Recommended by Scott Sickles

We’ve all been party to maddening conversations like this one, especially about the climate. Just as there seems to be no winning with the climate itself at this point, victory is even less likely when ideological elitists find fault with everything.

Millar miractulously finds a way to make an exchange that’s usually unbearable in real life utterly effervescent on paper. It’s a fun satire peppered with great personal touches. And the fate of the plant is surprisingly moving.

I love a great Fractured Fairy Tale and this is a fantastic take on Cinderella from Teen Prince Charming. It’s the teen thing that really makes this sing! The attitude toward (shudder) girls and how rare it is to find one a prince that age has anything in common with… It’s funny no matter which silly accent you use to play him (and I tried a couple)! This would be a great audition piece for a young actor as well as a great standalone in an evening of monologues.

Oh the names I've called Siri. Shameful!

I just got done watching The Orville, so the Robot had Isaac's calm even voice.

I have to say, I was expecting a different reaction from the non-organic entity but what transpires instead is far more satisfying. Cross magnifies the frustration, angst and entitlement of being a teenager in the Information Age in such a way where, while everything is bigger, the details are in sharper relief. As with any good story about an android, the human audience can learn a valuable lesson.

I can't tell if this play is autobiography or wish fulfillment. Either way, it's deeply gratifying! We've all dealt with some high-handed asshole's broad preemptive condemnation about a situation that we have under control and/or which does not involve them. And yet! Fortunately, Harriet is prepared to make both symbolic and practical gestures in her defense with props both dry and wet.

A necessary read for everybody but especially people struggling to accept a loved ones transgender coming out. Parents, other family, friends, even coworkers have a great fresh to learn from the Dad In this monologue.

Cole captures the special bond between fathers and daughters and the fear that emerges when that bond is threatened with change.

It’s also a lovely, economically composed portrait of a family evolving.

I am simultaneously thrilled and awash in pity for these kids. I remember having Izzy’s enthusiasm… and containing it, hermetically, to avoid the Chernobyl like explosion Izzy is just letting RIP!!!

I likewise appreciate Ash’s bewilderment. They’re not used to someone being enthusiastic about them, and no one should be as enthusiastic as Izzy is right now… but then, that’s why it’s called bravery!

Imagine this piece with as many casting decisions as possible. The variations are as endless as the awkwardness is constant.

I’m shipping these two all the way to prom!

Nothing reveals people like burying a body.
A hole, a shovel, and the truth. The truth about the living. Who they are to each other... who they've been and will be. Who has power.
The poor dead person barely matters at all.

The character descriptions tell you who HAD the power. "More popular." "Less popular." Popularity is the currency of curfew set. Prillaman has set things up for maximum flexibility in casting race and gender, allowing greater social dynamics to be explored on top of power and sexuality.

Maybe I'm a bad person, but I'm #TeamHarriet all the way.

There's only a hint of the holiday – music on the radio, and plums being pitted - but that's okay, we're still a ways away from the big day. Still, this is a marvelous snapshot of the season between English speakers (Anglophones) in Provence with gentle banter, distant gunshots, and ornithomythological info-dumping. My kind of people. There's also a lovely message of hope at the end of these two delightful minutes.

For comedy this broad to succeed, the details must be precise and impeccably executed! INCIDENT plays like a carnivorous Swiss clock that replaced its cuckoo with dinosaurs! Melodramatic archetypes are perfectly anthropomorphized prehistoric reptiles, the characters are filled with passion and vim, and the deliciously demented plot is perfectly paced and terrifically twisted!

With so many directorial and design possibilities, this will be a joy to stage, a riot a play, and ecstasy to behold!

The genius is ULLA is set on a day like any other. And that's the problem: all days are like this when you live where Ulla lives. Men do what they want and women need their permission.

This is not science fiction. This is the red states. Right fucking now.

Wyndham has been writing from a place of outrage and it is beautiful. A horrific necessity and a necessity of horror.

Yet this is no polemic. He's assembled the details of life, of many lives, to show you a person - to show you women - under siege.