Recommended by Asher Wyndham

Most storytelling solo shows are boring -- no action, just narration, no reason for telling the story. Thal, a player of masks and scholar of commedia dell'arte, knows how to imbue a solo with his dynamic character, playing space through physicality and polyphony. Capitano appeals to us, even when he repels us through chauvinism and bigotry, because the theatre that he creates through imagination and speech-acts is analogous to our political theatre starring Trump and Co. Capitano showcases what we see in our culture and enemies: narcissism that's almost psychotic. Produce/perform this! Bravo!

Young playwrights or emerging playwrights of any age should read this stellar monologue about the life journey of Wendy Wasserstein, a singular American playwright. It reminds us to not only look to our American masters of playwriting, and learn about their approach to craft and characters of identity, but look inward and capture through our plays what is special about our own American identity and also our friends through our characters. And be bold, write about political ideas, let our stories explore ideologies. A smart choice for any festival celebrating women of American history.

If played for high school students, this is the kind of play that will remind them to question history, narratives, and stories about people from US history, especially slaves. That lesson is delivered splendidly through an unexpected encounter between a ghost (or spirit) and a student trying to complete a history essay. History teachers should check this out.

No position overseas in a warzone is safe for any soldier,even a corpsman. This monologue speaks to that with a genuine voice that psaints a picture of a time and place, far away from home. In the end you fear for this young man. This is my favorite monologue by this playwright. Smart choice for any solo festival on war, past or present.

Never lets up, intensifies with almost animalistic furiosity, claws and teeth. You can't blame her, and you'd want a comeback just like hers after being ghosted by a lover. If you've been ghosted, you might applaud her because you never had the opportunity to grill an ex like her. This is a fire hot solo, an excerpt just perfect for audition.

The best ensemble play I've seen in my entire life. Destined to be a classic play on American adolesence.

The costume and scenic design possibilities make this play a must-produce play. Fun for kids and their parents. Or maybe just their parents. This will be a hit with any audience. One of my favorite plays with animals on NPX.

There are so many just-damn-perfect lines in this - a megaphone-wake-up-call for white women. It's a reality check for the feminist movement that sidelines women of color. This needs to be produced pronto -- not just on stage celebrating solo plays -- right before women's marches in DC and every major city in the US.

Partain's monologues are not to be read, they're to be performed. This one, like others, is playful, erotic, fierce and fabulous -- everything and much more than most people want to be. Even if you don't identify with the character in respects to sex or age, after a few words, snaps of the language, you get her, you become her. So much fun. Killer mono for audition and, better, production!

What is remarkable about this play are the multiple interpretations and the significance of this feared outside antagonistic force. Different audiences, different times, different cultures -- this play deserves productions for a long time.