I don’t distinguish between Equity and Non-Equity, professional or community theatre. The only distinction is play or musical, and that’s only in certain categories. I now understand why some critics don’t write “favorite lists”: THIS WAS REALLY HARD. I based my picks upon my own reviews, and luckily, I've reviewed EVERY show I've seen the last year on this website.
In my humble opinion, which I respect very much, here is what I consider to be the BEST OF 2010:
Best NEW Play:
DREAM CAFE by Alejandro de la Costa, produced by MBS Productions.
"The audience decides the order of the scenes each night, resulting in a brand new storyline... 720 options total!...Gay or straight, a prude or promiscuous, DREAM CAFÉ reaches inside every audience member and pulls out something very real and universal. It leaves the audience thinking about their own “love scenes” and how if they had happened exactly the same way, but in a different order, how very different our lives would be. I know I sat in my car for 20 minutes just thinking."- from my review for The Column "IT WAS STUNNING. It drew gasps and tears from not only me but the entire audience. In addition to the genius that is the script, this particular night, there wasn't a single missed beat by the actors... It wasn't until it was over and I was contemplating (and comparing notes) in my car did I truly begin to understand the different story I had experienced. Only then was I beginning to truly grasp all the stories within this script and the power of each and every one of them."- from my (second) review of DREAM CAFE, this one for Critiques
Honorable mention for Best NEW Play:
HALF EMPTY by Melanie Welch, produced by Fight Boy Theatre as part of the Feast of Plays, One Act Play festival.
"Brilliantly closing out the evening after a second intermission was Half Empty by Melanie Welch. Ann and Valerie were best friends, “soul mates,” when they were 13, and are reunited during the college years. The tale of their special bond and how it shaped the rest of their lives and relationships is both gut wrenching and poignant. Above all, it is a story that anyone who has had a ‘forever friend’ can relate to... I was left breathless and speechless when Half Empty ended. In shaking hands with the cast and crew, the only immediate feedback I was able to offer to Director Caleb J. Creel, Prati (as Ann), and Black (as Valerie) was “bloody brilliant!”... Even if the relationship with your best friend wasn’t sexual- or if the situation with your first love was under different circumstances- we can all relate to the pain when “forever together” promises are broken."- from my review for Critiques.
Best Play Production:
CAT ON A HOT TIN ROOF produced by Artes de la Rosa
“Artes de la Rosa, under the direction of Adam Adolfo, had the cojones to take Tennessee Williams’ Cat on a Hot Tin Roof-originally set on a plantation in Mississippi- and move it to Little Havana in Florida and give it a Cuban flair. The test if a work of art is indeed a true classic is to take it out of time and place and determine if the story still resonates. Any reinterpretation of a work will also test the talent and resources of the theatre company, especially its director. Both Williams and Artes de la Rosa passed with flying colors.” - from my review for The Column
Honorable Mentions for Best Play Production:
STEEL MAGNOLIAS produced by Plaza Theatre Company
"Plaza Theatre Company’s production of STEEL MAGNOLIAS on Saturday evening, April 17 was a funny yet poignant tear jerker- just as it should be... Plaza Theatre Company’s reputation of excellence is continued with their current production of STEEL MAGNOLIAS."- from my review for the Column.
BAREFOOT IN THE PARK produced by Contemporary Theatre of Dallas
"Contemporary Theatre of Dallas’ production of BAREFOOT IN THE PARK is a charming, feel good night of theatre that can be enjoyed by lovers, friends, mothers and daughters alike... After the show, I was tempted to walk barefoot in a nearby park, just because both Corie and Paul made it sound like an enlightening way to spend an evening." - from my review for The Column
DREAM CAFE produced by MBS Productions
"This is de la Costa’s (and MBS Productions’) finest work to date... It is a journey worth taking alongside them."- from my review for The Column. "I'll keep going until I either run out of money or get the ending to the story that I want. It's theatrical therapy for this love-sick and hopeless romantic of a critic!"- from my review for Critiques.
Best Play Festival:
FEAST OF PLAYS produced by Fight Boy Theatre
“Fight Boy Theatre’s Feast of Plays at Art6 in Denton is a collection of world premiere one act plays by Denton playwrights all of which left me wanting more, More MORE!!! I was AMAZED at what can be done by 3 local playwrights, an old house turned into a coffee shop turned into a theatre and about $100. Feast of Plays proves that good writing and truthful emotions are all anyone needs to tell a good story well.” – from my review for Critiques
Honorable Mentions for Best Play Festival:
STAGE BLACK produced by Jiles R. King, II at The Black Academy of Arts and Letters
"A festival spotlighting black playwrights as they sought to explore various avenues of black life- from the far past to the future to the what if. Though it wasn't perfect, and some acting, some directing, and some writing need more polish, I was entertained, moved, angered, and left hopeful. As the only white person in the audience of the show I saw, I was deeply saddened it wasn't seen by more races and cultures. We all could have learned, been touched, and moved by this powerful night of theatre." from my review for Critiques
Best Musical Production:
SWING produced by Artisan Center Theater
“An exhilarating night of singing and dancing, even if there was little storyline, left me breathless and energized all at once.” – from my review for Critiques
Best Director of a Musical:
Dave Schmidt with musical Direction by Pam Holcomb-McLain for TEN NIGHTS IN A BAR ROOM
I was informed after I posted my list that TEN NIGHTS IN A BAR ROOM is a play with songs added. I heard singing. There was a live band. It's a musical. They did it well.
