By Michele Markarian and Mike Hoban
2019 was another banner year for theater in Boston, with the widest range of themes and offerings we’ve seen in a while. Fresh new theater companies and faces surprised us this year, so it’s energizing to see so much burgeoning talent bursting out in one small city. Theater Mirror Co-Editors Michele Markarian and Mike Hoban had a hard time pulling their respective lists of favorites from 2019, as there were so many deserving theatrical events, but here goes:
Michele’s Top 10 (actually 11)
What a year for theater! In a season of standouts, here are mine, in alphabetical order:
“David Byrne’s American Utopia”, presented by the Emerson Colonial Theatre. David Byrne’s take on contemporary America through song, movement and dialogue is a must-see – you can catch it now on Broadway – with its multi-talented cast of musicians. Byrne, who wears an air of eternal youth, gives an intelligent, measured and seemingly effortless performance. The band of musicians sharing the stage are tireless, moving gracefully and easily in a way that belies heavy exertion. Byrne’s catalogue never sounded so good, and no one hesitated when he invited us to dance.
Arthur Miller’s “The Crucible”, presented by the Nora in association with Bedlam. Best take on this classic yet. Under Eric Tucker’s able direction, “The Crucible” begins, almost as a diorama, and explodes into the playing space as the accusations become more frenzied. Suzanne Millonzi, Ryan Quinn, and Tucker himself give exceptional performances. “The Crucible” clocks in at three hours, but one hardly noticed with this production. Even better, it was so freshly acted and directed that despite knowing the ending, I couldn’t wait to see what would happen next.
Sara Porkalob’s “Dragon Lady/Dragon Mama”, presented by American Repertory Theater. Okay, this one is actually two shows, part of Porkalob’s “Dragon Cycle” trilogy; the third part, “Dragon Baby”, is set to premier at A.R.T. in the near future, and if it is anything like the first two, not to be missed. Porkalob is a tour-de-force, brilliantly playing a number of male and female characters from her history, which starts with the Philippines and ends in the Pacific Northwest. A funny, poignant and thoughtful experience. And if her acting talent isn’t enough, her singing voice is just gorgeous.
Lillian Hellman’s “The Little Foxes”, presented by Lyric Stage. Bravo to the Lyric for taking on Lillian Hellman, who doesn’t get produced enough anymore. And what a taking on it was. From Janie E. Howland’s set design to Gail Astrid Buckley’s costumes to the first-rate ensemble acting of this excellent cast, “The Little Foxes” was one of the more engrossing shows of 2019. High stakes and hidden motives were well played by all, but I have to give a special shoutout to Anne Gottlieb, who somehow managed to make me empathize a bit with her, despite some heinous behavior.
“Million Dollar Quartet”, book by Colin Escott and Floyd Mutrux, presented by Greater Boston Stage Company. This was one of those shows, based on the sheer musical ability of the cast, in particular James Scheider as Jerry Lee Lewis, where I thought to myself, how many bodies can I get in to see this before it closes? The plot, based on a real musical meeting between Carl Perkins, Jerry Lee Lewis, Johnny Cash and Elvis Presley, is secondary to the score, which is raucous and rollicking and really, really good. In short, I was blown away.
Jen Silverman’s “The Moors”, presented by Entropy Theatre. What a weird and woolly surprise this was. One had a sense of foreboding throughout the entire suspenseful and slightly sinister piece, where the landscape impinged upon the very souls of its inhabitants. The ensemble itself was terrific, with an extra terrific shoutout to Robin Abrahams, Kayleigh Kane and Kris Kim. I am looking forward to more offerings from Entropy.
Dan McCabe’s “The Purists”, presented by Huntington Theatre Company. What a smart, well-acted and directed production this was. McCabe takes on racism, capitalism and homophobia in a thoughtful, engaging manner, well directed by Billy Porter. Clint Ramos’s realistic set provided a wonderful playing field for the talented cast, whose quarrels, prejudices and mindsets were vivid and true. The wonderful thing about this show was that you never knew where it was going, even as it got there. Just like life.
“The Return”, by Hanna Eady and Edward Mast, presented by Israeli Stage. Israeli Stage’s final production, a spellbinding story of two former lovers meeting again after a painful, unfair history. One of the lovers is Palestinian, the other Israeli, and the relationship and its permutations is a reflection of the political landscape. Nael Nacer and Philana Mia are tremendously affecting in the roles, and if capable director Guy Ben-Aharon didn’t stop us, the talkback after the piece would still be going on. Israeli Stage, you will be missed.
Richard O’Brien’s “The Rocky Horror Show”, presented by Moonbox Productions. Wow. As someone who’s seen the movie a million times – slight hyperbole, but only slight – the live versions of it have never come close to measuring up, until this one. The cast, who all moved and sang exceptionally well, filled the space of the transformed Harvard Square storefront in a way that threatened to overspill the boundaries between performers and audience. Peter Mill’s Frank ‘N Furter would have done Tim Curry proud, even while giving it his own sexy spin.
