Mike Hoban, Editor
The 2022 theatrical season got off to an inauspicious start, saddled by the persistent pandemic (which led to multiple cancellations of performances through the summer and some productions featuring masked performers) and a number of well-intentioned productions whose didactic approach on social-themed productions often wiped out any hope for artistic excellence. As the year progressed, both concerns became more muted, and paring down the list to a “Top 10” became much more of a challenge.
Here are my top 10 selections for 2022 (five plays, five musicals):
‘The Inheritance, Speakeasy’ – Easily the best dramatic production I’ve seen in Boston in years. Period. The rest of the list is in no particular order, but this one sits alone at the top.
‘Bluest Eye’, The Huntington – A mind-blowing ensemble and a terrific adaptation by Lydia R. Diamond brought this painful story of the multigenerational effects of racism to glorious theatrical heights.
‘People, Places and Things’, Speakeasy Stage – Marianna Bassham’s brilliant portrayal of an alcoholic/addict actress who nearly destroys her own life while wreaking havoc in the lives of those around her is the most true-to-life depiction of the rocky road to addiction recovery you’re likely to see onstage. Great work by the supporting cast as well.
‘The Light’, Lyric Stage – This thought-provoking two-hander (featuring Dominic Carter and Boston musical favorite Yewande Odetoyinbo) is my sleeper pick for this year. The play started out as a rom-com but got deeper by the minute, surely inspiring some conversation for any male-female couples on a date that night.
‘Heroes of the Fourth Turning,’ Speakeasy Stage – This riveting drama explored the internal divides within the Catholic wing of the Republican party brought on by the election of Donald Trump. It did so without resorting to easy stereotypes, humanizing a segment of the population (that is pretty easy to skewer) via some terrific ensemble acting. Sidenote: Kudos to Speakeasy Stage, which led the way in terms of artistic excellence in 2022, with not a single dud in its programming.
Twilight: Los Angeles, 1992, A.R.T. – Timely re-staging of the play that helped open white America’s eyes to the full spectrum of its racism – nearly two decades before the videotaped murder of George Floyd and the worldwide movement it inspired.
‘Drumfolk, ArtsEmerson’ – This Step Afrika! production successfully combined the storytelling of an important but buried segment of history not likely to be taught in public schools (the Stono Rebellion, Google it) with pulse-pounding music and stunning dance and movement.
‘A Beautiful Noise”, Emerson Colonial’ – Yeah, yeah. It’s another jukebox musical, but in terms of sheer fun, this was one of the musical highlights of 2022 thanks to a stellar performance by Will Swenson as Neil Diamond and a clever book by Anthony McCarten. And I’m not even a Neil Diamond fan.
‘West Side Story”, Reagle Music Theatre’ – A welcome return to Boston (actually Waltham) for artistic director Rachel Bertone, who directed and choreographed this production as well as Pippin. Solid retelling of the iconic musical was bolstered by an absolutely electric performance by Bianca Rivera-Irons as Anita.
‘Ain’t Misbehavin’, Central Square and Greater Boston Stage Company – A musical tour-de-force directed and choreographed by stalwart Boston dramatic actor Maurice Emmanuel Parent and featuring a mix of new (Sheree Marcelle, Jackson Jirard, Christina Jones) and veteran (Lovely Hoffman, Anthony Pires, Jr.) talent. So good it had a well-deserved city and suburban run.
‘Little Women: The Broadway Musical’ Director and choreographer Ilyse Robbin’s treatment of the Louisa May Alcott classic featured a terrific ensemble, buoyed by a breakthrough performance by Liza Giangrande, who just owned the role of the feisty Jo.
Addendum – There were a lot of close calls on these picks and shows I just didn’t get to because of scheduling conflicts, so this list is just my experience. I’d also like to give a shout out to ArtsEmerson for getting the bathroom issue right by using a simple sign. Perhaps other theaters should take note.
