Recommended by Doug DeVita

In this brutally short play, Nelson Diaz-Marcano takes on the world, and wins. Not only do words matter, but when used this effectively they can count for change. So someone produce this play, and get the word(s) out. These angry, eloquent, and effective words.

This play is HUGE! In scope, emotions, themes, characters... Otterman's epic "The Inconfidentes" is a passionate paean to the fight for liberty and freedom from tyranny, written in modern idioms that work beautifully within its historic context. And the possibilities for thrilling staging are endless.

Richly written, with a timely premise and provocative central question, on any and all levels Bethany Dicken's "Girl" is a winner.

My mother was of the same generation as Phyllis Schlafly, and she detested her. Loudly. “I want to take one of those G...D... pies of hers and smash her self-satisfied face with it.” And in this sharp, short play Jo Brisbane limns the reasons Schlafly was such a horrible, polarizing woman with a tongue-in-cheek savagery that elucidates as well as entertains. My mom would’ve loved it. As do I.

I love a good myth creation story, and in "Guenevere," Susan Cinoman delivers beautifully. Turning the Arthurian legends on their head with style, wit, and appropriately anachronistic cleverness, Cinoman has created a modern myth that is not only a more than plausible twist on the famous Arthur/Guenevere/Lancelot love triangle, but one that resonates with loss, longing, and regret without becoming maudlin or abrasive because it is so smartly written, has such depth of feeling, and maintains a wry sense of humor throughout. Mind. Blown.

There is such beauty in simplicity, and the beautiful simplicity of this play comes from the complex depth of its soul. Life, love, and loss are so delicately handled here, and the result is a work that both haunts and elevates. Absolutely lovely.

As a dog owner who is obsessed with his pet, Emily Hageman's "Jason's Dog" hit me like a ton of bricks with it's absolutely spot-on understanding of the love a man can have for his dog. That she has written a monologue for a dark, lost soul whose only redeeming qualities are his natural charm and love for his pet shows her as playwright who completely gets the yins and yangs of human nature and can translate the contradictions beautifully to the page and stage.

This is a stunning work of art. At times terrifying, often heart breaking, always thought provoking, and ultimately: beautifully hopeful.

I love 1950's gangster/noir, and I love this play. Frandsen writes with a sharper than a stiletto grasp of the structure, characters, and language of the genre, and she has crafted a genuinely exciting work that steadily builds to its not-completely unexpected but nonetheless thrilling climax. I imagine in performance I'd be at the edge of my seat throughout; reading it, it's a page-turner. Highly recommended.

We've all had to deal with people like O'Donnell, the haughty professor at the center of Ross Tedford Kendall's "Principles of Logic:" stubborn, overbearing, entitled... and what a delight it is when they are beaten at their own game. And what a delight is this game of wits between O'Donnell and Serena, a clever, young administrative assistant who uses faultless logic to get what she needs from the unaccommodating professor. A fun piece with two great roles, especially for an older actor.