Recommended by Steven G. Martin

Hageman proves the adage that writers must have genuine affection for the subject they parody. She clearly knows and enjoys the characters and the stories she is spoofing here: there are levels of detail that a non-fan wouldn't recognize, and the humor is richer because of it.

Bavoso dramatizes how we lose out when our primary passion in life is our career. Felicity and Minerva push through huge obstacles to improve their lives through new jobs, but at the cost of losing a whole lot more. Bavoso has done his research: this is a finely plotted, strongly detailed script with terrific roles especially for women actors.

Jojo is aptly named because the character is filled with so much joy. Jojo sees so many opportunities, not only in finding fun, imaginative things to do during the thirty minutes allocated to recess, but also in connecting with playmates and teachers. Jojo's enthusiasm, optimism and friendliness are a delight.

Westfall recognizes that we're not the same people we were when we were younger. Aspirations and attitudes change, especially regarding career success. But even if Lilly feels disappointed with her work compared to what Manny, her friend, has achieved, she still shows pride in her abilities, especially at the end. "The Best Seller" features strong characters, natural dialogue, and a fine use of action at the climax.

Cohen's script is funny, earnest and pointed. It aims at how ridiculous fantasy and fairy-tale actions appear in the setting of the modern world. It skewers contemporary "what's-in-it-for-me" sensibilities. It dramatizes frustrating, funny, well-thought characters who are diametrically opposed to one another. And it may be an artistic Rorschach test, as an audience member's reaction to the ending may illuminate who she is and what she believes.

Schmidt's short comedy is funny seen through the lens of farce, damning through the lens of satire, and depressing through the lens of reality with its reminder of how the powerful use code and nonsense to get their way.

It may be natural to look forward to the future, to anticipate the changes that may happen in our lives, but Houg's gentle, fantasy-comedy reminds us that living fully in the moment is the most important thing. Nicely drawn characters and a lovely theme.

There is no glow like post-coital glow, and Weaver's Young Man character is positively radiant. The character is so earnest, direct and guileless that this play might have become unnerving for the audience or unfocused for the actor. But Weaver wisely creates a structure that not only supports Young Man's introduction into new worlds of carnal and gastronomic delights, but also provides a natural beginning, middle and end. An endearing play.

A coming-of-age domestic drama, a life-or-death battle with the supernatural, and the groan-worthiest pun in the history of Western Civilization.

Partain's "Immortal Combat" may be the most eye-bulging, pulse-quickening, OMG-mouth-dropping, fun and theatrical one-minute play ever. Loud, raucous, silly with just enough of a bittersweet core to add depth. And the groan-worthiest pun in the history of Western Civilization to top it off. Sit back, brace yourself, and enjoy.

Timms uses emotion, rhythm and history-building to create a complex character in their monologue about mourning. A young man attends the funeral of a former friend now "in the background" of his life. Timms doesn't brush aside emotions or default into "courageous, bright-side-of-life" mode. Instead, they provide Young Man the opportunity to express a mixture of genuine grief, regret and guilt. This is a humane portrait of a man in mourning.