Let the Farce Be With You - Clybourne Park, The Game of Love and Chance, One Man Two Guvnors, Potted Potter - Play Reviews

Clybourne Park - Studio 180 and Canadian Stage Company at Berkeley Street Theatre - Toronto, ON - ****1/2 (out of 5 stars) Written by Bruce Norris, Directed by Joel Greenberg Runs until Apr 28th 2012 (Also running on Broadway in different production based on the original Off-Broadway production at Playwrights Horizons)  

The Game of Love and Chance - Canadian Stage Company at Bluma Appel Theatre at the St. Lawrence Centre - Toronto, ON - *** (out of 5 stars) Written by Marivaux, Adapted and Translated by Nicolas Billon, Directed by Matthew Jocelyn Runs until May 12th 2012
 
One Man, Two Guvnors - Music Box Theatre - Broadway, New York, NY - **** (out of 5 stars) Written by Richard Bean, Directed by Nicholas Hytner 

Potted Potter - Panasonic Theatre - Toronto, ON - *** (out of 5 stars) Written by Daniel Clarkson and Jefferson Turner Begins previews Off-Broadway at the Little Shubert Theatre on May 19th 2012, Opening June 3rd, until Aug. 19th 2012


As they keep saying, dying is easy, but comedy is HARD. And Farce, a particular branch of comedy, has slowly disappeared from our stages in these contemporary times, but a few current shows are bringing what's seen as a lowbrow art to the highbrow stages. Canadian Stage is doing a new translation of Malivaux's The Game of Love and Chance while the National Theatre of Britain has found a huge hit in and updated version of The Servant of Two Masters called One Man, Two Guvnors in London, and it seems like it'll repeat its box office success on Broadway. Meanwhile, every city, including Broadway, seems to be performing last year's Pulitzer winner Clybourne Park. While not actual farce, and with the label as the Pulitzer winner for drama, a repeat viewing of Clybourne Park (in Toronto, after first seeing it at the Woolly Mammoth Theatre in D.C. last year) reminded me how funny the play actually was, with it devolving into an almost farcical in the second act, all while hitting some serious issues in a very funny manner.

Then there's Potted Potter which also ran in London's West End, then Toronto, and soon opens in New York. With its premise of performing all 7 Harry Potter books in 70 minutes, its creators and performers Dan and Jeff have a magical time trying to get through the hundreds of characters re-telling J.K. Rowling's epic story in a low budget romp.




Seeing Clybourne Park for the second time in a completely different production only cemented for me how clever and genius Bruce Norris' play is. As a counterpoint to A Raisin in the Sun (which is not necessarily required to enjoy and appreciate this new play), Norris looks at the house that was being sold to the Black family in Lorraine Hansberry's play. We're in the very White neighbourhood of 1949 Clybourne Park and Karl (from A Raisin in the Sun) takes up issues he has with the sale of the house to the incoming Black family. The current homeowners Russ and Bev, their maid Francine and her husband Albert, and the neighbourhood priest Jim, weigh in on the debate. Without giving too much away, the second act fast forwards to 20009 Clybourne Park, when a White couple have purchased the same house in a now predominantly Black neighbourhood and plans to completely redo the house.

With the same cast playing two sets of folks from two different times in America, all within the same house being discussed, the play goes full force on issues of race and urban development, from architecture to the bricks to build a community. The play questions what society owes to us, and what we make of a neighbourhood. The characters questions each other's ethics, and each other's tastes. There are some serious and intellectually fascinating issues through the entire play, and yet, the play is VERY funny and almost devolves into a madcap slamdown of tasteless jokes, written purposely into the story to break down the very heart of underlying issues simmering beneath the politeness we attempt convey.



The Toronto ensemble cast is terrific, with Maria Ricossa doing a wonderful mother Bev and a hilarious lawyer Kathy. Michael Healey grunts his way while standing his ground nicely as Ross. Audrey Dwyer gets to have a lot of fun changing from the polite maid Francine to the "polite" neighbour Lena. Everyone gets to have fun with the intermission character switch up and local faves Jeff Lillico and Sterling Jarvis continue to do great work, while Mark McGrinder is perfectly slimy as Karl and Kimwun Perehinec does a complete switchover between the two acts (which I won't spoil).




