Recommended by Matthew Weaver

Deep and rich and intimate, Partain takes her heart out of herself and holds it aloft for us. This is raw and fearless, bold and honest - the happiness of one who has found love mixed with the heartache of speaking a different love language as important loved ones, and the way past heartaches can ripple into the present. Imogen would be a showcase for any powerhouse female performer. As shouldn't be a surprise from reading SHIMMERS, Partain ably combines drama and poetry and confession and we the audience are all the more fortunate to bear witness to it.

I was sold from the moment Monique reads the "Dear Monique" letter from her departed cat. Hibbard has a welcoming, lively, original voice that sets the tone and mood for the entire play (in progress). I honestly just downloaded this and said, "Well, I'll read the first few pages for now" and got sucked right in AND YOU WILL TOO. Those seeking a tone similar to UNBEATABLE SQUIRREL GIRL (a high compliment in my book) will not be disappointed. This is just delightful, all the way through. Invigorating, fresh and zesty. Loneliness has never been more hilarious, or heartfelt.

Wyndham delivers a delightful look at a young performer dedicated to their craft. Why shouldn't Zombie Teen be excited? They get to work the chainsaw at the haunted house! That's kind of a promotion, and not a slice of key lime pie (I'll take it if they don't want it) in sight. This and others of Wyndham's monologues for youth and teens would be a natural, excellent way to get your theater's young people involved as the leaves start to turn and the ghosts begin to come out to play. Consider a whole Asher Wyndham All Hallows Eve monologue extravaganza.

How important is cold when it's hot, and heat when it's cold? It's a matter of life and death, as Pittenger shows in these lovely, lovely vignettes that capture life when the A/C is on the fritz and the heater won't work, with couples intermingled all living in the same building. I was on board the moment Paul and Jane met on the fire escapes, and Pittenger's words never broke the spell. She gives us a glimpse at some of the most mundane, important parts of her characters' lives. So realistic you'll break a sweat/feel a chill.

Whoa. Packs a wallop and a surefire choice for any one-minute festival that is certain to draw lots of conversation and controversy. If you're the playwright who doesn't believe in one-minute plays, Cosgrove Gaumond will convince you otherwise.

So important.
So important so important so important so important.
So important.
Hageman's words are a gift, to young performers - for young women, particularly, in this case.
Who needs to hear these words?
Everyone, especially the young people living this sort of life.
Who needs to hear these words?
Everyone, especially the parents of the young people living this sort of life.
Who needs to hear these words?
Everyone, especially the people who might come into contact with the young people living this sort of life, and never suspect.
Who needs to hear these words?
You do. Right now....

Melancholy and hilarity intermingle with the truth in another great Sickles outing. I think readers/viewers will find much to relate to in both Lars and Benno -- and the sticky, icky reality of hugging someone when it's too hot. Especially when that's because of an impending apocalypse. This, along with Sickles' other SF plays about the end of the world, would go great in a festival using this theme BECAUSE WHO ISN'T THINKING THIS COULD ACTUALLY HAPPEN IN THE NEXT FEW YEARS?! If - when? - the end comes, Sickles remembers humankind for both its hopeless flaws and dignity.

Love everything about this, starting with an amazing concept and an equally amazing delivery. If you've been reluctant to tackle audio/radio plays, Carbajal offers a great lesson on how to work magic with one. Just absolute magic. We don't necessarily know anything about Larry and Steve, but we don't need to, as Carbajal allows plenty of silence for performers to fill in the gaps and allows we in the audience, Rorschach-style, to form our own conclusions based on our own experiences. Put this in your festival, turn out all the lights and let everyone - actors, audience - play.

Canfield here takes the three Greek Fates and examines their daily lives and routines, finding much to mirror of our own existence. I originally got to see a one-minute version in Spokane in March, but here Canfield is free to take her time and to play. What happens when we find ourselves confined to one role in life? What happens when we try to break free and explore other possibilities? What happens when the world is turned on its ear? In 10 pages, Canfield spins a new myth and shows us all that we may claim our own destinies.

If you're not in love with this play by the time Emma the intern gives a Facetime tour of the office to her parents late at night, there's probably something wrong with you. Hehir explores the mundane everyday-ness of working at a sex toy company. Some audience members may cringe at the setting, but Hehir totally embraces the cringe and runs with it and it's RIVETING and hilarious and heartfelt and heartbreaking and wonderful and beautiful and REAL. Just a lovely play from beginning to end, with so many quiet, awkward, lovely moments along the way.