Recommended by Steven G. Martin

Brisbane's one-act play is a marvelous concoction of reportage, criticism, pulp biography, and vaudeville theatricality. "Phyllis Schlafly And The Imaginary Television Show" also is a play of emotions: rage, disgust, and contempt for its subject. It's a wonderful read, and it would be audacious to stage.

This play is more than its concept, although the concept is highly theatrical and perfect for the stage: the conflict of Man versus Self played out as Man versus Man. No, "Baggage Handlers" is much more than its concept as Vovos' use of structure, action, and irony leads an audience to care about all the characters and their plights.

Tristan B Willis crushes stupidity, insensitivity, banality, and mediocrity in this micro-short play/performance piece. All the more credit to Willis for not giving those 23 moronic opinions any time in the script, either -- although an audience will infer most because of the specificity of the lines. This is pure response & reply.

Vovos has written a terrific historical play in "Delivery," set in one of the northernmost stations of the Underground Railroad.

Vovos doesn't focus of the minutiae of the time and place, or the details about how the reality of the situation came to be. Instead, he focuses on people who are forced to live in that time and place, their history, and their goals. As a result, emotional connections are at the forefront. Actors, directors, audiences will love "Delivery" on stage.

Lynett employs marvelous naturalistic dialogue in "In Transit." The audience understands so much about Becca, Ryan, and their emotions by what is said, unsaid, glossed over, and even abandoned mid-sentence. Add precise actions that showcase character, and you've got a wonderful short play that actors and directors would love to put on stage.

Hilton examines darker emotions in this collection of eight plays. He shows characters filled with regret, loss, and fear. There are missed opportunities for connection; moments of cowardice, selfishness, and self-loathing; and even brief terror in the midst of tedium. Hilton's plays range from apocalyptic science fiction to relationship dramas, and even a pantomime of veiled desire.

"The Salt Gatherer and other one-page plays" is varied, highly theatrical, easily produced, and filled with terrific characters.

Professor Doominus, a mad scientist, has lost his touch. Thank goodness for evil henchmen and the power of compromise. Audiences will laugh out loud at McGough's comic play, and actors will relish playing the bold, dramatic characters.

Jacobs knows we take on several roles. In the case of "Why are you here?" the roles are of daughter, girlfriend, and best friend. But despite the roles and the people in our lives, we need to take care of ourselves for us, not anyone else.

Speckman captures the energy of a nervous person waiting for the big moment. It's so effective, an audience will hold its collective breath. Fortunately, after the build-up of tension and the grating of nerves, Speckman allows everyone to exhale with an underplayed moment.

Everything is up for grabs and nothing is sacred in Stubbles' fantastical farce. Marvelously crass, filthy, and downright shocking.