"More of Our Parts," Six Short Plays at Clurman Theater There are world premieres by famous playwrights in "More of Our Parts" at the Clurman Theater, among them works by the lord of the WASPs, A. R. Gurney, and the king of emotional brutality, Neil LaBute. Yet the wittiest script among these six short one-act plays about life with disabilities comes from a relative unknown, Bruce Graham, the Philadelphia playwright who did "Any Given Monday." In "The Ahhh Factor," smartly directed by Russell Treyz, Mr. Graham gives us two movie industry men at odds over a sexy scene involving a deaf actress. Jerry (Jonathan Todd Ross) defends it, while Robert (Warren Kelley) frets nonstop about offending someone. Robert, of course, reveals himself as the real bigot, finding sexuality among the "differently sized," the "differently aged" and the "differently abled" (in his words) distasteful, and chastising Jerry for not using the term hearing-impaired. "Stop calling her deaf," Robert says. What if she heard you? This production of Theater Breaking Through Barriers, its second such festival, is a largely entertaining and worthwhile mini-evening (70 minutes). "The Wager" is recognizable as Mr. LaBute's work as soon as the Guy (Nicholas Viselli) turns nasty with the Homeless Dude (Shawn Randall), who is in a wheelchair and has asked him and the Gal (Tiffan Borelli) for money. The Guy's use of mental and physical power games makes this a potent piece, even if the second surprise revelation is not nearly as unpredictable as the first. Ike Schambelan, the artistic director of Theater Breaking Through Barriers, directed the LaBute work as well as Mr. Gurney's intelligent if unnecessarily gentle play, "The Interview," about a father and his son, who reveals that he refused to wear his hearing aid during a college interview. Jeffrey Sweet's contribution, "A Little Family Time," about a famous man who hasn't bothered to tell his fiancée about his disabled son, makes its point nicely too. The cast includes artists with disabilities, and they do themselves proud, particularly Shannon DeVido. One of Ms. DeVido's characters makes a fuss about animal cruelty in "Geese," by Samuel D. Hunter ("A Bright New Boise"). Another threatens to take over the world in Bekah Brunstetter's "After Breakfast, Maybe." She succeeds only in opening her gray-haired mother's eyes to the omniscience of Google, but that is no small feat.