Recommended by Steven G. Martin

A funny premise that just becomes more ridiculous and laugh inducing the longer it goes -- and it goes on to the final line.

Almost all of Kelly McBurnette-Andronicos' short comic plays weave in and out of silly situations and actions that make audiences roll in the aisle with laughter. In "Two Yards of Satan," she gifts actors and directors with wordplay, lots of door-slamming action, over-the-top characterizations, and some delicious insight. She also gifts designers with fun opportunities, especially costumes and sound.

"Two Yards of Satan" is a fun farce that would be a joy to produce.

Economically, emotionally, this one-minute play provides a backstory to a couple's relationship and shows us its present, if doomed, status.

Neil Radtke's "Moments Away" has plenty of tension, but also gentle emotion. The juxtaposition is bittersweet, theatrical, and memorable. Actors, directors, and designers -- especially sound designers -- will enjoy bringing it to life for audiences.

Absolute fun with a ton of action, audience interaction, comedy, mythology, and the potential for different ending each night of its run.

Actors, directors, fight choreographers, and designers would love creating Jillian Leff's "The Mother Load" for production. Audiences wouldn't believe their eyes for a second, before raucously and rambunctiously enjoying every little detail.

Pure entertainment and big fun!

My heart broke reading "Baby Black Jesus - Play Four" because Darryl's and Richard's hearts break during this 10-minute play.

Vincent Terrell Durham knows his characters completely, encouraging them to be their best. Whereas Darryl felt like the protagonist in plays 1 and 3 of "Baby Black Jesus," in this volume I saw how much Richard was struggling as a LGBTQIA personal of color whose church means the world to him. I understand him better, his beliefs and actions at the end.

Durham's "Baby Black Jesus" plays would be an emotional and layered evening of theatre when produced all together.

"It matters." Richard and Darryl's story from "Baby Black Jesus - Play One" continues in this 10-minute comic drama.

When Darryl puts his foot down, comic complications arise regarding phone calls and mothers and openness. But just like with "Baby Black Jesus - Play One," Vincent Terrell Durham is speaking about deeper issues faced by LGBTQIA people of color: being seen and welcomed by their family and their loved one's family. Durham's talent with tone shines in this play.

Durham's "Baby Black Jesus" plays would be an emotional and layered evening of theatre when produced all together.

This 10-minute play is a light and fizzy on its surface, but there are stronger undercurrents about relationship issues and family issues that LGBTQIA people of color face.

"Baby Black Jesus - Play One" is quite comedic, with Vincent Terrell Durham providing a lot of opportunity for visual humor and slyly winking banter between Richard and Darryl. But Durham also provides additional depth with points about gender roles, the importance of religion, and being open to oneself and one's family.

Durham's "Baby Black Jesus" plays would be an emotional and layered evening of theatre when produced all together.

This 10-minute play is a generous and sweet comedy about the nerves of meeting someone new and the good things that can happen when we open up about ourselves.

David Lipschutz has created two endearing characters in in Leah and Chava, both with details about their lives that they want to hide. There is a nice bit of dramatic irony as the audience will piece together the puzzle sooner than either of the characters, but that doesn't make "hYdration" any less rich and enjoyable.

Some people show care and express sympathy when their friends are in need. And then there's Taylor, the protagonist of this cringe-inducing, funny, short monologue.

Kara Cutruzzula's "The Little Things" is exactly that, a focus on trivial minutiae that comedically has no impact on the situation at hand. It's a delight to see a character who is this clueless and self-centered.

The exquisite charm of the dialogue that shows the friendship between woman and octopus is placed side-by-side against the cold reality of the condition of homelessness and mental health concerns. I found "Perfect Number" to be a contrast of beautiful and sweet set against sad and upsetting. It's a coral pink sphere atop a violently drawn squiggle.

Diana Burbano is exceptional in creating characters that an audience understands. Maxine's backstory, Octavia's dialogue, their commiseration over topics grand and small provide the audience with so much insight.

"Perfect Number" should have a strong, varied & lengthy production history. Produce it.

A brief dost of intimate moments -- forgiveness and sharing memories -- set against the direst of backdrops.

It feels like Jonathan Cook has turned this play into a telescope, one much more powerful than the Noble sisters have brought outside for this story. We see the bonds of the these three women reattach and firmly embrace, which is the extreme closeup the audience receives before Cook pulls back hard to remind us of the backdrop of the action.

I'd truly love to see a production of "When the Sun Goes Down" to experience all Cook has created.