2023 was not only the year that the COVID masks literally came off in theaters (although with the recent spike in cases, they’re wisely coming back on in some venues), it also saw a minimizing of COVID-related cancellations thanks to a downturn in cases and an explosion of understudies for critical roles. It was also a year when theaters realized they could offer quality programming instead of well-intentioned but artistically weak messaging plays and still achieve diversity goals. Not surprisingly, that meant bringing back works by masters like Lorraine Hansberry, August Wilson, and Tony Kushner while still presenting new works by talents like Josh Harmon and newcomers Lenelle Moïse (K-I-S-S-I-N-G) and LaDarrion Williams (Boulevard of Bold Dreams). Here are the Top 10 picks for 2023 by our reviewing staff:
Photo by Ken Yotsukura Photography
Mike Hoban – Editor
I missed a lot of good shows this year, so this is not a comprehensive list, and there were a few tough omissions as well. Here’s my Top 10, not necessarily in any order after 1&2 (which essentially tied for the Best Play of 2023):
A Raisin in the Sun (New Rep) – As sad as the closing of New Rep was for Greater Boston theatergoers (no comment on how that went down), at least they went out in a blaze of glory with this gem. Boston veteran Damon Singletary (in arguably his best performance), Juanita A. Rodrigues, Lorraine Victoria Kanyike, and newcomer (and recent BU grad) Valyn Lyric Turner gave such three-dimensional performances that you felt as if you were helplessly watching your own loved ones’ tragedy unfold. Every so often, you see a play that is so true to life that you forget it’s not real – and this was definitely one of those productions.
Angels in America (Central Square Theatre and Bedlam) – Directed by Eric Tucker of New York City’s Bedlam, this production brought the horrors of the early days of the AIDS epidemic home in gut-wrenching detail. Led by an amazing cast of Boston favorites (Eddie Shields, Maurice Emmanuel Parent, Nael Nacer, and Debra Wise) as well as Helen Hy-Yuen Swanson, Kari Buckley, and Zach Fike Hodges, it was an acting tour-de-force, with Shields again giving a performance for the ages that rivaled his stunning turn in last year’s Inheritance.
Seven Guitars (Actors’ Shakespeare Project) – This outstanding production, sensitively directed by Maurice Emmanuel Parent, was an exercise in what character-driven playwriting is all about. It earned August Wilson a Pulitzer Prize nomination and won a New York Drama Critics Award for Best Play. The terrific ensemble – a mix of veterans and relative newcomers (including Valyn Lyric Turner and rising star Regina Vital) brilliantly delivered on the rich material.
Who’s Afraid of Virginia Woolf? (Theater Uncorked) Mind-blowing performances by IRNE winners Shana Dirik and Brooks Reeves powered this short-run show. It was much like watching a true crime show about serial killers (minus the murders) – you just couldn’t stop watching, no matter how despicable they were to each other and their guests/hostages. Here’s wishing Theater Uncorked will extend its runs in the future so that more can enjoy this excellent “fringe” company’s productions.
K-I-S-S-I-N-G (Huntington Theatre/Front Porch) – This highly original piece by Boston playwright Lenelle Moïse featured a star turn by the expressive and ebullient Regan Sims, ably supported by a strong supporting cast. The play’s narrative focused on the unlikely relationship between Sims’ character and her asexual love interest (a charming Sharmarke Yusuf) but still felt universal.
Prayer for the French Republic (Huntington) – Playwright Joshua Harmon (Admissions, Bad Jews) again shows us why there are no pat answers to complex questions with this all-too-timely play. Set in 1944 and 2016, it debunks the wishful ideology of “it could never happen here” and “never again” by bringing impending fascism to a human level. The production was bolstered by a strong cast, including Boston favorites Nael Nacer, Jared Troilo, and Will Lyman and Providence stalwarts Phyllis Kay and Tony Estrella.
