Recommended by John Mabey

It takes such skill and empathy to explore the bigotry, intolerance, and xenophobia of a different era. And in TRADE WITH KLAN: A PLAY ABOUT CHOICES, Donald E. Baker succeeds on an even higher level as he draws parallels between that era and today. The writing is so clear and sharp as characters struggle both externally and internally over shared and divergent identities. Each character wrestles with these hard truths about themselves and society at large, making this an incredible play that not only entertains but enlightens as well.

MARGOT CHOSE ANNE by Claudia Haas is a beautifully written and exquisitely poignant re-imagining of the life of Margot Frank. Haas's in-depth historical understanding of the family and time period is immediately evident, making her emotional insights even stronger. The inspired storytelling about the dynamics between Margot and her sister Anne pay tribute to this lesser known sister while also honoring the broader legacy of Anne herself. And the staging by Haas paints such a dynamic picture of the exciting ways to bring this untold re-imagining to life.

Living in a world where the virtual can feel more real than the actual, there's so many stories to tell. And in THE FAKE by Brian Cern, we're treated to high comedy that asks how far is really too far. The dynamic between the roommates provides many laughs as they play at opposite extremes while retaining a grounded sense of their longtime relationship, too. And as both try to provoke the other, stakes are heightened with a physicality that's such a joy to watch unfold.

THE LAST SEAT ON THE TRAIN by Hank Kimmel explores our place in the world in relation to others through one remaining seat on a train. Each of the characters provide a unique perspective on the internal monologues that happen everyday about self in relation to others. Just as in life, some may experience a history of oppression, others a deep empathy for those who have, and some are just enjoying the ride. Hank writes with captivating rhythms for his characters and this piece would be exciting for directors and performers to play and discover.

The pacing and slow reveals that build throughout RETURN TO MOTHER'S NEST make this play deeply engaging and thrilling. Samantha Marchant uses dialogue with a sharpness that truly cuts deep between mother and daughter. There's an amazing sense of urgency and dread in this play, building toward an ending that would be amazing to watch and hear on stage with both voice and sound effects. A thriller indeed!

Big themes of creation and the afterlife are explored here with tender moments of revelation. in TIMES OUT/TIME TO BEGIN AGAIN, John Medlin presents two mysterious characters and, with each line, they become less a mystery to each other and themselves. It's an expansive and fantastical setting that would be a wonderful playground for set designers, too.

Celestial figures can be explored in many ways, but my favorite is when they're confronted in dynamic and unexpected ways. In GLORY OBSCURED by Maximillian Gill, these two fantastical characters are incredibly relatable and layered. I was drawn-in immediately by the setting and tone, and the metaphorical dialogue throughout kept me guessing and hoping that it wouldn't end. A superb standalone piece or scene that could launch a longer play, too.

There is something timeless with plays about people struggling to find a connection. In this case it's during a pandemic, but the dialogue between these characters is so relatable beyond a moment in history. In TO THE ZOOM AND BACK, Cindi Sansone-Braff has such insight and empathy for these different characters and finds the threads that both brings them together as well as bringing the audience inside their world.

There's so much poignant emotion and beautiful story revealed in this 10-minute play that it feels like I've been treated to a much longer piece. In A TOAST by Debra Cole, the aftermath of death and loss is explored through what happens afterward, and the mix of questions that accompany the ways in which we move on or don't. This play is a gift to actors and directors for moments to unpack and explore.

The combination of horror and comedy requires a skillful hand, and Evan Baughfman certainly delivers in THE NOT-SO-HAUNTED AUDITORIUM. This is a piece that's written for teens but would be enjoyed by audiences of all ages. As the play progresses, the nefarious tension rises and makes it great spooky fun. I can also see high schools really enjoying this play on stage with the chance to make some lines site-specific, too.