Recommended by Nick Malakhow

In "Pangea," Scott Sickles builds on the dynamic and terrifying hypothetical future he so deftly established in "Marianas Trench." Whereas "Marianas Trench" was a lyrical and poetic coming of age story, this is a fascinating piece of "sci-fi naturalism" (if there is such a thing) with a poignant, funny, and beautiful romance at the center of it. Sickles deepens Lincoln (Teddy) and Andy (Anzor) as characters while successfully propelling his overarching narrative and world-building forward to great effect. He articulates prescient (frighteningly so) themes about sustainability, identity, and the destructive nature of humanity. I look forward to part three!

DeVita has assembled a compelling and distinct collection of colorful characters. While Kyle's journey is at the center of the piece, DeVita ensures that the entire supporting cast receives satisfying story arcs themselves. The advertising world also comes alive in these briskly moving scenes in a skillful example of theatrical "showing vs. telling." The fast-moving plot kept me engaged enough to read it through in one sitting, and I loved the way that the scene transitions toyed with the flexible boundary between the cinematic and the theatrical. Hope to see a production of this some day soon!

This is an exquisite play about the complexities of grieving a loved one. Marie is a compelling protagonist and propels the play forward with kinetic energy. She is flanked by equally nuanced and well-drawn supporting characters, including a meaty and surprising cameo role in Charlene close to the end. The dialogue is an uncanny combination of spare, naturalistic, and profound. In avoiding sentimentality, Finocchiaro ultimately creates a potent play that is an emotional bomb! The well-paced scenes move at a steady clip, always engaging and, at turns, funny and heartbreaking. I hope this atmospheric piece is produced frequently!

A heartbreaking short piece that packs a lot into a few pages! Leon and Travis are two excellent roles for young people, and they get to show a great range over the course of this play. Hageman plays with a style that walks the line between meta-theatricality and naturalistically-relived moments. The humor at the start of the piece helps to make the end even more of a deep cut. This would be great for use in high schools.

An unsettling and effective drama/thriller of sorts with some darkly comedic threads woven throughout. In the character of Peter, Moss has created a dynamic nucleus around which Ash and Eva orbit. As is the case in real life, Eva and Ash learn much about themselves, one another, and their relationship through the ways they interact with (and see the other one interact with) the troubled Peter. Moss also captures a unique sense of theatricality that blurs the line between the "theatrical" and "cinematic" in a delightful way. Couldn't put it down and read it straight through!

What a beautiful, unique, and poignant exploration of grief and loneliness. The four women in this piece each have potent and actable motivations and speak with distinct, cleverly drawn voices. Moss balances what generally feels like beautifully observed and realized naturalism with a judiciously applied dose of whimsy, supernatural magic, and offbeat humor. There are heartbreaking truths uttered in this piece without a scrap of treacly sentiment--what an accomplishment! I would love to see a production of this polished and ready-to-perform and direct piece onstage. I look forward to continuing my journey of reading Moss' work.

This fast-paced, hilariously absurd comedy explores terminal illness, mortality, and the processing of those things with friends and family. Hannah is a delightful protagonist. The ridiculousness of the world around her--both circumstances and the funny and colorful supporting characters--only further hammers home the alienating, terrifying, and absurd reality that is living with such a frightening diagnosis. Swirsky creates such a vivid and vibrant theatrical world, while the ever-present evolving map of Hannah's cancer provides a sobering reminder throughout. The fast-paced play resolves in a satisfying, offbeat, and poignant ending. I would be overjoyed to see a production!

"Marianas Trench" is epic in scope, but so poignantly intimate, specific, and nuanced in its focus. Sickles manages to brilliantly render a hypothetical reality that is richly detailed and overwhelmed with potent social conflict through carefully crafted scenes--the epitome of excellent "showing vs. telling" with regards to theatrical world-building. Anzor and Teddy's relationship is compelling and evolves organically. The visual/spatial/aural world established here would be a dream for actors, directors, and designers alike to dive into. "Marianas Trench" is a powerful piece in and of itself, and leaves me wanting to know more about this world--produce this!

This was definitely an "openly crying on public transit" kind of script! In "Invincible Ones," Samantha Cooper explores grief, friendship, and alienation by zeroing in on a dynamic and eclectic group of individuals. Zoe is a compelling protagonist who you understand all along the way, even as you might be frustrated by the ways she is pushing folks away in her grieving. Every character is rendered in just as nuanced and three-dimensional a fashion as Zoe. Heartbreaking without sentimentality. The choral odes and the powerful visual metaphor of the leaking tub enhance the boldly theatrical aesthetic. Produce this play!

"Koalas" is a delightfully weird and warm-hearted dramedy populated with truly unique and deftly rendered characters. Cox spins a compelling story propelled in many ways by Ray, while also giving satisfying arcs to every other character in the piece (Theo the koala included). Nate is an wonderfully complex and nuanced character--always a treat when a writer gives young people that level of depth. A real sense of the visual, spatial, and aural landscape of this theatrical world is also incredibly clear from just the text itself. How I'd so love to see a production of this piece!