Recommended by Steven G. Martin

I love this affirming father-son storyline. Evan Baughfman showcases the protection of innocence, the encouragement of imagination. You'll smile after the couple of minutes of this play.

This is why I love one-minute plays: They can reveal emotional truths in a moment. In the case of Jacquelyn Floyd-Priskorn's "Brompton's Truth," it's a bittersweet moment -- accepting the future because the present offers wonderful possibilities. A gorgeous script.

Intense. Mysterious. Fun. Grounded. I wish I'd written this short action-adventure play.

Monica Cross's talent in creating character voices takes center stage in this short play with third-grade characters. Camaraderie, frustration, anger and more fill these few minutes of "Red Pen, Green Ink."

Yes, the parent-teacher tension between Mrs. Roberts and Mrs. Robinson starts high from the first line of dialogue in "A Thousand Points." And, yes, it only rises throughout every line in this short drama with new revelations and threats peppered throughout. My heartbeat was pounding as I read.

But that's just the baseline as DC Cathro's script reaches a different emotional high at the end: shock, frustration, and a bit of fear along with anger. That added level raises "A Thousand Points" to being even more memorable and impactful on an audience.

Very highly recommended.

The title caught my eye. The story about self-centered adults made me laugh.

Hilary Bluestein-Lyons has written a sharp comedy about being a newcomer invited to join a longstanding group of friends ... and then being treated like a third wheel. I felt bad for Theodore because everything he says in "Not THAT Steve Martin" is ignored or misconstrued or topped by one of the friends' stories. Run fast, Theodore. Run far.

Food and sex, sex and food -- it's all about appetite, and Lucy Wang absolutely has pitch perfect tone with this ten-minute play. A little spice, a little comedy, lots of depth to both because of the terrific dialogue and characters. Audiences will savor every moment of this play.

Dominica Plummer has a beautiful grasp of characters' voices, and the ones in "Cäterwäul" are very specific: young (older teens), regional (Northeast U.S.), and passionate about music, (death metal).

Plummer knows these characters and knows exactly what characters and situations will bring out the worst in them: their parents (older and equally passionate about music) and being kept from playing music. It's such a strong setup and execution.

"Sugar" is a slow burn that builds to a life-or-death moment hinging on the seemingly straightforward action of opening a door and passing through it.

Jennifer O'Grady's characterizations are terrific, especially Jaden's persistence in trying to engage with Lilia. Audiences will genuinely care about the outcome of this 10-minute drama.

The tension starts in the first beat of "Palooka" and it only increases throughout. Wil and Jenna are toxic together, and Claudia Barnett makes that increasingly clear with dialogue that aims to break skin, draw blood and expose bone. This is an uncomfortable play in the best way.