Recommended by Steven G. Martin

This wonderful script will shine even more through performance. Carnes incorporates three timelines and storylines for the same pair of characters (a mother and a son). Echoes and patterns of dialogue and action play against one another, and a strong director and cast can highlight the comic and tragic elements of Ellen and Dan's relationship.

Koppen examines world history through a contemporary lens. "Got a Light?" highlights characters and conflicts that are not only of our own time, but of all time. Funny and political.

"TEXT, a Soundscape Play" is a wonderful, wordless satire about people insulating themselves from the actual world, its inhabitants, and its marvels and problems. It's funny, sad, pointed, and more than a little uncomfortable because the character is so recognizable. Hibbard's short play doesn't coddle anyone, and it's all the better because of it.

Wanamaker's "352" may literally be a fever dream, as Aurora is ill but denial leads her to do nothing about it. So, impossible things happen: horrific, illogical, beautiful, and deadly. Even with the love, affection, and concern of Perrault, the best cat companion ever, I worry for Aurora. "352" is unsettling.

Omorotionmwan's unsettling drama is impossible to forget, makes it impossible for audiences not to feel sympathy for all the characters as an education system breaks down individuals into automatons. It also is a very personal tale of a girl who faces bias in the form of an older person attempting to provide a life lesson.

Produce "Color ED."

"Smile, Baby" is a first-rate ricochet of a play: spare, direct, on target. Pay attention from the start because Haas doesn't mess around.

An audience will immediately find Britney endearing thanks to Matthews' wonderful dialogue that includes beautiful imagery and parent/child anecdotes that showcase their indomitable, almost defiant, spirit. Because the audience cares about Britney so quickly and completely, their retelling of the horrific circumstances they are in impacts the audience even more strongly.

"Wax" is a gift to a performer and director because there is so much emotion to play.

"Monsters Beyond the Midnight Zone" is a perfectly crafted 10-minute adventure script for the stage.

Partain doesn't give the audience or characters time to breathe or orient themselves, starting exactly at the moment of life-or-death conflict, and she never lets up on the tension or pace. If that weren't enough, she creates huge complications as the characters try to survive their predicament in one of the world's most extreme locations.

Actors, directors, designers and audience members will love productions of this play.

Goldman-Sherman's monologue will wrench an audience's collective heart.

Action, visuals, and dialogue -- both poetic and pointed -- show a woman whose feelings of self-worth are growing ... before she is forced to retreat, to diminish herself, as the deadening reality of her circumstances reasserts itself on her psyche.

To wish to be seen as an individual with her own strengths and qualities rather than a symbol of all womanhood, but then not to be able to believe it herself? Absolutely heart wrenching.

Will the United States fall, and much sooner than anyone might imagine? Or can more and more citizens understand the importance and power of participating in civic and political discourse and action?

Koppen begins "Unfocused" with ridiculous characters being selfish, boorish, and easily manipulated. But through changes of fortune and power relationships, she concludes with sobering insight.

"Unfocused" is funny, inspirational, and damning all at once. May it be read and produced throughout the U.S., throughout all election cycles.