Recommended by Philip Middleton Williams

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    This is a hilarious moment that perfectly skewers the world of art that takes itself oh-so-seriously. Craig Houk doesn't miss a beat to show the faux-intellectualism that abounds in the small-minded who desperately have to show off how detached they are from honesty. In other words, they're pompous asses in a small town who wouldn't know good art if it bit them on their ass. Craig labels this as satire and he proves it by making it so close to the truth that it hurts all the right people.

    This is a hilarious moment that perfectly skewers the world of art that takes itself oh-so-seriously. Craig Houk doesn't miss a beat to show the faux-intellectualism that abounds in the small-minded who desperately have to show off how detached they are from honesty. In other words, they're pompous asses in a small town who wouldn't know good art if it bit them on their ass. Craig labels this as satire and he proves it by making it so close to the truth that it hurts all the right people.

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    The idea of having your best friend be an imaginary elephant is not such a strange concept. C'mon, all of us have one. But in this charming and insightful tale, Sam Heyman treats Clancy as anything but imaginary. Like Lear's Fool and Jiminy Cricket, Clancy is the conscience of the tale, the one who knows what's best for the character he truly cares for, and even if Mo outgrows him, you know he'll always be there. That makes this play so good.

    The idea of having your best friend be an imaginary elephant is not such a strange concept. C'mon, all of us have one. But in this charming and insightful tale, Sam Heyman treats Clancy as anything but imaginary. Like Lear's Fool and Jiminy Cricket, Clancy is the conscience of the tale, the one who knows what's best for the character he truly cares for, and even if Mo outgrows him, you know he'll always be there. That makes this play so good.

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    Can history repeat itself? What if...? The premise of this play revolves -- no pun intended -- around the temptation to recreate an act of historical and tragic proportions. The fascination with the gun that killed President James A. Garfield in 1881 holds the attention of both the historian and the student for very different reasons. The suspense that is built in this short play is palpable, and the audience will hold its breath to the end.

    Can history repeat itself? What if...? The premise of this play revolves -- no pun intended -- around the temptation to recreate an act of historical and tragic proportions. The fascination with the gun that killed President James A. Garfield in 1881 holds the attention of both the historian and the student for very different reasons. The suspense that is built in this short play is palpable, and the audience will hold its breath to the end.

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    I am doing my best to restrain myself from lacing this recommendation with a lot of puns and double-entendres about the subject matter, so suffice it to say that Dan West has done his best to pay his respects to the memory and legacy of our 16th president without resorting to bathroom humor. Well, almost. But wrapped in this two-hander is a witty and well-played lesson in both history and how we view the past and what it means to us today. But some artifacts aren't worth...

    I am doing my best to restrain myself from lacing this recommendation with a lot of puns and double-entendres about the subject matter, so suffice it to say that Dan West has done his best to pay his respects to the memory and legacy of our 16th president without resorting to bathroom humor. Well, almost. But wrapped in this two-hander is a witty and well-played lesson in both history and how we view the past and what it means to us today. But some artifacts aren't worth...

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    This short play has the eerie feeling of familiarity: memories of chance encounters with very different people in a far-off place, the moment frozen in the fog of one too many shots of bourbon. The tale that Craig Houk tells is hauntingly seductive, told by characters that beg the imagination to believe, and lucid conversations that you think you heard. You don't have to have been a customer at this particular place (although I have been) to place it firmly in the realm of it-could-happen.

    This short play has the eerie feeling of familiarity: memories of chance encounters with very different people in a far-off place, the moment frozen in the fog of one too many shots of bourbon. The tale that Craig Houk tells is hauntingly seductive, told by characters that beg the imagination to believe, and lucid conversations that you think you heard. You don't have to have been a customer at this particular place (although I have been) to place it firmly in the realm of it-could-happen.

