Recommended by Steven G. Martin

This monologue focuses so sharply on the human needs of being understood, of being seen, of wanting to understand that it's filled with several genuine audience-lean-in moments.

Steve Harper hasn't created an Everyman in corporate lawyer Greg Stephens (college educated, economically affluent, Black, middle aged, married, male, city dweller, white collar). That specificity strongly informs his experiences (in an elevator, in his Lexus, with his coworkers, with his family, with police) and the leads to his wearisome knowledge that shit will find him. And don't overlook the circumstances of Greg sharing his story.

"What I Know" is illuminating.

An absolutely magnetic personality shines on the stage of a honky-tonk in this ten-minute monologue. "Who sticks around when they’re not welcome?" asks 20/30-something Amy Singh. Audiences will love Amy's answer to her own question.

"How Do You Fall out of Love with Country Music?" genuinely raises all sorts of emotions for Amy, and for the audience: pride, joy, fear, camaraderie, disgust, reverence, and more. It feels as though Amy herself has written this monologue, with all the details and emotions genuinely from her. Which goes to show just how wonderful Maximillian Singh Gill is as a playwright.

This short drama deftly flows from comedic banter to serious discussion about intimate relationships, the impact of aging on self-esteem, and how those who love us see us for our best qualities.

Maximillian Gill beautifully decorates "Cold Dead Heart" with humorous action and dialogue thanks to making one of the protagonists supernatural. But at its core, this short play has serious subject matter: what it means to love, to fear about losing love, to not know what will happen when we age. Meaningful and moving.

I enjoyed a virtual reading of "Cold Dead Heart" by Back Porch Theater on Facebook.

This short play is a gallon of scalding black coffee poured down the throat -- very strong messages that will jolt a person, not sweetened to suit everyone's tastes, and oh so unforgettable.

Quinn D. Eli raises surrealism and farce to sharp political heights in "Scraps." The tension is high throughout not only because of the initial conflict -- wanting to order food over the phone -- but also because Eli has a lot to say about the racial politics of plays, theatre, and the vicious cycle that begins when a person settles for scraps.

Unforgettable.

This 10-minute drama juxtaposes youthful Romantic optimism and exuberance with the wisdom of experience, pragmatism and cultural history. All against the backdrop of America's determination not to accept Black people, Muslim people or their sacrifice.

Donnetta Lavinia Grays has written about wanting to love America despite messages that it won't love you back. Intergenerational black actors will shine in "On Break at L.L. Bean," a play that ends with an impasse of respect and sadness as the two men believe what they believe.

Grays includes a list of references, highlighting Somali history and the impact of refugees in Maine.

A funny premise that just becomes more ridiculous and laugh inducing the longer it goes -- and it goes on to the final line.

Almost all of Kelly McBurnette-Andronicos' short comic plays weave in and out of silly situations and actions that make audiences roll in the aisle with laughter. In "Two Yards of Satan," she gifts actors and directors with wordplay, lots of door-slamming action, over-the-top characterizations, and some delicious insight. She also gifts designers with fun opportunities, especially costumes and sound.

"Two Yards of Satan" is a fun farce that would be a joy to produce.

Economically, emotionally, this one-minute play provides a backstory to a couple's relationship and shows us its present, if doomed, status.

Neil Radtke's "Moments Away" has plenty of tension, but also gentle emotion. The juxtaposition is bittersweet, theatrical, and memorable. Actors, directors, and designers -- especially sound designers -- will enjoy bringing it to life for audiences.

Absolute fun with a ton of action, audience interaction, comedy, mythology, and the potential for different ending each night of its run.

Actors, directors, fight choreographers, and designers would love creating Jillian Leff's "The Mother Load" for production. Audiences wouldn't believe their eyes for a second, before raucously and rambunctiously enjoying every little detail.

Pure entertainment and big fun!

My heart broke reading "Baby Black Jesus - Play Four" because Darryl's and Richard's hearts break during this 10-minute play.

Vincent Terrell Durham knows his characters completely, encouraging them to be their best. Whereas Darryl felt like the protagonist in plays 1 and 3 of "Baby Black Jesus," in this volume I saw how much Richard was struggling as a LGBTQIA personal of color whose church means the world to him. I understand him better, his beliefs and actions at the end.

Durham's "Baby Black Jesus" plays would be an emotional and layered evening of theatre when produced all together.

"It matters." Richard and Darryl's story from "Baby Black Jesus - Play One" continues in this 10-minute comic drama.

When Darryl puts his foot down, comic complications arise regarding phone calls and mothers and openness. But just like with "Baby Black Jesus - Play One," Vincent Terrell Durham is speaking about deeper issues faced by LGBTQIA people of color: being seen and welcomed by their family and their loved one's family. Durham's talent with tone shines in this play.

Durham's "Baby Black Jesus" plays would be an emotional and layered evening of theatre when produced all together.