspiring. And it is only eclipsed by Edward’s startling turn at the play’s poignant ending. It will leave you with a lump in your throat, and make you desperately want to hug your sibling. She also makes a strong case for hospitals to immediately abandon gowns, and embrace Marvel spandex...

Where exactly is the boundary, regarding the responsibility for raising children, between parents and public schools? Who should be pulling the strings, and what are the consequences for those who end up being manipulated? Kaplan’s imaginitive glimpse into this unique world will challenge actors, technicians, and audiences alike. Thoughtful, meaningful (and necessary!) incorporation of puppetry transports us well beyond Punch and Judy... Kaplan delivers spectacle, but it’s carefully connected to themes that make this play so much more. If you’re a parent, or a teacher, you’ll never look at either job the same way again.