Recommended by Philip Middleton Williams

The situation is both believable and fanciful, and with a touch of Samuel Beckett and Neil Simon each, Schatzie Schaefers shows us two very different people trapped in an unmovable place. The conversation between Danny and Eric is utterly realistic, and the insight we gain from their situation ranges from rage to questions about female anatomy to presidential proclivities to art appreciation. This is a perfect piece for actors, and it would be a great addition to a night of theatre.

There's a lovely message here -- it's never too late to fall in love -- but beyond that, it's about two souls who have waited patiently to find each other even though they've known each other all their life.

As much as Eddie carries on and worries and frets and goes to extremes to display wedding day jitters -- jitters? More like tsunamis -- I have no doubt that the long-suffering and loving Richard is going through the same feelings. But someone has to the the rock, right?

Steven G. Martin's ear for the truth and the love and the meaning is so spot-on. And that cake sounds delicious.

I think Scott Sickles is one of the few playwrights who could take a potential suicide and turn it into a dark comedy that explores the relationship in terms that only Fedora, the completely self-centered girlfriend, could explain. And the end is anything but a let-down... in any sense of the word.

There is a difference between respecting the traditions of another culture and hijacking -- the word "appropriating" doesn't always get the point across -- them to elbow in on the fun and pretend that you really do understand the tradition, even if you think you're doing them some kind of honor. Hayley St. James's monologue makes that point clearly and without rancor, which makes it all that more powerful and meaningful.

The limitations of doing a play on Zoom are like those imposed by any art form with a set of rules. For example, a sonnet is fourteen lines in iambic pentameter with a rhyming couplet at the end. Anything else and it's not a sonnet. But within those constraints, anything goes; the imagination is limitless. So it is with this short piece. Not only are there limits in the format, there are others as well in this story. But the tale told and the connection that is made are inventive, intriguing, and who knows where it may go...

DC Cathro is the only playwright I can think of that would take this situation and turn it into two guys worrying about what it looks like should they accidentally kiss. And DC Cathro is the only playwright I can think of who devotes so much good energy to making this story absolutely believable and giving the actors, not to mention the audience, so much sheer fun.

If Greek mythology had been taught this way, I would have paid a lot more attention in class. Sorry, Edith Hamilton, but Adam Richter has you beat with this funny and genuinely real take on the Perseus/Medusa story that turns it on its head -- pun intended -- where the monster is the one with the smarts and the hero is a muscle-bound dork. I can't wait to see this on stage.

The world that Hayley St. James has created in this play is isolated from the rest of us during the height of the pandemic, yet it is a safe place for these three people to find comfort, love, and share it with the presence of David Bowie. This intimate world is universal, accessible, and a source of inspiration on how just to cope, hang on, and look to the stars.

A taut and tense moment between two people that seems to be real... but is it? The interaction between A and B is like the title implies: two sides of the same coin. Very different yet bound together. This would be a very powerful piece for two actors exploring the depths of a character, and there's not a wasted moment.