Michele Markarian, Editor
Was 2022 a post-Covid year? Given the number of shows I had tickets to, but were canceled because of cast members testing positive, I would say no. 2022 was a mixed bag, ranging from social studies lessons to pure fluff. My list falls somewhere in between. Here are my top picks, in the order of which I saw them:
“Jesus Christ Superstar” (Broadway in Boston). I have always wanted to see this show, being all too familiar with the studio recording. My friend’s family bought a ticket for me when I was twelve. My mother didn’t like the family, so she made me see “A Little Night Music” with my grandmother instead (boo). This latest incarnation was near perfect. When the opening strains of “Heaven on Their Minds” played, my co-editor and I looked at each with tears in our eyes. A ‘Jesus Christ Superstar’ with swagger, but imbued with sorrow (msn.com)
“People, Places and Things” (Speakeasy Stage). One of the best plays on addiction I’ve ever seen. Marianna Bassham’s performance was a tour de force, aided by a strong supporting cast. Funny, moving, disturbing, realistic – it ran the gamut and left me somewhat shattered. SpeakEasy’s ‘People. Places & Things’ Takes Us Into the Belly of Addiction – Theater Mirror
“Dreaming Zenzile” (Arts Emerson). This piece about the turbulent life of the magnetic South African singer Miriam Makeba of “Pata Pata” fame was fascinating in two respects – one, it told her story in a spiritual and inventive way, and two, it was written by and starred the incredible Somi Kakoma, a vocal powerhouse if ever there was one. Kakoma’s instrument is one I look forward to hearing again and again and again. ArtsEmerson Brings a Sensational “Dreaming Zenzile” to Boston – Theater Mirror
“Ain’t Misbehavin’” (Central Square Theater). Under the adept direction of Maurice Emmanuel Parent, this loose, raucous, exuberant, poignant and gorgeously sung production soared. The cast was uniformly excellent, and the bittersweet texture running through the piece was not lost on any of us. I wish I’d seen it twice. “Ain’t Misbehavin’” Sets the Joint Jumpin’ – Theater Mirror
“Head Over Heels” (Emerson Umbrella). What can I say? It featured the music of the Go Gos! It was about close-minded people becoming more tolerant! The cast was amazing! Did I mention it featured the music of the Go Gos? This show was just what I needed to get out of the COVID funk.“Head Over Heels” at the Umbrella a Wild and Wacky Good Time – Theater Mirror
“A Beautiful Noise” (Broadway in Boston). While I’ve never been a huge Neil Diamond fan, the structure of this show – an older Neil in therapy, looking back over his life to try and fit the pieces together – really worked for me. As did the charismatic portrayal of Neil by actor Will Swenson, who seemed far more personable than the real Neil ever did. Diamond’s catalog is truly catchy. I left this show satisfied. Swenson Shines Like a 14-carat Diamond in ‘Beautiful Noise’ at Emerson Colonial – Theater Mirror
“We Are Continuous” (Williamstown Theater Festival). Harrison David Rivers’s semi-autobiographical play about a mother, father and son – and son’s husband – was all about secrets coming to light, delicately performed as a three-hander, each character speaking directly to the audience. Beautifully acted and told, it left me and my husband teary. THEATER REVIEW: ‘we are continuous’ plays at the Williamstown Theatre Festival through August 14 – The Berkshire Edge
“Sing Street” (Huntington Theater). This one makes the list by its sheer entertainment value. It was fun, well-staged, with catchy songs. And it was set in Ireland. I enjoyed myself thoroughly. Huntington’s Happy-Sad Sing Street Will Lift You Up – Theater Mirror
“Heroes of the Fourth Turning” (Speakeasy Stage). A provocative piece about a conservative institute in the middle of the prairie. The characters were complex, some easier to relate to than others, but this was a play that made me think a lot about this country and the people who inhabit it. It prompted a long discussion with friends afterwards outside of the theater, as we needed to deconstruct what we’d just seen. Speakeasy’s Absorbing ‘Heroes’ is Guaranteed to Spark Discussion – Theater Mirror
“The Play That Goes Wrong” (Lyric Sage). The sheer audacity of the Lyric Stage choosing this play – which I’d seen in London years ago – makes it an easy choice for this year’s top ten. Peter Colao’s set design is nothing short of brilliant, and the fearless and talented cast rise to the occasion by inhabiting it. Bravo to this entire production. Lyric’s ‘The Play That Goes Wrong’ Gets Its Comedy Right – Theater Mirror
Shelley A. Sackett
Such a treasure trove of productions in 2022! In Dave Letterman fashion, here are my top ten (and one honorable mention) from #10 to #1:
10. Once on This Island — SpeakEasy Stage Company’s Once On This Island was such a happy, toe-tapping, brightly colored musical, it’s easy to forget that its overarching tragic themes are Caribbean colonialism, racism, and slavery. Part Romeo and Juliet (which didn’t end well for those star-crossed lovers, either), part Little Mermaid and part multi-cultural folk fable, the show explains the history of the Island Hispaniola and its eventual split into Haiti and the Dominican Republic.