How I Learned to Drive – (Actor’s Shakespeare Project) may have had the most consistently excellent year among Greater Boston theater companies, with Seven Guitars and As You Like It also showing up on a number of “Best of 2023” lists. The story of a teenage girl who is systematically groomed by her alcoholic, sexually abusive uncle is both chilling and informative. Performances by Jennifer Rohn and Dennis Trainor, Jr. in the lead roles are among the year’s best.
Ogunquit Does the Classics (Ogunquit Playhouse) – Yeah, I’ll admit this is cheating, but it’s hard to choose between these two outstanding revivals of iconic musicals, the Sound Of Music and Singin’ in the Rain. The Sound of Music featured a radiant Emilie Kouatchou as Maria; Allison Blackwell delivered a thunderous “Climb Every Mountain,” and the (locally cast) children were terrific. Singin’ in the Rain featured Emerson College’s Chiara Trentalange, along with fellow Boadway pals Max Clayton and Christian Probst, all of whom hoofed up a storm, and the hilarious Kate Loprest stole every scene she was in as Lena Lamont.
The Band’s Visit – (Huntington/Speakeasy Stage) – This show was especially resonant as it opened not long after the horrific attack on Israel by Hamas, followed by Israel’s brutal response. The Band’s Visit features one of the most original musical scores in, well, forever, and the cast, led by a luminescent Jennifer Apple, delivered, both musically and dramatically. It was also the most uplifting show of 2023 in light of the ongoing war and upcoming election.
Oklahoma! – (Reagle Music Theatre) – Director Rachel Bertone and frequent collaborator Dan Rodriguez continued to work their magic on the classics, with a huge boost from leads Jared Troilo, Kayla Shimizu, and Carolyn Saxon, as well as electrifying newcomers Rebekah Rae Robles, Jack Mullen. The company and the live orchestra performed the extended version of the dream sequence flawlessly, just one of many elements that elevated this exceptional production.
Because 2023 was such a good year for theatrical plays, musicals got a bit of a short shrift from me this year. So, I’d also like to acknowledge The Color Purple (Umbrella Stage Company) and The Prom (Speakeasy Stage Company). I’d also like to give a shout out to ‘Lizzie: The Musical’ (Umbrella Stage Company) and the original Joan of Arc musical (created by Zoe Bradford, Michael Hammond and Mel Carubia) Born to Do This (Company Theatre). They broke the mold of old-school musicals with some kick-ass rock ‘n roll – proving that theater can actually evolve from “turn-turn-kick-turn” (The Producers) and recycled movie favorites into something far more creative.
Michele Markarian – Co-Editor
2023 produced a compelling array of theater, much less didactic and more entertaining than the previous year. I can’t wait to see what 2024 brings in as we (hopefully) move away from COVID-19 and sit together without fear. Here are my top ten picks in the order in which I saw them:
Preludes (Lyric Stage Company of Boston) – Dave Malloy’s fascinating musical about Rachmaninoff explores creative inspiration in the life of an artist and what it means to be blocked. In a standout cast, performances by Aimee Doherty and Anthony Pires, Jr. elevated this to high art.
Made in China 2.0 (ArtsEmerson) – Wang Chong’s one-man show, which humorously and obliquely addressed the creative, political, and societal challenges of being an artist in China, offered an illuminating glimpse of a culture very different from our own. At the artist’s request, the show’s content is kept under wraps, so a review will not be posted here.
Clyde’s (The Huntington Theatre Co., co-produced by Berkley Repertory Theatre) – Taking place in a truck stop café, “Clyde’s” was a truly voyeuristic experience – you feel like you’re a fly on the wall witnessing the lives of four convicted felons and their struggles at work. I chalk this up to the excellent cast and their director, Taylor Reynolds.
Angels in America: Part I and Part II (Central Square Theater and Bedlam) – There aren’t enough superlatives to describe the sublime totality of these moving productions, from the acting to the set design. While the play itself is a masterpiece, Eric Tucker and his cast and crew managed to transcend it with these outstanding productions.
