Let’s just get right to it. 2011 was another year full of fantastic local theater (and some nice imports). Somehow, most of our theater companies has managed thus far to weather the bruising economy. May the new year find audiences clamoring for more great theater. (Click on the play titles to see my original reviews.)
1. How to Write a New Book for the Bible by Bill Cain
Berkeley Repertory Theatre
Directed by Kent Nicholson
Only a few days ago I was telling someone about this play – my favorite new play of 2011 and the most moving theatrical experience I’ve had in a long time – and it happened again. I got choked up. That happens every time I try to describe Cain’s deeply beautiful ode to his family and to the spirituality that family creates (or maybe that’s vice-versa). Nicholson’s production, from the excellent actors to the simple, elegant design, let the play emerge in all its glory.
2. Clybourne Park by Bruce Norris
American Conservatory Theater
Directed by Jonathan Moscone
Because I interviewed Norris for the San Francisco Chronicle, I wasn’t allowed, at the playwright’s request, to review the production. Well, to heck with you Mr. Pulitzer Prize-winning Norris. This was a genius production. A great play (with some wobbly bits in the second act) that found a humane director and a cast that dipped into the darkness and sadness under the laughs (Rene Augesen in particular). How do we talk about race in this country? We don’t. We just get uncomfortable with it. This is drama that positively crackles – you can’t take your eyes off the stage and find there are moments when you’re actually holding your breath.
3. Bellwether by Steve Yockey
Marin Theatre Company
Directed by Ryan Rilette
Horror is hard in a theater, but Yockey came close to scaring the pants off his audience in this chilling, utterly compelling world-premiere drama about children disappearing from a suburban neighborhood. And the paranormal aspects weren’t even the scariest things – it was the humans being disgustingly human to each other in times of stress that really worked the nerves.
4. The Lily’s Revenge by Taylor Mac
Directed by Meredith McDonough, Marissa Wolf, Erika Chong Shuch, Erin Gilley, Jessica Holt and Jessica Heidt
The sheer scope, ambition and feel-good communal aspect of this massive undertaking makes it one of the year’s most disarming experiences. The charms of Mac, who also starred as Lily, cannot be underestimated. Kudos to the Magic for staging what amounted to the best theatrical open house in many a season.
5. The Taming of the Shrew by William Shakespeare
California Shakespeare Theater
Directed by Shana Cooper
I debated which Cal Shakes show I should include on this – it was down to Moscone’s Candida, which featured a luminous Julie Ecclesin the title role. But I opted for this high-octane production of a really difficult play. Leads Erica Sullivan and Slate Holmgren brought not only humor to this thorny comedy but also a depth of emotion I hadn’t ever experienced with this play. Director Cooper worked wonders with this Shrew, making it feel new and relevant.
6.The Companion Piece by Beth Wilmurt
Z Space @ Theatre Artaud
Directed by Mark Jackson
The combination of Wilmurt and Jackson is irresistible (Shameless plug! Read my San Francisco Chronicle interview with Jackson and Wilmurt here). Always has been and probably will be as long as they want to keep creating theater together. This vaudevillian spin featured laughs and songs and the most exquisite dance involving wheeled staircases you can imagine. That dance was easily one of the most beautiful things on a Bay Area stage this year.
7. Exit, Pursued by a Bear by Lauren Gunderson
Crowded Fire Theater Company
Directed by Desdemona Chiang
Fresh and funny, Gunderson’s spitfire of a play introduced us to a playwright we need to be hearing from on a regular basis.
8. Phaedra by Adam Bock
Directed by Rose Riordan
Every time Bock comes back to the Bay Area he shows us yet another facet of his extraordinary talent. This spin on a classic allowed Shotgun to wow us with an eye-popping set and a central performance by Catherine Castellanos that echoed for months afterward.
9.Lady Grey (in ever lower light) by Will Eno
Cutting Ball Theatre
Directed by Rob Melrose
I can’t get enough Will Eno. Whether he’s the Brecht of our generation or an absurdist spin on Thornton Wilder, I find him completely original and funny in ways that are heartbreaking. This trilogy of plays from Cutting Ball was uber-theatrical and highly enjoyable. As was Eno’s brilliant Middletown, which I saw at Chicago’s Steppenwolf Theatre Company directed by Les Waters (Berkeley Rep’s soon-to-be-former associate artistic director who’s heading to Kentucky to head the Actors Theatre of Louisville).
10. Strike Up the Band by George S. Kaufman (book) and George and Ira Gershwin (score)
42nd Street Moon
Directed by Zack Thomas Wilde
42nd Street Moon shows have delighted me for years, but I can’t remember having this much fun at the Eureka in a long, long time. The laughs were big and genuine, and the score was sublime. The whole package was so appealing it’s a shame the production couldn’t move to another venue and keep the band marching on.
The Wild Bride by Emma Rice and Kneehigh
Berkeley Repertory Theatre
Directed by Emma Rice
This extraordinary show would have been at the top of my Top 10 list had it originated in this region or even in this country first. But as it’s a British import by a genius theater company, it can be content to live in the honorable mention category. The really good news is that Berkeley Rep has extended the show through Jan. 22. Start your new year right and go see this amazing piece of theater.
Of Dice and Men by Cameron McNary
Directed by Melissa Hillman
Nerds are people, too. This sharp, savvy and very funny show takes a very specific world – Dungeons and Dragons gamers – and makes it instantly recognizable because it’s so very human.
Metamorphosis by Franz Kafka
Aurora Theatre Company
Directed by Mark Jackson
The physicality of this production is what lingers in memory, specifically Alexander Crowther’s transformation into a spider-like creature crawling over the wonderfully askew set. Director Jackson does wondrous things with actors and stages.
Spring Awakening by Steven Sater and Duncan Sheik
San Jose Repertory Theatre
Directed by Rick Lombardo
This is not an easy musical to pull off, not only because the original Broadway production was so fresh and distinct. It’s tricky material performed by young material who have to act and rock convincingly. Lombardo’s production didn’t erase memories of the original, but it staked its own claim, and the young cast was bursting with talent.
A Delicate Balance by Edward Albee
Aurora Theatre Company
Directed by Tom Ross
Being so close to Albee’s drama in the intimate Aurora proved to be an electrifying experience as we began to feel the tension, the fear and the barely concealed sneers of the upper middle class. Kimberly King’s central performance was wondrous.
Nicest unscripted moment: Hugh Jackman ripping his pants and changing into new ones in full view of the audience on opening night of Hugh Jackman in Performance at the Curran Theatre. He’s a boxer brief guy. And a true showman.
Biggest disappointment: Kevin Spacey hamming it up so uncontrollably in the Bridge Project’s fitfully interesting Richard III. Spacey is a fascinating stage presence, but he’s so predictably Kevin Spacey. His Richard III offered no surprises and, sadly, no depth. If Richard was really the kind of guy who would do Groucho Marx impressions, he probably wouldn’t be the Richard III Shakespeare wrote.
Second biggest disappointment: ACT’s Tales of the City musical. Upon reflection, it just seems all wrong. Good idea to turn Armistead Maupin’s books into a musical. But the creative team was simply too reverent, too outside the time and place.
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