Recommended by Steven G. Martin

This terrific comedy finds its humor in the situation, much like other plays in Daniel Prillaman's "How to Talk to Your Child About ___" series. It's also quite warm-hearted as we see parents and their daughter get to understand a little bit more about each other.

The role of Amy will appeal to any comic actress, but James' steadfastness and Stacy's disbelief offer lots of opportunities for a cast to shine. Pure fun.

I love this monologue by Zachariah Ezer. "Epicenter" is thoughtful, insightful and told in real time -- the audience experiences Lamar addressing his frustrations in front of them, rather than being told about it later. it's the kind of monologue I especially enjoy.

The relationship between Lamar and his friend, Kevin -- who is unseen in this excerpt from Ezer's "The Sprinkler" -- has changed. I love that there are consequences and impacts to this monologue. And I love that Ezer shows -- and I can relate to -- Lamar's frustrations of repressing himself around friends.

Zachariah Ezer does a magnificent job creating this portrait of Phoenix Jones, a real-life superhero in the Rain City Superhero Movement and alter-ego of Benjamin Fodor.

Through direct address to the audience and visuals including costumes and multimedia inserts of news and documentary clips, the audience understands Phoenix Jones -- a Black man who wants to do good in his community, but feels betrayed and ultimately changes. And this understanding will hurt or enrage or probably both.

I hope "Vigilante" will receive even more productions.

A satisfying, gentle sigh of a play -- a sigh of gratitude for the present, a sigh of bittersweet recognition of the past.

"Things Didn't Cost as Much Then" continues to dramatize the relationship between teenagers Beauregard and Zeke in the present. But it also ultimately underlines the differences in LGBTQIA people's experiences now and in the recent past. It's a beautiful reflective moment.

Things may not have cost as much in the past, but our loved ones paid a steep price on some things; a price that perhaps we don't have to pay as much.

Character and dialogue take center stage at the beginning of Donald Loftus's short play. What I especially enjoy about "Dark Matter - a Ten Minute Sci-Fi Play," however, is the shift in tone Loftus creates and the audience has to puzzle what seems wrong and why: backstory and story will grab their attention. I also love that Loftus doesn't tease the audience very long, and what began a lightly comic character study turns into horror, and consequences become of the utmost importance.

There is a lot in these 10 minutes. "Dark Matter" would absolutely engross an audience.

DC Cathro dramatizes what the world is feeling during these times of isolation, fear and anger. Cathro does more more than just document despair, however. I love that this short play focuses on connections, on people helping people.

"Ice Cream in Winter" has characters who feel rich, intense, varied emotions in a short amount of time. It features realistic dialogue that actors will be able to dive into and explore. And I love Cathro's use of action to highlight character and story, especially at the end.

I enjoyed not knowing where Philip Middleton Williams would end this short comic play. It felt the arguments of Creator v. Beholder was fairly balanced throughout -- including some poor arguments on both side. Then, the ending hit hard.

This is a quite funny and insightful play about what art means to different people. I enjoyed it very much.

The dramatic irony of this short, faith-based comedy is marvelous and will satisfy a lot of audience members.

My favorite part, though, is the heartwarming and pleasing ending. It's a nice dollop of positivity on a play that genuinely had me concerned about Father Joe Branham's fate.

Razor-blade sharp and satiric horror. Horrifying. Unforgettable. Persephone Hudson's short play is an assault on the audience's senses but even more on the inhumane methods to destroy others.

The story and action of "Snap Beans" are simple. The theme, the theatricality are not.

I love that Mackenzie Raine Kirkman has created only two characters in this one-minute play, but has clearly provided a third perspective, an objective voice to comment about what clearly is a bittersweet memory.