Best Director of Play:
Joshua Scott Hancock for THE FROG PRINCE as part of Feast of Plays by Fight Boy Theatre
“From the choreographed transition of the set between the first play to the second, done in character and to music, to the retelling of a beloved classic in a new way that prompted self- reflection and more than a few belly laughs, (writer Jordan) Scott and Hancock proved they are a duo to keep an eye on for future masterpieces. Hancock made excellent use of the space, believably presenting it as the found space of a traveling acting troupe. The precise choreography of the entire cast throughout the performance was by far the most impressive I have seen in a long time at any theatre.”-from my review for Critiques by Laura L. Watson
Honorable Mention for Best Director of Play:
Adam Adolfo for CAT ON A HOT TIN ROOF produced by Artes de la Rosa
"Director Adam Adolfo and assistant director Katreeva Phillips assembled a fine cast and united all elements of design behind his vision for a Cuban Cat on a Hot Tin Roof...Adolfo gave his actors just enough blocking to keep the energy up without detracting from the text. He made great use of set levels and used the entire stage with ease. He even made use of the theatre building, letting sounds and action from outside the stage penetrate into the story as if the entire building was Big Daddy’s house and we were in just one room of it. Part of the Cuban flair was the occasional lines in Spanish. Williams’ scripts have a lot of repetition, and Adolfo took advantage of those repetitions as opportunities... That is the true mastery of the writing, directing and acting- the emotions and story comes through no matter what language is being spoken or understood...Adolfo came with his own, original subtext (for the Brick, Skipper and Maggie relationship and the paternity of her child). I won’t give away his choices as they are part of the climax, but they are both shocking and appropriate to these characters." -from my review for The Column.
Danielle Beacham for STEEL MAGNOLIAS produced by Plaza Theatre Company
"Director Danielle Beacham pulled double duty as she also played Shelby. Normally, I loathe a production where a lead character is self directed, but Beacham caused me to forsake this preconceived bias within 10 minutes of the curtain going up. Though only her third show to direct-EVER- she expertly blocked the action in the round and guided a cast of actors, with varying levels of experience, to giving all out truthful performances. A director’s job is meant to be invisible. If you can see it, it probably means they didn’t do it well. I find I am struggling to describe her directing talent because while I KNOW it is ever present, I simply can’t see it. The play in its entirety flowed as one unified force- from set design to costumes to the blocking, it was all centered on the telling of this story... Beacham is one to watch- she has an incredible directing future ahead. Her bio states she will attend Bible school in California in the fall. Let us all pray we get her back to Texas theatres as fast as she can." -from my review for The Column.
Dennis Canright for TO KILL A MOCKINGBIRD produced by Artisan Center Theater
"Director Dennis Canright succeeds in directing both seasoned children and adults in their debut performances, and uniting the design elements around his vision. The final moment of the play, when Jean Louise and Scout are standing side by side, looking at Atticus, with the soft lights and haunting music, had my theatre companion and I choking back tears... It was an exceptional work of art."- from my review for The Column.
Tashina Richardson for NO EXIT, produced by Sundown Collaborative Theatre
"Director Tashina Richardson knew the heavy weight of the material she presented her young troupe of actors and fellow collaborators with, and she did not shy away from bold, artistic choices... I, like (the character) Garcin, want answers and specifics to basic questions. Who, what, when, where, why, and how. This play, nor this production of it, answers those questions, and it is maddening. Then again, I was sitting in hell, so it works...By the end of the one hour and forty minute show- without an intermission, though I only checked my watch once- you realize you have been sitting in hell with Garcin, Inez, and Estelle. They have been torturing you, and you have probably been torturing them. Torture isn’t always physical- it’s done with words, with revelations, with loud breathing, with squeaky chairs, and with a heat that the actors weren’t faking. It does get hot in that studio room! It is a true experience as only live theatre can give and it helps to carry both the storyline and the performances."- from my review for The Column.
Best Actress in a Play:
Hannah Black as Narrator in THE FROG PRINCE and Valerie in HALF EMPTY in Feast of Plays produced by Fight Boy Theatre.
