Recommended by Sean Abley

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    A concise exploration of a parent's shame about their child. Refreshingly free of straight guy masculinity panic, the piece also avoids a pat ending, instead leaving the central female character (the mother) with a decision to make, and the audience with a weighty, current issue to discuss in the parking lot.

    A concise exploration of a parent's shame about their child. Refreshingly free of straight guy masculinity panic, the piece also avoids a pat ending, instead leaving the central female character (the mother) with a decision to make, and the audience with a weighty, current issue to discuss in the parking lot.

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    As experienced by this audience member at a reading, this play is funny, sad, and sexy, and ultimately a nuanced exploration of grief, motherhood and chosen family. The writing is both witty and biting, and with three juicy roles for women this play would be a great choice for professional, academic and community theaters.

    As experienced by this audience member at a reading, this play is funny, sad, and sexy, and ultimately a nuanced exploration of grief, motherhood and chosen family. The writing is both witty and biting, and with three juicy roles for women this play would be a great choice for professional, academic and community theaters.

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    Possibly one of the most bizarre short plays I've had the pleasure to experience. In the dirt is a gem of a play, sweet at its core (despite the subject matter of grave digging and robbing) and unapologetically absurdist. This would be a great addition to a one-act festival or a double bill of edgy, boundary-pushing theater.

    Possibly one of the most bizarre short plays I've had the pleasure to experience. In the dirt is a gem of a play, sweet at its core (despite the subject matter of grave digging and robbing) and unapologetically absurdist. This would be a great addition to a one-act festival or a double bill of edgy, boundary-pushing theater.

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    Quite honestly, this play is adorable, and perfect for young audiences. The set up is simple yet unique, and the bilingual aspect is both important to the play (many viewers will learn something watching a performance) and not (everything that makes a well-written play well written is here, regardless of the languages). I would definitely program this in a festival of one-acts for young audiences.

    Quite honestly, this play is adorable, and perfect for young audiences. The set up is simple yet unique, and the bilingual aspect is both important to the play (many viewers will learn something watching a performance) and not (everything that makes a well-written play well written is here, regardless of the languages). I would definitely program this in a festival of one-acts for young audiences.

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    Modern day absurdism is a tough sell, but Erin Lane does so superbly with UPSTAIRS, a funny, biting, and ultimately devastating story of class, race and gender. To describe an absurdist play is a bit of a fool's errand, but the setting is in what appears to be a dystopian future, where the poor and/or non-white (played by a puppet) toil in basements while the rich throw a constant party upstairs (only heard in the script as written). The downstairs citizens yearn for upstairs access, but what lies in wait among the rich is terrifying and deadly.

    Modern day absurdism is a tough sell, but Erin Lane does so superbly with UPSTAIRS, a funny, biting, and ultimately devastating story of class, race and gender. To describe an absurdist play is a bit of a fool's errand, but the setting is in what appears to be a dystopian future, where the poor and/or non-white (played by a puppet) toil in basements while the rich throw a constant party upstairs (only heard in the script as written). The downstairs citizens yearn for upstairs access, but what lies in wait among the rich is terrifying and deadly.

  • Sean Abley: Ondine's Curse by Mora V. Harris
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    Saw this in a reading at the Kennedy Center American College Theatre Festival (KCACTF, 2017). Nice modern twist on the fairy tale myth, with strong roles for women. Definitely a strong choice for an evening of 10-minute plays or as part of a festival.

    Saw this in a reading at the Kennedy Center American College Theatre Festival (KCACTF, 2017). Nice modern twist on the fairy tale myth, with strong roles for women. Definitely a strong choice for an evening of 10-minute plays or as part of a festival.

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  • Sean Abley: She Made Space by Meredith Dayna Cope-Levy
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    I've seen three performances of this play with two different actors (one being the playwright), and each time I'm amazed by the nuance and insight of the piece. The rare one-woman show that can be done by someone other than the original writer/performer and still resonate with the audience.

    I've seen three performances of this play with two different actors (one being the playwright), and each time I'm amazed by the nuance and insight of the piece. The rare one-woman show that can be done by someone other than the original writer/performer and still resonate with the audience.

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  • Sean Abley: Coupler by Meredith Dayna Cope-Levy
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    This is a charming, sweet, romantic comedy with a dash of magic thrown in. Well written dialogue, engaging plot, and great roles for both men and women of varying ages. Plus the bonus of being family friendly which means its appropriate for almost any theater company.

    This is a charming, sweet, romantic comedy with a dash of magic thrown in. Well written dialogue, engaging plot, and great roles for both men and women of varying ages. Plus the bonus of being family friendly which means its appropriate for almost any theater company.

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  • Sean Abley: COLD by Ben Jolivet
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    This is a compelling script about an impossible situation, with three great roles for women. I've seen it performed twice with two different casts, and each time I was completely engrossed. Definitely something to consider for both professional and academic productions.

    This is a compelling script about an impossible situation, with three great roles for women. I've seen it performed twice with two different casts, and each time I was completely engrossed. Definitely something to consider for both professional and academic productions.

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