MacBeth (Commonwealth Shakespeare Company): Thrilling, atmospheric, and visceral, this MacBeth, under Steven Maler’s gripping direction, is edgy and nerve-wracking, with welcome bits of humor shining through. Nael Nacer’s MacDuff will make you cry.
Raisin in the Sun (New Repertory Theatre): What a triumphant return for New Rep, I mistakenly thought after witnessing this show. Lois Roach brilliantly directs a perfect cast in this perfect production of a timeless play, aided by Janie E. Howland’s lived-in, realistic set. Sadly, New Rep has closed, but this production will live on in the hearts and minds of those who witnessed it.
How I Learned to Drive (Actors’ Shakespeare Project): WOW. This show is a total gut punch, well-directed by Elaine Vaan Hogue and acted by an exceptional cast. Dennis Trainor, Jr. and Jennifer Rohn as Uncle Peck and Li’l Bit, respectively, were affecting to watch as they told a tale of abuse that, despite its horror, is surprisingly non-judgmental.
The Band’s Visit (Huntington Theatre in collaboration with SpeakEasy Stage): A beautiful story with a beautiful score, well sung and acted by its amazing cast. Jennifer Apple shines as the bored and weary Dina, with a lively Robert Saoud playing her father. The musicians onstage add an intimate dimension to the action.
Legally Blonde (Moonbox Productions): So much fun! Mindy Cimini’s lively direction makes this musical a fun ride with a more serious message of discarding what’s shallow underneath. While by all accounts Sarah Kelly was wonderful as Elle, I saw it with the understudy, Lisa Kate Joyce, who was adorable.
Real Women Have Curves (American Repertory Theater): A heartbreaking, uplifting, joyous, and cultural musical, superbly acted and sung by its Latina/Latino cast. The score is catchy, with a high-stakes book filled with dramatic tension. By far the best new musical I’ve seen in a very long time.
Photo by Ken Yotsukura Photography
Shelley Sackett
My Top 10 picks in descending order:
Seven Guitars – (Actors’ Shakespeare Project) – Maurice Emmanuel Parent’s intimate and sensitive direction elicits a natural rhythm from the cast of seven first-rate actors who miraculously coalesce as an ensemble without diminishing their unique bright lights. A flawless production of August Wilson’s infrequently produced, multi-layered, music-infused drama, with dialogue the actors imbue with lyricism and individuality. Anthony T. Goss is exceptional as Floyd “Schoolboy” Barton, a young blues guitarist. Hands down, my number-one favorite for 2023.
How I Learned To Drive (Actors’ Shakespeare Project) – Paula Vogel’s brilliant Pulitzer Prize Award-winning play explores abuse and memory in a tour-de-force production. Vogel examines the complicated ways in which we process the trauma, shame, and blame associated with pedophilia and family complicity. If the topic sounds heart-wrenching and heavy, that’s because it is. Yet, thanks to superb acting (the truly amazing Jennifer Rohn and Dennis Trainor, Jr.), Elaine Vaan Hogue’s sensitive direction, and Vogel’s candid and non-judgmental script, we grow to care about the characters — all of them, including the predator, Uncle Peck. Although a testament to Vogel’s ability to create a defective character whose humanness prevents us from dismissing him as pure evil, that is perhaps the most disturbing part of the play.
Prayer for the French Republic – (Huntington Theatre – Playwright Joshua Harmon has a gift for tackling important, profoundly challenging, and topical subjects and, through sheer brilliance of characters and dialogue, creating intimate and accessible theater that both rivets his audience and leaves them in a standing ovation of thunderous applause. Under Loretta Greco’s razor-sharp direction, the 11-member cast masterfully brings Harmon’s themes of antisemitism, assimilation, family, freedom, identity, and fear — to name a few — to life. Stellar cast standouts include Amy Resnick as Marcelle and an electrifying Carly Zien as Molly.
