Recommended by Doug DeVita

Coleman perfectly captures trying to negotiate a way through that almost surreal, no-man's land existence one can experience after the death of a parent. Memories, conflicting feelings, the taking stock not just of their life but one's own... it's all here in ten mournful, almost excruciatingly authentic minutes.

With characters who are dark, twisted, and swirling with psychoses, Castellani dares to present “The Red Flags” as a romantic comedy, and by and large, she succeeds. Improbably, one finds oneself rooting for the two main characters to get together precisely because they are so wrong for each other they’re a perfect match; despite all the red flags being raised throughout, these two could likely have a successful relationship... or they could kill each other. And that makes the play so delightfully suspenseful you hope the suspense will last.

And it does, long after it’s over.

What a sweet and touching character study; Hoke captures different sides of wistfulness as she skillfully delineates her two characters in their different stages of life. Lovely.

Dark, bleak, repetitive (as its title suggests), and audaciously, hilariously funny rumination on the horrors of growing old. As Bette Davis said: “It ain’t for sissies.”

When Daly writes about family dysfunction she is on sure ground and she pulls no punches; using a fast-moving verbal shorthand, Daly’s aim in “Raw” is lethal, and she delivers a breathtaking blow to the gut and below. Harrowing.

This is one of the most frustrating one-acts I’ve ever read, and I mean that in the best way possible. Anyone who’s had to deal a with nightmarish bureaucracy will get this play, and be laughing their heads off in sympathetic fury as Bicknell skillfully piles on the obstacles her hapless heroine needs to overcome. Hilarious and fun.

Haunting, heart-breaking, and at times surprisingly hilarious, Lori Fischer's "Petie" rivets from first page to last. Parsing out information as needed with an exquisite command of non-expository exposition, Fischer steadily builds tension with each succeeding, beautifully written scene, her all-too-human characters maintaining interest and sympathy even when their actions are frustratingly obtuse, and even, at times, heinous. A sure ear for the rhythms of her characters speech adds a shimmering effect which is quite appropriate for a memory play, especially one as delicate, yet tough, as this one. A true gem.

Creepy, unsettling, paranoia-inducing, stalker-nightmare-fueling fun.

I have long been a fan of Suzanne Bachner’s work; in a former life, before I began writing my own plays, I reviewed “Circle” for the off-off Broadway Review. A snippet of that review:

“With gleeful acidity, Circle explores issues of sex, power, desire, and intimacy.”

Re-reading the play recently, I stand by my original assessment; it’s a wonderful work.

https://oobr.com/go.htm#!menuID=Circle%20Bachner

For a “*very early draft,” Tyler Joseph Rossi’s “Laurel and Hardy and Chaplin” is pretty tight. Fictional meetings between historical characters generally make for interesting theater, and Rossi demonstrates a sure hand here as the titular characters meet in an otherwise empty speakeasy at the dawn of the “talkies.” They drink, accuse each other of intellectual theft, and engage in a knock-down drag-out bar-room brawl in a promising play that deftly exposes the pain underneath their comedic genius. I’m looking forward to watching this develop.