“Six”, by Toby Marlow and Lucy Moss, presented by American Repertory Theater. While friends of mine groused that this show didn’t delve into the tragic women’s trajectories deeply enough, this is exactly why I liked it enough to see it twice – it was fun. The six women, with different body types and ethnicities, essentially put on a pop concert that was clever and in its own way, empowering. How thrilling to see an all-female cast and band, and to witness the excitement of the young female fans in the audience. Even better, Marlow and Moss created a modern musical with catchy, hummable songs! This in itself was such a miracle that I may have to go to New York to see it again.
Bess Who’s “Small Mouth Sounds”, presented by SpeakEasy Stage. SpeakEasy had a great season this year; both “Admissions” and “African Mean Girls” were on my shortlist, but I had to go with “Small Mouth Sounds” because, in addition to making a point about our sometimes desperate and misguided need for healing, it made me laugh. Just thinking of Nael Nacer trying to figure out what to do with the large round object he’s been given, or competing with Sam Simahk’s toxic masculinity, is enough to still make me chuckle. Marianna Bassham, as the disembodied facilitator, was side-splittingly funny. And what the cast did with the silent spaces in between was well worth watching.
Until next year…
Mike’s Picks
There were plenty of great theatrical experiences to be had in Greater Boston in 2019, from adventurous fringe productions to international touring companies. But putting together my year-end list this time around, I decided the criteria I wanted to use was the visceral impact I felt when I left the theater. In other words, did it move me? This year’s list includes a number of new (or at least new-ish) productions mixed with outstanding productions of classic works, from the 100-plus shows I took in. In no particular order…
Plays
Lyric Stage’s “The Little Foxes” – Most years, there is at least one production of a play or musical that feels more like a theatrical achievement than simple entertainment, and in 2019 it was the Lyric Stage’s masterful staging of the Lillian Hellman classic. Superbly directed by Scott Edmiston, with a beautifully detailed set by Jane E. Howland in the intimate space of the Lyric, this portrait of a wealthy but soulless Southern family was a stunning reminder of the effect that the pursuit of money and power has on ethics and morals. The entire cast was exceptional, and nine months later I can still see and feel the horrifying demoralization experienced by Birdie, the alcoholic sister-in-law played so despairingly well by Amelia Broome. It may well have been the year’s best supporting performance – on any stage.
Speakeasy Stage’s “School Girls; Or the African Mean Girls Play” – Speakeasy Stage had as good a year in 2019 as any company could hope to have, with three productions that could have easily made my list (and a fourth, Small Mouth Sounds, made Michele’s Top 10). But School Girls gets the nod over the excellent Choir Boy and Admissions, based on the universal theme explored so poignantly in the script, as well as Summer L. Williams flawless direction of what I believe was the finest ensemble work I saw on Boston stages all year.
Apollinaire Theatre Company’s – “Curious Incident of the Dog in the Night”– Director Danielle Fauteux Jacques made a bold choice of setting this production outdoors for their annual “Apollinaire in the Park” selection, and the gamble paid huge dividends. Sixteen-year-old Seamus G. Doyle gave an astonishing performance as Christopher, completely immersing himself in the character of the autistic boy who sets out to solve the mystery of who killed the neighbor’s dog, with support from a strong cast and creative team.
Israeli Stage’s “The Return” – Director, founder and artistic director of Israeli Stage Guy Ben-Aharon chose this controversial 65-minute piece that examined the inherent evil of tribalism as his final show, and it was an emotionally charged keg of dynamite. Philana Mia and Nael Nacer were outstanding in their roles, and the talkbacks following the shows were contentious and nearly as explosive as the play itself, making for even more great theater.
Central Square, “Bedlam’s Pygmalion” – The New York-based troupe presented their own unique take on George Bernard Shaw’s century-old classic, using the decidedly unsentimental original Shaw text. Although still wildly comical, the production was more of a searing indictment of the early 20th century classicism, misogyny, and anti-immigrant attitudes of the British monied class – that sadly doesn’t look much different than most western societies today. Bedlam’s decision to transform the Eliza Doolittle character (and father Alfred) from Cockney locals into emigres from Delhi worked beautifully, creating an Eliza that’s a triple threat of 21st century oppression – poor, female, and a brown-skinned immigrant.
A.R.T./Oberon’s Sara Porkalob – “Dragon Lady/Dragon Mama” – Sara Porkalob may have established a new standard of excellence for one-person shows last spring with “Dragon Lady” and “Dragon Mama”, which played in rep at Oberon. Not only is she a brilliant writer – crafting alternately hilarious and heartbreaking stories of the emotionally tortuous journey that brought her Filipina grandmother to the U.S. (Lady) and life with her Mom in a Northwest trailer park (Mama) – but her detailed characterizations of dozens highly differentiated characters in the story is mind-blowing, executed with the kind of skill and self-assuredness that I haven’t seen in a performer since Eric Bogosian. As if that’s not enough, she’s also a helluva singer, with stunning interpretations of everything from Cole Porter to Whitney Houston. She’ll be back next spring with the third segment of her “Dragon Cycle”, “Dragon Baby”, in 2020. Don’t miss it.
