Remind me never to look up stuff on Craigslist "just for fun"...

For sale in Las Vegas: a collection of JMP 50, full stacks. Oh, and one JCM 900. 
 

 
Qualifies as torture, doesn't it...

.

I dare not yet.

This is cheaper (and lighter, and quieter - lol).
 

 
And fake.
 

Actually, (RE: OP) that doesn't torture me at all. All the people having to listen to me play with 6 full stacks blaring is torture. I am bad enough with a half stack as it is!
 
In all honesty, that does look pretty cool though :-)

Aren't they typically a lot more expensive? I'm sure I'd love one, but getting to play with my tiny solid state Marshall has reminded me how much I love that sound - though it's only an approximation of the real deal, which is the sound of the majority of my favorite players and early inspirations - Page, Ronson, Frehley, Rhoads, Wylde and all those guys: Les Paul + Marshall.

Well, we're working on something here - a few things actually - which may result in me being authorized to work. If everything goes as expected, maybe eventually I'll be able to afford a Marshall (or a few), a Mesa Boogie and even a Hiwatt. ;)

I know it's heresy but I never really got into The Who. Maybe it's something that'll hit me out of nowhere someday, like it did for Bowie.
 
Stiil, 3 of my favorite players played Hiwatt - Page, Gilmour and Bolin.

You know, the more I look at the DSL, the more it looks like it could potentially be exactly what I'm after. It seems that it's a Plexi sounding kind of amp. It has:
 
- 4-12AX7 and 2-6V6. 
- Pentode/Triode switch to drop power down from 15-Watts to 7.5-Watts (ideal for home studio use)
- Celestion G12E-60 speaker (not familiar w/ that one - worst case, could be replaced.)

My other similarly priced (a bit more expensive actually) option was the Slash signature. I'm not much of a Slash fan, ergonomically, it looks like a bad idea because of the reversed EQ (from left to right Hi, Mid, Low), and the speaker is a Vintage 30, which I already know I wouldn't want as my first or only option.
 
So the DSL looks much closer to what I am after...

That's one thing I keep reading - that they're very loud. In spite of which a few friends advise me to go for a bigger one than the little 15 watts. :s
 
Or then, they suggest that I get the Boogie TA-15. It seems to be a huge favorite. Unfortunately, that's an entirely different budget. Whereas the little Marshall combo sells for $599, the Boogie goes for $899. And then you need a cab...
 

I've been told that the 40 Watts might be preferable because it has 2 EL34 - the 15 Watts has 2 6V6. Another comment was that the pentode/triode switch wasn't all that great and that you lose a lot by switching to triode.
 
40 watts is probably at least 35 watts too loud for my needs, anyway...

Unless you're playing live with a drummer I think 40 watts would be a waste of money. My little 18 watt amp is too loud for living room use if you want natural distortion. My brother has one of my 18 watters and a VOX AC15 and he found both to be too loud once you get to the sweet spot. He just bought a new Fender 12 watt tweed amp and is very happy with it. I think it's the Eric Clapton Tremolux model. It sounds great but costs a fortune, so it would never be on my hit list.
 
The pentode/triode settings are basically circuits that hobble the output tubes. I did one of my usual amps with this added and there was very little difference and I didn't like the mushiness it caused. The little 6V6 Marshall sounds real good and you may be able to install tube adapters like yellow jackets. This gives you 2 output tube families to work with. As for the aversion to the vintage 30, I can only tell you that speakers are cheap. Pull the stock speaker out and replace it. You will get the most tone change for the least cost by changing speakers.
 
I'm working with an online tube vendor to start publishing practical info video's for guitar players and tweakers. I will soon be publishing some video about pre amp tube substitution. You can see in the video how much gain reduction you will get by using each of the common 9 pin pre amp tubes.
 
Small amps rule when space is limited and tone is important.