Recommended by Doug DeVita

A season subscription to anything is a HUGE commitment, especially for the two hockey fans bromancing in this brilliantly funny comedy. Koppen's dialogue is delightfully real, her characters are hilariously lovable archetypal dudes, and the whole thing is so beautifully paced it's an absolute joy to read; I can only imagine how wonderfully it plays.

This is a mesmerizing piece that accomplishes everything a work for the theater should: it tells its story with perfectly chosen words, it engages with a wonderfully creative, theatrical intimacy, and it challenges us to think, and perhaps shift our perspectives a bit. I'm not usually one for immersive theatre pieces, but man, I'd love to be in the room when this happens!

Five year olds really are gangsters. They also take themselves very, very seriously. Emily Hageman understands this, and uses her familiarity with her characters’ behavior to superb effect in this howlingly funny spoof of both gangster films and five year olds. It's just such wonderfully silly fun, made better by Hageman's refusal to condescend in her depiction of these little monsters. She respects them, and thus so do we, even as we gasp and laugh at their antics – perhaps because we recognize the five year old still living in ourselves.

What a delightful, funny, and unexpectedly sweet buddy comedy. Williams’ always engaging way with characters and quips is on full display here, as his talent for layering poignant longing underneath the surface bravado. A field day for two actors, this is a wonderful one act play I'd love to see staged.

This hilarious, off-the-wall comedy builds its steam from classic comic routines, but here given that certain "Salant slant," and bubbles over into pure farcical gold. With one of the best closing lines ever. A fast-moving and genuinely funny little gem.

If, as Charles Mee has posited, all plays begin in mourning and devolve from there, then Maxwell Johnson has delivered a doozy of a comedy based on the death of an office worker. This is hilarious, fall-on-the-floor funny stuff, made funnier by the serious subject matter Johnson tackles (death, grief, toxic corporate culture, etc...); the laughs come from the recognizable truths and characters Johnson has created here. Smart, fast-moving, and lethal, I hope to see it staged so I can laugh my ass off. In mournful solidarity, of course.

Izzy Salant’s elegant and spare language tells an elegant, spare, and heartbreaking story of a love that can’t be. But despite Salant’s economic use of words, the depth of feeling is astounding, and one is left haunted and touched by these lovers kept apart by time.

I’ve often wondered what my dog’s first moments of life were like, what his experiences were before we brought him to live with us and spoil him rotten. I certainly hope they weren’t as terrifying as David Hansen depicts in this heartbreaking play. I hold my own dog close as I write this, and hope he feels safe and happy, the way I want to hold Hansen’s STRAY and give him/her a safe and happy life too.

Well this was fresh, and natural, and oh, so vivid. And fall-on-the-floor funny. O'Neill-Butler's ability to create relatable characters and take them to extremes without losing their fundamental humanity is served up beautifully here; one knows these women, one likes these women, and one roots for both of them. A wonderful play with two great roles, this should be a staple on the short play circuit.

It's the matter-of-fact coolness with which Osmundsen's young characters face their future (and past) that makes this dystopian, sort-of-romcom so chilling, present, and haunting. So much has changed, so little will change, and somehow it all goes on like it always did, but different. A disturbing but wonderful work from the master of dark comedy.