Hub Theatre’s “The Clearing” – Given its dense historical context and subject matter, this utterly bleak but compelling story of the brutal oppression of the Irish by Oliver Cromwell was a major sleeper. Director Daniel Bourque elicited terrific performances from his cast, and Jeff Gill – pure evil as the Nazi-like Sir Charles Sturman – delivered one of the year’s great performances.
Gloucester Stage Company’s “The Lifespan of a Fact” – With the total breakdown of journalistic standards in too many media outlets destroying the public’s ability to make informed decisions, theater doesn’t get much more timely or relevant than this. Director Sam Weisman and the cast of Lindsay Crouse, Mickey Solis, and Derek Speedy flawlessly delivered on one of the most thought-provoking and intelligent scripts I’ve seen in years.
Gloucester Stage Company’s “The Lifespan of a Fact” – With the total breakdown of journalistic standards in too many media outlets destroying the public’s ability to make informed decisions, theater doesn’t get much more timely or relevant than this. Director Sam Weisman and the cast of Lindsay Crouse, Mickey Solis, and Derek Speedy flawlessly delivered on one of the most thought-provoking and intelligent scripts I’ve seen in years.
Huntington Theatre Company’s “The Purists” – A brilliant blend of comedy and social commentary that reminds us that being a member of a traditionally oppressed group (POC, LGBTQ, women or the economically disadvantaged) doesn’t necessarily mean you have compassion or understanding towards other oppressed groups. Director Billy Porter deftly balanced the weightier material with comedy in Dan McCabe’s terrific script, and this world premiere should become a staple on stages around the country for the next few years.
ArtsEmerson (Multiple) – Okay, okay, so I’m cheating a bit here, but ArtsEmerson continued to deliver some of the most imaginative productions to Boston in 2019, with three in particular standing out for me. With “Passengers”, The Seven Fingers’ took their game to new heights, elevating the genre from enhanced circus performance to genuine art. Manual Cinema’s “The End of TV” was captivatingly weird, and while “An Inspector Calls” featured one of the most creative sets in memory, the performances in this decades-old detective story about income inequality were out of this world.
Top Musicals
For this category I decided to include a pair of productions that are really more “plays with music” than actual musicals, but hey, this isn’t the Tonys.
Merrimack Repertory Theatre’s Cambodian Rock Band – This play with music was definitely one of the great surprises of 2019, combining a disturbing storyline with a kickass rock score. What initially looked like an annoying overprotective dad comedy quickly morphed into a horrific tale of sacrifice and courage. Powered by an absolutely brilliant performance by Greg Watanabe as the dad who returns to Cambodia decades after the fall of the Khmer Rouge, and Aja Wiltshire in the dual role of the daughter and lead singer of the Cambodian rock band, this was a masterful combination of music and narrative.
Moonbox Productions “Parade” –The best mid-size musical of 2019, this was no feel-good holiday entertainment, but a brutal reminder of where prejudice and hate leads an otherwise civil society. Much like Moonbox’ “The Wild Party” in 2016 (which copped an IRNE ‘Best Musical – Fringe), this was a production that blew away expectations. Director Jason Modica, music director Catherine Stornetta and choreographer Kira Troilo crafted a masterpiece with the aid of a terrific cast. The performances by the veterans (led Phil Tayler in the lead role of Leo Frank) were exceptional, but what was most encouraging going forward was the standout work by new faces, most notably Aaron Patterson (a junior at Boston Conservatory) and Haley K. Clay (Boston Conservatory at Berklee, 2020) as Lucille, Leo’s tortured wife. Let’s hope they stick around after graduation.
Huntington Theatre Company’s “Indecent” – The second play with music on the list, “Indecent” was a deeply moving and wildly entertaining theatrical experience featuring traditional Yiddish music and dance as well as snatches of the controversial 1906 play “God of Vengeance” on which it was based. But the narrative that ran throughout the piece that focused on the political difficulties of presenting truth in art was what made is so compelling, particularly given that the final performance by the troupe was in the Warsaw Ghetto. But there was also a lot of joy in the production and performances, earning it a spot on this year’s list.
Lyric Stages’ “Little Shop of Horrors” – This one may not have the emotional weight of the other musical favorites on the list, but it was easily the most fun musical of the year on a mid-size stage (“Six” was a blast over at the A.R.T. too). Rachel Bertone and her creative team worked their magic again in the intimate setting of the Lyric, accentuating the comic ingenuity of this underrated musical and making the most of its rockin’ score, much of which is delivered/augmented by the dynamite “Greek chorus” girl group featuring Crystal (Lovely Hoffman), Ronnette (Carla Martinez), and Chiffon (Pier Lamia Porter). Katrina Z Pavao killed in the role of Audrey, both comically and vocally, in what one hopes is a breakthrough role.
Summer Theaters Deliver The Classics – North Shore Music Theater’s “Oklahoma”, Ogunquit Playhouse’s “42nd Street”, and Reagle Music Theatre’s “Sound of Music” reminded us that while theater needs to grow and change to honestly reflect our society, there’s still a place for the classics, fueled by great songwriting, as these productions gloriously celebrated.
