Recommended by Matthew Weaver

A powerful reflection on our latest American tragedy. Giffin Speckman speaks for all of us as The American expresses uneasiness, sadness, rage and grief.
An essential addition to any evening dedicated to COVID-19 and its impacts upon our society and lives lost.
Also, Giffin Speckman's title selection is somber, sobering and excellent. It really takes your breath away, as does this play, as do the circumstances that sadly inspired and necessitated a play such as this.

Shadow speaks the things we are all thinking, asks the questions we all are asking (or should be). I fiercely admire O'Grady's keen ability to look at things from the perspective of the most soulful and most vulnerable beings on the planet, the animals (and the occasional refrigerator), and deliver fully words on their behalf. Such advocacy is enviable and admirable, and she brings this humane, gentle, giving approach to every single word she sets on page and on the stage.

If you're not already a Carbajal fan, I highly recommend his found monologues as an introduction, both to his work and a way to expand your mind about the things playwrights and the words they write can do. The way they can speak to universal truths, the way they can summarize the human condition, the way that they can -- yes -- play.
Carbajal is a master of this, as well as an inspiration to his fellow writers. He's knocking on our door after dinner, asking if we can come out and play, and to bring our A games.

Oh, what a fun play. Cathro offers for some nice revelations, and better yet, bonding between a mother and her son. This feels like the sort of play parents and their teenagers would have a great time at together, with Cathro offering a wink and truth instead of a message and a lesson. A great opening for some genuine conversation and bonding as actual people instead of parents and children. And I think performers would give their eyeteeth to have a chance at these parts. Would love to see Cathro expand these characters and let them play even more.

A love story between twin brothers. Williams captures time and the feel of childhood giving away to the complications of adulthood, and the way a family can still be together even when torn apart.
Immensely moving. I particularly liked how both Deb and Hal responded to Pete's coming out. Good parents, flawed but human. A joy to behold.
This is a lovely drama that's gentle and unflinching. As always, Williams is an example to we the audience about giving the whole of our hearts, on both the page and the stage. May we all be brave enough to do likewise.

Life-affirming, laden with conflict in an infinitely clever way.
But then, I am completely biased in favor of Canfield and any and all of her writing. Not entirely sure who this other obscure fellow is, but he sounds very handsome!
If you've never had the experience of suddenly finding yourself a character in a 10-minute play written by the author of your favorite 10-minute play OF ALL TIME, I highly recommend it.
Terrible my Aunt Fanny.

I just watched a (very good) social distancing reading of this through the Laboratory Theater of Florida. Awww! Sickles offers a razor-sharp romantic screwball romantic comedy about a lovestruck bunch of oddballs who keep letting their minds and mouths get in the way of what their hearts want. We in the audience can only wince knowingly, nod, laugh, try again tomorrow and hope for as perfect an ending. May our creators be as quick-witted and warm-hearted.
It was a very pleasant way to spend an evening, but then, Sickles, his words, and his characters are always good company.

**SIIIIIIIIIIIIIGH**
Oh, dear Reader, how I envy you your discovery of Tristen Canfield as a playwright. Soon, you, too, will know the joy and delight comes upon the arrival of a new play written by her, and VIDA AND MORTY is no exception. Morty says it's time, but Vida sure as heck isn't going to take some strange man's word on that.
Canfield's characteristic philosophical musings and quick wit are razor-sharp here, as Vida and Morty go from a classic farcical set-up into something rich and humane and wonderful.
Dear new Canfield Reader, please join us while we swoon.

The existential discussion between two kaiju you never knew you needed to be a thing that existed, but now that it's here, how did we ever get along without it?!?!? And in giving Leviathan and Behemoth this treatment, Baughfman allows for conversations about morality, faith and philosophy - all presumably delivered at a Godzilla-size scale.
Set designers and costumers, read Baughfman's words and salivate and dream as big as you want.
To select a Baughfman play for your festival is the equivalent of keeping a royal flush up your sleeve.
Unendingly charming, enviably well-crafted and in-depth, and utterly irresistible.

I just had the pleasure of watching this piece be performed as part of An Evening of Zoom Shorts.
Decasse here offers Laura's interesting confession, lament, and attempt, as was mentioned during the post-play talkback, to turn a frustration into lemonade. I think we all can relate to Laura's romantic situation.
Decasse deftly maneuvers this lovely lament. I would love to see this monologue expanded, perhaps into Laura's own romantic comedy, and see what happens when she puts her idea into motion.
Decasse is definitely a playwright to watch. I will be checking out more of her writing.