Recommended by Neil Radtke

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    Brick House takes a story everyone knows and flips it in an inventive, hilarious way. The dialogue is playful, the satire feels current without being heavy-handed, and each twist raises the stakes until a genuinely satisfying ending. It's a smart, crowd-pleasing short that would be a lot of fun to see onstage.

    Brick House takes a story everyone knows and flips it in an inventive, hilarious way. The dialogue is playful, the satire feels current without being heavy-handed, and each twist raises the stakes until a genuinely satisfying ending. It's a smart, crowd-pleasing short that would be a lot of fun to see onstage.

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    Die Off is one of those plays that sneaks up on you. What starts as an engaging story about four funeral singers slowly grows into something much bigger, exploring grief, friendship, work, and what it means to keep moving forward when the world feels like it's falling apart. Smart, funny, and genuinely moving.

    Die Off is one of those plays that sneaks up on you. What starts as an engaging story about four funeral singers slowly grows into something much bigger, exploring grief, friendship, work, and what it means to keep moving forward when the world feels like it's falling apart. Smart, funny, and genuinely moving.

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    Project Godmother is a tense and thought-provoking sci-fi piece that does a great job of dropping us into a high-stakes situation. The conflict between Quinn and Cory feels grounded and human, turning what could have been a simple science-fiction dilemma into a compelling debate about duty, morality, and what it means to value a life. The ending is abrupt but memorable, leaving the audience with plenty to think about and making the short runtime feel surprisingly impactful.

    Project Godmother is a tense and thought-provoking sci-fi piece that does a great job of dropping us into a high-stakes situation. The conflict between Quinn and Cory feels grounded and human, turning what could have been a simple science-fiction dilemma into a compelling debate about duty, morality, and what it means to value a life. The ending is abrupt but memorable, leaving the audience with plenty to think about and making the short runtime feel surprisingly impactful.

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    Plus One is a sweet, funny play that reminds us love and companionship don’t have an expiration date. Irv and Sheila have the kind of chemistry that makes their conversations feel effortless, with plenty of laughs mixed into some genuinely touching moments. By the end, I found myself rooting for both of them and smiling at the hopeful note the play leaves us on.

    Plus One is a sweet, funny play that reminds us love and companionship don’t have an expiration date. Irv and Sheila have the kind of chemistry that makes their conversations feel effortless, with plenty of laughs mixed into some genuinely touching moments. By the end, I found myself rooting for both of them and smiling at the hopeful note the play leaves us on.

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    Helping Hand by John Busser offers some really strong opportunities from an acting standpoint, especially in the central exchange between the Senator and the Visitor. The roles give actors room to explore both emotional vulnerability and controlled intensity, all within a contained, high-stakes setting. The Visitor, in particular, is a unique challenge in presence and delivery, while the Senator carries a clear and satisfying arc.

    Helping Hand by John Busser offers some really strong opportunities from an acting standpoint, especially in the central exchange between the Senator and the Visitor. The roles give actors room to explore both emotional vulnerability and controlled intensity, all within a contained, high-stakes setting. The Visitor, in particular, is a unique challenge in presence and delivery, while the Senator carries a clear and satisfying arc.

  • Neil Radtke: A GOOD DAY by Steven G. Martin
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    Steven G. Martin’s A Good Day is a quietly powerful 10-minute play built around a beautifully theatrical concept. The emotional core, particularly through Emily, lands in a way that feels honest and resonant. It’s a piece that trusts stillness and reflection, giving actors meaningful moments to explore. A thoughtful and moving addition to any short play festival.

    Steven G. Martin’s A Good Day is a quietly powerful 10-minute play built around a beautifully theatrical concept. The emotional core, particularly through Emily, lands in a way that feels honest and resonant. It’s a piece that trusts stillness and reflection, giving actors meaningful moments to explore. A thoughtful and moving addition to any short play festival.

    ”
  • Neil Radtke: The Last Time You Thought About Me by Philip Middleton Williams
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    This is one of those pieces where the ending does all the damage. As a writer, it hits that nerve about what gets left behind when you choose the “safe” version of a story. The setup feels casual, almost observational, and then it flips on you. Really effective!

    This is one of those pieces where the ending does all the damage. As a writer, it hits that nerve about what gets left behind when you choose the “safe” version of a story. The setup feels casual, almost observational, and then it flips on you. Really effective!

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  • Neil Radtke: Woe! Misery! Children's Theater! by Lisa Dellagiarino Feriend
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    Lisa Dellagiarino Feriend’s Woe! Misery! Children’s Theater! is a funny, very real look at actors stuck on a tour that’s not exactly what they imagined, with humor that feels natural and characters that actually sound like people. Suzanne brings a lot of unexpected heart, and the whole thing is just easy to enjoy while still hitting a little deeper than you expect.

    Lisa Dellagiarino Feriend’s Woe! Misery! Children’s Theater! is a funny, very real look at actors stuck on a tour that’s not exactly what they imagined, with humor that feels natural and characters that actually sound like people. Suzanne brings a lot of unexpected heart, and the whole thing is just easy to enjoy while still hitting a little deeper than you expect.

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  • Neil Radtke: MORE THAN A KISS, CAM [A 1-MINUTE PLAY] by Steven G. Martin
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    I had the chance to play Cam in this, and it’s a really fun piece to perform. Steve Martin keeps the dialogue super natural, so the shift at the end just kind of sneaks up on you in the best way. What starts as a pretty familiar moment turns into something more personal without overdoing it. Simple, clean, and it lands.

    I had the chance to play Cam in this, and it’s a really fun piece to perform. Steve Martin keeps the dialogue super natural, so the shift at the end just kind of sneaks up on you in the best way. What starts as a pretty familiar moment turns into something more personal without overdoing it. Simple, clean, and it lands.

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  • Neil Radtke: The Brain Trust by Brent Alles
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    This is one of those plays that sneaks up on you. Brent Alles lets it start off feeling like a low-key conversation and slowly reveals something much bigger underneath. The humor keeps it grounded, and the characters all feel distinct and real. By the end, it hits in a quiet but meaningful way.

    This is one of those plays that sneaks up on you. Brent Alles lets it start off feeling like a low-key conversation and slowly reveals something much bigger underneath. The humor keeps it grounded, and the characters all feel distinct and real. By the end, it hits in a quiet but meaningful way.

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