The Game of Love and Chance over at Canadian Stage's other theatre is a cute and fun little farce about two classes of singles who mix it up to try to get the upper hand in what ends up being a comedy of love errors. When Monsieur Orgon (William Webster) gives word to his daughter Silvia (Trish Lindström) that a handsome suitor Dorante (an endearing Harry Judge) is about to visit, Silvia hatches a plan to pretend to be her servant Lisette (a positively bubbly Gemma James-Smith). Meanwhile, Dorante had the same idea to switch places with his servant Arlequino (a hilariously fit Gil Garratt) all while Orgon and Silvia's brother Mario (a sly Zach Fraser) know of both schemes.



The cast has a lot of fun with the switcheroos, with James-Smith and Garratt upping the energy with particularly winsome performances, and Fraser having a ball trying to throw the pairs of gaming lovers a wrench or two, but as they games of love and chance play out on the beautiful set by Anick La Bissonnière, Matthew Jocelyn could have upped the zaniness level that the story lends itself to. Lindström's Silvia is particularly heavy in a role that requires a cynical woman, but in such a delightful farce about love, the role could still be played with an airy lightness in keeping with the show.




One Man, Two Guvnors definitely has no problem being zany. It thrives on it. Particularly when star James Corden (Gavin & Stacey) is at centre stage of this very silly farce full of slapstick and pratfalls. While the play itself is pretty simple and almost negligible (about a large man working for two "guvnors" (employers) so that he can feed his large appetite, all while the two guvnors are unknowingly connected), the show keeps the audience grinning, when they're not howling with laughter, at every moment, including starting the show with a Beatles'ish band The Craze (featuring the talents of Jason Rabinowitz, Austin Moorhead, Charlie Rosen and Jacob Colin Cohen, all deserving of teenage fandom) who intermittently show up to entertain us with more boppy music between the boppy comedic scenes.





Oliver Chris (who's bio in the Playbill alone is worth going for) and Tom Edden are absolutely hysterical in their absurd performances (that I hope Tonys won't forget) as one of the guvnors and a new waiter, respectively. Suzie Toase and Jemima Rooper are wonderfully lovely as Dolly and the 2nd guvnor, respectively, while Claire Lams and Daniel Rigby are adorably funny as the central romance that are forced to split apart in a case of mistaken identities (of sorts). Still, this is James Corden's show and we all know it. The rest is just all set up and it's fun but then James shows up and it's f-word fun. Actually, while Bean's play is a fine template for all the shenanigans, it's the improvised stuff from James Corden that had me in stitches, particularly when our friend Rachel accidentally "stopped" the show. So not sure exactly how that scene is normally played out, but without revealing too much, even Corden broke character and added some hilarious asides that made the night.




The Potted Potter boys, Dan and Jeff, gave me the same zany farcical performance with silly jokes and antics that Corden reminded me of in One Man, Two Guvnors. While Rachel disagreed, and I agree no one is quite the expert as Corden is, Dan and Jeff have created a wonderfully silly little show that lovingly sends up Harry Potter and the gang. While I actually saw it twice, the second time with the understudies, it's really Dan and Jeff who make the show as funny as it is, including working in some hilarious improvised quips. The show goes through every book in JK Rowling's series but some abridgements are particularly funnier than others, although the biggest flaw is that the last book is slightly shortchanged. Still, if you're a Harry Potter fan, Dan and Jeff will win your hearts in an amusing whirlwind guide to Harry Potter's world.

Vance at http://tapeworthy.blogspot.com

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Hot Summer Fights - Was Spring and Other Desert Cities - Play Reviews

Was Spring - Tarragon Theatre Extra Space - Toronto, ON - *** (out of 5 stars)
Written and Directed by Daniel MacIvor
Runs until May 6th, 2012

Other Desert Cities - Booth Theatre - Broadway - New York City, NY - **** (out of 5 stars)
Written by Jon Robin Baitz, Directed by Joe Mantello

Daniel MacIvor's newest play Was Spring is a beautifully poetic look at three generations of women as they spar against one another as they recount to the audience (in some hilarious asides) their feelings of one another as they struggle to deal with life and a tragic event. Without giving too much away, the brilliancy in the details of the three women's performances, Clare Coulter as the cutesy and vulgar elder woman, Caroline Gillis as the snarky and embittered middle aged one, and Jessica Moss as the young hopeless romantic, made it easy to spot MacIvor's clever framing of the play. While the play has some beautiful, thoughtful and funny insights on women, life, and their struggles, the overall play doesn't become quite as powerful as the initial set up has prepared itself for, nor does it quite give the impact the three actresses seem to be delivering.

