Recommended by Matthew Weaver

I just had the pleasure of watching this piece be performed as part of An Evening of Zoom Shorts. DeCasse's play had a lot of people, a lot of women, nodding knowingly throughout the performance.
She strikes an interesting balance between an exasperated, world-weary, tired woman and an earnest, yet overly intrusive cashier, and turns the tables delightfully and honestly.
This play would be a welcome addition to any play festival, and would surely have every one in the audience talking.
(It should also probably be required reading in health and/or sex education classes. Might help. A bunch.)

Damn.
If you haven't been paying attention to Ruben Carbajal's pandemic plays, I highly suggest you start. They make me think of Ray Bradbury's MARTIAN CHRONICLES, by which I mean, they make me think of Bradbury's preface to those stories, in which the famous author rhapsodizes about Sherwood Anderson's WINESBURG, OHIO, a stitching together of separate but connected tales, and wishes he could write something half as fine.
LAST SONG is such a worthy addition to his collection. I like how Ruben answers the question.
These stories comprise Carbajal's WINESBURG, OHIO. They are very important. They are very fine indeed.

Williams turns the sourest of lemons into very sweet lemonade with this wickedly delightful, epic smackdown. In doing so, he points out (woefully not for the first time, nor for the last) the latent hypocrisy of privileged busybodies who should, but are medically incapable of, keeping certain parts of their anatomy out of other certain parts of their anatomy (perhaps I mean feet and mouth -- you don't know!) or inflicting the rest of us with their viewpoints.
It's ALMOST enough to make you hope some intolerant jerks never shut up, if it means more plays by Williams.
**hugs Philip**

I literally just burst into tears as I finished this play. Jolly captures the awkwardness of getting to see part (a horrible part) of a stranger's life story, and then the love and strength and courage that comes from finally speaking up for/on behalf of a loved one.
This monologue is very, very good. And should be shared often. And performed proudly. And will be, I reckon.

Hageman's heartfelt plays are always a treasure ... but this is Hageman in wicked and tired and hilarious mode, which can be even more delightful.
An excellent, truthful monologue, one which should be performed in any Zoom festival or meeting or just posted to any teacher's refrigerator, where it will yellow, held up by magnets, leaving a spot when the fridge is replaced and transferred to a new one.
A wonderful showcase for any performer blessed to tackle Hageman's words, and an excellent introduction to Emily herself. Heartfelt and Hopeful and Kind Emily are wonderful; Irreverent Emily is my favorite.

I was already a Barbara Lindsay fan, but I think I become even more of one every time I read more of her work. This play is just, well, it's everything. Another one that ought to be taught in schools, right in the middle of health class, right in the middle of sex ed. "Poignant drama" is RIGHT.
Read it, and you'll ask yourself, how did Lindsay stuff all the secrets of the world into one tiny, 10-minute play about two expectant teenagers? Read it again and you'll say, Oh, that's how.
Everything important about the universe is right here.

I love the intimacy of this piece, as two people come together to preserve a masterpiece and form a new one. They're not even like-minded individuals - Amy is clearly on a higher level beyond Martin, which can be good and can be problematic, and Bultrowicz does an excellent job of balancing both.
You won't see many plays like this, I don't think, which is a blessing, because REMOVING A VARNISH stands out, but also a shame, because this is rich and deep and subtle and QUIET and there should be room for plays that do that. Pure delight.

My first experience with THIS particular play of Lindsay's is right here, right now, on NPX, and I am ever so glad that I read it. If you haven't read a Lindsay play, this is an excellent place to to make your introduction to her work. Everything that makes her a must-read, must-perform, must-produce playwright is here: A sly, witty, bent take on universal truths that is instantly fresh and irresistible.
This play is so good I want to send it to every Impossible Crush that I've ever had.

Lindsay offers a strong takedown of women's fashion and society in general here, and the result is glorious and sobering. Honestly, this play should be required viewing for girls (and boys, but especially girls) right around the third and fourth grade, to offer them an alternate viewpoint on where their priorities can lie.
It's been my experience that any time you have a Barbara Lindsay play in a festival, it's going to be the one that people can't stop talking about. (**aspire**!) SALLY SEES THE LIGHT plants the seeds today for the future strong women of tomorrow.

I first experienced this play in 2019 during the Spokane Civic Theatre's Playwrights Forum Festival, and it was the play that had everybody talking. Lindsay tackles the subject of polyamory with an enviable light touch, resulting in a play that's almost a Rorschach test as to where an audience member's sympathies lie. Who is in the right or wrong? Can you play by the "rules" when you don't know that there are rules to play?
This play is a mirror; it's impossible to hear/read/see Lindsay's words performed without reflecting upon past relationships, wondering how this situation would play out.