Recommended by Steven G. Martin

This short play is beautifully balanced, a terrific feat of writing when the audience sees just how much DC Cathro has placed in it: a mother/son relationship in which the two are divided by faith and science, as well as how to let go when experiencing grief over the death of a loved one.

Cathro gives both characters a rich background and doesn't slight either character's perspective in favor of the other. There's humor, there's hope all told with Cathro's as-always marvelous, natural dialogue.

There are several reasons I like "Forgive Us Our Debts." The first is that the play includes a level of generosity and kindness, of thinking about others ahead of ourselves. I also like that the play is about two gay men, separated by a few decades, who may be developing a friendship, and one that isn't based on sex.

Philip Middleton Williams also provides a rich backstory for Luke and Jared, and that the difficult part of their history is a strong reason why the bond/friendship forms and why generosity and kindness rule.

"All the Answers" is driven by its strong concept: What would you ask if promised absolute truth as the answer? Life is mysterious and unsettling; who doesn't have that wish?

Mark Cornell has created a dark fantasy, however, with the characters he creates, especially with Isabelle's backstory and given circumstances. And the ending led to me to ask more questions: Was Joe's question answered? Is Joe really in Heaven? Does Isabella tell only the truth? And others.

"All the Answers" has a lengthy, robust production history for a reason. It is terrific for audiences, actors and directors.

"I Let Them Out" is spare, direct, completely concentrated horror for the radio.

Brilliant.

Donald Steven Olson shows how contemporary early 21st century America society works -- politics, education, media, health care, economy, industry and more. His method: a direct, tell-it-like-it-is monologue juxtaposes the contemporary world with that of Thornton Wilder's classic play "Our Town."

Everything that has happened in America the past 100+ years has happened to Grover's Corners. Olson made me question just what constitutes progress, rather than change with "Your Town." At the end, Olson raises a lot of big questions: what it means to be human, what the past means to us, what theatre means.

Produce "Your Town," please.

Bryan Stubbles is fully committed to executing the concepts of his plays, and "Brine Shrimp Gangsters" is another outstanding example.

But this play isn't soulless, rote concept. Its tone is simultaneously silly and dark, it is filled with high-stakes plot points and ridiculously glorious characters. It is funny, it is immersive ("and the audience" is an oft-repeated phrase), it is educational, it is violent. It is like nothing you've seen on stage, and I hope it gains many more productions to its resume.

It would be easy to suggest that people are all vile, cruel, nasty, selfish pieces of meat. Credit Lissa Brennan for showing that some people, at their core, most need artistry, romance, language, wit. "Love's Bright Wings" works hard to steer the audience in one direction, but blossoms beautifully through a tender reveal.

This short play is a tale of not fully recognizing the nuances of life, of the wise protecting the innocent, of saying a lot with just a little.

Vince Gatton never says any of this explicitly, which goes to show his skill and his trust in the audience. The use of subtext also builds the world of "The Oktavist." It's a well-written story.

Christian St. Croix has created a sci-fi/horror/romance one-act that has more than enough sci-fi, horror and romance to satisfy fans of all those genres. But "You've Reached Justin" is incredibly clear in what its main story and emotional arc are for the protagonist Daniel. A director, cast, and designers will know exactly what is needed and where to apply it. To top it off, "You've Reached Justin" has such a deeply satisfying ending that brings together all the conflicts Daniel has faced.

This is a play that will shine in any and all productions it earns. Produce it.

"100000" is unlike anything I've read for a long time. It's a bit mysterious and it feels like a stream of conscience monologue. But Krane provides clues about character and setting in the lines. Add a talented director and actor, and this play becomes even more layered.