Recommended by Steven G. Martin

I'm jealous of Min Kahng's ability to create so many tones in this one-minute play including mistrust, comedy and social commentary. It would be terrific to see "Homeless Fairy Godmother" in a 1-minute play festival.

Sam Heyman's ability to create multidimensional characters in a brief amount of time is one of his strengths. Even better, Sam shows us moments that test and then prove the strength of the relationships between characters. Nadia and Caleb are going to be just fine despite the concerns they express at the beginning of "Rotten."

I appreciate that Heyman dramatizes some of the aggressions LGBTQIA people face. I also have a better grasp of Yaoi and the different ways different audiences view it. And Nadia's perspective on "rotten" is beautiful.

"Rotten" would be especially terrific for high school actors.

I enjoyed a virtual reading of "The Closet Door" that really highlighted Sam Heyman's abilities in character work. Chip, Brett and Jessica are more than a single dimension because Heyman imbues them with strength (Chip), vulnerability (Brett) and enthusiastic hyperactivity (Jessica) to address the play's central conflict.

"The Closet Door" shows these characters at a tipping point in their lives and there will be consequences -- both positive and negative. I don't know if Heyman has plans for this trio, but he has given them a future in the world of this play.

A play of theatrical magic. Nick Nappo artfully shows two perspectives of Bill and Paula in this short play and those views are complementary. I love to see their genuine, youthful passion for one another upon first meeting and coupling, juxtaposed against the worn-down married couple they have become who are taking a road trip.

I love the theme of rediscovery in "American Paramours" and that Nappo allows the audience to discovery both sides of Bill and Paula in just a scant 10 minutes.

Terrific characters, dialogue and theatrical magic. I hope "American Paramours" is produced often.

The more of this monologue I read, the more i rooted for Brent. Nick Nappo showcases a terrific, comic man-versus-self struggle in "The Speedologue." At its core is the conflicted Brent, who is both confidenct and insecure. That combination genuinely led me to want the best for him.

I love that Nappo places Brent's dilemma in the present time, that he has no idea what the implications for his decision are going to be. That makes the climax even more powerful, the not-yet-exactly-knowing feeling that the audience and Brent both will feel.

I hope 'The Speedologue" is produced often.

This terrific comedy finds its humor in the situation, much like other plays in Daniel Prillaman's "How to Talk to Your Child About ___" series. It's also quite warm-hearted as we see parents and their daughter get to understand a little bit more about each other.

The role of Amy will appeal to any comic actress, but James' steadfastness and Stacy's disbelief offer lots of opportunities for a cast to shine. Pure fun.

I love this monologue by Zachariah Ezer. "Epicenter" is thoughtful, insightful and told in real time -- the audience experiences Lamar addressing his frustrations in front of them, rather than being told about it later. it's the kind of monologue I especially enjoy.

The relationship between Lamar and his friend, Kevin -- who is unseen in this excerpt from Ezer's "The Sprinkler" -- has changed. I love that there are consequences and impacts to this monologue. And I love that Ezer shows -- and I can relate to -- Lamar's frustrations of repressing himself around friends.

Zachariah Ezer does a magnificent job creating this portrait of Phoenix Jones, a real-life superhero in the Rain City Superhero Movement and alter-ego of Benjamin Fodor.

Through direct address to the audience and visuals including costumes and multimedia inserts of news and documentary clips, the audience understands Phoenix Jones -- a Black man who wants to do good in his community, but feels betrayed and ultimately changes. And this understanding will hurt or enrage or probably both.

I hope "Vigilante" will receive even more productions.

A satisfying, gentle sigh of a play -- a sigh of gratitude for the present, a sigh of bittersweet recognition of the past.

"Things Didn't Cost as Much Then" continues to dramatize the relationship between teenagers Beauregard and Zeke in the present. But it also ultimately underlines the differences in LGBTQIA people's experiences now and in the recent past. It's a beautiful reflective moment.

Things may not have cost as much in the past, but our loved ones paid a steep price on some things; a price that perhaps we don't have to pay as much.

Character and dialogue take center stage at the beginning of Donald Loftus's short play. What I especially enjoy about "Dark Matter - a Ten Minute Sci-Fi Play," however, is the shift in tone Loftus creates and the audience has to puzzle what seems wrong and why: backstory and story will grab their attention. I also love that Loftus doesn't tease the audience very long, and what began a lightly comic character study turns into horror, and consequences become of the utmost importance.

There is a lot in these 10 minutes. "Dark Matter" would absolutely engross an audience.