Recommended by Steven G. Martin

Shawna and Kellie Lynn -- two poor, rural American women -- mostly know what their lives are all about. They also know there's no escape, as even the slightest hopes for something interesting or exceptional are taken away from them with brutal truth. And that's when the mediocrity of nice people -- not good, not caring, just nice -- arrives and does nothing to help.

"Kavanaugh" is a magnificent combination of theatricality, reportage, anger, and regret. Koppen isn't asking "What if?" but contemplating "If only."

Hundreds of years into the future, humankind has reached a planet inhabited by intelligent, social individuals. What a shame the Earthlings remain a self-centered, maniacal, colonialist lot. Pelham examines leadership and politics through the lens of science fiction.

Sit down, pay attention, and be quiet! Weber introduces you to a school assembly unlike any you've ever attended. "Assembly" has a large cast of ridiculous characters, all of whom make their mark on the action. There's audience involvement, which adds to the fun chaos. And while the tone is silly, there are more than a few sinister undercurrents.

Szymkowicz had created a living hell for grief-stricken Orville filled with people living their own hells, and the audience is invited to witness things far too intimate and personal for far too long a time. Very dark, very unnerving, and written very well.

"Family by Numbers" tells an emotional story using presentational dialogue and action. Rose compresses decades into mere minutes, moving at breakneck speed. She also provides enough detail for audiences and actors to understand characters' emotions. This play is direct, spare, and unflinching.

Lawing's protagonist Merelynne unsuccessfully creates a façade in "God Awful Table." Lawing provides everything the audience, actor, and director need to know how Merelynne feels and why.

Addendum: I watched a reading of "God Awful Table" on Facebook by Back Porch Theater on Jan. 22, 2021. The actor beautifully showed Merelynne's nuances -- pride, sadness, passive-aggression, and feelings of hurt -- during the performance. A true 3-dimensional performance of 3-dimensional character.

Wyndham's monologue is the kind of lunchtime revolution that jolts me in a good way because I couldn't have participated in one myself as a 9th grader.

Pasha -- armed with lunch tray and Sloppy Joe sandwich -- is fueled by self-confidence, rage, passion, intelligence, and clarity. And Wyndham provides enough embellishment to confirm Pasha isn't a megaphone or a poster child, but a person with everyday concerns, foibles, and interests.

I watched O'Grady's "New Kitten" during the live, online broadcast of the U.S. edition of the 2019 Gi60 International 1-Minute Theatre Festival.

There is conflict and comedy when younger characters intrude in the lives of older characters, but O'Grady goes further to show the evolution from rivals into mentor/mentee. It's quite satisfying.

I watched Weaver's "Haunted House" during the live, online broadcast of the U.S. edition of the 2019 Gi60 International 1-Minute Theatre Festival.

This play is like a camera's zoom lens: the audience moves from the broad and clinical to the specific and emotional. It's also a mystery; we know little about the character, except the remorse that vibrates in the dialogue.