Recommended by Chris Gacinski

Philip Middleton Williams pairs two unlikely people in a desert, and what follows is a hopeful and comedic exchange that discusses art, life, and their futures endeavors. It’s a play that’s simply excellent; a blend of the minimalist found in the absurd, but delivered with this maximum exuberance found in Williams’s writing style. On top of all of this, “Tucumcari Tonite!” would be very easy to stage and produce, which is an added bonus to an already fantastic script. Any writers who are looking to do a lot with a little should consider reading this script.

This play hit me over the head with a brick. It was an unbelievable experience reading this intense and unforgiving play. This piece will leave you in tears and breathless for the complex characters Osmundsen has crafted. The stories they have to tell about their relationships and the painful fact that life can be unforgiving. There is an emotional opulence within “Something for Sondra,” which would be an unforgettable experience to watch live.

For those who are not familiar with the writing of the immeasurably talented Philip Middleton Williams, “Can’t Live Without You” is a great first piece. This piece is relatable, and discusses the importance of authenticity and creativity. I’m sure we’ve all envisioned our characters in some capacity, but Philip takes it to the next level in his pristine writing style. A must-read for today’s writer.

What a wild ride, and it was only 21 pages long. Bryan Stubbles creates a disturbing scenario. One man, five girlfriends, and a whole lot of drama boils over as his partners are all together in one room. Discoveries these characters make will make you laugh, make you gag, and make you think. If you’re looking for a fresh and unique voice within playwrighting, Bryan Stubbles’s “Bloodstained Marigolds on a Perverse Landscape” will most definitely deliver.

Once again, Larry Rinkel displays his vast knowledge of Chaucer’s “Canterbury Tales,” and his knowledge of theatrical structure in “Canterbury Sextet.” This feels like Chaucer adapting his work to stage, if he lived in the present, of course. Each section of this piece seamlessly transitions to the next, and feels like one cohesive work. If you’re a fan of British Literature and writing chops, Rinkel incorporates both beautifully in this piece.

Max Gill’s provocative ideas and writing style really come through in “The Mimosa War.” These vibrant characters Gill created tell a humorous yet chilling tale of what Manhattan could look like down the line. Dystopian, absurdist, with a tinge of dark comedy, this piece is a surefire hit with the right creative team behind it.

At this point, I think Max Gill could write about anything and make it work. He has such a precise and distinguishable writing style that can make even the heaviest topics palatable, and “Pale Revelry” is no exception. Painfully current and humanistic in nature, “Pale Revelry” will one day be an amazing period piece that others will look to.

Philip Middleton Williams once again portrays modern society’s response to this virus in his bittersweet style. Williams will make you laugh, make you cry, and make you think in fifteen pages. A strong piece from a strong writer.

A toy aisle and paired with thought-provoking dialogue equates to a didactic experience in this sharp 10-minute piece. Weibezahl’s Doll’s teaches the audience through three moms purchasing dolls for their kids, and their ideals become transparent as the piece progresses. A flawless idea executed flawlessly.

Emma Goldman-Sherman holds nothing back in “FUKT,” a play that builds in tension and complexity as the piece progresses. These characters were constructed with utmost care, and Goldman-Sherman clearly articulates the necessity for the subject matter, which is bolstered by her incorporation of dark comedy. Brave, poignant and important, “FUKT” is a play that deserves the spotlight.