Recommended by Doug DeVita

  • The Pee Test
    25 Jun. 2021
    A charming romantic comedy, reminiscent of the opening scenes in “When Harry Met Sally” but with far more engaging and sympathetic characters; these are people you like instantly and want to spend time with. Funny, and lovely.
  • Birthright
    25 Jun. 2021
    Both funny and horrifying, Lipschutz has created a wonderfully creepy audio world with this short play about vampires, Judaism, and the Hammer Horror Films of the ‘70s. As others have stated, I would love for this to be expanded into a longer piece; there is so much stuff to feast upon here that, like a vampire, I just wanted MORE.
  • The First Pescatarian (Based on the Ancient Texts)
    25 Jun. 2021
    Delicious. Despite my not liking lobster (or, as DC Cathro aptly calls them: giant-cooked-water-monster bugs), I couldn’t resist this wonderfully funny and winsome short; I mean, who hasn’t wondered how things began, like… eating lobster? Or even naming a lobster a lobster? Cathro gives us a plausible origin story, and an entertaining one, too.
  • After Eternity
    24 Jun. 2021
    The eternal battle of the sexes, presented in a wildly theatrical way by the wildly creative Eugenie Carabatsos. Aside from its sharply realized characters, plotting, and structure, the script offers a field day for actors, directors, and designers to create a magical world Carabatsos has wisely left open to interpretation; I would love to see this staged, and in as many different productions as possible.
  • How Do You Fall Out Of Love With Country Music?
    24 Jun. 2021
    There’s a moment early on in this monologue where you realize how deftly Max Gill uses humor like a weapon, and in Amy Singh’s self-deprecating, sardonic opening to her “act” he gives us a complex – and engaging – mouthpiece for his singularly forceful, provocative, and always poetic voice. There is not one wasted word or moment in this piece; I would love to see it performed on the stage of a honky-tonk bar in the south. Or a cabaret room in Manhattan. Or anywhere with a mic and the audience uncomfortably close. It’s that good.
  • Cabfare For The Common Man (a ten minute play)
    24 Jun. 2021
    What a ride! Sharply observed, creatively metaphoric, at times funny, at times sad, Levine’s breathtakingly fast script races by as a collection of momentous moments adding up to a crazy road map filled with hairpin turns, short stops, and – sometimes – absolutely no direction at all.

    Like life.

    Keep the meter running, indeed!
  • Barcelona
    24 Jun. 2021
    Oh, I love this play. Mostly because I love Skye, the thoroughly winning protagonist, perfectly and hilariously conceived and written. Driving the delightfully daffy plot forward, she is well matched by her antagonist (Dr. Lionbreath) and her accomplice, the ever patient, hapless but always supportive Milton. This is just so much fun, and damn, now I want to know just what the fudge happened in Barcelona.
  • One is the Road
    24 Jun. 2021
    An excellent example of a stream of consciousness monologue that is cogent, forceful, beautifully written, and unforgettable. What an opportunity for an actor to use these words to take us along with them on this realistic, engaging, and ultimately heartbreaking road trip.
  • The United Plays of America - Nevada - The Loneliest Road in America
    24 Jun. 2021
    A delightful ten minutes that asks big, deep, life changing questions and answers them with ridiculously charming theories, sort of like a distaff “Big Bang…” but less abrasive and brainy, more heartfelt and touching. And funny. Very, very funny.
  • A Man with Nothing to Lose
    23 Jun. 2021
    Purists beware: this is not the “Persuasion” of Jane Austen, bearing little more than a passing resemblance to her early 19th century classic of love lost through ill-advised exhortation. What it is, however, is a fascinating, updated rethinking of the story, set in a dystopian future where the mores are similar – if grungier – but the stakes are much higher than who’s going to be invited to a card game in Lady Dalrymple’s drawing room. An edgy, dark, and risk-taking work that stands on its own two less-than-silk-slipper-shod feet, and one I would love to see staged.

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