←

Steven G. Martin

Recommended by Steven G. Martin

  • You Ever Wish by Emily Hageman
    30 Oct. 2021
    “ Jane, the protagonist in this one-minute monologue, can't lie to herself. "And I know who I am" is chilling.

    But it's not enough for the outstanding Emily Hageman to succinctly and achingly show how Jane thinks of herself. Hageman pushes through to the very end to show why Jane feels like she does in "You Ever Wish." It's a triple whammy for the audience: they understand Jane's current state and her history, and also will fear for Jane's kid's future.

    This is one minute of direct, dark theatre. Produce it. ”
  • Pizza Face, a monologue by Jeffrey James Keyes
    29 Oct. 2021
    “ I love the details of Ryan's life shared in the first part of this short monologue: Living in Milwaukee, misadventures in Germany, using Accutane and its effects. Ryan's life feels so precise, so lived in.

    Which makes the climax and conclusion much more powerful. We know Ryan has the abilities to describe the details of what happened, but he just doesn't know them.

    The result was that I felt a lot of empathy for Ryan and I realized that sometimes there are powers greater than ourselves that might step in when we are at our lowest.

    Harrowing but fine writing. ”
  • For Mommy on Her Return Home: a monologue by Kara Emily Krantz
    29 Oct. 2021
    “ Kara Emily Krantz beautifully structures this short dramatic monologue so the audience knows threads of truth throughout: the protagonist's joy of being home alone and the love for a younger sibling, and the harsh words shared between siblings.

    Those threads aren't connected until the final beat. Audiences may feel unsure about the complete story until then, but the final beat locks everything in place through implication. And fully understanding the story will cause gasps and make tears flow.

    "For Mommy on Her Return Home: a monologue" is excellent storytelling. ”
  • 500/501 by Taylor Sklenar
    26 Oct. 2021
    “ In this one-act play about two pigs, Taylor Sklenar shows what it means to be human.

    How existence can seem finite and trivial. How we change as we age. How we're different when there's someone in our life who cares about us instead of being completely alone. How we can give in, or (ultimately) refuse to.

    Sklenar doesn't flinch in "500/501," either. This isn't philosophy for these characters. Life isn't like a slaughterhouse for these characters, it genuinely is. And because the audience understands that at once, this play impacts us even more. Produce this. ”
  • The Bee That Declared a War (10 Minute Play) by Cary Simowitz
    24 Oct. 2021
    “ I like how Cary Simowitz fills this 10-minute drama with complexity: of white privilege and the realization of the effects of that privilege, of economic and social discrepancies and how those discrepancies affect relationships, of the awkwardness of facing these subjects and their devious impact.

    "The Bee That Declared a War" will be an uncomfortable play for audiences, for white, affluent audiences especially. It is also a play that deserves a rich production history. ”
  • Pen: A Musical by DC Cathro
    19 Oct. 2021
    “ I love that DC Cathro and Leo Schwartz show how two people can be right for one another for a certain period of time, for a set of specific circumstances. And it's ok to love and cherish that person for that time, and then move forward. There's plenty of comedy, toe-tapping music, some sexiness, and emotion to enjoy. ”
  • Jet Lag by Dominica Plummer
    18 Oct. 2021
    “ I love how Dominica Plummer examines the current situation in the U.K. created by Brexit, the covid pandemic, and conservative leadership. She then expands upon it and extrapolates it for great satiric effect. I hope Dominica will have future episodes of Sophy's adventures in this strange land. ”
  • The Old Railroad by Scott Sickles
    11 Oct. 2021
    “ This is a big-hearted, warm short play is about brotherhood, about acknowledging the sometimes rough parts of the past and paying tribute to it. I enjoy its affirmations, its positivity. ”
  • Stiff Competition by John Busser
    3 Oct. 2021
    “ This short two-hander is hilarious, dark, quotable and memorable.

    Credit John Busser for setting up an everyday conflict -- parent versus principal as they argue about children's science fair projects -- and twisting it hard. And often. To unbelievably dark, grotesque comic heights. Even better, an audience can understand both points of view, especially the world-weary principal's.

    I saw a virtual performance of "Stiff Competition" during the Two-Hander Slam in October 2021, and it was jaw-droppingly great. I'd love to see a live production. ”
  • Ambush! by JOHN CONNON
    3 Oct. 2021
    “ John Connon packs so much into this short comic piece. It's a laugh-out-loud joy to read.

    First, "Ambush!" has many power plays, reversals of fortune and action moments. Second, the antagonist is a gleefully over-the-top, megalomaniacal pop culture vulture who refuses to be powerless. Third, it's visually interesting with its scary opening, the use of multimedia, and the end results of a hot-wax session. Finally, there's the theme of self-empowerment, which Connon highlights.

    It's easy to tell why this play has been produced several times, including the Samuel French OOB Short Play Festival. I hope it's produced more. ”

Pages