Recommended by Doug DeVita

These seven short plays, wrenched from the fearlessly twisted mind of Scott Sickles, are riveting and deeply disturbing when read singly as stand-alone pieces; as a complete work they are a dark, piercing, unforgiving, horrifying probe into the mind of a true sociopath. Reading them is like being at the scene of a train wreck: we don’t want to see but we can’t look away, and once seen (or read), the horror permeates like a nightmare that lingers from years ago. Rhoda Penmark has a kindred soul, and his name is Luke.

With its expertly calibrated rising line of tension, this play had my heart racing from its opening lines and gasping for breath at its conclusion. Kendall writes with a deliciously dark and twisted sense of humor, which heightens the disquieting effect of the piece; his characters play their game of cat and mouse with crackerjack authority – I imagine it would be as much fun to play these parts as it would be to watch them being performed, biting my nails the entire time. Brutally good fun!

In OFF THE PALISADES PARKWAY, Nick Malakhow perfectly captures the clashing, crashing worlds of teenagers from neighboring towns but different social and economic strata. Set in a particular time (1999) and place (Northern New Jersey), Malakhow’s script is nonetheless universal, specific to its time yet up-to-the-minute in its vitality; I particularly loved the specific and distinct language he has given his characters, so right for who they are, the era in which they’re living, and the problems they are facing. An exceptional work from an exceptional playwright.

Amy Bernstein writes with justifiable anger and passion in her aptly named DAYS OF RAGE; taking a firm stance while showing both sides of a thorny, contemporary issue, her play is both smart and horrifying – whether one agrees with her point of view or not, this is a play that will provoke discussion long after the show has ended.

This three-part one-man show – not quite monologue, not quite stream-of consciousness invective but with elements of both – fascinates and holds attention by its audacious switches, as it gets darker and more savage with almost every word. Relying on audience participation, it will be interesting to hear how this element is handled in its upcoming audio version (via Fresh Fruit’s Radio Play Series); however it’s done, I’m excited to hear it. And hopefully, one day, see it.

Provocative, powerful, steamy… Allison Moon examines the fine line between what constitutes art and what constitutes child pornography – the subjects in question are 17, not quite children but not yet of legal age – with a jaggedly sharp but nonetheless focused lens; her characters are equally likable and detestable, and she gives them dialogue that is both effortlessly natural while also being high-flown and artistic, befitting the subject matter and personalities involved. An excellent work, and I am looking forward to hearing the imminent audio version, coming soon via The Fresh Fruit Festival’s Radio Play Series.

The restless core of the American spirit is deep in the heart of Octavio Solis’ modern day continuation of Steinbeck’s “The Grapes of Wrath.” Brutally honest and searingly beautiful, Solis evokes the landscape of America both then and now, honoring the source material while crafting a work that stands on its own as a winning piece of contemporary theatre. Vividly drawn characters, and oh so theatrical in its conception, MOTHER ROAD is a stunner with so many opportunities for directors, actors, and designers to physically embody the world Solis has created for them, and for us.

Gut wrenching. Magical. Intense. And gorgeous. So gorgeous. Playing with time, space, and expectations with mesmerizing theatricality, Bray takes us on a journey that is both literal and metaphoric, with characters we learn to love even as they break our hearts. As I said: it’s a gorgeous piece of writing, and one I'd love to see staged.

A nifty two-hander benefitting from its naturally flowing dialogue, its genuine portrayal of two half-siblings, its rising line of tension, and best of all, its being meant to be performed in an actual isolated, woodsy setting. I imagine a staged production would work just as well, but man… being performed in its natural environment would give it a truly riveting edge. Especially with S’mores. And maybe chili.

Martineau grabs you by the throat right from the get go in this tightly written two hander; specific yet elliptical, it packs quite an emotional punch as we get drawn into the lives of this mother and son who are so bonded even time and space can’t come between them. Devastating, touching, and ultimately beautiful.