Recommended by Steven G. Martin

Sophisticated humor -- through wit, wordplay, and charm -- infuse this light, one-act comedy set in 1950s New York. Hatfield clearly understands and enjoys the high-brow charm of shows of this period, and has created a group of characters -- world wearing magazine writers, a misled wife, and a tortured editor -- that fits right in. Stylish and enchanting.

This is one of Hageman's most playful scripts, but its core is the story of a young boy whose world is changing: his friends think make-believe -- which he loves -- is for babies and his father -- whom he loves -- hasn't been the same since becoming unemployed. "Sir Theo and the Swamp Boy" is a wonderful glimpse at the importance of friendship and imagination when you feel uncertain about the world.

Audiences will laugh during the madcap start of this short comedy and the playwright character's writing process. But tables turn and -- while still respecting all the rules she has created for this world -- Hageman, indeed, delves into something profound: that playwrights want to affect the audience, playwrights want to be understood and there is an audience for everyone's work. Very theatrical, very funny, very empathetic.

This is an entertaining farce about music, an insight into performer/critic relationships, and a reminder that the youngest often are the wisest. Rinkel's one-minute "The Minute Waltz" packs a lot into a small, joyful package.

There is no heroic victory, pulled from the jaws of defeat -- this is a much more humane view of people addressing their limitations.

Credit Asher Wyndham for again creating an empathetic character impacted by surroundings and circumstances. Phil is one of the working poor, overlooked on a daily basis because of what he doesn't have. But he loves his son, he's protective and nurturing, he knows others try to diminish him -- he's smart, he's emotional. This is another winning monologue by Wyndham.

You're 40, you're drinking alone in a bar, you're looking back at your life and your accomplishments and disappointments. And to top it off, you're Mr. Microphone of "Hey good looking, we'll be back to pick you up later!" manufactured-by-Ronco fame.

There's dark humor and goofy realizations, but what's especially impressive with this monologue is that Lawing mines so much emotion. He shows a genuine empathy for the discarded, the forgotten with this surprising script.

There is an overarching grace to "Utopia Found" with the scenario, the characterizations, the dialogue. This short play feels all about resolutions, but playwright Matthew Weaver provides us enough reminders as to the original conflict. Well written, well paced. A warm embrace of a play.

This is a chilling historic play based on fact. The structure and focus are strong. Allen clearly outlines what happened in 1919 during the Newport sex scandal involving enlisted men in the Navy. More importantly he underscores the human impact of the plan to root out gay men from the Navy: callous treatment of young men who obeyed orders to be patriotic, the diminishing of the soul, and strain placed on lives that -- in 1919 -- were criminal, secretive and targets for the self-righteous. Very well done.

Everything Calley Anderson sets up in "Trick or Treat?" -- characters, time and location, props and action -- is absolutely essential to telling this story. And the ending is chilling.