Recommended by Donna Gordon

Haigney includes satire at every turn of the conversation between those in this spin. Concerns about changing weather turn into announcements geared to defeat the issue. Ridiculous scenarios detract the participants and leave the reader with knowledge that, for the most part, he would rather not have. But it's often said that "knowledge is power". Food for thought is certainly Haigney's main dish.

"Beware of loving a famous artist" might be the sub-title of this play. Though the theme of the mistress as opposed to the wife is a well-known one, Picasso isn't married and probably won't be, and surely not to this young woman. Although the mother looks to get something from the relationship, this contrasts with the young girl who only wants love. Both are subject to the whims of a temperamental artist whose choices fluctuate as frequently as his changing colors.

There seems to be class distinctions in every society and most people see the inequalities in America. That the rich abuse the poor, and/or their servants is undoubtedly also a fact. More possibilities to report such abuse also exist as civil rights violations. Whereas the subject is depressing, Specht sees such hope in the American ideal of equal opportunity.

An accurate picture of struggling artists, this play never looses its momentum. Adding to this theme, three people undergo a type of redemption brought about by a surprising change. The ironic blindness of the caustic critic gives the insecure female lead the feeling of being needed, just the catalyst to give her confidence. The truth is that critics can be vicious, that artist can be obsessed, and, perhaps, women need a boost into a man's world. Two women in this play got that boost. And the men are willing to change in a development that flows so smoothly.

Abe is surely a conflicted character but seems to exudes a distance from if not a hatred of people. He has been mercilessly bullied by his friends and that has left a deep scar on his psyche. Unfortunately, suicides are common and, though it's not hinted at in this play, counseling needs to be advertised and used. Martin shows this with a deft hand.

This dialogue is extremely smart and be sure not to miss anything. The satirical theme involves women robots being developed to please men in every way, except the obvious, they're not human and can't reproduce. The lead fembot has not achieved this ability and, perhaps, never will. With what appears to be an everyday conversation with the cleaning lady, this top achieving robot decides to follow this lady. A man-made underworld and a perfect woman are falling short of their goals. Who's leading whom?

Very unusual play, historical yet good for children. Irony permeates as the way that royals argue about kingship is often just this childish. And sad, as these two will suffer the fate of many royals on the wrong side of history.

A shorter version of a story in "Confessions of Echo", this play emphasizes the feminine voice. Taken from the Bible, the characters Cain and Abel, their mother and sisters, interact to reveal the inferior role women took in ancient times. Haigney is interpreting the Bible in order to give credence to the invisible role played by Eve's three daughters. She remains true to the history of those times as we know it, and personalizes her view of early family units where the male dominated.

Eshman touches on hot button issues and doesn't shy away from uploading emotion. He makes the audience wonder about historical memory and how it's applied. In modern times we face the same question with, for instance, our confederate statues, though obviously the immorality of the cause these represent is indisputable. Our memory for heroes and heroines becomes ingrained in the "collective unconsciousness" (to use a Jungian phrase). But this memory may not give room for fresh considerations of the causes they bring to the surface. This play details the dilemma well.

Will Sophia Gamma become Sophia Delta? Of course because Haigney has the imagination to create fembots. Science fiction becomes drama when the players in Citibot must perform technological advances. Eutopia, where Citibot resides, is the size of a city, underground to avoid the disasters awaiting mankind. This play's futuristic themes are often satirical: the interactions between fembot Sophia and the men who created or taught her are particularly amusing. This Trilogy that Haigney has developed deserves a special night in theater, and wouldn't the designers love it?