Recommended by John Busser

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)

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.