Recommended by Joshua H. Cohen

I've known about the existence of this play for a long time, and I would like to apologize to myself for taking this long to read it. It is nothing short of marvelous, witty and heartfelt at the same time. I wish I had read it a long time ago. Fortunately for me, it is also, at its core, a play about forgiveness.

When I first started to wonder about the one-minute play format, I knew I had to start with Steven G. Martin. This play is a lovely metaphor for how individual recipients of someone's antagonism can respond by forming community.

Sometimes we all just need someone to tell us we're right. Only then can we start to see how maybe actually we're not. These two plays nail that paradox in a breezy, funny snapshot.

A love letter to the city everybody loves to hate. Thanks, Larry, for reminding me why I wouldn't live anywhere else.

To write a play whose theatricality screams out to you, that belongs so firmly on the stage - that is hard. To write a play that is firmly rooted in place, that lives and breathes and loves its setting - that is also hard. To do both at once - that is an astonishing feat, and Misfit, America does it beautifully.

This play reminded me of The Baltimore Waltz (which is one of my very favorite plays) in the way it combined reality and fantasy, sex and gallows humor. The characters say shockingly funny things, but it's never for shock value - it comes from genuine human reaction to being in a shocking place. I know these people, and I enjoyed getting to know them better.

The pacing of this play is perfect. Every time you think you have it pinned down it throws another curveball, and yet it all makes perfect sense in the world of the play - even when, as the stage directions accurately warn you, things get weird. Sex, drugs, rock'n'roll - it's all there, but not necessarily in that order, and never quite in the way you expect.

As befits is subject, Me and Mr. Tom draws upon both existential poetry and vaudeville schtick, and manages to find a harmony between them. Marriage, aging, art, celebrity, all come in for both elevation and debasement, and sometimes it gets delightfully challenging to tell which is which.

Buried Roots is a beautiful play about the complexity of blood ties and familial love. I especially enjoyed how the main themes of the play are reflected in the characters' casual behavior: the fierce love masked by different forms of verbal combat.

I've had the pleasure of seeing this play read twice. What I enjoy most about it is how the author plays with the language of two actors embodying the same character at different stages of life in dialogue with each other. The simple choice of a singular or plural pronoun is both freighted with meaning and genuinely funny.