D.C.’s independent theatre scene is bustling. Here are some of the best.

Taffety Punk’s take on Shakespeare’s messy TITUS ANDRONICUS is a worthy, if uneven, endeavor.

Taffety Punk has taken Shakespeare’s shipwrecked rom-com and plopped all the love insanity, mistaken identity, cross-dressing, and buffoonery into a kind of prom-decoration fishbowl. Perfect.

At ten dollars a ticket, Taffety Punk’s The Car Plays, a triptych of short works that take place on the road, is the equivalent of two-dollar-a-gallon gasoline — so affordable you can’t pass it up and it’ll take you just as far as the overpriced stuff. With just a few chairs, some choice sound effects and a half-dozen engaging performances, The Car Plays eschew price-raising bells and whistles in order to connect directly with the story-appreciation centers in the brain.

By contributor Brett Abelman

There’s something special about getting to know a new play that’s a lot like getting to know a new person; they’re all mystery and surprises, and the journey into their hearts reminds you of your own humanity. If Taffety Punk’s world premiere presentation of Owl Moon, written by D.C. resident Liz Maestri, ends up leaving just a few too many mysteries unexplored in the end, it does offer many deeply felt — and often deeply funny — surprises along the way.

Tonya Beckman Ross in suicide.chat.room Absorbing but unsettling. That’s what kind of experience you get while spending roughly an hour inside the realm of the suicide chat room, where those considering hari kari discuss methodology and motivation, and even find a certain kind of support. But I’m not talking about going online and wading through the forums; Taffety Punk Theater Company is bringing the experience to you. With interpretive dance. It all sounds a…

Written by DCist contributor Monica Shores Taffety Punk’s Faithkiller is a play clearly influenced by the bitter partisanship that has recently dominated politics, the media, and, too often, personal interactions. As one character tells another, “It’s black and white, or it’s nothing.” Gwydion Suilebhan’s ambitious script follows several collections of characters in disparate situations that all converge around a TV remake of a 1940s radio show about a hero with a faith-eliminating gun. The…