“Hannah Black as the fairytale’s narrator (and troupe’s self-appointed leader) stole the show with her commanding voice, engaging eye contact and grounded stage presence… Black, having just 30 minutes before dazzled me with her comedy, turned around and delivered a stellar dramatic performance. It was complete with inner turmoil, anguish and denial of her past which leads to a heartbreaking end.”- from my review for Critiques by Laura L. Watson
Best Actor in a Play:
Zach Leyva as Jem Finch in TO KILL A MOCKINGBIRD, produced by Artisan Center Theater
“Zach Leyva played Jem to perfection, allowing himself to balance in that precarious place between childhood and manhood as he sought to understand his father.” -from my review for The Column
Honorable Mention for Best Actor in a Play:
Mike Schraeder as Teach in AMERICAN BUFFALO, produced by Broken Gears Project Theatre.
"Schraeder was extremely good at what I like to call “detail acting”- the little things that clue us into the character such as repetitive yet specific gestures."- from my review for The Column. I had to edit my review down- don't you just HATE long winded critics- so I left out a few other thoughts on Schraeder's performance. "He was completely and totally Teach- from voice, to movement, to emotions, I never once saw an actor. I want to meet Mike Schraeder as himself. I think then, I could truly appreciate the mastery of his craft."
Best Actress in a Musical:
Natalie Berry in SWING, produced by Artisan Center Theater
“Wow. Just… wow. She sings, she dances, she acts- there is NOTHING she has failed at. I doubt there is anything she can’t do on a stage.” -from my January review for Critiques. Side note:having seen Ms. Berry several times this season, I stand by this review. There is NOTHING she can't do.
Honorable Mention for Best Actress in a Musical:
Camille Shaw as June in SMOKE ON THE MOUNTAIN produced by Plaza Theatre Company
"Camille Shaw as the oldest sister/ Pastor’s Wife June Oglethorpe was the (nearly) silent scene stealer and over-the-top star of the evening. She has more energy than anyone on stage as she runs, jumps, dances, and does “sign language” (more like bad mime) while the family sings. June doesn’t sing with the family. AND she’s really pregnant! ... June’s testimony about following God wherever He calls was truthfully and emotionally charged- and reached me on a very personal level." - from my review for The Column.
Best Actor in a Musical:
Andrew Guzman as Dennis in SMOKE ON THE MOUNTAIN produced by Plaza Theatre Company
“Dennis, the boy twin, was sincerely and sweetly played by Andrew Guzman. Guzman is a tenor who sings like an angel… Guzman also had the most touching testimony about being a Marine in WWII… Guzman was not left out of the comedic bits, reenacting a number from his childhood with Denise and June called “The Royal Telephone” made all the more hilarious because they’re adults.” –from my review for The Column.
Best Ensemble Cast:
STEEL MAGNOLIAS produced by Plaza Theatre Company
“All six of these women came together to form a believable friendship and support system. I know these women, I just happen to know and love them by different names. Wherever a woman is in her life, there is a character in Plaza’s STEEL MAGNOLIAS that will speak to them.” –from my review for The Column
Honorable Mention Best Ensemble:
DREAM CAFE, produced by MBS Productions
Remember, the actors find out the order the scenes will be played 3 minutes before they begin. This review is from the 2nd time I saw DREAM CAFE. "Every scene began and ended with a total commitment to the moment by every actor, and the emotions were more real, more raw than I have experienced in a long time. The characters' journeys and the outcome of the story was almost opposite this time from my first experience, and I felt like I hadn't met these characters or heard any of these lines before. Not only had the scene order changed, so had the motivation and the underlying emotion of every single word uttered."- from my review for Critiques. "Now, add to this the knowledge that every night the scenes change order and the line delivery must reflect the motivation that is spurned by the moment before and the actors must continue the arch of their character which might be a journey they had yet to conceive of and… oh my! What a stellar ensemble performance! This is a play where every actor must be thinking, must be listening and must be reacting truthfully in the moment on top of to the letter perfect line memorization and all that other actor technique stuff. This is not a play for beginners or amateurs."- from my original review for The Column
AMERICAN BUFFALO, produced by Broken Gears Project Theatre
"Terry Yates as Don, Alex Worthington as Bob, and Mike Schraeder as Teach were all ridiculously believable and likable, faults and all. They each delivered the rapid, intense dialogue with precise diction and clearly had motivation for each line and all action. " - from my review for The Column
CAT ON A HOT TIN ROOF, produced by Artes de la Rosa.
"In fact, the third act- which is the climax of how to tell Big Mama that Big Daddy is dying- was some of the finest ensemble acting I’ve seen in the last year."- from my review for The Column
Best Set Design:
Bruce R. Coleman for EQUUS produced by Uptown Players
“I wanted to take a picture and hang in on my wall. It was beautiful, stunning, and haunting.” - from my review for Critiques.
