Recommended by Ian Donley

This is a charming and bittersweet play that will challenge any young actor who takes it on. Daniel Repp challenges us to think about the choices we make and, even if we could go back and make different ones, it would not always work out in our favor. The heavy emotion in this piece will touch all audiences.

This journey of a play tackles race, sexuality, and religion all at once and delivers a story that is heartfelt and sexy. A's journey into self-acceptance is painfully relatable, yet fantastical through Daniel K. Isaac's imaginative writing. A tour de force!

This is an excellent piece for older actors to explore. Think Clue but set in a beauty pageant. It's a murder mystery that feels fresh, especially with its major twist that will catch you off-guard and make you laugh at the same time. Each character has a moment to shine, making this a play that will stand out in any theater company's season. Produce this play!

This experimental play on depression is bold, and one of the more captivating ones I've read. Just when you think you know where the story will go, it twists, leaving you to wonder what happens when we get opportunities to do thing over and over again. It's raw yet poetic, often balancing the emotional reality of the play on a tightrope. The ending packs a powerful punch, one that will leave audiences everywhere impacted.

This play goes back and forth between being brash and tender. It feels like an infusion of works like Kenneth Lonergan's This is Our Youth and Eric Bogosian's SubUrbia. With that said, Daniel K. Isaac gives it its own identity, utilizing dialogue that packs a punch and queer characters who naturally -and tenderly- come to terms with who they are. This is the kind of play with young characters that young actors NEED to explore. It would particularly fit well in any college program!

This is a very bold piece that will ruffle anyone who doesn't have a sense of humor. But I'm sure Marshall Logan Gibbs is not concerned about that. This piece is very confronting but also leaves room for tenderness. In this play, God is presented almost like an accountability coach trying to get his student to figure it out on their own, which is very reflective of life and how we sometimes run into bad luck and refuse to take accountability for it. Very witty and fun play!

Just like Rian Johnson does with Knives Out, Peter Fenton brings the "whodunnit" genre into the modern era. There are so many clever moments where Fenton honors the past troupes but doesn't just copy and paste them. If anything, he re-invents them. Each character is fleshed out and has a strong point of view, making the reveal of the murderer very satisfying. I hope to see this play produced all over. There's definitely a space for it.

All the best one-minute plays are ones that are silly on the surface but carry a lot of weight emotionally underneath. This play is an example of that!

Divorce can get really ugly. But, in Marshall Logan Gibbs' play, it can be silly, chaotic, adventurous, and still emotional. In this cutesy play (I mean that as a compliment), we are introduced to Paul, a man who uses his love for sci-fi as a coping mechanism rather than go to therapy. A character like Paul can easily be read as a man-baby, but we quickly get to see how layered he is. Very relatable for anyone who have had, or are currently trying, to make peace with a difficult relationship.

This is a very thought-out piece. Each line of dialogue feels intentional in its objective, which helps flesh out these two characters. An actor would love to take on these roles, not just for their own purpose but for the sake of keeping history alive. The emotional undercurrent of the play is the thing that will keep audiences captivated the most.