Recommended by John Busser

I would bet good money this is more a transcript than a made up script, if only because the odds are this dialogue has happened countless times already. Nora Louise Syran has her finger on the pulse of an America where it's easy to imagine this scenario because, as she says, "humans get used to everything". This is told in such relatable terms, I can only hope her message will make somebody sit for a moment, perhaps at a traffic light, and think, "there has to be a better way to live". I heartily recommend this piece.

I want this M'in' Eff'in' Bear on this M'in' Eff'in' plane! (Somehow, I bet Sam Jackson could make that work. I can't.) Chris Plumridge has no end of creative locales for the Vampiric Fuzzy Hero we deserve. Another winning monologue here as we get a late flight, reanimated stuffed animals, Captain Sully (HA!) and lots of great little pop culture references. Do yourself a favor and read all of Chris' Bear monologues.

Ah, I can always count on a Jacquie Floyd play to make me laugh. And I mean that in the best way. A goofy premise that makes more sense than you think (we do like looking for answers in the weirdest places, don't we?) and here we get a man of science trying to garner wisdom from a giant bird. Beats the Bible, doesn't it? I loved it.

I think if anyone came to me looking for wisdom, I would say "Read any of Jacquie's work if you want to leave happier than when you started." How's THAT for wisdom?

Oh man, was that fun! Eerie, creepy fun, sure, but fun nevertheless. I always like Morey Norkin's take on things, and here, he executes a Twilight Zone-esque tale of a man entering the wrong door an the wrong time. In this case, 1994. And as someone who worked at 2 different video stores (and 2 movie theaters. What can I say, I like movies), Morey hits the right chords in how the clerks would spend the eternity of the work shift doing just what his characters do. I loved this.

O. Henry would probably smile at this tribute to his work. Then he'd wonder is James Perry was running a scam. In the meantime, audiences will get a kick out of this twisted tale of back-stabbers, swindlers and dirty, rotten scoundrels. And like the best of these kind of tales, the right person ends up getting taken for all their worth.

I love the fact that this play ends on a moment of truth. IS there a golem in the basement? Gabby and Ari are about to find out, even if we don't. But isn't that like the best scary stories? They build up the suspense and the fun is in the telling. Then, drop the bottom out from under the participants and open that door. Claire Abramovitz knows just when to do that, and I defy an audience not to be on the edge of their seat by the end.

A patchwork man attempts to carry on his Father's work even as he explains to a new creation, he is not the same as what came before him, and therefore, all the rules governing his and her existence should be thrown out. I like the way Adam constantly reassures Helen not to jump to preconceived notions. It means all bets are off and you are free to act to your own dictates. I also love the fact, never explored to this level, that the individual pieces making up Adam, might have needs of their own. A unique take of Frankenstein.

A stunning monologue by Christopher Soucy. It begins somewhat like a fairy tale, setting the stage with background before hitting you with stranger and stranger details. Simon, our character, leads you down a path, filling in little details along the way. Like any good story, he gets you entirely invested in Simon's journey to learn his origins. And while I won't reveal them (You should learn those for yourself), the answers he finds are both fantastical and strangely appropriate. And while it may not be a "happily-ever-after" ending, it leaves Simon in a place of satisfying contentment. Highly recommended.

Absolutely heart-breaking, yet life-affirming at the same time. George is having to watch his wife slowly disintegrate from dementia while fulfilling a promise to never leave her side. Even Sally knows she is becoming a burden to George, but he shows his unbending love for her with each interaction. Joe Swenson shows the care and tenderness George has even as it must break his spirit to watch Sally repeat herself, mistake things and ultimately, may even forget him. This play will, unlike Sally's grasp on the world, be unforgettable.

I hope (huh, pun not intended, but there we go) to have a friend like Cal who doesn't give up on Em, no matter what. Aly Kantor's tale of one friend providing hope to the other is quietly inspiring. Providing little slivers on light in Em's darkness, Cal slowly guides her to, if not fully embracing the light, at least allowing for the possibility of it. This foundation comes across as more real to the audience. A wonderful play.