Recommended by John Mabey

MOSQUITO COMMISSION by Charles Scott Jones transports you to a seashore town with characters that are incredibly vivid and distinct. The act of preparing dinner propels the story forward in dynamic ways, with writing that brings so much emotional truth to the hopes and fears of each character. And the ending captures a perfect moment, too, where a physical action conveys more than words ever could.

TINY, SECRET NOTES has such a big heart. Marj O'Neill-Butler writes loss with such beautiful reflection and comedy, giving mother and daughter so much to explore. And after the father's death, the notes take on a new meaning, where these tokens of remembrance and love are woven into the story in such a wonderful and unexpected way. The intersections of grief and healing are at the core of this humorous play, and it would be a delight to produce as well.

The structure and poetry of ONE IS THE ROAD is both beautiful and haunting. Mark Loewenstern has written two characters so vividly and provides a world of experiences in the Driver's monologue. This script can be cast and directed in many different ways with age and gender that makes it even more dynamic and exciting to produce.

Such a powerful piece about the relationship between fathers and sons, as well as the journeys that take us away and then back to the beginning. In FINAL DISPATCH, Robert Weibezahl crafts such a detailed and intimate character who asks questions after his father's funeral at the same time as he arrives at some answers. And it's that process of insight through reflections on war and identity that make this monologue unique and special.

This delicate and powerful play is every reason why Ken Preuss continues to be produced so often. After tragedy, we often need time for reflection on our pain before hope can emerge. And in HOPE SINGS, NOCTURNAL, we are treated to three deftly written characters who create a world of possibilities for moving forward. A poignant comedy with so much heart.

Some memories fit inside diaries and notebooks, and others are bridged to places and people. In LIFE AFTER WONDERFUL, Vivian Lermond connects a mother, daughter, and grandfather to a camping site that reveals cherished memories as well as forgotten truths. And at the core is a family making sense of change and uncertainty with a genuine commitment to each other.

CLASP is a superbly structured play and such an amazing time capsule that will have relevance and importance into the future. Toby Malone captures the nuance of the encounter incredibly well and provides so much for actors to discover, too. And the ending is both gratifying and unique, making this a wonderful standalone piece as well as providing enough to imagine how it continues once the play ends.

Debbie Lamedman writes with so much emotional honesty and poignant dialogue in INTO THE DARK. Starting with a frighteningly familiar encounter as a woman walks at night, the story expands to reveal a relationship with just as many dark turns and revelations. This play makes such a compelling drama for staged, outdoor, or podcast productions from a playwright who is masterful in crafting complete stories in ten minutes.

You will love I HATE MY AFTERLIFE. Dana Hall writes with such heart and humor as both ghosts and mortals have a lot to learn, especially from each other. The stage directions are also entertaining, detailing an exciting world to produce where props are used to great comedic effect. And the dialogue is incredibly rich, poignant, and funny, giving such a fresh interpretation of ghosts and hauntings that is a real scream.

BOY'S STATE is a powerful monologue about connection, choices, and regret. It's the moments we replay in our minds about what might have happened 'if' as well as who we might have become. Scott Sickles writes with so much honesty and vulnerability about sexuality and loneliness, making this a truly special piece.