Recommended by Steven G. Martin

This one-minute play cleverly condenses the enormity of all the time there ever was into an understandable metaphor. It also shows where humans fit into the timeline and raises questions about what comes next. Memorable.

There is such honesty in Kel Vance's 10-minute monologue; a female actor would love to play it. Lucy is so many things at once: smart, decisive, pained, angry, funny, and wise. We are more than the sum of our parts, but Lucy acknowledges that some parts mean a bit more than others.

A laugh-out-loud comedy that takes shots at popular culture's fan base and its hysterics over presumed imperfections.

A quick, bantering comedy about writing and criticism. If it were a bell, this play would toll with authenticity. It probably will cause almost every writer of almost every genre to experience flashbacks.

Smith shows that even when we get around to communicating, miscommunication can still prevail. The level of detail in this one-minute comic play makes it all the funnier, unnerving, and cringe-inducing during these COVID-19 pandemic days.

A spare, earnest 1-minute drama about what people need, especially during an emotional crisis. The directness of the dialogue nicely balances the inferred backstory about Doyle and Reid's relationship and their prejudices.

To be blissfully unaware of how we and our actions affect others can ruin attempts at genuine connection. King's 1-minute play rings loudly with a stinging message of being considerate of others.

The world of "Everything Here Is So Delicious" is broken. Everything in Hilder's short, dark, satire suggests it: the characters and their differences, the dialogue, the visuals, the actions. But it isn't ridiculously broken; it's even recognizable. Which is even more horrible.

The unknown may be the scariest thing of all, and Prillaman gives an audience absolutely no sure footing in this short horror play. Are there rules to this world? Most likely, but we don't know them or when they're broken, nor do we know the consequences. And it feels everything is at stake because of it.

Henderson has intentionally written a play designed to make an audience cringe throughout its run time. But the most cringe-inducing moments come from seeing a character who has such internalized hate and homophobia completely lose control as uncontrollable laughter turns to sobs. This isn't an easy play with pat answers.