Recommended by Philip Middleton Williams

This is a story that is very close to my heart, and I know these two men so well. Scott Sickles' gentle touch, his warm and loving characters and their unspoken bond is the kind of story that any audience will love and any actor would cherish. Thank you, Scott.

The people in Matthew Weaver's world are vulnerable, lovable, and totally relatable, and "Bigelow Gulch" is no exception. We feel like we're at the next table eavesdropping on a reunion of old friends, each with history -- and maybe a future -- with each other. And just as it is with eavesdropping, we are left to fill in the gaps, using our imagination to wonder what went on, what lies beneath the polite conversation, the knowing glances, the subtle hints of so much more. And that's the beauty of this play.

This is a fun little script with a comeuppance for the salesman, written in the spirit of feisty that makes you smile even through to the end... and I do mean The End. Great fun for actor and audience alike.

A poem, really, and with all the layers of meaning in every word. Savor it.

The ultimate revenge play, and the best ending for every hokey horror film ever.

Adversity can bring out the best and the worst in all of us. Julie Zaffarano puts that axiom to good use in this ten-minute play that shows proves it so well and with a perfect twist at the end. And it's a perfect play to be done both live and on Zoom.

Christmas in August? Why not? This tale, this carol, taking the beloved Dickens story and making it just as meaningful and spiritual -- in every sense -- as the original gives added meaning to what giving and life is all about. Kerr Lockhart's inventiveness and his way with both the characters and their setting brings dimension to them that would be wondrous to behold. But unlike the original "A Christmas Carol," this is a play that deserves to be seen all year around.

There's a tenderness to Scott Sickles' writing that makes this play warm your heart even when you get to the "complication." The depth of feeling conveyed in just a few words, the turn of a phrase, even a shared look, says more and touches the audience. The other element -- the need for human contact -- is gently explored and becomes a testament to the human spirit that even if it only lasts for a moment.

What Neil Simon did with "Plaza Suite," Kerr Lockhart does with "Shore House": using a single setting for ten short plays that range from heartfelt closeness to brilliant farce; from blossoming insight to growing up to the trepidations about facing the world. The setting -- a rental cabin near an amusement park -- is the perfect place for these young men and women to get to know each other and learn things about those they thought they knew all their life but are finding the truth to be beautiful and, sometimes, harsh. A perfect piece for young actors.

The magic of imagination and the merging of reality with what could have been and what never was are the elements of this beautiful monologue. The imagery -- a gift that Scott Sickles uses to wonderful depths -- will embrace you so that you can see these people in all their beauty. Time has not worn away any of the grace and charm of Millicent as she remembers her life and loves. This is a masterpiece for any actor, and a joy to hear and see.