←The Depot for New Play Readings

In “It Ain’t Pinter,” Jack Rushton deftly satirizes the power dynamics among archetypes of theaters artists: callous director, over-the-top actors, and insecure playwright. As two clueless actors make a mash of his new play, the playwright devolves from simpering to sniveling, and things get worse when the producer Eddie shows up. A treat for actors and a delight for theater lovers, “It Ain’t Pinter” ain’t Pinter—it’s irreverent, hilarious, and whole lot of fun. Ideal to open a night of short plays. Highly recommended.

Set in Amsterdam—city of canals and crossings—John Mabey’s enchanting “The Legend of Snails” offers a masterclass in activating what is left unsaid. Sophie is a scientist who knows snails but not herself, her desires, or her sexuality. On city tours guided by Tess, Sophie slowly begins to bridge the gap between certainty and vulnerability, knowledge and understanding, data and romance. A beautifully realized expression of the complicated identities we live with, “The Legend of Snails” speaks about intimacy and love with innocence and charm. A truly magical play. Highly recommended.

In “Time Wounds All Heels” Glenn Alterman sits Ted and Tom on a bench and proceeds to baffle our expectations with the passing of time and a new watch. As the two men muse about their jobs, their relationship, and karma, the purpose of their meeting becomes clear. Tensions rise, and audience imaginations are left to run wild, a treat but also a sleight of hand. “Life’s what happens when you’re making other plans,” John Lennon said. In Glenn Alterman’s hands, the saying receives the theatrical attention it so archly demands. Highly recommended.

In John Minigan’s unsettling “Covenant,” the leader Creed avers bones grow back stronger after a break. This play aims to break some bones. Why do we believe? Why do we trust? Why do we obey? “Covenant” begins with an interrogation, and through flashbacks, reveals parallel systems of belief and hierarchy. Surprises come almost moment-by-moment and keep the audience on edge with a claustrophobic study of the psychology of manipulation. Ultimately, we are left to ponder who the believers are and what tragedies result when loss of faith results in violent intervention. Strongly recommended.

Donna Latham’s Southern Gothic “Yella Jack” powerfully renders an unlikely sisterhood who convert a brothel into a hospital for the indigent. In language that is closer to poetry than prose, and dotted with extraordinary monologues, Latham plumbs medical history, women’s history, class, race, and the traditions of multiple religions in a story about a yellow fever epidemic in Memphis, 1878. Like Shakespeare, Latham employs humor and pathos, and like the Greeks, she structures the play around short scenes and choral-like odes. The result is compelling and unforgettable. A gem for an ensemble of diverse actors. Strongly recommended.

In Michael Perlmutter’s theatrical “Open Meeting Closed” four women in an AA group close one afternoon’s meeting to confront another woman about her behavior, and the intervention quickly derails into unpredictable chaos and bickering. The play’s strength lies in Perlmutter’s expert creation of unique characters. These women are tart in their own ways, yet through finely crafted monologues in which they reveal their traumas, they earn our sympathy. The action is well paced and the reversals and revelations by turns humorous and heartbreaking. A perfect vehicle for a strong ensemble of women. Highly recommended.

In her masterful retelling of the Gospels, “James of Nazareth,” Lisa Dellagiarino Feriend imagines the mundane lives of Jesus’ mother Mary, brother James, and James’ wife Hannah and son, Daniel. The entry point is pitch-perfect comedy, but the play envelops current concerns about violence, resistance, and love and compassion. The plot centers on the conflict between the brothers, one who understands too much and one who understands too little. Neither preachy nor doctrinaire, the play strikes multiple notes and ultimately speaks to the sorrows of not one singular family but many families across time and place. Highly recommended.

In “Do You Want Fries with That?” George Sapio brilliantly satirizes the heartlessness of corporate culture. The play is structured as a journey of an everywoman, Martha, a new ad writer at Duckblind International Communications. As Martha learns to lie and cheat to keep her job, Sapio catalogs the euphemisms, double speak, and quarterly efficiency reports that make the modern workplace hell. With highly sympathetic characters, mordantly funny dialog, and touching moments of rare connection among co-workers, Sapio offers a terrific snapshot of the “quiet desperation” of the Marthas among us.

In “Tiny Empty Nest,” an ordinary pair of empty nesters, Ben and Claire Booker, attempt to repair their marriage by competing on a reality TV show, Tiny Empty Nest, in which middle-aged couples build and live in tiny houses. Steeped in action, with inventive staging, zippy dialog, and a beautiful pictorial quality, David Beardsley delivers a clever, funny, and ultimately touching examination of mid-life crises that never takes a wrong step. A sure crowd pleaser, “Tiny Empty Nest” offers companies of any size great roles for older actors and exciting opportunities for production and design teams. Strongly recommended.

“In This House” is a beyond-brilliant gift to actors. Through the lives of three women, Girard evokes a South Boston neighborhood: lunch lady Jessie, her life-long friend Maggie, and her college-aged daughter Lynn. When Jessie opens her home to cancer patients and their families, the once-stable relationships among the women list, while the visits of Lenny, a New Hampshire farmer, threaten to capsize Jessie. In exquisite language, Deirdre Girard renders the gifts of vulnerability and its costs, and we learn, for Jessie and Lenny, as for us all, there is no free lunch. Strongly recommended.