Recommended by Philip Middleton Williams

Because the mind cannot truly comprehend the idea of its own mortality, we create images, ideas, realms, worlds -- or afterworlds -- of what happens when one life ends. Does another begin? Can it be captured some way? And what happens to those we love and leave behind... do they still stay with us and us with them? John Mabey's play doesn't answer these profound questions, but the possibilities... oh, so many. The journeys of Gina and Keith are told in simple conversations that are deeply affecting and binding, and we become closer to the impossible theories and each other.

There's a certain fascination knowing there's someone out there who is your genetic double. In this alternative world where clones are the hunted -- the reason is never explained -- DC Cathro puts us in a room where the original meets his "dupe." The contrast, the similarities, the eerie communing that happens in this gripping story and the realization that one is never sure who is the true original is always present and menacing but fascinating, claustrophobic, and liberating. And as the son of an identical twin, I still have questions that were never answered.

I have followed the progress of this story from the shared reading at Desert Playwrights' Retreat to this stage, and it is one of Sam Heyman's best works. The characters are deeply drawn and fully engaging, aware of their flaws and limitations, but also ready to grow into the universe, inner and beyond. Jackson's growth from child to adult, with all of the trials and stumbles -- not to mention his own demons -- is explored and shared with his family, his friends, his mentors, and the audience who cannot help but be a part of him.

The story itself is the stuff of 1940's films with the atmosphere and the music, and Tom Erb does a nice job of blending history, memories, and fantasy into a short play that will be a fine piece for the actors. I was reminded of the honesty and fragility of the characters in such works as "Driving Miss Daisy" and the film "Saving Mr. Banks" where we are offered the chance to understand the characters, but more importantly, come to like them.

Knowing Rand Higbee as I do, I was expecting his droll and dry wit, and he does not disappoint. The epic battle of Troy comes down to two guys discussing their strategy and what's the perfect gift. No spoiler alert, but I think Ajax has found the perfect gift for Hector. This battle of wits reminds me of the old Warner Bros. cartoon of the wolf and sheepdog reporting in for work and then punching out at the end of the day.

The strict social structures we all live by are never questioned...but maybe they should be. In this short and sharp play, Sam Heyman points out that those who are there to enforce the structure are also victims of it. This short piece put me in mind of the scene in "Casablanca" where Abdul guards the door to the casino to let in the favored and dissuade the rest, and effectively displays the strata of social niceties... along with a touch of the Marx Brothers. Written with wit and panache, it belongs in a short festival now.

Upon hearing this play presented as a part of the Playwrights Thriving Reading Series, my first thoughts went to the classic Greek tragedy of Medea and the degrees that one might go to when pushed to their limit. But Jennifer O'Grady's play is more subtle and lulls the audience into thinking they're going to be seeing a drama of a family dealing with loss and disappointment. And then we are drawn in, not by startling horror, but the realization of the inevitable outcome of betrayal and self-inflicted retribution. A powerful and compelling story.

This moment of memory is all too true and powerful for those of us who have been through it, but Ian Donley's well-crafted handling of it stays away from the mawkish and sentimental. It's not a ghost story; there's nothing unreal about a memory of a dead loved one dropping by to check in; it happens. Rather than make it all better, though, he leaves it as it should be: there will always be their presence.

This is slapstick with a savage and twisted outcome, but all in good fun. Not too many holds are barred, and even if you're squeamish about matter-of-fact discussion of blood and such, the farcical elements will make it all the more entertaining. The actors will get a thorough workout and get a chance to show their chops in more ways than one. Oolong tea, anyone?

Having worked on a production of "Hamlet" for a renown Shakespeare festival, I rejoice at Adam Richter's tale of palace intrigue, introspection, and the development of Claudius and Gertrude. In his vision and the faithful use of Shakespeare's language and rhythm, he explores the story beyond what we have heard for so long and gives us a possible motivation for their actions: was it greed and jealousy and lust, or was there a greater good at stake? This play could be performed as a prologue to a production of "Hamlet," but stand proudly on its own.