Recommended by Steven G. Martin

This full-length drama is an exciting, surprising, refocused exploration of one of the most epic Greek myths and legends.

It's not only the content of "Clyt; or, The Bathtub Play" that is brilliant, but also how Elisabeth Giffin Speckman tells the story. She uses ravishing, expressionistic stage directions; direct address to the audience; chorus action; anachronisms; a cinematic-like montage and more to make an audience understand and sympathize with Clytemnestra.

I was fortunate to attend an early workshop of "Clyt" and a virtual reading of a more developed script. This is shining, brilliant, theatrical, exciting, and worthy of production.

I find "How to Brew Tea" bittersweet because I completely recognize my own father in Roger -- a man so certain of the right way to do things that he would take over a task if he thought others weren't doing it correctly.

I also recognize myself in Kyle, the son who wants to do right by his father, but does so in his own way (which may annoy his father -- on purpose?).

In ten lines and two sound effects, Adam Richter emphasizes tension in this relationship and showcases character. This is a clean, layered one-minute play.

There is sadness, yes. And the premise is a bit unsettling, sure. But this very short play also has core of positivity and even warmth.

Ashley Popio has taken a global incident and made it personal and intimate with "The Last Three Women on Earth." Popio also has created three distinct characters -- Julie, Hannah, and Marie are no Everywomen, and the play is richer for their differences.

The stakes are tremendously high in "The Last Three Women on Earth," but the inevitability at the end of the play takes secondary importance to the characters' bonds.

The world building, character histories, and imagination in this full-length, period, verse drama are off-the-charts. All of that has to do with the intelligence and artistry of Neal Alexander Lewis.

What I love even more are the story and plot that Lewis creates in "Two Sons of Florence." There are actions and counteractions, power plays, and subversion throughout. Emotions run high, too, and audiences are going to feel every bit of passion, deception, loyalty, and cruelty in Rufino and Carmine's story.

"Two Sons of Florence" is exceptional storytelling.

"Evil Anonymous" is funny short play that includes genuine moments of contrition and emotion. And the concept behind the action is terrific.

Lee R. Lawing writes female characters who are multidimensional and varied -- they can be elegant, obsessive, strong-willed, damaged, selfish, and much more. That he is able to create such characters from the rather melodramatic folk tale genre, in this case, is amazing. Lawing's reimagination of the characters and their relationships is terrific.

I listened to a performance of a monologue taken from "Evil Anonymous" on Back Porch Theater's Facebook page on March 18, 2021.

"New York" is an elegant short play that speaks to different ways people may appreciate a painting or other work of art.

I love that Claudia Haas understands Miller's appreciation of the technique and tools that are part of Monet's "Water Lilies" at the Metropolitan Museum of Art. But I was taken even further at how Haas made me feel as Sylvia was emotionally and viscerally affected. Engaging the mind, engaging the emotions ... this is a love letter to how art affects us.

"New York" is a terrific addition to Haas's 50 States series of plays.

A play about random connections in life that impact us, whether it's for only a short while or -- as I suspect in the case of Trudy and Jack -- a lifetime.

It's a world view, a philosophy, that Adam Richter showcases in "Dancing Lesson." Different people will respond to/prepare for the unknown. Trudy and Jack are not naïve people -- they're grounded. But even as they are grounded, they're still moving and connecting with others, and those others become part of their support.

"Dancing Lesson" and its generous spirit would be welcome in any short play festival.

This grown-up romantic comedy between intelligent adults is satisfying on many levels.

First, the characters are spectacular not only in who they are as individuals but how they interact. Second, this is a very literate, cultured script with several contemporary and classic references. Third, there is the wonderful, solid chemistry that Scott Sickles creates between Rem and Lenore. It isn't light and frothy, but substantive, foundational, and solid. Adult. Th audience feels these two will have a lifelong connection based on this one-night happy circumstance.

"Les Joyeux Dilettantes" is charming, grown-up, and wise in the ways of the world.

A perfect play for very young audiences and performers.

"Not Yet Yeti!" has wonderful repetition that actors will love and audiences will want to join in on. There's a strong, relatable central action that's heightened by including the title character, and each character has an important part to play in the whole story.

DC Cathro has crafted a play that has so much production potential: performed by kids for kids, by adults for kids ... "Not Yet Yeti!" is filled with possibility, it's filled with a lot of fun, and Yeti is an absolutely adorable character.

This one-act play for young audiences has a lesson within it, but Daniel Prillaman has loaded the action with a lot of fun and funny moments so that it's as entertaining as it is instructive.

Spoofing Charles Dickens' "A Christmas Carol" and the accompanying plot would be plenty enough to make this play enjoyable, but then there's a jolly pirate character who is unapologetically nice, narrators who break the fourth wall, and cows and dragons, and so much more.

Imaginative, silly, and full of joy. Prillaman's "A Pirate's Carol" will please young audiences and actors alike.