Boulevard of Bold Dreams (Greater Boston Stage Company) – Shining a light on Hattie McDaniel and her 1940 Oscar, playwright LaDarrion Williams has cherry-picked a dramatic moment in history to explore 1940s California, where most working-class Blacks are relegated to subservient positions, and racism is less violent but no less virulent than in Alabama. Hattie McDaniel is the first Black actor to be nominated for an Academy Award. She is up for the Best Supporting Actress Oscar for her performance as Scarlett O’Hara’s ‘mammy’ in the Civil War era blockbuster, “Gone With the Wind.” Superb art deco set, direction, and acting bring that historic night’s drama and pathos to life.
The Lehman Trilogy (Huntington Theatre) – The story of the Lehman brothers, from their origin in a shtetl in Rimpar, Bavaria, to the 2008 demise of Lehman Brothers, the colossal bank whose collapse helped trigger the global Great Recession. Instead of rehashing that final piece of the story in detail, it wisely spent the bulk of its three and a half hours (two intermissions) chronicling the lesser-known details of the enterprise’s birth and extraordinary upward trajectory. The resulting epic — intimate and engaging — was a nonjudgmental study of the personalities, relationships, and events that shaped this one family’s shifting definition of the American dream. The story is so engrossing, the production and acting so remarkable, that more than one patron was overheard commenting that they wished it had been even longer.
The Band’s Visit (Huntington Theatre) – The delightful musical is a welcome breath of air in the current asphyxiating climate surrounding the war between Israel and Hamas. Its focus is a single night in Bet Hatikva, a tiny Israeli town that feels more like a pit stop on the way to someplace more important than a destination. When an entire band of Egyptians clad in gaudy, bright powder-blue uniforms shows up as if beamed down from heaven, it’s an opportunity for everyone to expand their horizons. As Dina, Jennifer Apple is riveting.
The Ding Dongs (Gloucester Stage Company) – We’ve all been there. That split second when we realize that all may not be as it seems, that we have misread a vital clue, and that all is about to go south. Brenda Withers’ The Ding Dongs takes that moment and straps it to a steroid drip, keeping us on the edge of our seats and leaving us dying to talk about it to anyone within earshot—superb acting by Erica Steinhagen, Karl Gregory, and the always magnetic Neal Nacer.
Fat Ham (Huntington Theatre/Front Porch Arts) – In a raucous and resonant reinvention of Shakespeare’s “Hamlet,” the exceptionally talented playwright, James Ijames, has fleshed out the Bard’s original with analogous characters whose feet are firmly planted in the here and now and whose modern-day nightmares and dreams reflect both the mundane and the existential. Like the original, “Fat Ham” asks the question, “How do we cope in a belligerent world untethered?” and answers it simply: “To thine own self be true.” Excellent cast with stand-out performances by gifted Lau’rie Roach as Tio/Horatio, a spot-on Marshall W. Mabry IV as Juicy/Hamlet and Victoria Omoregie, perfectly cast as Opal/Ophelia.
Half-God of Rainfall (A.R.T.) – An ambitious production that defies pigeon-holing. Part Magical Mystery Tour, part modern dance concert, part art installation, and all ingenious invention, “Half-God of Rainfall” is a must-see for anyone curious about how far the envelope of theater can be pushed. Nigerian native Inua Ellam’s sinuous play is a masterful blending of unlikely ingredients: Greek mythology and Nigerian Yoruba spirituality, a war between mortals and gods, basketball, toxic patriarchy, white supremacy, female empowerment, and maternal love. Couple that with a script crafted as an epic poem, a stellar cast that works as a seamless ensemble, and breathtaking choreography, lighting, and sound designs, and well, you have all the makings for a night of unparalleled theatrical pageantry.
The Art of Burning (Huntington Theatre) – The story of a couple’s unraveling and the collateral damage their daughter suffers, Kate Snodgrass’s clichéd work just misses the mark with characters too undeveloped and dialogue too full of tropes to create the kind of tension required to pull off this level of subtle, emotion-driven drama. Fast-paced direction, an effective performance by Adrianne Krstansky, and a terrific set add meat to the bones of a play worth seeing for the inspiring and meaningful path the mother and daughter forge out of the ashes.
