Recommended by Asher Wyndham

An unexpected twist on the classic vampire meets woman trope that has for centuries subjugated the female sex to evil aka creepy men. It's kind of a horror comedy with a feminist touch, just perfect for our times. This quirky play will amuse your Halloween season audience. Consider it for your November showcase.

There is an undeniable wackiness to Lawing's writing, it's the hook, it's what makes his writing memorable and, if seen on stage (I bet), unforgettable. This sock-puppet monologue - one of the best I've read (there's a genre just for this, FYI) is more than its wacky premise: as with other shorter plays, it's his way to explore the sense of magic, joy, and transcendece, and also subjects such as memory's influence on the present and the desire for connection to something extra-ordinary, strange, or mysterious. Producers - definitely make a stop at Lawing's imaginarium that is his fabulous work...

This is some sick, twisted, creepy fun! When you think it can't get anymore strange, it does -- and that makes it funnier. This will be a laugh out loud entertainment for your audience. Seriously consider this for your November short play showcase. College theatre artists, connect with the playwright!

LET'S FIX ANDY is a spot-on examination of brotherhood post-college, those 30-somethings playing video-games and drinking beer that are awkwardly figuring out what it means to be a man. Why do we men try so hard to fix ourselves and other men, why do we foolishly adhere to this myth of American masculinity? How can we stop doing this? It seems like Bublitz is pointing us to a possible way out of the toxicity -- getting real, recognizing our insecurities and imperfections, focusing less on our bodies. And it may involve some mangria. Goofy. Smart. Endearing. HIGHLY RECOMMENDED FOR PRODUCTION!!!

This is one of my favorite monologues for a young woman on NPX. It's dynamic from the start, dynamic even though it's an internal monologue about memory and loss. It's raw, a riptide of emotions from the flesh -- it's a perfect example of language of the body. This is a smart choice for an audition piece for a high schooler or college student.

I like the choice of speaker for this monologue - the guy (Jimmy Jim Jim) who made the brutal bar fight happen, not the guy (The M.F.M.) who was in the fight. It's a clever way, I think, to capture an emotionally manipulative (abusive?), toxic man who has control over someone else. Or is this really a true friendship? What's the reason for connecting this other man always to violence? A cut anywhere from this would make a dynamic audition piece for an actor.

Quite possibly this is a perfect allegory in monologue form about Christian dominionism/fundamentalism and anti-multiculturalism in America, and the mischievous efforts to inflitrate our culture and destroy the boundrary between church and state. Or maybe not. Maybe Weaver just ate a lot of candy (hopefully, not candy corn) and got a sugar high and was bouncing off the walls and decided to write this zany monologue. Whatever the reason for this monologue, it's a lot of fun and it will be blast for your Halloween showcase. It will definitely be a lot of fun for a costume designer.

A romantic drama that's smart, sexy, poignant, and poetic (some ramblings on Shakespeare and constellations). While interwining multiple stories fluidly, Sickles develops multiple themes, among them 'Revertigo' - basically how our troubled past (esp. abuse) effects us in the present, how it shapes our character and our destiny (or not?) - and how we regress and revert and re-perform on our stage of life - roles and relationships from the past. Looking for great roles for older gay men? Check out this play. Highly recommended!

This is one of the sweetest first date/romantic comedies that I have ever read. Wow. The ending is PERFECT. This would be a hit with audiences across the country. Perfect for showcases and festivals on and off college campuses. If I was a producer/artistic director, this play would definitely be on my list.

I can relate to Kinsey at her age - and I might not be the only one - knowing someone is dead before the Principal tells you. Run-on sentences capture the genuine voice of a 14-year old shocked by grief -- it's an accurate exploration of the mourning process - surprisingly, the mourning before someone even tells you a family member has died. Most monologues don't come close to what Moss does here, most don't capture the voice of a complex, conflicted character in a few pages. I would love to read more of her monologues! Recommended for audition!