Recommended by John Mabey

The ways a family will cope with grief before, during, and after someone's death are complex and varied. And in HOSPICE: A LOVE STORY, Elizabeth Coplan explores the relationship between 2 sisters in the day after their mother has died, where memory and grief collide. Handled so expertly with empathy and insight, this poignant comedy flows with dialogue that is both incredibly natural and poetic. And the result is a play that entertains and heals all at once.

Some plays defy categorization and become something new upon a second read and beyond. In 'hometown,' Miranda Jonte has crafted such an layered and visceral piece of theatre that feels both experimental and so familiar at the same time. A play about so much including romantic love, self-love, as well as love of place. It would be an absolute treat to watch different iterations of this directed for the stage.

There's power in sharing an experience, and it can be transformative even if things aren't exactly what they seem. In this monologue from Cole Hunter Dzubak, one person's daily routine as a type 1 Diabetic takes its toll, and meeting a stranger ends-up affecting more than their outlook. Well-done, and it's wonderful to see more stories around Type 1 as well.

There's a sense of both comfort and danger in depictions of family gatherings, and in OYSTER STUFFING by Paul Donnelly, we're treated to even more. The revelations are well paced and earned in this one act that follows a fractured family with divisions that aren't always clear to the outside world. Paul's dialogue is sharp and nuanced, especially between the two sisters at the start of the play, combining moments of comedy with poignant drama. A true delight for performers to bring alive on stage.

There's a wonderful playfulness to Steven G. Martin's work and this monologue physicalizes beautifully the art of 'showing' as well as 'telling.' So often we reveal ourselves in what we say, but what we actually do (and in this case, how we respond) is just as telling.

The imagery of water, rowboats, desire, and ambition all combine in ELLIDA, a powerful monologue from Nora Louise Syran. There's an romanticism throughout that compliments so well her drive to succeed in an unforgiving environment. A wonderful blend of active, forward-moving activity with emotional reflection on what sailing truly means in this moment.

The balance between nature and humanity is often precarious. And with the personification of trees in TREE HUGS, we discover a relationship with nature that seems to transcend time itself with comedic and poignant implications for everyone involved. Well done!

Dusty cliffs and dinosaur bones make for an exciting and poignant play, especially in the hands of Claudia Haas. In ALMOST MARY, Haas introduces us to real-life fossil hunter Mary Anning. A pioneering palaeontologist, we meet her here as a child and explore the ways in which an excavation of her own life influences her later career. With the incorporation of song and a chorus, this play offers so many amazingly creative opportunities for production as well.

I knew I had to read this play as soon as I read the description. Christine Foster writes characters with an incredible amount of life and realism, especially when the story itself is mysterious and enigmatic. In COME FIND ME, we meet two women who are complex in their attitudes and relationship, each wanting something from the other that is slowly revealed in exciting and thrilling ways. With the addition of dialogue that sometimes reads like poetry, this is a play sure to captivate from start to finish.

In THE RULE OF THREE, Debbie Lamedman begins with a very funny and relatable premise that slowly takes a deliciously darker but comedic turn. The dialogue is fast and sharp with staging opportunities that would be a delight for directors and production teams. Great not just for Halloween but any time of year when a little witchy wisdom is in order.