Recommended by Steven G. Martin

"Lifelike" is specific enough to be a heart-enlarging mantra for people who express themselves by writing. We should all be as wise as the Friend in Austin Adams' short drama. It's also broad enough to open up to different interpretations (Who is the Friend, for instance? Heck if I know.).

I think "Lifelike" would be wonderful in performance, especially by teenage/high school actors -- that seems the age when the desire for self-expression and the agony of doubt begin to intersect.

Austin Adams literally shows us the ties that bind, employing a piece of rope wrapped around the characters' waists and choregraphing a variety of actions with it. I love how visual, how action-oriented "Tug" would be in performance and how those visuals and actions reflect, comment upon, and even subvert what the characters say. It's exciting stuff.

Chris Soucy's short drama is high on atmosphere, character, action, and plot. But I especially love how the voiceover narration is integrated into the story, especially the cliffhanger resolution.

There is so much joy in this monologue, all of it highly detailed and specific: sweet memories of family, the giddiness of romantic love, and, most deliciously, palate-pleasing adventures. There is so much joy in living life Jonté is telling us, and I'm firmly on her side.

The resolution in this short play is breathtaking. Simple, elegant, direct, and breathtaking.

It's very affecting when people know someone is listening and understanding, which is what makes "Jon Wurtele" so enjoyable. Jordan Muschler doesn't provide a moment of agreement -- individual tastes differ, especially in the arts -- but that moment when Jon and Brian open up to talk about their passions for theatre, that moment of empathy and understanding is wonderful.

I love when characters spin yarns, tell tall tales, pull someone's leg, even flat-out lie just for the sake of having a good time. Williams' "37 Origami Bees" had me laughing at the details, then grinning when the other shoe drops.

Cathro trusts the audience to infer more than what's said in the dialogue of all his plays, "37 Origami Bees" included. We don't know everything happening between Shelly and Brady, but we know enough to sense what might happen next. Excellent writing in a scant few minutes.

Matthew Weaver's charming, near-silent comedy had me hooked when it referenced A.A. Milne's "Winnie-the-Pooh." Actors will love the four roles in this short play, which is very visual and very physical. Silly, thoughtful, kind-hearted stuff here.

I love the depth of Jennifer O'Grady's short play. A species is on the verge of collapse, the leader is a monarch with no real power or influence, and almost everyone is apathetic about the end. So yeah, it's about "bees." But Jennifer adds a calm reminder that there needs to be caring and interest in others.