Recommended by Steven G. Martin

This feel-good romantic comedy has a terrific concept at its core, strong banter, and a nice sense of irony.

Credit Lam for not just stopping at a wonderful premise for this play. More detail and complexity is added after the initial reveal, and then doubled up prior to the climax. It's really wonderful writing that any audience will enjoy. And then, just before the end, comes the perfect coda to this story.

"Stick and Move" has a strong, varied production history, and it is well deserved.

This 10-minute comedy is a chaotic conversation of worldly, self-aware, yet also innocent characters.

You like Abbott & Costello-like bits? You've got 'em in here. Characters who share knowledge like third graders during lunch? Yep. A wildly out-of-left-field proposition? Uh-huh. Just trust Prillaman's skills and enjoy the ride of "Black, White, & Red All Over."

This short comedy is the stuff of LGBTQ and community theater nightmares. And it's hilarious.

While the central character is stable and sane, the supporting characters are so ridiculous, over-the-top, and extra, they're practically Disney animated villains. What audiences hear and watch during a production of "The New Comet" is so outrageous that their ears and eyes may bleed as their faces cringe.

Very funny, yes, and a very pointed take on LGBTQ culture and being too old in certain people's eyes. Yet, Gary Sunshine provides a bit of joy with a single stage direction of action at the end.

Gary Sunshine's short comedy accurately and vigorously dramatizes teenagers' emotions. Especially those of overachieving, needy teens with an inferiority complex and a hell of a sense of entitlement.

Every conflict is life-or-death, and long-term perspective doesn't exist. Everything is heightened, including desires (to feel sexy, to talk naughty) and -- much like when we look at our school yearbooks decades later to reminisce -- a lot of it is cringeworthy.

"Most Successful People" is a lot of fun, quite painful and a gift to two strong actors.

J'accuse!

Scott C. Sickles has lifted tabloid-TV-torn, shock value, manipulative, confrontational, domestic drama schlock into pure comedic art. I will never be satisfied with straightforward domestic melodramas again.

"The Greater and Lesser Edmunds of the World" is filled with pithy banter, delicious character-based speeches, and over-the-top emotions; twists, turns, and power plays; and fully emotive characters that male actors would love to play.

This is emotionally satisfying high comedy that an audience will love. I know I loved a broadcast reading of this one-act play that was performed to the hilt and highlighted its many strengths.

I love it. This 1-minute play runs afoul of so many "rules" about how to write plays and characters, what makes a good play or character, what theatre is and must be, etc. This play is chaos, just not the kind a person might expect.

Surprising and affecting. This 1-minute play provides nuanced shades of characterization for those who are violence-mongering, battlefield-bred, living embodiments of blood and destruction.

"Eight Tales of Pedro" is a kaleidoscope. With each turn, the audience feels different emotions, often contrary to those they just felt.

It is contemporary, but includes classic structure and content. It's filled with hardships and tragedy, but also humor and hope, and shows how telling stories forms a community out of strangers. There are tricksters and fools, but also people who have experienced adverse reality.

This play is rich in depth, subtlety, and theatricality. It is heartbreaking, yet hopeful. I also enjoyed a YouTube video of its premiere production at Secret Theatre in Long Island City, New York.

I don't care why a person invented what they invented; people will find a way to make it about sex.

That's why I love Lawing's irreverent, sexy, all-gay short play about today's technology being used for jerk-off clubs. Save the noble speeches about technology for someone else ... we are a horny people!

Oh, and the best line: "We are IT." Be careful: gay tech nerds are taking over the world one platform at a time!

I guarantee audiences will audibly gasp watching Rund's brilliant 10-minute tragedy. I did when reading the script. Twice.

Rund builds tension and discomfort in subtle, varied ways: a literal physical run-in; placing the scene in a small, confined location; evasions of direct questions; frenetic action in trying to rebuild what's been broken. And then comes the final two blows from the sledgehammer that will make people gasp.