The Full Spectrum of One-Acts, Antic to Squeamish to Dark Series C of Ensemble Studio Theater's Marathon of One-Act Plays pulls audience members through all sorts of emotions, including discomfort, but it sends them out laughing, and not in a genteel way. The final play on the bill, Jon Kern's "Hate the Loser Inside," is as funny a 20 minutes as you're likely to see in a theater, thanks to a spectacular performance by Brad Bellamy as a football coach who recently won a national championship and is now trying to film a cheesy television commercial. Despite his predicament, the coach manages to impart some wisdom to Graeme Gillis, the young man directing the commercial. This isn't the most profound one-act ever written, but under R. J. Tolan's direction it has the audience howling. The bill also starts off with hilarity, courtesy of the veteran playwright and screenwriter Murray Schisgal, whose "Existence" checks in on a preposterously self-satisfied couple (Kristin Griffith and Richmond Hoxie) as they celebrate their 27th anniversary. For these two pompous windbags, that mostly means celebrating themselves and their comfortable lives, which turn out not to be so comfortable after all. Ms. Griffith especially has a great time with Mr. Schisgal's smart, fast-paced dialogue. "Solar Plexus" by Clare Barron changes the mood markedly, telling an uncomfortable story of a woman (Diana Ruppe), a man (Bradley Anderson), intimacy and menstruation. The piece isn't as revelatory as it ought to be for what it puts the audience through. "Carry the Zero" by Christopher Sullivan gets the awkwardness of teenage hookup culture squeamishly right. Alex Herrald and Megan Tusing are utterly convincing as the teenagers, tongue-tied and hesitant on their way home from an encounter - to call it a date would be an overstatement - that held more than either of them realized. And "Zero" by Tommy Smith takes the intriguing approach of telling a story almost entirely through the brief encounters between a tenant (Curran Connor) and the doorman of his building (Shanga Parker). The piece doesn't quite pay off in the end, but watching it, you admire the attempt.