Recommended by John Busser

10.06.25 - Jesus, Mary and Oprah, I was NOT expecting this to go where it did. Scott Sickles is... well, sickle, but in the best way. Was it too much to expect a tale taking place in a future "corporatocracy" (a perfect descriptive word) to focus solely on the monstrous inhumanity of greed causing pain? It was apparently, cuz Scott throws in some biological monstrousness as well. This would be a sight to behold on stage (how to realize that cocoon?) but boy, would I be there to see it!

10.06.25 - To me, this play boils down to one all-important line... “If I had the power to help, and I didn’t—what does that make me?” While this is historic in frame, the idea it confronts us with is both timely and seemingly being ignored by far too many. We think this happens to others, not to me. Nothing could be further from the truth. Danielle Wirsansky has written about something vitally relevant and I hope her message that showing up and helping matters to enough people. Terrific.

10.02.25 - Isn't that always the way? One person in the relationship does all the hard work and the other wants you to accept them the way they are. What a "human" take on matters, even if God is one of those matters.

10.01.25 - That was quite a tragic tale from Kieran Khanna But the saddest part of the play is that you get a real sense of familial connection between Mother and the Devil she purports to hate. Both parents and children are truly some of the biggest heartbreakers we know. The horror is in seeing this fulfilled when both characters long to override the urge to hurt the other but can't help but fill their expected roles.

09.30.25 - I'm... stunned. That was both fascinating and horrifying. The playwright certainly took the prompt to heart and ran it right through a wood chipper. Greg Mandryk is both a clever comic writer and a brutal horror writer when the mood strikes. Hmmm, kinda Jekyll and Hydish, don't you think? And the last line shows you he knows how to combine the two styles in the darkest fashion. A+ work from start to finish.

09.28.25 - As someone who appreciates the tension buildup of horror rather than a gross in-your-face knife kill (The original The Haunting is better than 90% of what passes for horror nowadays IMO) this little creep fest by Nora Louise Syran clawed my scary bone in all the right ways. I think what you DON'T see is scarier and Syran puts off the threat until it's too late to do anything about it, which is perfect. This would be wonderful to see realized on stage.

09.26.25 - Well that was a creepy treat. I love how the setup, so familiar to us, gets us primed for the main event. And like so many great horror movies, a lot of what happens, happens out of sight, letting the audience fill in the blanks more effectively than and cheap or expensive special effects could. And the twist of Martin WANTING the terrible fate of the others lends it another level of creepy discomfort, is perfect.

09.26.25 - Oh was this a blast! I think an added bonus here for the audience is that you just know a number of them are horror film afficionados and will get an extra kick doing their own countdown of tropes since, isn't that just what horror films are? A collection of tropes? Neil Radtke has written a winner here.

09.26.25 - I certainly enjoy a big old helping of miscommunication and the resultant chaos that ensues from it. This fun little exercise from Garrett Martin made me laugh out loud a few times. The wordplay is excellent and I'd love to see a couple of actors really sink their teeth into this script. Perfect timing would kill on this thing.

09.26.25 - Ellie wants a man's man to run her world, and she's pulled out all the stops to take charge and do it. Woe to the modern man who won't let her either. What a fun little piece for an actress to show just who will eventually wear the pants in this upcoming relationship. C'mon boys, act now before Ellie does something we'll all regret.