9. Thirst — Dorset Theatre Festival’s production of Ronán Noone’s terrific play is set in the kitchen of the Tyrone family’s seaside Connecticut home on the August day in 1912 when Eugene O’Neill’s classic tragedy, A Long Day’s Journey Into Night, takes place. From economical direction by Theresa Rebeck to superb acting, set design, lighting and sound, the production was a standout in a year of them.
8. Champion – An Opera in Jazz — Boston Lyric Opera presented Terence Blanchard’s ambitious, modern masterwork that brings to life boxer Emile Griffith’s complicated story through a heart-rending melding of music styles and poignant lyrics. By the show’s end — at least in my row — there was not a dry eye. And isn’t that, after all, why we go to the theater and especially to opera? To feel?
7. Erma Bombeck: At Wit’s End — Karen MacDonald was nothing short of spectacular in the one-woman show at Merrimack Repertory Theatre. For 80 intermission-less minutes, she doesn’t just play Erma Bombeck; she IS Erma Bombeck, from her impeccable timing to the subtlest gesture and most delicate modulation. It was a balm of enormous power during 2022’s many dark tundra days.
6. The Book of Will — The Lyric Stage Company of Boston’s production was a must-see and brought the story of Shakespeare’s legacy, and the women and men devoted to creating and preserving it, to life. Director Courtney O’Connor wove magic from a smart and inspired script by playwright Lauren Gunderson.
5. Little Women: The Broadway Musical — While hardly the most sophisticated or musically unforgettable show to hit Broadway (critics gave it a lukewarm reception when it played in 2005), the cast and crew at Greater Boston Stage honed in on its strengths and wrung it dry. Ilyse Robbins’ director and choreographer chops are on full display and Music Director Matthew Stern is worth his weight in gold.
4. Joe Turner’s Come and Gone — The Huntington christened its reopening with a magnificent production of August Wilson’s Joe Turner’s Come and Gone. Other than sporadic trouble understanding and hearing some of the actors, the production was flawless.
3. People, Places & Things — SpeakEasy Stage Company’s first-rate, must-see production covered a lot of ground and checked a lot of boxes. Playwright Duncan Macmillan unsentimentally tackles the uncertain journey from addiction and recovery and the many shapes and forms it can take. For two and a half hours, the audience was in the thick of the raw process of rehab, detox, group therapy, relapse and the harrowing realization of what “one day at a time’ really looks like.
2. On Beckett — In Arts Emerson at the Emerson Paramount Center’s “On Beckett,” Bill Irwin’s solo exploration of his decades-long relationship with the Irish playwright, Samuel Beckett, the actor/clown took on the role of compassionate guide through the sticky wickets of Beckett’s intimidating and often baffling prose and plays.
1. The Bluest Eye — Brimming with sparkling ensemble acting, inspired staging and soulful song and dance, Huntington Theatre’s The Bluest Eye packed a wallop. Thanks to Lydia R. Diamond’s faithful yet nuanced adaptation, Toni Morrison’s groundbreaking début novel about two poor Black families in 1940s Lorain, Ohio is brought to the stage with all its poetry, pathos and humor intact. You could almost feel Morrison’s presence in the audience, beaming with pride and approval.
