Recommended by John Busser

I'm stunned. Truly stunned. I can't even express how expertly Scott reveals the ultimate goal of this monologue. I thought I knew where this was going, and I absolutely did NOT! Talk about a 180. THIS is how you do that. I don't want to discuss particulars, although I think I could do that for hours. Experience it yourself. This gets my highest recommendation.

I can't believe how caught up in this I was. Brian Cern got me invested in these parents to the point of actually saying "go go go" under my breath. That's good writing. Then I got to THIS exchange and laughed my ass off...

DAD: I didn’t even click your button this much when we made the kid.
MOM: I know.

That right there made this a classic. I will never drink anything when reading a Brian Cern comedy. I don't want to shoot it out of my nose...

I read Jacquie Floyd's play LIVE, LAUGH, LOBOTOMIZE, I was curious where she would take it. Would this merely be a further explored piece of the same scene? Or a continuation? Turns out a little of both. We learn about Olivia's initial trip towards (and ultimate backing away from) the Darkness. Only now, her trip to the light gets interrupted. The play takes a more serious turn here as a more terrifying monster (and it ain't new character Brob) makes it's presence known. Here learn some great lessons about what does and does not deserve to embrace the Darkness. Terrific.

I never meta play of Glenn's I didn't like. Okay, lousy pun, but so appropriate in this case. A wonderful look at how writers create living breathing characters on the page, until possibly the next draft. Then, all bets are off. You feel Ned's desperation as Jane contemplates sending him into the trash bin, for daring to NOT love her writing. Never piss off the almighty writer.

How many of us have experienced the long, painful version of that relationship? Chris Soucy gives us the Cliff Notes version, with all of the talking points and none of the filler. Frankly, I'm happier with THIS version.

WOW! What an amazing turnaround this play took. I was not expecting the twist in the plot and was delighted at its execution. George tells himself he wanted away from it all, but all he did was imprison himself. Guilt is a formidable warden. Rachel Feeny-Williams provides the key to his salvation. And the audience gets to see him go free. A wonderful short play by a writer who never disappoints.

A tale as old as time (sure, wrong story, but the point is valid) with beloved characters that will live in eternity. WHat's wrong with that? Plenty, it seems. In Chris Soucy's latest treasure, we find comedic gold as Cap'n Hook and Smee, keep living and dying again and again in a never-ending cycle. Positing ideas of a larger plan at hand, these two shipmates banter and bludgeon, shoot the breeze and the first mate, and generally never change. Cap'n and Smee become sort of their own Lost Boys. But what might happen if they change their story? Clever stuff.

A simply stunning portrait of despair. Chris Plumridge gives us a stream-of-consciousness styled monologue. One that shows a man desperate to make sense of the insanity that makes up the world he sees himself in. As Rob invites us into his reality, we are both fascinated and horrified that a fellow human being is made to experience the highs and lows of an uncaring universe all alone. Plumridge makes us want to pull this man out of the darkness. Can't ask for more than that.

Sometimes rocking the boat gets EVERYONE wet. Sean Abley presents that old chestnut of a million monkeys on a million typewriters someday producing the works of Shakespeare, but puts such a clever conspiracy-tinged twist to it, that you have to laugh at the thought of it. And while most conspiracy twists are ultimately so much hooey, THIS time, the "truth" gets out there. With hilarious and world-ending results.

Being claustrophobic myself (and isn't it telling that the old soldier's captive was named Klaus?), I was actually uneasy reading this short monologue. I wanted him to break through to the surface so badly. It's terrific writing when you can evoke an emotional response in an audience member. Chris Plumridge takes you into that tunnel, and as difficult as it may be to do that, the reward is worth it.