Recommended by Steven G. Martin

Matthew Weaver has written a fun, one-act mystery about relationships -- both sibling and romantic -- and destiny in "Kiss Me in the House of Mirrors." There are moments of fun-house frights, sleight-of-hand illusion and theatrical scares that audiences will enjoy. But Weaver goes beyond those with some strange, mysterious moments that underscore the characters' agendas.

Greg Vovos has created a world in which Work is Hell: unfulfilling, pointless, repetitive and filled with nonspeaking corporate lackeys whose only job -- it seems -- is to create a culture of sirens and threats and impossible, ridiculous rules. Impressively, Vovos makes it feel like Joe and Chris are accustomed to this world, that they've lived in it for a while now, and have given up.

This play is very funny, too, but darkly so. Credit goes to Vovos for the downbeat ending. "Does it matter?" When you're stuck in hell, no, it doesn't.

This fun play bursts with insider information about auditioning, rehearsing and performing theatre. Hageman has written terrific character-specific comedy -- the one-woman show quip is hilarious! -- and broad comic moments that reflect some stereotypes about the process. Hageman shows her love for theatre and performers, though, when the characters question the validity of the stereotypes. Their effort to understand and move beyond those stereotypes is wonderful, and this would be a wonderful script for classes, camps or festivals.

"The Thought Doesn't Count" is a legitimately marvelous script that actors will love to play, that audiences will love to watch and hear.

The laughs are genuine -- including bawdy ones at the start (the line about hurricanes is a killer) -- the dread through miscommunication is genuine, and the gut punch of reality and realization hurts. And somehow Emily Hageman is also able to bring the characters through guilt and self-loathing to a kind of grace and at least recognition, if not happiness, because she loves them enough to provide a complete journey.

Produce this play.

Hayet's Date with Death has a jaw-dropping situation and action, and his dialogue provides some seriously dry humor that'll shock audiences for a moment before they laugh out loud. This would be terrific to produce in any event, including a romance- or Valentine's Day-related festival.

Hayet's Letter of the Law sets up its comic premise wonderfully, and then hits it out of the park on the follow-through. This would be a wonderful addition for a Christmas-themed event.

The details in Nick Malakhow's script -- found in actions and reactions, dialogue, mindsets, personal histories and the world around the characters -- are rich and deep. They make the characters and their strengths and their flaws real, and they will make the audience appreciate even more that they connect. Because it would be so easy for them not to connect; it's heartening that they do. Malakhow has written a fine short romantic drama.

John Bavoso's short comedy has a strong concept and even stronger execution. He shows a real affection for Tiffany, whose existence is thrown into turmoil before she ever has much of a chance to live her life. There are plenty of laughs, but the best part is the depth Bavoso brings -- we control our lives, we don't exist solely to serve as a function of someone else's life.

I love plays that bring an essential truth to the stage, like Jeremy Kareken's "80 Cards." Theatre is ephemeral, life is short, and things are funnier when they happen to someone else. Audiences can enjoy the play on several levels: the metatheatrical foundation, the dialogue that provides insight into several things -- I know more about Bavaria now -- except Martin's thoughts on the situation. And some audience members may extrapolate the play's action onto their own lives, wondering how many cards remain in their own deck. This is a wonderful script.

Lee Lawing's insights into love, writing, silence and loneliness flow like water in this monologue. They quench the audience and his character, 50-something Fredricka Barnes. Lawing has insights into loss, too, and regrets as well as coming to terms with those regrets and that loss. Barnes is a marvelous character, certain about many things as a woman that she had been uncertain about as a teenager. That knowledge is worth everything. This is a lovely script.