Recommended by Steven G. Martin

This fourth play of the "Twelve Days of Christmas in France" series packs the most action and conflict so far. There are still atmospheric elements, but there's also more robust humor with wordplay. Nora Louise Syran even refers back to the first play in the series here. "Four Calling Birds" is probably the most complex entry in the series so far, and it's terrific.

This short play is the third of Nora Louise Syran's "The Twelve Days of Christmas in France" series. It nicely builds upon the strengths of the previous two: characters, tone and atmosphere. The title also is a sly one.

Like the first two plays in the series, "Three French Hens" feels like a brief snapshot of a pleasant, warm moment in life -- that of friends dining together and enjoying the newest success of one of them.

There's a lot packed into Lee R. Lawing's one-minute comedy. I love the irony of the characters' dialogue juxtaposed against the seriousness of the stage action. I love the theatricality, the sleight-of-hand stage magic, the genuinely uplifting message at the end. I'd love to see "Passion Play, Eureka Springs" produced.

Nick Nappo has created a terrific multidimensional protagonist in this full-length play. Marone is a high school physics teacher facing a lot of professional and personal conflict. It's enjoyable to see how he acts differently around different people; his students, his wife, his colleagues, his boss. "Unbalanced Force" clearly tells his story, and we see him going through a lot.

Nick Nappo uses structure and action/visuals to great effect in "Unbalanced Force." The direct address from a narrator/chorus gives the play a classic feel. And the experiments and student protest offer great opportunities for direction and design.

This short play is romantic and wistful. Nora Louise Syran adds a touch of magic and mystery as there's nothing explicitly said about the identity of the lover or the connection with the cooing pigeon. It adds to the charm and atmosphere of "Two Turtle Doves."

I love the atmosphere that Nora Louise Syran creates in this very short play. Christmas season, indoors, a loving empty-nest couple working side-by-side in a kitchen - it feels cozy, which is different to the action outside.

"A Perdrix in a Pear Tree" isn't driven by conflict. Instead, enjoy the setting it inhabits the the atmosphere imbued within it.

This mother-daughter comedy brought a smile to my face, especially with the reversals of maturity level and superiority. I especially like that teenaged Shawna really wants her mother, Toni, to enjoy enjoy the date and maybe find someone nice to be part of her life. Also, this is a funny play that showcase's DC Cathro's skill with dialogue.

Kevin King has written a terrific character for a comic performer: a smart, wise, affirming, genial fortune teller who feels, perhaps, a bit superior to the clientele. Perhaps a bit dark and opportunistic, too. It's a great spectrum of moods.

This short comic monologue ends on a nice comic beat that highlights part of the superior attitude. It's a terrific laugh line. But i love how kind the fortune teller comes across in regard to life philosophy, living life, and going forth into the world. It's so positive.

I hope "I've Seen the Future, Baby" develops a long production history.

There's lots of silly fun in Marcia Eppich-Harris's short wish-fulfillment comedy. I love that chaos spins out of control after the first shoe drops. I also enjoy that there are a few undertones to family support about identity and U.S. immigration.

Best of all, though, is that all the characters have their moment to shine, but I especially enjoy the antagonistic younger sibling, Taylor, who is just vicious enough and more than smart enough to question "What the hell?" like the audience might at first.

This is a very fun comedy. I hope to see a performance soon.

This is such an unexpected one-act play. First, Monica Cross uses folk tale/fantasy to explore emotions that feel very contemporary: disappointment, denial, family tensions about acceptance.

Second, Cross's language and use of verse makes those contemporary crises feel eternal and ever-present. It's very exact language -- follow the line breaks! -- and it seems very storybook-like.

It's a strange tension: contemporary, yet not, old-time, yet not. All of that added to a touching parent-child conflict.