There were also some Non-Theater standouts in 2023, including The exotic “Grupo Corpo” Troupe (Celebrity Series) that combined exceptional dancing with Brazilian and African rhythm for a spectacular evening of excitement and adventure; Shadows Cast (Arts Emerson), A thrilling production that left this reviewer (almost) speechless; and the Paul Taylor Dance Company (Celebrity Series), was sassy, somber and sensual, a performance at covered all the bases. (Shelley)
Linda Chin
In this era of AI, fake news, and searching for one’s identity, Merriam Webster’s 2023 word of the year (based on the highest volume of internet searches) – is authentic. Its multiple meanings include “real and actual” and “true to one’s own personality or character,” as in one’s “authentic voice” and “authentic self.” In this spirit, I present my (not AI-generated) ‘Top 10’ List of productions I saw and thought were the real deal. Even though the list doesn’t include the many plays and musicals I wanted to see but missed, it wasn’t easy to narrow down L J.
My Top 10 picks, in order of appearance:
K-I-S-S-I-N-G (Huntington & Front Porch) – was, like that first kiss, one to savor, a feast for all the senses. The first and hopefully not last co-production of two leading Boston companies that started in fall 2021, playwright Lenelle Moïse infused the play with memories of growing up in Cambridge and details as real as the hole in the chain link fence between towering residences and an adjacent shopping mall (that has since been closed off). Defty, directed by Dawn M. Simmons, the play traces the lives of two Black families with vastly different socioeconomic circumstances, twin brothers with vastly different interests from one another, with performances by Regan Sims, Patrese D. McClain, James Ricardo Milord, Bobby Cius, Sharmarke Yusuf, and Ivan Cecil Walks that drew me in and knocked me out – and that I still savor to this day.
The Color Purple (Umbrella Stage) –in this musical adaptation of Alice Walker’s Pulitzer-Prize-winning novel, boldly directed by BW Gonzalez and music directed by Nathanael Wilkerson and choreographed by Najee A. Brown, authenticity and vivacity went hand-in-hand. Supported by an eight-musician combo, the cast of eighteen triple-threat actors told this powerful story through spoken word, song, and dance – and their poignant performances, soaring voices, and fancy footwork literally raised the roof of the simple yet stunning 1900s farmhouse in rural Georgia designed by Janie E. Howland. This epic production will make the recently released movie version a tough act to follow.
Singin’ in the Rain (Ogunquit) – opened the Playhouse’s 91st season with a splash. This production was Side-splittingly funny, and with seriously spectacular singing and dancing, it exemplified musical theatre at its best. As leading man Don Lockwood, real-life Broadway star Max Clayton (Music Man) revisited his happy childhood in New England when he twirled around the iconic lamp post, tap-danced his way across the stage, and stomped in puddles in the titular number, sending actual water (and creating shrieks of laughter) in the front rows of the audience. Hands down (or, in this case, feet down), this was a singularly sensational way to spend a summer evening.
As You Like It (ASP & Theater Offensive) – Given how women are presented in most of Shakespeare’s plays, this work featuring Rosalind – one of the Bard’s strongest and well-known women characters (and for whom 685 lines of text have been dedicated) – is a dream role. Actor Genevieve Simon, who identifies as non-binary, plays Rosalind with generosity and gusto, from the opening scenes with sister xxx to the last scene when Rosalind presides over multiple marriages. The simple set, with strips of flowy, translucent green fabric creating a double-height forest, provides a backdrop for the characters to use their authentic voices, be their authentic selves, marry as they like, and be enveloped in light. And as per usual, veteran actor Bobbie Steinbach’s extraordinary acting, even her delivery of the five-word phrase “All the World’s A Stage,” raised the Bard to new heights.
