Recommended by John Busser

There are some hidden depths to this play by John Mabey that are worth digging up. I know that sounds like I'm making a joke here considering the plot line, but honestly, Mabey doesn't write "obvious" plays. There is subtlety, nuance and considered meanings that go beyond the surface. Sometimes people keep their feelings and motivations buried (again, not making a joke, it really is the best term to use) and only through reaching out and trying to connect, can these woman learn what truly connects them. What they find may have nothing to do with what's in the ground.

Some fears come from a different place than ghosties and ghoulies. To some, the pressure to fit in is an overwhelming fear. As Lee Lawing shows us in this relatable monologue, a woman (somewhat desperate, although she probably wouldn't admit it) keeps tabs on the neighbors to make sure everybody does their part in being a "Halloween" neighborhood. I would bet good money any audience member has felt a similar need to fit in that Allie does here. Good stuff.

Spatchcocking (yes, I looked it up to see if it was real, and yes it is) was something I was unfamiliar with but damn if it anin't a funny sounding word. So of course, I was intrigued. And Lee Lawing did not let me down. I want to start a tradition now of having Thanksgiving with Lee's characters. They're a lot more fun than my family. Even a talking Jennie-O would be welcome if it was as delightful as this one is.

"But honestly, when you married a rock legend! What did you expect?" That about says it all. There's nothing off the table with some personalities and Scott Sickles is the man to bring that to light. A fascinating look at the lives of the women behind the men (who look they they may be behind other men, but that's beside the point). Francesca is the voice of reason and the pragmatic one. Jodilyn has just had her eyes opened to the bigger world she's been a part of. Wonderful dialogue and the absolute best character names (even the guys). Terrific.

As a fan of the big G, I was instantly grinning with this fun playful take on kaiju fights. We forget about the collateral damage and only remember the spectacle. Good thing Lee Lawing took notice. And lest you think a giant radioactive lizard can't really talk, there IS precedent. Godzilla DID speak (after a fashion) in one of his sillier movies. But back to this delightful play. Just like best buds on a summer day roughhousing in the yard, we get to see 2 BIG kids battling it out till mom puts her giant radioactive foot down.

As I read this play I was struck by how strong the bond was between the characters. The fear Francis showed when confronted with the possibility of Harold not being there any more reinforced that bond. Nothing like a health scare to make the introspection flow and as the 2 reminisce, you feel how strong their love is. A positive story amidst a negative setting is a tricky thing to pull off. Luckily, Dana Hall is so adept at this kind of thing, the execution is flawless.

You THINK this is going to be a monologue that just escalates the weirdness of why Kim was late to her audition. After all, the scenario is ripe with comic potential. But Dana Hall subverts that and gives us a look into a woman connecting with another human being in a richer, more subtle way. Just sitting with someone who has their own agenda and seeing it from their perspective. It's much more satisfying when you want both characters to reach an understanding rather than hit an impasse. Touching and heartfelt.

Bite-sized horror from Greg Mandryk is much more satisfying than a much bigger pieces from others. And it's what you DON'T see that adds to the horror. Let the audience conjure up their own Beatrice. This is delightfully demented writing from a master of comic terror.

Christopher Soucy put a lot on the table here to process. Two cops doing their job in what has to be an emotionally conflicting set of circumstances. A supposed shooter, with all possible motive, the skill set necessary to have pulled off a horrific act, and targets who, let's face it, deserved of their fate or not, have placed that target on their backs in an increasingly divided idealogical country. This is powerful, unflinching writing that deserves to be seen.

Greg Mandryk knows just how to present a well-balanced piece, slowly turning up the heat, adding a pinch of unsettling dialogue, a dash of foreshadowing, stir in some dark comedy and voila! The perfect short play for any festival. And lets face it, this has, hands down, the most disturbing last line of a play you're likely to see anytime soon. (Chef's kiss)