Recommended by Jim Lunsford

As a writer, I was inspired by Sickles' imagination and the inherent theatricality in “Tesseract.” This is a play that will excite and challenge every creative member of any artistic team tasked with bringing it to brilliant life. As a father and a citizen of our planet in the current age, I was terrified by the horrifying plausibility of the dystopian world the playwright has created. Like the classics in this genre, sci-fi elements are skillfully tethered to undeniable truths. And the terrifyingly fragile lines between who we are and who we might become are blurred beyond recognition.

What is most lovely about this sharply funny and acutely human ensemble piece is that it allows us to safely linger in that increasingly illusive (and often volatile) area that exists between us and them. A defining issue of our time, reproductive rights, offers fertile ground for Lynn to explore how unearthing profound disagreements within our closest personal relationships can sometimes make room for a deeper understanding to take root. In Lynn’s play, a group of uniquely passionate women are given a seat at the table. Literally. And, in the end, we are all the better for it.

The playwrights here have rendered a captivating and moving little play. Full of heart, full of humor, and most notably – as the title aptly suggests – full of hope. Reminiscent of Christopher Durang, in the best possible way, the absurdity belies a very somber, and ultimately a very touching reality. A great piece for actors and for audiences.

In WE ARE THE BROKEN PEOPLE, Swenson uses deep, rich, and penetrating hues to create a bold, rhythmic, and unapologetic piece of theatre. The blend of poetry and physicality is intoxicating. For those of us who have lived through so many seemingly inexplicable acts of violence, this play will certainly hit a nerve. The playwright here uses the art of performance to peel back some of the very complex layers around this topic, and through detailed characterizations, allows the audience an opportunity to understand. Even just a little. A play bravely reminiscent of works by the amazing Jean-Claude van Itallie.

I love nothing more than reading a play that makes me gasp, laugh, cheer, and sob. “Hey” is one of those plays. Playwright Vince Gatton takes the psychological horror of being a confused and closeted teenager in Kentucky in the early 80s and puts it all out there - on full and glorious display. The result is both heartbreaking and hopeful - oh, and funny! “Hey” also deftly exposes the sometimes-excruciating impact that unrestrained commercialism can have on our youth. There is most defiantly a lot to unpack in this 10-minute gem that does absolutely everything that theatre does best.

In so many respects this is the perfect play for our uniquely complicated time. The very specific relationship between these two people, and their personal struggles, reflects so many of the transformative issues we are reckoning with as a society. Complex intersectionalities, evolving comfort zones, and the desire for recognition and respect. The playwright delivers a highly relatable, humorous, and beautifully drawn example of what love sometimes requires in the modern age.

The author here, masterfully leaves much for the actors to unearth. Although the banter between these two sisters seems light, there is a palpable sense of desperation simmering just beneath the surface. The mystery of what exactly may be driving one of them to go out of her way to help a wild feline is never overtly disclosed. However, in the midst of trying to snare the cat and run off a hungry animal that may be stalking it, the two women make a life-changing decision that seems like it just may save them from whatever has them both trapped.