Recommended by Steven G. Martin

Bethany Dickens Assaf has really developed the romance in this full-length romantic comedy. It happens in a variety of ways, from the meet-cute that everyone knows will end well (even if we don't know how it'll get there) to sudden, surprise revelations.

"Parlor Games" has its fair share of comedy, too, especially with the antics of desperate people trying to pander to the whims of people who could help them.

This play has rich, varied characters, a strongly plotted story, twists and revelations, comedy via wit and physical action, and more.

Bethany Dickens Assaf has created a metatheatrical, painful, wandering and winding play, one that sometimes reverses onto itself. Also, it's uplifting, encouraging.

"Just for Context" is a comforting, warm hug for writers and a gentle awakening for audiences who believe art magically and painlessly appears.

"Elevator" is precise, subtle, emotional. It's heartbreak on a miniature scale as Dakota Pariset skillfully shows the limitations of communication and longing. "Elevator" would be wonderful to direct, to act, to watch as an audience.

A fun, buoyant, science fiction premise. Delightful banter of dialogue. Jonathan O'Neill provides much to enjoy in this 10-minute comedy.

My favorite part of "Call for Submissions," though, is O'Neill's theme, that lives become richer and so much more interesting when we become aware of and celebrate others' cultures and traditions. I find it so affirming and enjoyable.

A big-hearted relationship comedy. "Chomp" pushes Beau and Tammi's relationship issue to extremes, which requires a big climax to make it pay off. And Cathro provides exactly what an audience needs.

I love this kind of storytelling: Reality collapses upon itself, breaks into fragments that ricochet against one another - sometimes to horrific effect.

I also love that "-1, 0, 1" feels objective, cold, a little clinical in its drama. We have some details but not enough to fully understand the protagonist. This isn't personal, it's all of us: our lives have multitudes of frequencies and ranges. It's so precise.

I hope Emily Elyse Everett's short drama/dark comedy gets a strong, varied production history.

A tearjerker on two levels: the knowing, serious drama of conflict and guilt and shame in the first part of this short play followed gently by the direct address of remorse and grief. Audiences will openly sob.

Absolute twisty, suspenseful, satisfying fun.

Scott Sickles layers revelations and reversals on top of one another from almost the beginning of this horror script. Once the first truth is exposed, the rest come crashing down almost like dominoes, one after another.

What gives "Corporeal Punishment" an added texture is one of Sickles' many strengths: As much as this one-act play properly belongs in the realm of horror -- some amazing visuals, dialogue and plot points! -- at its center is the conflict of wanting to love and be loved. It's scarily humane.

This is a crafty bit of comic writing. Comedy may be about people at their worst, but to devote an entire play to two characters at their worst except for the climax is an exercise in balance.

Two actors with strong chemistry will flourish in "The Hate Cafe" because Jim Siering's skill at banter, tone and pacing will keep an audience invested in Donna, Jim and their plight.

Scott Sickles takes his character Grant to such heights in this monologue that he's either going to continue to fly or he's doing to fall to his death. The stakes are that high.

Sickles has packed so much strident, sincere emotion and rich, vibrant details into "Music in the Name" that Grant can be fully understood by audiences, directors and actors alike.

We understand this is THE signature moment in Grant's life -- his plea for a doctor's help. What happens afterward is of the highest magnitude: either resurrection and celebration ... or emotional annihilation and devastation.