Recommended by John Mabey

There are many sides to regrets, and in YEAH, I HAVE REGRETS, Donald E. Baker demonstrates how there's never one easy answer. Or, more accurately, how that answer might change and evolve over time. There's a deep emotional honesty to this monologue that provides peaks and valleys throughout, making it so rich for actors of any gender. Well done!

The imagery of paintings and different styles of visual art form such a beautiful canvas for this play by Philip Middleton Williams. In WATERCOLORS, we meet characters who each have separate but critical insights about another character who remains unseen, but by the end of the play is as vividly drawn as the others on stage. With nuance, subtext, and a delicate way of transcending stereotypes, this play grounds us in a very real world with all its many shades and colors.

There's so many heartfelt moments and surprising turns in OUR HOUSE TO YOURS by Debra A. Cole. Just when I thought I knew where this play was going, a dramatic and comedic shift explores a new dimension of this family and their relationship as a couple. There's an incredible amount of discovery in this play for actors and a director to mine every moment that carries into the next. The ending also makes me reevaluate what came before, providing so many opportunities for audience discussion afterward.

In TELLING DAD, Paul Donnelly presents a family in all their complexity. And in ten minutes explores so many urgent themes: mental health crises due to transphobia and not due to a trans identity, children caught in an anti-trans political climate that threatens their safety, and the power of family. Paul writes with so much empathy and a deep understanding of queer identities. More plays exploring these same themes are desperately needed to tell these stories that have been hidden for so long.

My favorite monologues have multiple layers of meaning that make me want to read them again. And in CREATURES OF THE MOON by Emma Goldman-Sherman that's especially true. The subtext here is strong as two sisters meet about caring for their mother but really reveal themselves, exploring their waxing and waning relationship with each other. And the addition of sweets on a table adds physical action that bookends a change in the speaking character so clearly and honestly.

Sometimes the best comedy comes during unexpected moments and tragic circumstances. In FLIGHT FRIGHT, Marj O'Neill-Butler delivers the lighter side of a tense situation between three older friends. Their rapport and chemistry is so clear as they challenge and confront each other in the best ways and for the best reasons. And the great physical comedy adds another layer to the already poignant themes.

I'm a huge fan of comedy and horror, especially that amazing mix in-between. And in GREAT HOLLOW by Jillian Blevins, there's even more to uncover, with each layer both entertaining and surprising. The writing here is crisp, giving a strong rhythm to the words, and the ways in which characters answer each other both directly and indirectly is masterfully done. The satisfying ending also leaves me with ideas about what comes next, and I'm enjoying the characters long after the last page.

Morey Norkin displays such a wonderful gift of comedy in CAN YOU HEAR ME NOW? The two scientists, Bell and Watson, are incredibly funny in their pursuit for technological innovation with the simplest of devices. And as the play progresses, we see not only parallels to modern day dilemmas but insights into their relationship as well. This is a piece where the physical comedy is a great match with the dialogue, and would be a gift to productions looking for big laughs.

Grief can be incredibly complex, especially at a funeral. And in THE PITY MOURNER by Paul Donnelly, we meet two characters who navigate both place and emotion with unexpected heart and hope. The pacing of this beautiful piece makes each tender moment incredibly special, and the reveals along the way are well earned. This comedy is grounded in so much genuine emotion and would be exciting to watch unfold on stage.

In the comedy, BOX OFFICE, by Paul Smith, we meet the character of Jack who clearly has big dreams for performing on stage but is selling tickets for the productions of others. His love of theatre shines as he's on the phone with a patron, as does his patience and frustration. Having worked for years in a UK theatre box office myself, I understand these types of conversations with the public while also enjoying the experience in an ironic way. Paul Smith's skills for comedy and dialogue shine bright and this is a piece wonderful for any gender as well.