Recommended by Steven G. Martin

The title Breakfast for Quartet is apropos as Nicholas Thurkettle composes dialogue for four distinct voices. Themes emerge for each character and then for the larger group as phrases repeat and evolve, and sometimes blend into others. Thurkettle shows that even distinct, diverse characters have commonalities, which could enrich our lives ... if only we would take a moment to listen.

"Ever after" is an awfully long time, and Hayet tweaks the fairy-tale concept of living happily ever after in "Everlasting Chocolate Therapy." Bo and Chuck live a bittersweet reality, forced into circumstances that began when they were 11 years old. But Hayet gives them hope, that even they can try to change their lives.

Through contrast of dialogue and action, Emily Hageman creates two memorable young characters meeting under circumstances that an audience will recognize but neither of them understands. Caroline's cheerful chattiness and completely self-centered view of the world is balanced by José's somber silence, uncertainty and longing for his parents. One child has seemingly everything, the other child has seemingly everything taken away.

BLANK GAY PROFILE, OFFLINE puts its hero through the ringer -- self-disgust and self-deprecation, drunken disillusionment, and an (almost) mid-life crisis-like questioning of his life achievements and choices. Wyndham takes aim at, and hits, so many targets: social dating apps, A-gays, the need for love. And it subtly begins with the heartbreaking setting, "Night time, Friday or Saturday night. A time people should be out having fun." And then comes the ringer. This is a funny, brutal, exhausting play. It isn't an easy play, but it is a high-voltage electric shock one. Very highly recommended.

Among the strengths of Bavoso's #AREASONABLEAMOUNTOFCAPS is its specificity. The time and location of this play are absolutely integral to understanding the characters and action. This play could only take place when and where Bavoso sets it, which leads to details in the dialogue and characterizations that added so much to my enjoyment.

Bublitz masterfully shows how a word or two, an action or two, can raise a person and her self-esteem or, in the case of EMPLOYEE OF THE MONTH, deflate them. Audiences come to their own conclusions thanks to Bublitz's finely written dialogue and actions that feel real-life, low-key and non-melodramatic. A wonderful short play.

Sharai Bohannon masterfully twists and turns an audience's expectations and opinions in this short play. There are moments of physical and verbal humor, sympathy, dread and even horror throughout -- all nicely played out both in action and dialogue of the two sisters and a visitor to their apartment. Terrific characters that are defined by dialogue and action, a streamlined story and wonderful atmosphere. Very well done.

What's an international super-spy to do when she realizes her arch-enemy has turned her into a child? Throw a tantrum, of course, followed by be horrified at the prospect of reliving adolescence a second time. Radtke's BARCELONA combines strong characters, funny dialogue and more than a bit of physical humor and action. Plus, an ending line that summarizes the events perfectly.

In this comic gem of a short play, Scott Haan reveals not only how the conflict of the hungry customer and the fast-food employee plays out but also why. Fun to read, even better to watch in production when the actors have strong chemistry with one another.

Neil Radtke pulls out all the theatrical stops in this short play, starting with silly accents and a parody of crime investigation dramas. He piles on ridiculous -- yet biting -- expository monologues, meta-theater recognition and self-deprecating humor, then continues to build and expand the comedy until it reaches a climax that parodies shocking twist endings in modern entertainment ... and the audience is completely in on the fun from the first line. A comic gem.