Recommended by Steven G. Martin

This 10-minute comedy will make audiences laugh out loud -- the image of Jesus proving his existence is a funny one. There are plenty more comic moments, plus some cringe-worthy ones involving parental choices.

John Busser's "Lent Me Your Ears (An Easter Tail)" is fun, quick-paced, and prods its characters -- and its audiences -- to be a little more open to those things they may not believe in. Especially when those unbelievable things come knocking at our door.

This 10-minute play needs to be watched more than once. It's intimate, but the intimacy extends only between Ian, the protagonist, and the audience who is allowed to hear his revelation.

Hilary Bluestein-Lyons shows how fear can impact a life. We get a moment that can change a character's life -- hopefully for the better -- but instead it just hangs in the air with nothing to latch onto.

"The Boy Who Woke Up and No One Knew Him" is quietly dramatic and shares a story that perhaps many LGBTQIA+ people will relate to.

"We are not even asking you to think!" But audiences will think -- about the magnificence of women's bodies, about women's reproductive rights -- before, during, and after this emotional, funny, sharp, and scary one-woman immersive show.

Emma Goldman-Sherman beautifully shows her world-building and character-building skills in "A Tour of the Early 21st Century Reproductive System (the way we used to have babies) & Real Live Birth Experience!" Grounding Docent Donna in that reality of the year 2203 makes her search even more emotional because we can infer what she is up against.

This is a very dark, very funny, and very smart short play.

Kullen Burnet knows the clichés of summer camp horror movies and sidesteps them in "She's Totally Killing It." When even the characters are tired of clichés, it's time to move on from them and Burnet does just that.

And the ending is perfect: scary and liberating all in one moment of action.

This one-to-two-minute play is a bright, light and comic jaunt. From its tongue-in-cheek title to the button, it's pure fun (and oh it will make a person hungry). The dialogue feels quick and banter-like with its back-and-forth quality, and the story ends with a perfect comic line.

Kaushik Mukerjee shows there's inherit conflict in even the most everyday situations. By paring down those everyday situations to the dramatic essentials, Mukerjee makes "Very Important Choices" a good, funny play.

This ten-minute drama incorporates Sumerian mythology to examine the multitude of pain mortal parents feel upon the death of their child.

It made me feel warm-hearted that Suha, Nicholas Michael Bashour's protagonist, feels like so many of us when a loved one dies -- desperate to return the loved one to life. But, as in life, "Suha vs. Gods of the Underworld" shows the impossibility of such desire.

There is much to enjoy in this short play, the setting and the depth of the characters, especially, and the knowledge Ereshkigal imparts. Ultimately bittersweet, absolutely a must for production.

Cats are the superior species on Earth. This 10-minute comedy proves why.

Ian Thal's ability to create characters is astounding in "Two Cats Explain the Monstrous Moth Group." Their voices, knowledge, attitudes are varied and clear; language, life experience, and logic leap to the forefront of these characterizations.

Additionally, Thal gifts actors with plenty of comic action throughout the play, showcasing cats' physical superiority to mankind -- and creating more than a few laughs from the audience.

"Two Cats Explain the Monstrous Moth Group" is silly on its surface, yet sublime with the details Thal has created.

Claire has been pushed to the edge in this 10-minute play, and she refuses to move another inch.

I love that Keyanna Khatiblou gifts Claire with a strong, healthy, and resilient response to the crap she has taken in her romantic life. I love that Claire is aware of her intensity and slight craziness. I love even more that Khatiblou clearly shares Claire's history; an audience will realize her growth and feel sympathy for all she has gone through.

"Order for Vicky" has comedic and dramatic moments, but I appreciate most its command to Claire to stand tall.

This full-length, furiously paced farce is a twist the boring trope of "a very special holiday show" in which a character tearfully and melodramatically comes out of the closet as LGBTQIA+.

DC Cathro upends that cliché with "Family Holiday" -- a door-slamming, private-revelation farce that builds and builds to the point that audiences may wonder how Cathro is going to improve upon what came before. And oh boy, does he!

It's all in the characters: Cathro provides each with different voices, experiences, and responses to their own truths. Laugh-out-loud funny.

Give Jonathan O'Neill a lot of credit -- he dramatized an historic event but only as the springboard for an unexpected, emotional adventure.

Also credit O'Neill that the emotions involving a young boy and his father aren't all positive and pleasant. There is a strong feeling that life lessons are being learned in "Rule Against Perpetuities," and those life lessons can hurt.

Psychologically affecting, strange and understated, epic yet intimate. I'd love to see how O'Neill's "impossible-to-stage adventure" would come to life in the hands of a talented production team.