Clare Coulter as the older woman, and Jessica Moss as the young naive girl, give particularly strong and satisfying performances. Coulter's delivery of the sass and wit, with the touch of dreary resolve, captures your attention right from the start and she doesn't let the audience go until she calls for the lights at the end. The sparkle in her eye shows the years of living she's letting go, just as the two younger women remind her of the good times and the bad.

Jessica Moss (Fringe's Modern Love) blends a naive youthfulness with a decisive denial that keeps her on this side of the stupidity line, making her all the more adorable and believable. As she trades barbs with Gillis, but sticks to her sunny demeanor, her hope becomes our hope.

As a character study, MacIvor's new play is fascinating and curious, and while it is never boring, I found the play to sort of float away into a dreamlike memory. Hazy, with happy memories, but with the details blurred so that you couldn't remember. Despite a clean and highly effective simple set of reflective tinted glass and three chairs (by Kimberley Purtell), MacIvor's simplicity in his production may have oversimplified the effect and left the performances to overpower the play itself.


In Jon Robin Baitz's (Brothers and Sisters) new play Other Desert Cities, a simple tale is twisted into big drama as lies and more lies entangle a rich white family (are there really any other plays on Broadway?) where the grown kids confront their Republican parents on a dark tragedy in the family's past.

The whole story is slowly revealed to us after the lies some family members have told begin to unravel. One could see it as a lot of unnecessary drama created by the characters themselves to save face, with much ado about almost nothing, but Baitz twists it all up as we follow Brooke Wyeth's, the adult daughter, wrenching return as she tries to publicly deal with her side of a family tragedy by writing a revealing book, one that the rest of the family wants to bury. If only the parents told the truth from the beginning, or sooner, none of this drama would exist, but the Broadway cast works its astounding magic to create a believable and fascinating play.

Lead by Stockard Channing and Rachel Griffiths (now replaced by Elizabeth Marvel) as mother and daughter, it's a powerhouse of raw emotions that pour onto John Lee Beatty's beautiful desert home set. Stockard Channing (Six Degrees of Separation, The West Wing, Grease) is a hurricane of upper crust values as she vehemently defends decisions as she's backed into a corner by her daughter. Rachel Griffiths (Hilary and Jackie, Brothers & Sisters, Six Feet Under) is the liberal leaning daughter who still enjoys the luxury her conservative parents have provided her, and Griffiths slinks her way to point her buried anger towards her parents, justified or not, and Griffith's Brooke soon makes no apologies. The progression Griffith takes Brooke is so natural that you forgive a lot of the play that this drama is almost self created by these characters. (Yes I know a lot of drama is self created and there would be no stories otherwise, but this one seemed particularly so, and if it were any other actors, I probably would have screamed "just tell the truth").

Sitting on the sides is Brooke's aunt, who nudges Brooke to reveal the truth, all while always holding onto a drink glass. What easily could have been a caricature part, the side role for comic effect, is giving a full throttled no-holds-barred performance by Judith Light (Ugly Betty, Wit, Who's The Boss?). If you've only ever thought of Light as a lightweight performer on sitcoms, look again. Light is magnificent.

The men, Stacey Keach as Brooke's father, and Thomas Sadoski (now replaced by Matthew Risch) as Brooke's brother, give equally powerful performances and hold up toe to toe against the women on stage, but this play is really geared towards the three women, who overtake the beautifully lit house (lighting by Kenneth Posner).


While the two plays, Was Spring and Other Desert Cities, both written by men, aren't quite as great as they could have been, each has created three beautifully juicy roles for women. Allowing six superb actresses in Toronto and New York to fill those characters to such stunning and satisfying effect. Was Spring could have probably benefited from a plumper production to balance the simple and beautiful poetic prose and some of the stinging plain truths in the characters diatribes, but nonetheless, there's a nice calm to MacIvor's new show that you cannot dismiss. Baitz' Other Desert Cities has the plumper production and story thread that hides the simple story, but when you're distracted by the magnificent set, or the magnificent acting, I was willing to go with the narrative and simply let Griffiths, Light and Channing take me along for the sizzling night of familial fighting.


