Recommended by Steven G. Martin

A beautiful little avalanche of a play, a dialogue that picks up speed and momentum and complexity after the most innocuous of starts. There's also a tidy button that made me laugh aloud.

There's an intense need at the root of "Burger Boy: A Monologue." Asher Wyndham has provided a talented actor and director enough leeway to create any number of characters: a fool/clown, a scary manipulator, even someone to pity. Or maybe all these traits and more can be blended into a single performance.

Terrific character writing.

A comic gem of a play of when the realization hits: It's not the world and all of society and your friends and loved ones and intimate relationships who misunderstand you, who don't get you. It's not them. It's on you.

From rant to realization, "Boardwalk Concessions" is a very satisfying character arc built in only a few minutes.

I like "Living While Asian" because we see two sides of Laurie, Christine Toy Johnson's protagonist. We knows she's lively and active, enjoying travel and a variety of interests through the belongings she talks about while connecting virtually with her friend.

Knowing what we know about Laurie, the audience will feel all the worse we they -- and Laurie -- realize that today isn't the day for her to venture out.

This is a terrific monologue for a female, Asian-American actor.

Bethany Dickens Assaf packs a lot of world building into this short comedy: It's set in the 90s, it celebrates "Star Trek" culture and the wild (yet innocent?) hinterlands of public-access TV. There's social strata world building, too, as we the audience know exactly the kind of problematic boys (yet innocent, sweet?) who call into Delia's and Bekah's show.

With that said, Assaf shines brightest in dramatizing that exact moment when Delia has to re-examine her friendship with Bekah, with no help from Bekah, unable to say what she wants to say so much. It's heartbreaking.

Bethany Dickens Assaf has really developed the romance in this full-length romantic comedy. It happens in a variety of ways, from the meet-cute that everyone knows will end well (even if we don't know how it'll get there) to sudden, surprise revelations.

"Parlor Games" has its fair share of comedy, too, especially with the antics of desperate people trying to pander to the whims of people who could help them.

This play has rich, varied characters, a strongly plotted story, twists and revelations, comedy via wit and physical action, and more.

Bethany Dickens Assaf has created a metatheatrical, painful, wandering and winding play, one that sometimes reverses onto itself. Also, it's uplifting, encouraging.

"Just for Context" is a comforting, warm hug for writers and a gentle awakening for audiences who believe art magically and painlessly appears.

"Elevator" is precise, subtle, emotional. It's heartbreak on a miniature scale as Dakota Pariset skillfully shows the limitations of communication and longing. "Elevator" would be wonderful to direct, to act, to watch as an audience.

A fun, buoyant, science fiction premise. Delightful banter of dialogue. Jonathan O'Neill provides much to enjoy in this 10-minute comedy.

My favorite part of "Call for Submissions," though, is O'Neill's theme, that lives become richer and so much more interesting when we become aware of and celebrate others' cultures and traditions. I find it so affirming and enjoyable.

A big-hearted relationship comedy. "Chomp" pushes Beau and Tammi's relationship issue to extremes, which requires a big climax to make it pay off. And Cathro provides exactly what an audience needs.