Recommended by Matthew Weaver

Sickles turns the very public proposal concept completely on its ear, and the results are adorable and irresistible.
I dare not rhapsodize more, for fear of inadvertently ruining the fun for any audience member who gets to experience this for themselves.
This would be a fun, grand, romantic showcase for any actress in her 20s or older in your troupe. Give it to the solid entertainer in your midst, or the up-and-comer who hasn't quite found her signature role. A natural, feel-good play and a must for any festival, as any Sickles title would/should be.

Partain offers a very important, compelling message about self-acceptance and the difficulty of self-acceptance that will resonate with many audience members. There are many hard truths within this monologue, and at the same time Partain's characteristic wit and humor and anger.
If you're an actress in search of a monologue that will allow you to hook an audience or a director, well, look no further.
If you're a woman struggling with , well, struggling, period, and you need to feel less alone, look no further.
If you want a very good monologue by a very good writer, well, then ...

Augie and April's past is suffocating their present. A long-estranged brother and sister (and their friend and past love interest) are suddenly thrust back together. Everything Augie and April do is through the thick fog of their parents' sins, ghosts they can never quite outrun.
Harnetiaux's play abounds with interesting and exciting challenges: Certainly for the characters. For any game director and performers up to the task. And, perhaps most of all, for the audience, as Harnetiaux compels us to consider how history weighs so heavily upon the now.

Wickedly clever. A GREAT title and excellent followthrough. Purely irresistible. Lawing's Thursday takes a bold stance and delves a little bit into the history of executions, too.
This would be a great showcase for a talented YA performer to embrace wholly and run with. I'd love to see this expanded into a longer work, if that would ever be an avenue Lawing decides to pursue. The entire thing is rich with possibilities.

Carnes takes on the mystique of Wonder Woman - "You can kick ass, but you have to SEEM attractive" and "Say I go out there and I face a series of supervillains, how do I take care of ME?" - and comes up with the real problem - fighting bigots - and the real answers. (No spoilers here.)
As always, Carnes' approach is full of wit, grace, humanity and badassery.
This ranks right up there with Emily Hageman's BATMAN VS. THE JOKER AT THE LAUNDROMAT. DC Comics, are you listening? Get these talented playwrights on the payroll pronto!

"Jesus Christ, not Ed Nolan!" LOL
Silverman offers a knowing look at hospital life as Robert Bixler - a family man, albeit a flawed family man - reflects from a coma on his life, his wife, his family. Bert's not perfect - he's estranged from one son, he cheated on the lovely Joanne- and his life isn't perfect. But when Dr. Morse suggests he receive an artificial heart, Bert decides to fight to survive.
This is a satisfying accounting of Bert's life, warts and all, and a medical drama tinged with comedy, fantasy, tragedy and plenty of, well ... heart.

A rip-roaring farce from Silverman. Jacob's already been married twice to please his mother, a tour de force even seemingly on her deathbed. Jacob and his mother's nurse, Lillian, hatch a scheme to convince Mother that Jacob's on the verge of finally marrying a truelove doctor, but Lillian and handsome Dr. Sands have their own motivations ... Actually, everyone in the entire play seems to have their own agenda, which makes it extra fun! This is a rich and lively comedy of errors that any theater would do well to consider when scheduling for their next season of shows.

This play didn't go where I thought it might go. Silverman sucks us in from the start with a mystery that builds. "Twilight Zone"-like is a good description; this play feels like a classic. It's easy as a reader to imagine Sara and Joyce on a black-and-white screen telling all to firefighter Bill, as Bill works to get to the truth behind a fire in a church. This play is quick, but it has plenty of teeth. A nice, solid offering from Silverman.

A heartfelt, irresistible concept that's rich in secrets and laced with wry political commentary. I love how Silverman lets the truth, and the characters' affection for one another, sneak in and catch us off-guard. A very warm play. Easy to imagine two good performers having a ball with Silverman's words, and even easier to imagine an audience sitting back and enjoying the heck out of 'em.

Everybody at the wedding has a secret, and Silverman gamely lets we the audience in on them in a whirlwind play that's like a sexy case of eavesdropping on the neighbors. I also like that every one of these characters knows everything about everyone else ... except, of course, for the secrets that they're all hiding. These are longtime friends ... but can we ever really know somebody?