Was Spring Photography by Cylla von Tiedemann.
Other Desert Cities Photos by Joan Marcus

Vance at http://tapeworthy.blogspot.com

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A Breath of Fresh Air - The Seagull - Ballet Review

The Seagull - National Ballet of Canada - Four Seasons Center - Toronto, ON - ****1/2 (out of 5 stars)
Choreographed and Designed by John Neumeier, After the play by Anton Chekhov, Music by Dmitri Shostakovich, Evelyn Glennie, Pyotr Iliych Tchaikovsky and Alexander Scriabin
Runs until Mar. 25th 2012

From it's curtainless opening with a threadbare stage against a blueish-white backdrop alluding to an oceanfront setting, the ballet The Seagull is like a breath of fresh sea salt air that calms and relaxes the nerves. As the cast of dancers enter the scenes, slowly introducing us to the array of characters based on Anton Chekov's play, and move to John Neumeier's exquisite choreography, we glare out in wonderment the same way one stands along a beach and takes in the splendors of our world.

John Neumeier fully transforms Anton Chekhov's play into a movement piece that playfully allows dances between characters in the interlinking relationships and train of love or loved lost. Neumeier's choreography gives each character such distinctive movement traits, and along with his easily identifiable (but not overt) costume designs, it was strangely easier to follow along with Chekhov's maze of soap opera dramatics than his original play (which I never really "got"). In fact, while I've always loved the concept and story ideas Chekhov's presented, I've never actually enjoyed any of his plays, feeling the words dragged on forever. Neumeier counterintuitively excised Chekhov's famous words, and replaced it with dance, and in doing so, opened up Chekhov's story to an operatic quality. With Neumeier's staging on his sparse (but beautifully crisp) set, the imagery and moments he creates manages to communicate the heartaches and heartbreaks of the characters far more than I could ever connect to with during the play.

Neumeier also gets to have a bit of fun with the shows within the show, as the troupe of actors in Chekhov's story have now been transformed into dancers and choreographers. With various types of music, the choreography gets to play out in very different tons and styles, going from a modern Japanese Kabuki inspired number, to a full follies-bergere cabaret style number in Act 2, as well as a thrilling dream ballet, and a spoof on the tutu number that utilizes some humour character acting from the corps de ballet.

It also helps that the opening night cast for The Seagull seemed born to play their roles, using the talented National Ballet company to perfection. Guillaume Côté makes his debut as Kostya, the artistically brooding but handsome centre of this piece, and it uses its matinee idol Principal Dancer with his side artistic interests and quirks to perfection here. Playing against him, Sonia Rodriguez gives a wonderful genteel but inquisitive Nina the heart needed as she goes between interest in Kostya and Trigorin. Aleksandar Antonijevic, stoic and confidently distant leaves the 3rd quadrant of a love square (I think? It all gets quite complicated!). Greta Hodgkinson is perfect with grace and snootiness as the prima ballerina Arkadina. McGee Maddox is hilariously cast as a pompous, cocky Dorn, using his huge football type build and youthful swagger to perfection.

Jonathan Renna slips into the bumbling but affable brother Sorin role so well. I couldn't stop watching his body portray the character with such ease (and made me want to pair him up with Rebekah Rimsay in a future show, as they would make a great comic duo). The tall and handsome Noah Long hides under his hat and glasses as the bookish Medvedenko (although it did seem like if this was a modern romantic comedy, Long would easily be the friend-turned-leading-man-romantic-interest-under-her-nose-all-along). Instead, he gets continually spurned by Masha until she finally gives up and accepts her life bound by a marriage to someone she does not love. Chelsy Meiss, formerly from the corps, now a second soloist, is an absolute revelation in my first experience with her in a prominent role, and I cannot wait to see more of Ms. Meiss. Her Masha is an emotional devastation with a looming sadness and Meiss easily conveys all the levels of her gloom and sparks of passion for Kostya (and really, who can blame her?), giving a passion to her movements and dancing that made me wonder why I have never noticed her before.

