Recommended by Steven G. Martin

Szymkowicz had created a living hell for grief-stricken Orville filled with people living their own hells, and the audience is invited to witness things far too intimate and personal for far too long a time. Very dark, very unnerving, and written very well.

"Family by Numbers" tells an emotional story using presentational dialogue and action. Rose compresses decades into mere minutes, moving at breakneck speed. She also provides enough detail for audiences and actors to understand characters' emotions. This play is direct, spare, and unflinching.

Lawing's protagonist Merelynne unsuccessfully creates a façade in "God Awful Table." Lawing provides everything the audience, actor, and director need to know how Merelynne feels and why.

Addendum: I watched a reading of "God Awful Table" on Facebook by Back Porch Theater on Jan. 22, 2021. The actor beautifully showed Merelynne's nuances -- pride, sadness, passive-aggression, and feelings of hurt -- during the performance. A true 3-dimensional performance of 3-dimensional character.

Wyndham's monologue is the kind of lunchtime revolution that jolts me in a good way because I couldn't have participated in one myself as a 9th grader.

Pasha -- armed with lunch tray and Sloppy Joe sandwich -- is fueled by self-confidence, rage, passion, intelligence, and clarity. And Wyndham provides enough embellishment to confirm Pasha isn't a megaphone or a poster child, but a person with everyday concerns, foibles, and interests.

I watched O'Grady's "New Kitten" during the live, online broadcast of the U.S. edition of the 2019 Gi60 International 1-Minute Theatre Festival.

There is conflict and comedy when younger characters intrude in the lives of older characters, but O'Grady goes further to show the evolution from rivals into mentor/mentee. It's quite satisfying.

I watched Weaver's "Haunted House" during the live, online broadcast of the U.S. edition of the 2019 Gi60 International 1-Minute Theatre Festival.

This play is like a camera's zoom lens: the audience moves from the broad and clinical to the specific and emotional. It's also a mystery; we know little about the character, except the remorse that vibrates in the dialogue.

I watched Carnes' "Brothers" during the live, online broadcast of the U.S. edition of the 2019 Gi60 International 1-Minute Theatre Festival.

Carnes has crafted a lovely, direct memorial to David and Cecil Rosenthal. May it encourage others to learn more about them, their service, and their community spirit.

I watched Weaver's "The Skunk" during the live, online broadcast of the U.S. edition of the 2019 Gi60 International 1-Minute Theatre Festival.

There isn't a word of dialogue to refer to the reality of the situation, but the tension and stakes are immediately clear. Weaver trusts the audience to get it, and the suspense is ratcheted up because of it.

This one-woman, one-act monologue is a kaleidoscope of the best kind.

Imogen loves love. But with just the slightest lines of dialogue, our perspective of her changes a degree or three: how she's lost love, expresses love, has found and celebrates all kinds of love -- love of home, love of independence, romantic love, familial love.

Partain has created a marvelous portrait.

Eli entirely succeeds with "Tiny Daggers." This sharp satire plays on assumptions based on race or gender like the "streetwise African-American," the "demure Asian-American," and the "sexy, seductive women falling over themselves for a man." Microaggressions cut, and these characters cut back.