Honorable Mention for Best Set Design:
Oliver Luke for CAT ON A HOT TIN ROOF produced by Artes de la Rosa
"... the exquisite set designed by Oliver Lukach made the (20 minute opening night) delay more than bearable. Making use of the entire Rose Marine Theatre stage, the set was a work of art in itself and was the ideal backdrop to the dialogue. The set consisted of a large over sized four post king bed with white sheets, sitting furniture, bar, and windows leading to a terrace that was set far downstage and on the floor in front of the audience. Dark wood with white linens gave it a very Cuban feel on a hot and steamy night."- from my review for The Column
Best Choreographer:
Linda Leonard for SWING produced by Artisan Center Theatre
“Whew. Full of intricate footwork and period accurate steps, SWING is a history, dance, romance, and how to have fun lesson all in one.” –from my review for Critiques.
Best Costume Design for a Play:
Suzi Cranford for EVERYTHING IN THE GARDEN, produced by Rover Dramawerks
“From the dresses to the suits, from the shoes to the handbags and handkerchiefs, they were quirky, stylish, period appropriate, and a window into who these characters really were.” – from my review for Critiques.
Honorable Mentions for Best Costume Design for a Play:
Justin Kailer for CAT ON A HOT TIN ROOF, produced by Artes de la Rosa
"The cast was also costumed, by Justin Kailer, in a mixture of white and kahki as many islanders tend to dress. Though united in color and fabric, each character remained distinct from the others. Maggie’s simple white dress was both sexy and elegant while Mae’s maternity shirt was expensive yet frumpy."- from my review for The Column
Aaron Patrick Turner for BAREFOOT IN THE PARK, produced by Contemporary Theatre of Dallas
"With a 1960s setting, a costume designer could go all out. However, costumer designer Aaron Patrick Turner was smart to keep the costumes simple but not overly 60ish. This allowed the audience to relate in the here and now and forget the time period."- from my review for The Column
Candace Cockerham for NO EXIT, produced by Sundown Collaborative Theatre
"This is another one of those uncomfortable things: when is this play set? After death, there is no sense of time- it’s all just eternity, and the lack of time specific costumes, props, sets, or hints within the dialogue introduce the audience to this concept. The costumes could have been from the 1940s or today. They were appropriate in fit and color to each character and had the layers that each actor needed to physically reveal as they did so with their words."- from my review for The Column
Best Costume Design for a Musical:
Robin Armstrong for LITTLE WOMEN produced by Collin Theatre Center
“It was a lovely, old fashioned costume spectacle…truly a highlight of the production.” –from my review for Critiques
Honorable Mention for Best Costume Design for a Musical:
Tina Barrus for CINDERELLA, produced by Denton Community Theatre
"Tina Barrus’ costumes were the epitome of over-the-top fairy tale. Lots of bright colors, hoop skirts, and men in knickers created the world in a visually stunning way. The children and adults alike were constantly mesmerized by the parade of colors."- from my review for The Column
Nita Cadenhead for SWING, produced by Artisan Center Theatre
"The costumes were flashy, they were adorable, they were sexy-they were everything the dancers, the singers and the stories needed them to be. And there were oh so many, I couldn't wait to see what the singers and the dancers came out wearing next!" - from my review for Critiques.
Best Lighting Design:
Adam Livingston for TO KILL A MOCKINGBIRD produced by Artisan Center Theater.
“Light Designer Adam Livingston helped create the mood for the story, shifting from past to present, day to night, and appropriate lightning strikes during the storm.” – from my review for The Column.
Honorable Mention for Best Lighting Design:
Jason Foster for EQUUS produced by Uptown Players
"The lights complimented the set. Haunting, dark, yet I could see everything. They were sublte, yet as I disect the play afterwards, I see what Foster was doing and that the journey was enhanced by the design."- from my review for Critiques.
Best Sound Design:
Un-credited for TO KILL A MOCKINGBIRD produced by Artisan Center Theater
“Sound design was not credited, but Sound Techs Karen Woolley and Wendy Pandolfo, used fantastic music to underscore the touching moments and the dramatic climax well.” –from my review for The Column
Honorable Mention for Best Sound Design:
Jason Rice for MORPHIC RESONANCE, produced by Rover Dramawerks
"Though many of the choices were hit or miss, and the acting was a big off because there were only 4 people in the audience, the sound design by Jason Rice gave me a glimpse into all this show really held. It had many sound effects and musical transitions were helped everything to flow. Music added to the circus theme when needed, and then was used to bring us into reality. It underscored some of the most dramatic moments and would appropriately stop so that all we heard was breathing. Rarely do you see a play where the sound effects you so obviously- in a great way."- from my review for Critiques.
So, those are my picks, for what they're worth. I saw a lot of GREAT theatre and some ho-hum theatre this year, and I cannot WAIT to see what all these great artists produce next year!