  • Philip Middleton Williams: ONE PHONE CALL (a ten minute play) by Marj O'Neill-Butler
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    I've read a lot of plays by Marj O'Neill-Butler -- each one of them a gem -- but this one is a stunner. Invoking the spirit and suspense of film noir with a nod towards Alfred Hitchcock, there's never a wasted word as we listen in on this very private conversation between Charles and Melinda. I would love to see this staged; it is a lesson in acting and staging that will leave the audience gasping.

    I've read a lot of plays by Marj O'Neill-Butler -- each one of them a gem -- but this one is a stunner. Invoking the spirit and suspense of film noir with a nod towards Alfred Hitchcock, there's never a wasted word as we listen in on this very private conversation between Charles and Melinda. I would love to see this staged; it is a lesson in acting and staging that will leave the audience gasping.

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  • Philip Middleton Williams: Delicates by Samara Siskind
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    This story of two people meeting up by chance at the 24-hour laundromat is the kind of play that does everything a good play should do: tell a story that anyone seeing it can connect with no matter who you are, and makes us care deeply about them, all in the space of the time it takes to do a load of laundry. Paula and Jess are so different in every way, but they bond so well you can't help but love them regardless of the wrinkles and stains. A beautiful play.

    This story of two people meeting up by chance at the 24-hour laundromat is the kind of play that does everything a good play should do: tell a story that anyone seeing it can connect with no matter who you are, and makes us care deeply about them, all in the space of the time it takes to do a load of laundry. Paula and Jess are so different in every way, but they bond so well you can't help but love them regardless of the wrinkles and stains. A beautiful play.

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  • Philip Middleton Williams: The Perfect Guests by Donna R. Boyd
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    When "The Terminator" became the dire predictor of our future under the control of technology, we all shuddered at the idea of the rise of machines. But in this hilariously dark comedy by Donna R. Boyd, our worse fears are realized when the machines judge everything from clothing choices to breakfast bread. If you've ever struggled with the bots running our lives, this is enough to make you believe. Brilliant satire. Or is it the true signs of things to come?

    When "The Terminator" became the dire predictor of our future under the control of technology, we all shuddered at the idea of the rise of machines. But in this hilariously dark comedy by Donna R. Boyd, our worse fears are realized when the machines judge everything from clothing choices to breakfast bread. If you've ever struggled with the bots running our lives, this is enough to make you believe. Brilliant satire. Or is it the true signs of things to come?

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  • Philip Middleton Williams: The Holding Cell by John Busser
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    The most powerful force in this play is not just the suspense of what happens and what will happen, but the internal struggle that both the lead characters have in recalling the events, building the tension to the very end. One of John Busser's hallmarks is his ability to use that power to write comedy, but in this play he uses it for a tale that would make Alfred Hitchcock get out of the business. Shades, too, of Edgar Allan Poe and O. Henry. What a gut-punch.

    The most powerful force in this play is not just the suspense of what happens and what will happen, but the internal struggle that both the lead characters have in recalling the events, building the tension to the very end. One of John Busser's hallmarks is his ability to use that power to write comedy, but in this play he uses it for a tale that would make Alfred Hitchcock get out of the business. Shades, too, of Edgar Allan Poe and O. Henry. What a gut-punch.

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  • Philip Middleton Williams: Lavender Blue by Robert Weibezahl
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    As one of the men in this story reminds us, Hollywood is the dream factory. Not only do they bring fantasies to the screen, they create a world where the truth is colorized to match what they sell: fantasy heterosexual loves and lives. Gilbert/Burt and Ned and their love for each other is doomed from the first moment, but the way Robert Weibezahl shows us, they are doing their heart's best in a world where they can't be themselves. A heart-breaking story beautifully told.

    As one of the men in this story reminds us, Hollywood is the dream factory. Not only do they bring fantasies to the screen, they create a world where the truth is colorized to match what they sell: fantasy heterosexual loves and lives. Gilbert/Burt and Ned and their love for each other is doomed from the first moment, but the way Robert Weibezahl shows us, they are doing their heart's best in a world where they can't be themselves. A heart-breaking story beautifully told.

    ”