Recommended by Greg Burdick

As you’d expect when stepping foot inside any buy-in-bulk store, this monologue is jam-packed with so much, it’s almost overwhelming. Sandy’s wild rants on commercialism, excess, and the indignities of being overqualified while held prisoner to a low paying job are outrageously funny. The laundry list of hats she wears for the company is a standout moment. Wyndham gives the performer a long leash to play freely with the audience in this interactive piece. Truly, it’s the kind of thing you’d wish you could watch Robin Williams in. You had me at “gargling Mountain Dew.”

A. A. Gardner’s “theatre noir” approach to the storytelling in this play is incredibly effective. The silence in the long car ride between these two men would be deafening, but we get to hear Ray’s tormented inner monologue which roars even louder. Gardner maximizes every chance to push rich sensory detail, while her protagonist feels dead inside. She says you only need two chairs for this: she’s right- everything else you need is right there on the page.

We line up for the newest phone. We camp out for the promise of holiday gift deals. And in Bohannon’s charming short, two grown men are squatting for their latest children’s-lit fix. We’re a country of consumers, and these two men are consumed. But before you cast aspersions on their drug of choice, don’t forget that we all have a spot in our hearts (or room on a shelf somewhere,) for something we will unapologetically nerd out for... and it’s fun to watch these two do just that.

The song “Be My Girl,” made famous by The Police in the late seventies, pokes wild fun at a man’s relationship with a love doll. A. A. Gardner forges into darker territory in this fantastic ten minute play. While it would be really easy to take shots at Vic’s peculiar obsession, she humanizes him in an extraordinary moment of vulnerability when his wife discovers his secret. I always loved Sting’s ability to create a turn of phrase. But the last line of this play has now made me a fan of Gardner’s. Awesome.

‘Fighting releases negative energy unto the universe.’ Sisters Gwen and Cindy are stockpiling it in Gina Femia’s short exploration of life and death, guilt and blame. The cold, stark loneliness that is the life of a mermaid seems strangely tempting compared to what these sisters must endure while trapped in the boat together. But a choice must be made. And the universe responds... not so kindly. This play will make you want to hug your loved ones. Even the ones who are sometimes tough to love.

Given the current climate of men in power being accused of misconduct and abuse, it’s important that this play be produced. If the behavior continues to be tolerated at the highest levels, then scenarios like the one depicted in Carnes’ chilling play will continue in places everywhere. The men in her story are equally abhorrent- one the aggressor, the other an enabler. I couldn’t help but imagine this play being staged in an intimate arena space... allowing the audience to feel like they’re surrounding Margaret, and part of the feeding frenzy. Agonizingly suspenseful, powerful, and frightening...

After a hurricane passes, a home can become lifeless and still: no running water, electricity gone, groceries rotting in the fridge. In Gina Femia’s story, two unforgettable and broken sisters are forced to deal with one another against this nightmarish backdrop. The play charges wildly right out of the gate, and does not relent. And just when you find yourself siding with one of the women, Femia whipsaws you in another direction with beautifully timed revelations. My heart hurt for both of them, and then it swelled and leapt into my mouth at the end. Incredible work.

In just ten pages, Shamas weaves the past and the future, impulse and restraint, technology and the natural world, into a compelling Native tale that is unquestionably universal. The dilemma facing Marie and Daniel, namely, honoring the final wishes of a parent after he’s gone who leaves no firm clues behind, often breeds conflict within families. Their final choice restores harmony: within themselves, within their relationship with each other, and, we hope, within the universe. Let’s all please learn from this one.

Take elements of David Ives’ “Sure Thing.” Throw in multiple rounds of Musical Chairs. But then, add the volatile social climate driving the Black Lives Matter movement. The result is Elliot Kreloff’s TWO BROKEN TAILLIGHTS. I can see this piece being used in conjunction with law enforcement training, community outreach programs, and at any theatre that wants to begin a meaningful discussion about the inequities of a routine traffic stop in this country, and how easily a misunderstanding can escalate the stakes.

As Harris asserts, this fairy tale romance is most certainly non-Disney. Yet there are nods everywhere. And the happy ending? Don’t look for it. But it will make you smile. Clever storytelling, sharply defined characters, and witty dialogue make this one-act a winner.