Honorable Mention: Bomb – itty of Errors — Actors’ Shakespeare Project’s The Bomb-itty of Errors was perfect pre-summer fare. Hip-hop and rap, a live DJ, a brilliantly exhaustive (and sometimes exhausting) script, some sublime acting and — as if that’s not enough — the Bard himself, camouflaged but hardly hidden. All wrapped neatly in a 90-minute intermission-less package that was as invigorating as it was boisterous.
Linda Chin
Despite, or because of, the parallel pandemics of COVID-19 and systemic racism, theater companies thoughtfully curated works that would reflect their values and identities, resonate with artists and audiences, and in these times of fiscal constraint, be feasible to successfully produce. From the plethora of good theater offerings in 2022, the following ten productions – five plays and five musicals – hit the sweet spot.
The Inheritance, Speakeasy’ – This play in two parts was hands down the best play of 2022. The outstanding cast of theater veterans and newcomers, lovingly directed by Paul Daigneault, succeeded in making every word of Matthew Lopez’ masterpiece matter. No other production came close in keeping me engaged and mesmerized (and masked) for six hours on a summer Saturday.
Portland Stage’s The Great Leap – The story of a young Asian American’s pilgrimage from San Francisco’s Chinatown to Beijing’s Tianmen Square, was also spare in its cast size (four actors) and design elements, yet beautiful in its simplicity. Like Cambodian Rock Band, playwright Lauren Yee straddles East and West, contemporary and historical times, and teaches us about the importance of family.
Moonbox Productions’ Torch Song – Is an excellent example of how a play that is dated can still have relevance in current times, and how an actor playing a role originated by a legend (Harvey Fierstein) can make it their own. Having seen Fierstein in the original Trilogy, this version with Peter Mills did not disappoint, and as scene partners Mills and Bobbie Steinbach, playing his mother, were on fire.
‘Heroes of the Fourth Turning,’ Speakeasy Stage – This 2019 work by playwright Will Arbery, was illuminating in its subject matter, bringing the varied voices of five white ultra-conservative Catholic intellectuals to light. The acting was excellent across the board but I found the female characters (played by Dayna Cousins, Elise Pilinopulis, Paula MacDonald) particularly complex and compelling.
Huntington Theatre Company’s Joe Turner’s Come and Gone – Reminded us of (or introduced us to) the fact that their connection with the august August Wilson started over a generation ago. James Millord’s subtle, yet commanding performance reached me in the back rows of the balcony, and the fact that the cast largely included local actors tells us how far Boston theatre has come – and yes, how far it can and should go.
MUSICALS
The best musicals of 2022 are revivals revised for today’s audiences, both crowd-pleasing and thought-provoking,
Goodspeed’s 42nd Street updated this beloved classic by combining old-fashioned song and dance numbers (tapping feet!) with high-tech production elements (larger-than-life video projections!). The revival’s sensational cast of triple threats also includes many BIPOC actors in ensemble and principal roles, and a woman in the producer role traditionally played by a man.
Seacoast Rep’s The Music Man was an updated, uplifting version of this American musical theatre classic. Directors Ben Hart and Brandon James’ decision to cast actors of color to play characters who are outsiders (and who are initially mistrusted, and then later celebrated by the community) added to the show’s theme of redemption.
Cape Cod Theatre Company’s School of Rock demonstrated the power of art, and the power of the younger generation, to drive change. This seamless production, including a set for the classroom that was a painted chalkboard colorfully decorated with words and drawings, also showed that artistic excellence can be achieved with more moderate expense.
‘Little Women: The Broadway Musical’, Greater Boston Stage Company’ – Little Women added a delightful offering with multi-generational appeal to the usual holiday repertoire. Liza Giangrande (Jo) and Abriel Coleman (Beth) were standouts, more than holding their own with professional actors Amy Barker (Marmee), Bob Saoud (Mr. Laurence), and Deanna Dunmyer (Aunt March).
Ogunquit Playhouse’s Beautiful – The Carole King Musical was full of lovely music and moments. Witnessing the bond between Goffin and King and their rivals Mann and Weil, black and white performing artists working together to change the world for the better, and producers giving opportunities to/taking a chance on rising talent filled me with hope.
