Recommended by Scott Sickles

Who better than a Floridian to imagine such a world?

Williams has fashioned a quick and nifty tale of park bench intrigue where expression has become a kind of currency. The characters are fun, the reveals delight and amuse, and yet there's an inherent sense of danger looms throughout this lighthearted transaction. Great fun!

90% of the fun of doing this piece is going to be rehearasing it. Especially mixing and matching actors. Personalties and dynamics will be different every single time. It'd be fun to see this perfomred multiple times thoughout an evening.

There's a beautiful tentativeness to the interaction, a pervading sense of maybe and almost and if only. A fascinating moment of conflict in the middle, both specific and amorphous, provides a turning point for the characters and a grand opportunity for the performers and director. I don't know what to make of it -- in the best of ways!

As a chubby gay dude, this one hits home hard. Heyman's gaze into Eli's inescurties and their root cause is as meticulous as Eli's fastidiousness about inspecting the hotel room he's booked for his tryst with Jeremy. At least it would be meticulous if Jeremy would let him get on with it but no, Jeremy wants to get on with other things. But when the hot guy is into you and experience has convinced you he shouldn't be... that's a whole other mess. A great dichotomy of body image, sexual predilictions, and approaches to intimacy. A beautiflly resonant piece.

Nerds, old ladies, and fight coordinators, the love letter you've been waiting for has arrived!

Vansant takes what is essentially a porn trope ("pizza delivery, ma'am") adds suspense and horror elements and bakes it all into a deliciously crisp comic cookie.

Ray is an adorable unlikely hero and Gladys is the most precious of predators. And the Dude, well... the Dude abides.

A great ten-minute piece with unlimited potential for bloodthirsty ballet!

The moment before death when you see your life flashing before your eyes is sometimes called The Highlight Reel. Everything you ever experienced in an all encompassing flash. Carbajal takes that moment in a stirring new direction: instead of the highlights, he shows us the outtakes. The secrets. The Things He or She Didn't Know.

Given that one of these characters doesn't seem to be aware of their immediate fate, this moment is particularly celebratory: it's an announcing of Everything I've Ever Gotten Away With, providing a contrasting and complicated look at two rich lives and what they amounted to.

I love that Asher Wyndham and I share at least one center of white hot political rage! And one of the hottest sparks igniting our collective powder kegs, hotter than the fascism of people trying to destroy those who are different from themselves, is the hypocrisy of those trying to destroy those who are like them, who share their predilections but aren't ashamed of them. RENT BOY is an indictment of those traitors, determined to live as the people they try to erase in between empowering those determined to erase them. There's a power in shame and it's wielded beautifully.

This Gotham Vaudeville confection is a sweet contradiction – both dark and light, it presents a wannabe psychopath will ill intentions and even more ill conceived M.O. with a wonderfully calm straight-man archnematode. You can't help feel for the villain while still applauding our hero.

A scherzo of malaprops with a surprising arc and wonderfully playable characters.

What a gorgeous short play for two young actresses. There's a beautiful sense of pathos balancing the sense of loss. While there is mourning, there is no keening or bemoaning. The separation is permanent, both lifelong and irreversible. But things need to be said, even if the other can't hear. A beautiful reckoning.

We think we know our parents. Even when we do, there are limits. Walls we can't see through, corners we can't see around, but we hear the muffled voices.

It's fascinating when someone tries to explain them to us, like they know something we don't. That their comparatively momentary, even fleeting, experience can shine a light on a life we were imbedded in.

What if they're right?

Miller's monologue gives us a great character, hardened by time and a dearth of love, confronted by "evidence" that belies lifelong truths. The economy and scope of storytelling is masterful.

A helluva piece!

Maturity has its privileges. Not *emotional* maturity, though I'm sure there are benefits. Chronological maturity. The life lived, well or not. When things go well, experience brings a practical knowledge of the world, memories of triumph and mistakes great and small, a modified sense of hope – an individualized world map of you're doing, where you've been, and where you do and don't want to end up.

Miller captures all of that in this two-minute turning point later in life. One that happens the younger guy couldn't get rid of the bugs.

Sometimes, you need a man with experience.