Recommended by John Busser

I would love to see this kind of experimental play staged, as it really needs to work not only between the two actors selling it, but between them and the audience who are asked to buy what they're selling. To me, the great challenge of a play like this is all in the delivery. One word can tell us so much, BUT context, nuance, variety and connection are where the story is built, using just these one word building blocks. By the time the monologue happens, we already have a foundation to place it on. Really interesting stuff.

When you're the type of people that even the dead want to punish, you must be some truly despicable people. Luckily Mellisa Milich is on the case and she gives them a proper comeuppance, courtesy of dear old dead Charlie. There's a lot of laughs in here (and some suffering) but let's face it, we ALL enjoy watching the crumbs of the world get theirs. This dark comic (almost Twilight Zone-esque) tale promises some great roles for older actors and a physical workout for a third.

In this world the truth hurts, if I'm being honest. And Rachel Feeny-Williams proves this without a doubt in this delightfully twisted take on corporate interviews. One character cannot help but tell the truth as she reveals all sorts of company misogyny and sexist practices instigated, of course, by those in power who will never be forced to tell it like it really is. That's what middle management is for. The satire is laid on thick, but appropriately so. Great roles for 2 women who most likely will forget just how good they are, if the men have their way.

While there's not a proper solution to Lily's relationship woes, there IS satisfaction of sorts as we see a strong bond between Lily and her best friend Sophia. Some boundaries are hard to traverse, and may never be, but when you've got a friend who will stand by you regardless, you've already gained ground elsewhere. Paul Donnelly has given us 2 characters that would be a real treat for the actresses lucky enough to get to portray them.

Coping with loss is always a solitary endeavor. We grieve in our own way, and no two people process it the same. So no one can really understand what we go through. But maybe it isn't so solitary. There's another who knows what you are enduring. In Jacquie Floyd's heart-breaking tale, a deceased cat named Hathaway tries to comfort his "mom", Erin. This piece speaks so knowingly of how that loss affects those left behind, you know Jacquie has lived through this. If only we all could be so comforted. A must-see play for anyone who's suffered a loved-one's demise.

I highly recommend this short piece by Morey Norkin if for no other reason than he brought an artificial life form to vivid life for me in less than 20 pages. Sometimes you merely get through dialogue you read but it doesn't affect you either way. Here, I was amused by where I THOUGHT the conversation was going and then fascinated by where it went. The characters were both charming and perfectly complimented the other in a flirty-yet-innocent exchange that I wanted to keep going on longer. I think a followup is in order here. A return flight, perhaps?

An absolutely hysterical premise that I would bet at least 75% of your audience would relate to. Matthew Weaver creates a fast, furious and funny as all hell romantic interlude gone awry when an unexpected visitor starts its own threesome (or would that be an octo-some). I loved the turning of male and female role expectations on it's ear. We're all equally scared, so it's fair game to expect both of them to try handling it. And here is the best part. What an opportunity for physical comedy! This would be great to see staged.

Danial Prillaman has taken a hot-button issue (A.I.'s place in artistic culture) and given it a laugh out loud spin. "Math came so easy for me." "I've set off so many metal detectors!" "I can toast bread in my mouth!" I laughed at each one of these. We also get a much-needed ethical lesson that is so in the moment for what's going on. A very funny yet smart look at what's in store for us. I hope we can handle it in a fun a manner as Prillaman does.

Whoa, that turned dark quickly. There's a vaguely sadistic aspect to a lot of games, and safety is just a concept and not a surety. Jacquie Floyd's short piece takes what should be an innocuous game and lends it an air of true menace. From trust issues between the seen participants, to the unsettling UNSEEN voice, there's very little play going on here. Then things take a macabre turn. This is the kind of play that can set your skin crawling with it's execution. Creepy and highly effective.

Arianna Rose, my hat's off to you. As someone who appreciates wordplay, I was totally taken by this piece. Sophisticated, and I think a lot harder to bring off that it seems reading it. With reading you are able to take a moment to ponder the context, see the spelling (important in a few passages here to the characters, not just the reader), and take your time to figure out where they're going. Onstage, the actors will have to really put effort to make sure this works. Not because it's confusing, but because it is devilishly clever. Very cool!