Oklahoma! (Reagle), which originated ten years ago at Boston’s Colonial Theatre – enjoyed a fabulous revival that stayed true to the original (including a costume worn by Shirley Jones that legendary Bob Eagle lovingly purchased) while incorporating director and choreographer Rachel Bertone’s sweeping vision and attention to detail and Dan Rodriguez’ masterful music direction. This ‘oh, what a beautiful’ production featured winning performances by Carolyn Saxon, Dan Sullivan, Jack Mullen, Kayla Shimizu, and Jared Troilo and a strong ensemble who performed the ‘Dream Ballet’ and other iconic numbers, and should give folks a reason to travel out west in the future.
The Great Leap (Lyric) – is another poignant play by Lauren Yee that, like her electrifying play-with-music Cambodian Rock Band, centers on photographs of real people and events that are not only worth a thousand words but inspire their viewers to travel thousands of miles to search for the truth they contain. Projections of black and white newspaper articles about a friendship basketball game between the US and China and the iconic photograph of the unidentified man standing in front of a tank in Tiananmen Square provide the backdrop for the cast’s strong acting skills. In particular, Gary Thomas Ng’s portrayal of Wen Chang, a Chinese man who has stood still for his entire life and ultimately can’t be a bystander to his own narrative, is a standout.
Sweeney Todd (Moonbox) – this behemoth of a musical and Sondheim’s masterpiece marked Moonbox’s new residence at Arrow Street Arts, director/co-producer Ryan Mardesich’s directorial debut with the company, and [one of?] the first times a black performer played the title role in a professional US production. (UK actor Hugh Maynard was the first black actor to play Sweeney in a professional UK production in 2016). But in Boston, we are blessed with having man-of-many-talents, Davron Monroe, interested and available to play a villainous murderer, and music director Dan Ryan (also conductor) and choreographer Joy Clark (as leading lady Mrs. Lovett) working ‘both sides of the curtain’ with seeming ease. This show handily made the cut for my top ten list.
The Band’s Visit (The Huntington & Speakeasy) – shows the possibilities and products of collaboration and that two heads (Artistic Directors Loretta Greco and Paul Daigneault, also the show’s director) are better (and less expensive to produce) than one. Building bridges that span cultural differences, looking beyond stereotypes, and making a real human connection were important themes in this story about a band from Egypt headed for a performance at the Arab Culture Center in bustling Petah Tikvah that gets stranded in the fictional deserted town of Beit Hatikva instead. Marvelous music direction by José Delgado and an all-star cast shows off the compelling book and beautiful score. I didn’t want it to end.
The Heart Sellers (Huntington) – is based on the real immigration and acculturation stories of the mothers of close colleagues and friends – and this play’s creatives – playwright Lloyd Suh and director May Adralas. The passage of the Hart-Sellers Act made it possible for the young women to leave their families and familiar lives in Korea and the Philippines behind, and go with their new husbands to the US fathers to complete their medical residencies. They may have “sold their hearts” for dreams not yet realized, hence the clever word-play in the title. Performances by Jenna Agbayani and Judy Song made my heart sing and made me proud to be Asian.
Real Women Have Curves: The Musical (ART) – centers on three Garcia women (mom Carmen, daughters Estela, Ana) who are navigating life in America. They’re fine with the curves they were born with, but as Ana bemuses to a friend, “I’m the daughter of immigrants. It’s like you’re born into debt.” Though she was accepted to her dream college (Columbia) with a full scholarship, her parents wanted her to stay in LA and work in their dress factory. As the daughter of immigrants (Chinese, not Mexican) who was a child interpreter, worked in the family business, and a first-gen, low-income college student, #RWHC made me laugh, cry, and feel seen. The only part that didn’t feel quite real to me was Ana’s traditional parents’ easy acceptance of her budding romance with a young BIPOC man (and outsider to their language and culture). This joyous production closed my year on a very high note (and it runs through January 20, 2024).
Photos by Nile Hawver and Maggie Hall
