Recommended by Steven G. Martin

I love Floyd-Priskorn's Faye Ferria. She is an iron lady, just like her last name suggests. And I say good for her. Good for her not to let her neighbors get away with stealing, good for her to say that retirement homes are places "where old people go to be forgotten," good for her to stand up for herself.

"Backyard Stonehenge, Reclaimed" may be a litmus test, showing who you are depending on who you side with more. There's nice depth in this 10-minute play because of Floyd-Priskorn's skill. I'd love to see it staged in repertory with "Backyard Stonehenge."

There's a lot going on in this short play, from its fun comic opening to relationship drama and a bit of romance. TJ and Kendra have already been on a journey thanks to the backstory Floyd-Priskorn has created for them. It feels they're ready for the next steps in that journey because of this play.

I loved reading this melodramatic, grand, shocking, expressive, romantic, emotional, lush, sumptuous one-minute play. The dialogue is spare, the stage directions are poetic, the actions are definitive. Talk about a life-changing moment!

A lawyer, his wife, an ironically prescient newspaper crossword puzzle, eyebrow-singing insults, power plays, reversals, and a sweet emotional resolution. "Let Lying Dogs Sleep" has so many great things going for it that audiences will love it.

Biblical backstory, wordplay and wit, and some genuine touching emotion and insight. "The Prodigal Cow" is a lot of fun to read. And from its robust production history, clearly fun to produce, perform, and watch. Bravo, Mark Harvey Levine.

... with an emphasis on "Craze." The one-minute plays in Richter's anthology are snapshots of competitiveness, obsession, and the overwhelming omnipresence and overhyped "importance" of fads. There's wit, satire, and even sweet symbolism.

"Hold My Hand" is shudder-inducing horror in less than 60 seconds.

So funny, so full of glee, cake, twists, and turns. Monica Cross has written a wonderful, short, dark comedy.

Five harrowing minutes really do last forever, including their impact on two girls' lives. What Allie and Samantha lived through and the aftermath aren't normal and shouldn't be normalized. Brava to Hageman for this clear-eyed drama.

What I love about "What's on the Menu?" is that, I think, audiences will feel closer to one or the other characters depending on their own age and how they age. I'm sure when I was younger, I'd feel completely aligned with the Son and laugh at Dad for being pitiful. But now, I can understand Dad's shyness, his inability to speak openly about emotional matters. And I'd love to slap the Son for being a supercilious ass. And I'm glad both characters finally come together.

And all of that is the result of Cam Eickmeyer's good writing.