Recommended by Emily Hageman

INCREDIBLY beautiful. What a gorgeously written monologue. The prose here is just magnificent, flawlessly rendered with beautiful precision. But more than that, it is historical and educational, full of heart and feeling and longing. Wonderfully composed, really highly recommended, this feels like this came out of a book of top notch monologues. GREAT piece!

This play. This play is absolutely, unbelievably, astoundingly remarkable. I don't think that I will recover from this for a very long time and I wouldn't be surprised if it stays with me for the rest of my life. The character, the storytelling, the twists and turns and the moral ambiguity and the terror and fear that is preceded by such humor and charm and wit. This is urgent. This is needed. This is fantastic. Gunderson is a true master and I am truly in awe.

A really wonderful slice of life play with an important message at the end. Both women are smart with tons of personality and bite and they spend the first half of the play bantering back and forth with sharp, cleanly crafted dialogue. These are two very engaging women and I'd love to see them developed in a longer piece. Well-written, well done!

A very, very well done play, simply put. This is probably one of the best ten minute dramas I've ever read. It belongs in a well-read, often performed anthology. This is an incredibly economical piece that really nails it with story, dialogue, character, and structure. Fantastic piece that really knocks it out of the park. Highly recommended.

Wonderfully dark and weird and pertinent, Jost has woven something here that I can't explain. It's lyrical and magical but dark and gritty. It needs to be performed right this moment in time and shown to every man who has ever called a woman the title of this play. Jost has a gift for matching the ordinary with the extraordinary from scene to scene. I was guessing the entire play and I never knew what was coming next--and the end was delightfully horrifying. I see a long production history for this show. Daring theatres need it.

This is an INCREDIBLY powerful play that needs to be read and staged all over the country at this very moment. Well-written with PHENOMENAL structure and fantastic dialogue and beautiful stage directions, Walker knocks it out of the park page after page after page. I could hardly read the last scene because it was so tense and powerful, I can't imagine what it would be like on stage. I can't really call this play a celebration of womanhood, but there is a great strength to it. Reading it gave me courage. I hope this play is staged near me soon.

This is a killer play. Omorotionmwan packs a HUGE punch in eleven short pages. Not only would this be a ton of fun for both actors, but it would get a fantastic reaction out of the audience--you know, that great moment when they're laughing until they can't any more and then they feel bad for laughing before? This play bites like all strong ten minute plays should. It's entertaining and tremendously well-written, but more than anything, it's what the play SAYS that really kills. Omorotionmwan is one to watch.

This monologue. Is absolutely everything to me. It may be my favorite comedic monologue I've ever read. I love how Shayna is so belligerent and attacks her audience multiple times. I love how unapologetic she is. This is one ferociously FUNNY woman and I would cast a girl who knocked this out of the park in a heartbeat and I would do it with tears of laughter in my eyes. The line where she tries to get the audience to join in and yells at them for not doing it makes me die every time. Read it, use it NOW.

This is too much fun--and there is a clear reason for why this play has been produced so much. It's that good. Levine is EXTREMELY clever, but lovable in his dialogue and storyline. And more than that, there is a tender message at the end of play. A feel good comedy with a lot of heart. If anyone is wondering how to write a truly wonderful ten minute play, start with Levine. He has an effortless mastery of the form.

This is a remarkable play. Reading the description alone hooked me--and Idaszak more than delivers. This is a play with a structure unlike one I've ever seen. There is so much happening here I'm going to have to sit and process it for awhile. It was both wonderfully entertaining and horribly jarring. Idaszak has so perfectly captured the feeling that so many of us writers feel--we want to say something important, we want to be understood, but everything gets muddled up and comes out wrong. And there are so many terrible things in this play, but it is triumphant.