Recommended by John Mabey

My favorite monologues have multiple layers of meaning that make me want to read them again. And in CREATURES OF THE MOON by Emma Goldman-Sherman that's especially true. The subtext here is strong as two sisters meet about caring for their mother but really reveal themselves, exploring their waxing and waning relationship with each other. And the addition of sweets on a table adds physical action that bookends a change in the speaking character so clearly and honestly.

Sometimes the best comedy comes during unexpected moments and tragic circumstances. In FLIGHT FRIGHT, Marj O'Neill-Butler delivers the lighter side of a tense situation between three older friends. Their rapport and chemistry is so clear as they challenge and confront each other in the best ways and for the best reasons. And the great physical comedy adds another layer to the already poignant themes.

I'm a huge fan of comedy and horror, especially that amazing mix in-between. And in GREAT HOLLOW by Jillian Blevins, there's even more to uncover, with each layer both entertaining and surprising. The writing here is crisp, giving a strong rhythm to the words, and the ways in which characters answer each other both directly and indirectly is masterfully done. The satisfying ending also leaves me with ideas about what comes next, and I'm enjoying the characters long after the last page.

Morey Norkin displays such a wonderful gift of comedy in CAN YOU HEAR ME NOW? The two scientists, Bell and Watson, are incredibly funny in their pursuit for technological innovation with the simplest of devices. And as the play progresses, we see not only parallels to modern day dilemmas but insights into their relationship as well. This is a piece where the physical comedy is a great match with the dialogue, and would be a gift to productions looking for big laughs.

Grief can be incredibly complex, especially at a funeral. And in THE PITY MOURNER by Paul Donnelly, we meet two characters who navigate both place and emotion with unexpected heart and hope. The pacing of this beautiful piece makes each tender moment incredibly special, and the reveals along the way are well earned. This comedy is grounded in so much genuine emotion and would be exciting to watch unfold on stage.

In the comedy, BOX OFFICE, by Paul Smith, we meet the character of Jack who clearly has big dreams for performing on stage but is selling tickets for the productions of others. His love of theatre shines as he's on the phone with a patron, as does his patience and frustration. Having worked for years in a UK theatre box office myself, I understand these types of conversations with the public while also enjoying the experience in an ironic way. Paul Smith's skills for comedy and dialogue shine bright and this is a piece wonderful for any gender as well.

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.