Recommended by John Busser

Be careful what you plan for, you may not get it. That's the takeaway here in this hilariously dark play from Greg Mandryk. Margaret tries and tries and tries to get with Alan, the ultimate "made man" in this screwball comedy meets Twilight Zone episode that I guarantee will have audiences laughing. I saw a staged reading of this at The Dark Room a while back and it went over like gangbusters.

Sometimes the simplest interactions, void of histrionics and flashy visuals, are far more terrifying than any showy Grand Guignol. Starting out innocently enough (for DOT, anyway), we get to see that LINE, confident in their abilities, may just have bitten off more than they can chew. Except LINE never got the chance to bite, did they? Scott Sickles is devious like that. He gets you thinking one way and then, it all just... turns. Spooky, scary, delightful stuff.

I love to see people get the comeuppance they deserve, and Daniel Prillaman delivers up the goods here. With an unusual premise (although, is it ALL that unusual in 2023? We still have friggin' flat Earthers out there in force), he skewers those who would rather stick to their own agenda rather than heed warnings given in good faith. And as always, deniers gonna deny. Luckily, we have plays like this to both enlighten and enjoy. Now you kids get off of my lawn... before the lawn strikes back.

Hilarious from the get go, Melissa Milich gives us a close encounter for the ages. With plenty of zingers and a decidedly proper British attitude, this funny play abounds with wit. My favorite line? "Sincere apologies. Tesco is for Primitive civilizations." It may not sound like a knee slapper, but if you've ever been to one (and I have), it lands like a bomb blast. Would love to see this staged.

Powerfully told by Don Baker, Everyday Monsters paints an ugly picture of abuse masked in the connection of a predator and a young man who never got past being his victim. The events of his childhood bring him to the doorstep of his abuser, and the discussion they have is as riveting as it is disturbing. One point that struck me is just how quickly Douglas recognized Timothy, not from his appearance, but by the utterance (in a childlike manner) about cutting the lawn. Douglas must have kept THAT memory close to home, a detail quite unsettling. An amazing play.

Glad to see there is SOME justice in the world, as Sarah not only gets an apology, vindication in the eyes of PC Denton, AND a phone number out of the ordeal. Rachel Feeny-Williams always knows how to get you hooked into the goings-on of her characters, and this play is no exception. You're just rooting for Sarah even as it seems the Dina's of the world will always find a way to weasel into the winner's circle. I'm happy to say Rachel gives us (and Sarah) the satisfaction she so richly deserved.

Ijit better be on the lookout for a new manservant job, cuz I think Pat is made for bigger things. And he isn't even the one being made in this delightful comedy of horrors by Christopher Soucy. This is a meet-cute for the Universal Studios Monsters era, where a mad scientist gets some great advice on life, death and where to conduct your "business". There are jokes, puns and laugh lines galore here. A perfect addition to any Halloween-themed short play festival.

Well THAT was sweet as all get out. CHarles Scott jones gives us probably the most unusual pairing I've yet seen in a play; a polar bear and a blue-tailed skink (sans tail for extra uniqueness). These unlikely friends soon become fast ones, as they trade jokes, tease each other, and basically become attached. The concept is charming, the costumes would be fun to imagine and the the sweet nature of these 2 will give any audience all the feels.

A monologue celebrating uniqueness is not all that rare. But Orange lobsters are. And combining the 2 makes for something you aren't bound to find on ANY menu. Lee Lawing has a knack for coming up with bizarre takes on things you absolutely wish you could see more of. As long as he keeps writing them. Perhaps Lee should be placed in a remote location protected from ordinary playwrights. Just to be safe.

Forget wolves, witches and other ghoulish eaters of children. We now have Grandma thanks to Cole Hunter Dzubak. This is pretty unsettling once we get into the play and Cole knows how to ratchet up the tension. With one sibling suspicious and the other not, they provide audience surrogates who might be equally divided on Grandma's behavior. But when that last page comes around, everyone will be served the same disturbing last meal. Brilliantly twisted.