Recommended by Gemma Cooper-Novack

So sweet, and such a rich opportunity for the actor playing Eddie! Martin has crafted a textured, gay version of Sondheim's "Getting Married Today," one that expresses the same tender love for its speaker and finds vibrant humor in a moment that couldn't be farther from funny for the character.

Oh, my goodness. Ridiculous, delightful, hilarious, and full of joyous opportunities for actors, while gracefully lampooning the shelteredness of religious communities.

Well, this play is just a goddamn delight. The use of verse is precise and hilarious, and the character development so effectively mediated through it. As the plot descends into well-structured chaos, I was worried the play was going to come out anti-poly, but it turns out that it's shaped a beautiful and oddly moving ending. I am so excited this play is in the world.

Ooh, I would be so excited to see a production of this piece. Kantor beautifully integrates the poetic with the everyday, leaving us in a precisely calibrated and unique space.

Sandra de Helen has created an utterly original and completely fascinating concept for a play here!

This is a smart, fascinating take on a classic feminist story. Brauer Rogers takes full advantage of theatrical possibilities, and I'd be so excited to see this play move towards a full production!

A loving one-minute play that still offers tremendous opportunities for performer goofiness, thus making it affectionate without being sentimental. It made me happy to read.

Davis's choices relating to theatricality have a great effect, and the question at the center of the play—the relationships among friendship, self-concept, and racism and white supremacy—are tremendously resonant. This would be a fascinating piece for development.

The development of Only is particularly fascinating in this piece--Hardy knows how to call the right parts of her scenario into question within her script at the right time.

A complex, thorny, compelling play with a fierce and smart ending. Although I struggled with the dialogue and exposition in the early scenes, I found myself swept fully into the communicative world that Teddy and Anzor managed to build for themselves across boundaries and threats, and the ending, again, is painful in precisely the right way. There's a range of rich queer male roles in this play. I would be excited to see it produced!