Recommended by John Mabey

There are so many exciting dynamics to explore in this play and even more below the surface, making IN LIKE COMPANY by John Busser a full Hitchcockian thriller all within 10 minutes. There's 2 great roles here with equal layers of subtext and chills, never knowing where the power truly lies until the dramatic ending. Each beat of this play is carefully crafted and the world Busser creates is dark but inviting - it ignites my imagination about what happens next after the curtain falls.

I’ve been a huge fan of Jacquelyn Floyd-Priskorn’s skills when it comes to comedy. And her play MOTHER absolutely delivers. Right from the start you’ll laugh and there’s so many great lines all within 2 minutes.

Finding your way back is difficult when you don’t realize you’re lost. And in NOW BOARDING by Debra A. Cole, we meet characters who’ve lost their way under different circumstances. Through empathy, listening, and understanding, they each rediscover a way forward and even a new path. This comes from a playwright who absolutely understands the same and writes with both insight and clarity.

Something that I love about TYA pieces are the way they entertain while also exploring character for all ages. And in BIG TOP BARRY, we meet several characters who have a lot to overcome and find ways to discover what makes them truly special. With a joyful narrative throughout, there's plenty to root for while also enjoying all the physical hijinks on stage. Brent Alles has a unique way of giving each character an arc while making the play so cohesive and enjoyable overall. Bravo!

As a novice birder myself, I was immediately drawn to this play. And in the expert hands of Abraham Johnson, MIGRATION SEASON uses metaphor and bird migration to tell a powerful story about the journey of grief through friendship. This is also a very funny play with incredible roles for young performers. And the innovative staging offers so many opportunities for YA theatre too.

Revelations come to us in many ways, and the most interesting methods are the unexpected. In CARDINAL VISITATION, Donald Baker delivers an entire world of a story in 3 revelatory minutes. The characters are instantly real and their relationship complex. I'd also be excited to read more about these characters battling and connecting as well with the theme of cardinals at the core.

Surprises definitely abound in BILLIE'S LEAP DAY BIRTHDAY by Bruce Karp, keeping us guessing at every turn. The high comedy of a man in his 30s celebrating his 8th technical birthday leads into a more layered and poignant story about emotional growth and responsibility toward those who raised you. Karp has a sharp sense of finding the underlying emotion in any comedy and it certainly shines here.

Plays that are full of subtext and metaphor stay with me long after the last line. And in NOT LIKE THIS by Emmet L.F. Cameron, we meet 2 characters who are encountering a very changed world but who are much more preoccupied with their changing relationship. Questions of the trouble with actually getting what you want and struggles of the fantasy vs the reality in relationships thrive in this sci-fi dark comedy that incorporates open casting to make every production unique.

I really enjoy plays with high comedy and deep emotional honesty mixed together. And in LADY LAZARUS by Haley Basil, each character is revealed in their wonderful flaws and complexities. The examination here of sexuality and gender is sharp and funny with such a distinct point of view. And the monologues within are great character pieces even on their own.

Family dynamics are layered and complicated over time, even in the best of relationships. And in (NOT) LETTING GO by Paul Donnelly, we see the relationship between two sisters unravel as they differ in approaches to parenting. Donnelly also mirrors their own relationship to each other with their parenting styles, demonstrating that any family fight has deeper significance beneath the surface. This piece would also make a great scene in a longer play exploring these engaging characters.