Recommended by Doug DeVita

Dark, brooding, convoluted yet precise, Ken Love's "Moonlight Over L.A." is a terrific example of film noir style on stage. The characters are all vibrantly alive – even the dead ones – and the atmosphere is heavy with foreboding, as all noir should be. A wonderful read, I'm sure in the hands of a smart director and cast it will be a supremely entertaining evening.

Stand-up comedians have mined their anger and frustration at the inequities of the world to brilliant effect for years, and here we have Joan at the stake, cracking jokes while an inept executioner fumbles to get his lighter to work. That Koppen creates a searing (no-pun intended) indictment of all the societal ills of the past 1,000 years or so by putting jokes in the mouth of one of history's most famous martyrs AND makes it all hilariously funny – in 10-minutes – elevates a clever idea into a dazzling play.

Sharply written, there is so much going on under the surface in this play – both figuratively and literally. An excellent work that makes one think, and hopefully, change. Crisp dialogue and engaging characters, too.

Sibling rival revelry and dark, dark, dark. What a merrily macabre Christmas comedy, featuring the most horrifying little girl since Rhoda Penmark. I laughed so hard I cried.

It’s very important for roommates to keep the lines of communication open, especially when it comes to the destruction of personal property, missing rat poison, and a dead landlord. All of which are highlighted in “The Vase,” Maddie Dennis-Yates hilariously black comedy. This one’s a natural for an evening of dark comedy shorts, and boasts two great roles for women.

As a former adjunct professor (over 20 years), reading NO NAME was an acid flashback, a chilling (no pun intended) reminder of how little those who share their expertise in order to educate are regarded. You nailed it, Asher.

An interesting central premise, compelling characters, and Gacinski’s uniquely poetic ability with dialogue make “Waiting For The Birds” a superior addition to the canon of park bench plays. Hauntingly inescapable logic permeates every line, giving the actors much with which to work, and much for audiences to ponder long after the play has ended.

In "Queen of Sad Mischance," John Minigan makes the personal story epic, and the epic nature of the story intensely personal. And this may be the greatest strength in a play that is built on strengths: strong themes, strong story, and particularly strong characters. A heartbreaking gem.

Another terrific entry in Karlin's alternative Hollywood History series, and linked beautifully with her play "Hotbed," "The Showman and The Spirit" continues her exploration of racism within the film industry. But here, she also looks at racism within the confines of the Hollywood Black Community, and the effects that lingered for decades after the events depicted in "Hotbed." It's a stunning work; with another set of great characters to follow, it is endlessly fascinating and entertaining as hell. Keep 'em coming, Liz!

We all had that one teacher who not only touched our life, but also molded it and sent us on the path to become who we were meant to become. Eytan Deray's "Educating Asher" is a loving tribute to one of those educators, and a beautiful play about grief, closure, and honor. Emotionally truthful, often funny, and achingly sad, it is an honestly moving work of art.