Recommended by Philip Middleton Williams

A powerful story of life under an authoritarian regime and the casual way we can go along to get along until it happens to hit a soft spot in our heart. A book may be burned, but at what cost?

Rand Higbee has created a delightfully wry look at a family confronting a most unusual situation: dealing with a child who is convinced she's a cat. The characters are funny and disarming, the pace is brisk and more than a bit farcical, and is sure to evoke a lot of laughs as well as insight into the human condition.

Tom Moran's Exit Strategy is disarmingly honest, witty, and achingly funny. I would love to see this on the stage; the characters are so genuine and the dialogue between them is right on the spot.

David Crespy's MEN DANCING is a touching, harrowing, and deeply-felt story of family and fathers and sons and their relationship that is both intimate and terrifying. Many of us who are familiar with dealing with the looming loss know this story all too well, but this play has such a powerful way of showing how love and understanding can make the unbearable understandable. Brilliant.

This vision of literary purgatory is engaging and charming when three artists land on a beautiful tropical island and find their heart's delight awaiting them. But like all visions, they find their dark sides as well and the perils of finding their own Neverland.

This is an insightful triptych with the focus on the painter as well as the subjects. Once again Kenneth N. Kurtz brings his erudite style and powerful love of history to the stage where art history comes to genuine life with touches of humor and feeling.

How can you not love a duck, especially a mechanical one that shits on command? This is a delightful French-style farce in the best sense with witty dialogue, mistaken identities, slamming doors, and, of course, the duck!

This is most definitely not Art History as you might remember it from the dry lectures at a dusty old museum. This is a stunning and evocative story told as much with scenic elements as it is with dialogue, both of which are powerful. Kenneth N. Kurtz knows how to weave a story among the light and shadow, and it will leave you breathless.

Sometimes the greatest distance between thought and spoken word is the moment a breath is taken before we speak. This monologue carries the weight of the world and wastes not a word. This would be a fine piece for an audition to demonstrate the actor's ability to show the ability to control their urge to "act."

Donna Hoke has an uncanny and very powerful way of conveying history and characters in a seamless way that brings you right into the story with them. This play stayed with me after my first and second reading to the point that I felt that not only did I know the people whose lives we see, but I missed them when it was over. I'm old enough to remember life pre-Stonewall, and this play brings it out for those who came after to understand what life was really like.