Recommended by Steven G. Martin

What I especially love about "A Single F*cking Retweet" is that, at the end, Kenan and Deja have hope for the future, both the immediate- and the long-term.

Imani Vaughn-Jones has written a terrific short play for virtual platforms, complete with descriptions of on-screen action. It is meant to be performed on Facetime or Zoom, and that makes it even more enjoyable.

A genuinely laugh-out-loud, yet sharply focused on contemporary times, 10-minute comedy.

Michael Tricca upends all expectations of terrorism and terrorists in "But What Do We Do With the Plane?" The characters and their dialogue and decorum (a cost-benefit analysis?!) would feel right at home in a 19th century comedy of manners. It's juxtaposition that I've never experienced before, and it's especially pointed considering the world in which these actions are set.

Your audiences will be shocked briefly, and then they'll roar with laughter at "But What Do We Do With the Plane?"

There's a certain level of professional admiration and respect between Hades and Pluto in this one-minute installment of Monica Cross's "The Pantheon Wars" series.

This carries "The Death of Death" to a different emotional resonance than other in the series. This variety nicely shows Cross's skills as a dramatist.

War is declared with a good amount of style and taste in this first installment of a series of several one-minute plays.

Monica Cross clearly enjoys mythology, which shines through in all of her "The Pantheon Wars" series.

This one-minute play by Monica Cross shows the irony that not all of the ancient gods are equal. Tongue-in-cheek, wry, and knowing comedy/drama with lots of physical action.

Earnest and sweet, "Three Drunk Poets Find God" is imaginative praise of college-age friendships, daffy plans to complete class assignments, alcohol, and poetry.

Chris Gacinski hits just the right notes in this 10-minute comedy: the frustrations of academic work, the joy of experiencing other people's perspectives, and the easy argumentative banter among friends.

Producing this short play would be easy, and actors and directors would love to explore the characters and their relationships.

This one stings a bit.

A father's genuine pride in his young son's balletic skills quickly withers. Toxic beliefs about masculinity aren't expressed -- even through obviously passive-aggressive questions -- just by men.

I love that Jake Lewis so quickly creates a loving, supportive perspective for the Man in "Dance Dad." In just a few lines, that strength shows. Which makes the ending and the abandonment of pride all the more sad.

This monologue seduces, indulges, and panders to its audience, wrapping up a gift of perfection -- complete with catchphrases and verbal spectacle.

Glen Dickson's Graham, the protagonist in "Fuck Being Good," tempts and promises the world for just the slightest of costs. He's dangerous, he's obvious, but he's seductive and how are you going to resist?

Resist anyway. But know what it is you're resisting against. A fine, dangerous, inciting monologue. "Fuck Being Good" may be a perfect play for 2017-2021 at least.

This marvelous farce starts off at a high point and only accelerates and picks up momentum through its minute-long run.

Mark Harvey Levine knows comedy, and it shows in "That Word": rhythm and repetition, people behaving badly, momentum, a button line that brings it all together. It's very funny, it's pointed, and it deserves the rich, robust, production history that it's earned.

"That Word" will be a standout in any one-minute festival.

Great music moves us, literally and figuratively.

Juniper McKelvie's short monologue tells the speaker's story of lucid dreams, Buenos Aires, and the wonderful, moving music of Gustavo Cerati. There is such earnest pleasure being shared, "I Dream of Gustavo Cerati" feels like something a person tells her best friend in order to relive the joy.

Wonderfully magical, joyous, and filled with poetic language and earnest emotion.