Recommended by Steven G. Martin

As previous recommendations have stated, Monica Cross has done well to build the world of "The Warship Waterloo." But I find it even more impressive that she has absolutely nailed a universal truth in this 1-minute sci-fi comedy: Booze will make anyone think twice.

Fun and funny, easily produced on stage or in a virtual performance as with the Whiskey Theatre Factory's 1-minute play competition, where it debuted in 2022.

This is a funny, bawdy, cheeky, yet ultimately touching story about a young Greek god who learns his place in the world and respect for others.

Kudos to Duncan Pflaster for creating a play built on classic structure and then drapes it with moments of silliness, sexuality, and even some tears.

I enjoyed a virtual reading of "Nothing But Thunder" by Wine Box Players in February 2022.

I completely agree with previous recommendations for this short, political comedy: The ending is impactful and will make people think.

"Just the Same as You and Me" ends at the right moment, showing that it's not enough to notice and problem and speak out. A person can't foist responsibility onto others to solve it, he or she must be willing to act to create a solution.

Katherine Varga uses nostalgia to bring people into this short drama then pinches them in the arm to (perhaps) wake them up. Wonderful for an evening of short plays, especially political ones.

I wish I had written this short experimental drama.

Emma Goldman-Sherman has created a play that is very precise with its aural and visual stimuli. But the story, the theme as told through the actors' responses to those stimuli are open to interpretation: the actors', the director's and the audiences. But everything -- title included -- is essential to shape the understanding.

As Goldman-Sherman writes in the synopsis, "It's probably different every time for every person involved." And I find that exciting and humane and vibrant with possibilities. I'd love to see "Mortals" directed and acted in earnest.

Elisabeth Giffin Speckman's "Holmes Jr. High (A Play for Young Actors)" is perfect for a school production. This large-cast play has many substantial roles, so several actors can join the fun.

It's also tonally terrific -- there's a nod and a wink to all manners of detective stories from Doyle's Sherlock Holmes through Christie's Miss Marple to Keene's Nancy Drew. Speckman clearly appreciates all of them. Additionally, there's a genuine mystery to be solved. There are clues, red herrings and the detective speech that wraps up everything.

"Holmes Jr. High (A Play for Young Actors)" is very appealing.

Ruben Carbajal pushes everything to its extreme in this 10-minute dark comedy: the conflict, the stakes, the characters' actions and reactions. It's serious and ridiculous all at once, and it also says something about the need for human connection and interaction. There's a lot to take in in these 10 minutes, and it's wonderful.

"Burning Airlines Gives You So Much More" should be produced and performed a lot.

I like "Pickers: A Ten-Minute Play" for many reasons. First, through James McLindon's research, we see the circumstances may be contemporary but the central issue of economic disparity extends beyond these times.

Second, I like when characters have the same goal but differ on how to achieve it. Or are far more similar than dissimilar. It feels more realistic and humane than creating characters who are diametrically opposed.

Third, McLindon shows through action this conflict will lead to Terry making more choices. The audience intuits this is a life-altering event for Terry.

"Pickers" deserves a rich, robust production history.

Playwrights would love to dramatize a situation like the one in "When Cranes Cha-Cha." Give Emily McClain credit because although the story is based in fact -- see the Twitter URL in the summary for the inspiration -- she makes the story her own, building complications upon complications. She turns this story into a side-splitting play.

I expected this 10-minute drama to move in one direction -- why does Amanda need the loan, why is her mother kept out of the loop -- but DC Cathro treads toward more humane and interesting territory.

Father and daughter speak openly in "Cleaning Gravestones," but also gently and with understanding which makes the underlying hurt and realizations more difficult to bear. Monsters yelling are easily ignored, but it stings badly when a hurtful truth is shared by a loved one.

I enjoyed a January 2022 reading of "Cleaning Gravestones" from Reading (Pa.) Theatre Project.

What I especially like about Doug, the protagonist in Donald E. Baker's monologue is that -- at age 13 -- he was a little shit.

There's nostalgia in "Dad and Uncle Mark (Who Was Not Really My Uncle)" and there's coming of age, self-aware moments too, but that little detail, that Doug blackmailed his father, adds a nice sour, salty bite to the story. I think it'll provide an older actor something additional to play in performance.

Making your protagonist even moderately unlikeable for even a short amount of time? Nicely done, Donald E. Baker.