Recommended by Asher Wyndham

Queer producers and directors: check out this fairy tale. If you're looking for something large in scope, not derivative, not an adaptation of a classic, read this now. It's like Candy Land with drag, acid and cotton candy, WTF-crazy like a Dr Suess story but with breast milk.

I had the pleasure reading drafts of this play many years back.
One of best dystopian plays I've read. It's funny even when it's most bleak, it's non-stop riveting, and one of the best ensemble of crazies I've read.
A stage designer would have a fun time creating the lair.

Through spot-on satire this playwright indicts a portion of American medicine that still shames trans people. Reminds us, demands from us to continue the fighting.
Look forward to reading more from this playwright.

Never thought that a play about the playwriting process and a playwriting group could be so entertaining and theatrical! Alterman gets into the head of his playwright character -- any playwright, emerging or professional, at any age will laugh at the recognition of their fears and doubts.
Where you think the play is going, it goes in a different direction - and that happens with every Alterman play.
Well-done!

The most effective use of personification that I've come across in a short script.
Not used as like some Disney gimmick, Hageman's personification of a car creates an expected intimacy and renders the relationship between the women more human--in doing so the story is emotionally effective and satisfying. Most characters on stage and page come across as used auto parts with nothing underneath. In Hageman's beautiful script, her characters, whether they are real or not, are fully realized, soulful.
I've said it again and again, and I will repeat it: she's one of the best short script playwrights on NPX.

Most plays don't get off the ground. This one soars -- your imagination goes up 13,000 feet!
One of the most impressive sound-plotted short scripts I've come across.
Lovely.

Infidelity has never been so sexy in one-minute.

A funny absurd play that comically questions whether or not we make our decisions on facts or hoping for the best. I've read this years ago; now in age of Trump, this play set on a raft on the ocean inspires a different interpretation.
A great challenge for a set and sound designer.

Loftus imagines a future of traumatized adult children who were separated from their undocumented parents. It's a future that's more than plausible, it's most definitely going to be reality if we do nothing to prevent it. In these dark times, playwrights like Loftus imagine an American future not because they're pessimistic -- they are desperately warning, begging, hoping, demanding that we do something to demand action against an evil administration. Heartbreaking, haunting, this play is a smart choice for any production of short plays on immigration.

If only soon-to-be-lovers these days were so playful, so theatrical with language -- the world would be more fun.
A whimsical addition to Szymkowicz's night of short plays about romance.