10. WAR HORSE. (Broadway Across Boston)
It's all there. The majesty and the eloquence highlight the deceptively simple tale of a boy and his horse against the backdrop of war. The manipulation of the puppets would mean nothing if they had not provided personalities for them as well. Perfect acting and haunting period music highlight this experience that tells us that every journey is worth the trip and the outcome.
9. BOEING-BOEING. (Trinity Repertory Company, RI)
There si nothing wrong with laughing non-stop for two and a half hours, especially during a production performed so precisely and professionally as this one. The two men are at the top of their games as they effortlessly and tirelessly work off each other and work the audience into hysteria. The sexy stewardesses and mundane maid balance out the troupe and perform on an appropriate candy-colored set with an intricate lighting design. Farce is not easy to pull off, but this cast and crew land every laugh smoothly.
8. ANNIE. (North Shore Music Theatre)
Directed from the dark corner of the room rather than the sunny side by the window, this re-invention of the classic musical does fewer tugs at the heart and more jabs in the stomach. By creating less cringe-inducing smiles, the production comes across with more heart and soul because the emotions arrive from somewhere real rather than forcing them upon us. The muted tones add to the somber existence where things don't really get better - they just begin to. Sometimes, that's good enough.
7. MF WITH THAT. (Speakeasy Stage Company)
The warnings declare that this production contains bad language, nudity, drinking, violence, and drug use. You don't have to talk me into it; I already said I'd go! Despite the title, this play contains as much tenderness as any other slice-of-life dramedy on the stage. And because of the language the audience is allowed into the dark souls of the characters where true pain lies hidden under layers upon layers of "protection". Soon everyone is metaphorically exposed on stage and no one is quite whom they appeared to be. I'm not sure if it's scripted, but at the beginning of the piece all five characters stand across the stage as the audience observes them. Admittedly this seems to be an odd way to begin any productions. However, at the conclusion when they return to their initial poses, we see them differently. Very differently. And us as well.
6. SUPERIOR DONUTS. (Lyric Stage Company of Boston)
Nothing inferior about this production which focuses on the caustic relationship between the curmudgeon who owns a donut shop and the exuberant co-worker he takes on. Monologues reveal who the proprietor truly is and whom he wants to be, and he turns the tables when duty calls for it. I will never forget the very final part of this piece. Tracy Letts knows how to write and troubled personalities, and Lyric Stage knows how to make us embrace them.
5. MEMPHIS. (Broadway Across Boston)
From North Shore Music Theatre to Broadway, this jaw-dropping, awe-inspring musical took an already perfect piece and made it even better. The energy and the talent explode off the stage in the story of a man trying to make his mark in the music world and trying to fall in love with woman he desires. Unfortunately still relevant, the tour still makes us feel good with the music and the dance and everything that makes life truly worthwhile. If it's meant to live in you, it will.
4. BILLY ELLIOT. (Broadway Across Boston)
What a rare find it is when a production not only lives up to its hype but also surpasses it. The original movie seemed destined to be a staged musical, but not many people could have expected this. Set against the backdrop of the UK miners' strike in the mid 1980s, Billy finds solace in the polar opposite of the anger and violence through ballet. Instead of allowing this to become a one-trick metaphor, the choreography tells the story through symbolism and parallelism, most notably during "Solidarity" and "Grandma's Song". Obviously the dancing is one-of-a-kind, but the visuals and the care given to character growth complement each other. Instead of boxing, Billy finds ballet. And we have found a musical that is truly electric.
3. NEXT TO NORMAL. (The Acting Loft, NH)
Anchored byt the indestructible Shawn Ciampa and Jennifer Sue Mallard, the intimate New Hampshire premiere re-defines the tempestuous mother-daughter relationship after a family tragedy. The impressive cast and eloquent direction are top-notch, but their performance is the one to watch. And take in. And absorb. Before the audience knows what is happening, we are drowning in a puddle of sadness, but in a good way. The production reminds us that this is how we heal. This is how we begin to move on.
2. RED. (Speakeasy Stage Company)
When two guys paint a canvas simultaneously and it generates applause, someone is doing something right! In this case, the cast and crew of SpeakEasy get it right again in John Logan's Tony-winning play. Thomas Derrah & Karl Baker Olsen play artist/student and teacher/pupil, and it's anyone's guess as to who is truly who is this re-examination of the meaning of Art. Never resorting to trite cliches, this mature performance is directed by David R. Gammons. RED raises more questions about Art and Life imitating each other , but also raises the bar on plays and productions to follow.
1. NEXT TO NORMAL. (SpeakEasy Stage Company)
There is a reason why this piece re-appears on my lists, and there is a reason why it is being performed by regional and community theatres across the country. There is a little bit of Diana in all of us. Kerry A. Dowling takes on the role like it's nobody's business and destroys everything in her path, bringing a unique blend of anxiety and humor to the part. The rest of the cast successfully keeps up with her indefatigable talents. The show is not an easy one to sit through, but well worth it. Paul Daigneault's re-invention forgoes the traditional house set-up and achieves new levels of symbolism through moving panels and just right amount of projected images. The show is a reminder that even though there are days when we miss the mountains - and rightfully so - there will be Light. Someday.
(Shine on, Kevin.)
