Recommended by Matthew Weaver

Hageman makes a pretty convincing case that she should be the next new writer DC Comics calls when it's looking for a new Batman writer. Legions of UNBEATABLE SQUIRREL GIRL fans would welcome with relish her tone and vision for the Dark Knight, a refreshingly competent Boy Wonder and the Clown Prince of Darkness, but not necessarily the Clown Prince of Unmentionables. If you've ever read a Hageman play and felt a serious sense of envy for her ability to handle heart-wrenching drama, I have bad news: She's just as skilled when she's simply having fun letting herself play.

An intimate tour de force from Corley. PAS D'ACTION radiates from the quiet implosion of a woman and the forces of nature that are her mother, brother and daughter. It's fascinating to watch Maya's interactions, with only she - and we - knowing the truth, waiting for the bomb that is about to go off. Every character here is well-drawn and layered; we feel like we've known them all for years, that they are our family. Every tiny slight, every big heartache - Corley weaves them together with wit and grace and shows us all how it is done.

Ten-minute play maestro Mullen takes the fictional McSweeney's prompt - a fabled play festival seeking submissions about the absorbency of paper towels - and makes pure magic with it. Like Lotty, we don't exactly buy Nick's initial concept as we stumble across it, but over the course of the required 8 to 11 minutes, we are all in. (The data about Dominic Monetti is very convincing.) Mullen's play might seem like it's about two quick-witted, lonely hearts coming together and possibly seeking solace in each other, or fantastical worlds, but make no mistake: As required, It's about paper towel absorbency.

Wyndham staggers us in a very short period of time with a very powerful monologue, as Charlie's motivation slowly reveals itself to us. An excellent entry in an already very impressive and vast oeuvre, this is some of Asher's finest work.

Awesome, creepy fun as Lee takes to the stage and just PLAYS with her play. In doing so, she plays with the audience, building a mounting sense of dread as our heroic sisters fight against their faith in what's real, their tragic family history and things that go bump in the night ... and threaten to steal your soul. Cast your performers who aren't afraid to dance in the darkness, and then dangle your fingers across the backs of the necks of those in your audience, then sit back with delight and watch the goosebumps waltz along their skin.

Gallows humor at its finest, once again proving Sickles - so good in everything he writes - a master of his craft. This concept is irresistible, as Fedora adds insult to further injury at the worst possible time for poor Erland. Sickles' script is surprising, funny, heartfelt and dripping with acid, as everything Fedora says is designed to wither Erland to maximum effect. His worst sin, in her eyes, has been to try to please her, which is unforgivable. Who hasn't been on either side of this sort of a doomed romance? Darkness and light, all in the same breath.

Martin captures the poignant, painful moments as a woman once on top of her game and at the height of her intellectual powers struggles against a failing mind. It's a hard, emotional play to read. I expect it would be just as hard to resist rising out of the audience and going up and hugging Wanda as she struggles with her words, but Martin also magnificently captures her strength and fury in the face of what's already happened and what is still to come. And writes it down for we to bear witness to Wanda's truth. And we recognize it.

Irresistible. A very important conversation piece about art, the artist's gaze, the male gaze and the insidious role it has played in depicting women throughout the years. Carnes' Venus is a delight, speaking her own truth and value and worth among the gods. Here Carnes reaches across time, and perhaps, the stars, and helps a god reclaim her strength and voice from those who have co-opted them for the last 500-plus years. Exquisite title, as well. This would be a worthy addition to any festival.

Ridiculously fun, with a must-read scenario that's like a train wreck, especially for for poor outmatched Wilcox, the creep. It's clear from the get-go Jenny is the one holding all the cards. This would be a blast for a teen performer in their local community theatre, and quite possibly just as much fun for the audience, who would get to revel in the not quite safe for school-ness of the play. LAPS is the equivalent of a refreshing slice of key lime pie for dessert - sweet, tart and plenty of zing to keep things interesting.

A lovely, hilarious, chilling metaphor for the artist. Karen's koi paintings stand in for your/my CURRENT WORK IN PROGRESS and body of work, as Bultrowicz examines: Why is it we do what we do? How does the audience react? Yes, but why is it we do what we do? The play's voice is irresistible, made even better by the sudden appearance of koi fish expert Marlin. A delightful ode to every part of the artistic process, which is sometimes just as disturbing and hilarious as it is mysterious and wonderful. Bultrowicz understands, and ably captures it for the stage.