Recommended by Steven G. Martin

This is a big-hearted, warm short play is about brotherhood, about acknowledging the sometimes rough parts of the past and paying tribute to it. I enjoy its affirmations, its positivity.

This short two-hander is hilarious, dark, quotable and memorable.

Credit John Busser for setting up an everyday conflict -- parent versus principal as they argue about children's science fair projects -- and twisting it hard. And often. To unbelievably dark, grotesque comic heights. Even better, an audience can understand both points of view, especially the world-weary principal's.

I saw a virtual performance of "Stiff Competition" during the Two-Hander Slam in October 2021, and it was jaw-droppingly great. I'd love to see a live production.

John Connon packs so much into this short comic piece. It's a laugh-out-loud joy to read.

First, "Ambush!" has many power plays, reversals of fortune and action moments. Second, the antagonist is a gleefully over-the-top, megalomaniacal pop culture vulture who refuses to be powerless. Third, it's visually interesting with its scary opening, the use of multimedia, and the end results of a hot-wax session. Finally, there's the theme of self-empowerment, which Connon highlights.

It's easy to tell why this play has been produced several times, including the Samuel French OOB Short Play Festival. I hope it's produced more.

Rom Watson puts the terrific comic duo of Mead and Stu through their paces in this short play. Logic takes hairpin turns as the dialogue shifts from sexuality to the stupidity of penguins to the ubiquitous presence of spectrums and more. I can imagine actors energetically building off one another's dialogue, bantering all the way. The play is capped with Stu and Mead learning a little about themselves, too.

"Mead and Stu Talk About Penguins" may have characters who are a little dim, but they're also caring people who don't pass judgement. It's a sweet story.

This one-act comedy is smartly planned and executed. Credit Bill Arnold for choosing one of the 20th century's most recognizable events as the setting of this farcical satire (or satirical farce). Because audiences will know the story of the "Titanic," they'll be all-in on the humor immediately, and they'll quickly see Arnold's more serious points about false logic, poor leadership, nationalism, and idle fads in the face of disaster.

Four excellent parts for actors, the setting, the visuals, and ridiculous dialogue keep "Deckchairs" buoyant, even as the characters' blinders doom them.

This short play is beautifully balanced, a terrific feat of writing when the audience sees just how much DC Cathro has placed in it: a mother/son relationship in which the two are divided by faith and science, as well as how to let go when experiencing grief over the death of a loved one.

Cathro gives both characters a rich background and doesn't slight either character's perspective in favor of the other. There's humor, there's hope all told with Cathro's as-always marvelous, natural dialogue.

There are several reasons I like "Forgive Us Our Debts." The first is that the play includes a level of generosity and kindness, of thinking about others ahead of ourselves. I also like that the play is about two gay men, separated by a few decades, who may be developing a friendship, and one that isn't based on sex.

Philip Middleton Williams also provides a rich backstory for Luke and Jared, and that the difficult part of their history is a strong reason why the bond/friendship forms and why generosity and kindness rule.

"All the Answers" is driven by its strong concept: What would you ask if promised absolute truth as the answer? Life is mysterious and unsettling; who doesn't have that wish?

Mark Cornell has created a dark fantasy, however, with the characters he creates, especially with Isabelle's backstory and given circumstances. And the ending led to me to ask more questions: Was Joe's question answered? Is Joe really in Heaven? Does Isabella tell only the truth? And others.

"All the Answers" has a lengthy, robust production history for a reason. It is terrific for audiences, actors and directors.

"I Let Them Out" is spare, direct, completely concentrated horror for the radio.

Brilliant.

Donald Steven Olson shows how contemporary early 21st century America society works -- politics, education, media, health care, economy, industry and more. His method: a direct, tell-it-like-it-is monologue juxtaposes the contemporary world with that of Thornton Wilder's classic play "Our Town."

Everything that has happened in America the past 100+ years has happened to Grover's Corners. Olson made me question just what constitutes progress, rather than change with "Your Town." At the end, Olson raises a lot of big questions: what it means to be human, what the past means to us, what theatre means.

Produce "Your Town," please.