Recommended by Ian Donley

This play doesn't hold back in expressing its humanity. The story of two middle-aged couples learning how to re-discover themselves has been played out before. But Marcia Eppich-Harris has been able to write it out in a brutally honest fashion that serves as a wake-up call to those who feel like they've one too many a sacrifice. There are tons of great opportunities for actors who get to play these characters, each with their own point-of-view, which makes them empathetic to the audience.

This play is both whimsical and unnerving, balancing each other out through the very real horror that comes with letting a stranger come into one's life and turning it upside down. This play has a very strong resemblance to the works of Darren Aronofsky, which would be interesting to see presented on stage.

This play is the nuttiest examination of morality I have ever read (and I mean that in the best way possible). Samantha Oty has managed to push the boundaries of realism without going into a cliche. Oty writes Therese with so much nuance that I couldn't decide whether to hate her or root for her. The brutality is infused masterfully with the reality of the play. It would be interesting to see a full-fledged production of it.

This dark comedy balances shock value and reality (like every good comedian) and turns itself into a crowd pleaser. The plot has enough twists and turns to keep audiences invested, and the dynamics of the characters are nuanced that you won't guess how they turn out in the end.

This play is certainly timely given our current state of education. Rather than depressing the audience, Ruyle provides us a story that gives us the optimism needed in raising the next generation by asking what it means to be a true educator in today's society.

This monologue reads as a raw stream-of-consciousness that finds its way to a confident realization, which is something many people will relate to.

John Minigan has managed to add complexity to an already sensitive subject. The emotional current of the play is tangible, which will keep any parent thinking about this play once the curtain goes down.

Emmet L.F. Cameron's "Sweet Home" is awkwardly funny but carries a vulnerability that is reflective of one's need for companionship. This play floats effortlessly, allowing the characters to go through their respective journeys without holding back.

Christian St. Croix is a writer of substance, incorporating a more cinematic atmosphere to touch upon a very real and grounded-in-reality discussion of race. Our two central characters, P.J. and Gina, balance one another seamlessly, and the result is a very inventive way of storytelling (having the actors playing them play multiple roles of different genders and even skin color). This is a play that is meant to be performed on stage.

I kept laughing and screaming "WTF" as this play goes from a cute date night to a Darren Aronofsky-like nightmare. Prillaman fearlessly doesn't hold back but still makes hilarious storytelling decisions with precision.