Though with such a great opening night cast, it would be great to see Elena Lobsanova or Jillian Vanstone in Nina's role, or Jiří Jelinek or Piotr Stanczyk as Trigorin but alas, too many great dancers, too little time.

It was nice to see Robert Stephen and Christopher Stalzer as part of Kostya's Dream Dancer although with this performance, I can't believe Stalzer hasn't been made second soloist yet.

While there were brief moments in the story that slowed things down, and some of the dancing could have been a bit tighter or more in sync, particularly in the first quarter, the ballet manage to keep me awake through something by Chekhov, which is a feat on its own. Neumeier should be highly praised for his intriguing and clever transformation of a classic drama that allows for some amazing choreography that furthers the intricate soap opera dynamics while keeping each character distinct. With costumes that seemed unified, yet make each dancer decipherable from each other, Neumeier's own design vision (along with his crisp sets), makes The Seagull a beautiful looking ballet that often has subtle dramas happening in different corners of the stage, while never feeling cluttered or overwhelming.

The Seagull ballet is such a fascinating and stunning work that mixes various choreographic styles with a wonderful mix of music types, all to aid in telling the stories and emotional connections between a group of individuals. As love is gained or love is lost, transporting Chekhov's story into solely music and movement manages to actually clarify the intricacies and the layers in his tale of emotional bonds. Truly a mature and captivating theatrical experience presented in the hands of an exceptional company.


Photos of Sonia Rodriguez and Guillaume Côté in The Seagull
Photos by Bruce Zinger

Vance at http://tapeworthy.blogspot.com

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Stage Trickery - The Neverending Story and KÀ - Stage Reviews

The Neverending Story - Young People's Theatre - Toronto, ON - ***1/2 (out of 5 stars)
Based upon the novel by Michael Ende, Adapted and Directed by David S. Craig
Runs until Mar. 17th 2012

Cirque du Soleil's KÀ - MGM Grand - Las Vegas, NV - **** (out of 5 stars)
Written and Directed by Robert Lapage

Two fantastical shows with some ingenious set magic that takes us to another world, with (my guess) budgets from the opposite ends of the spectrum. The Young People's Theatre does it again with their ingenious use of deceptively simple looking costumes and the most creative use of a back curtain I have EVER seen, and transports us into the story within the story of The Neverending Story. Meanwhile, I've gone back and forth about KÀ which probably has a set that cost 10,000x more than The Neverending Story, and visually blew my mind. But a series of expectations that come with seeing a Cirque show, in Las Vegas, made the beautifully theatrical show somewhat of a disappointment.

I've never actually read the book or seen the movie The Neverending Story, so while I have no real attachment to the story that seems to have quite the following amongst the young and my peers who grew up with the film, the production feels solid with it's terrific cast that includes Natasha Greenblatt (The Railway Children), Derek Scott (Slava's Snow Show), Richard Lee (Other People), Walter Borden (Fernando Krapp Wrote Me This Letter) and Adamo Ruggiero (Dog Sees God, Degrassi: TNG).

While some of the episodic elements feel a bit like a best-of series to the uninitiated like me, the audiences seemed to be enraptured. Much of it helped with the extremely clever production and stage craft that manages to use some simple curtains and theatrical elements (and 6 hidden stage hands) to create the fantastical world within the book The Neverending Story, as the audience follows Bastian (Greenblatt) as she escapes her bullies by diving into the mysterious book. The magic behind David S. Craig's direction, Glenn Davidson's sets and lighting, and Lori Hickling's costumes, are so simple, yet so effective that I found myself in the same wonderment as many of the kids surrounding me. With mature and serious performances from the entire cast, it gives the magic the grounded balance such a weird and wacky story requires.

Those going into Cirque du Soleil's KÀ might have to adjust their expectations if they've seen other Cirque shows before. As a Vegas sit down production with a theatre created for the show, there's a special no-stage stage and fully encompassing theatre setting (by Mark Fisher) that is mind-blowingly awesome. But as a Cirque show, one needs to expect less actual circus tricks and more theatricality, brought to you by Montreal director Robert Lapage. This definitely feels like a Robert Lapage show, with some stunning visuals using some of the most jaw-dropping awe inspiring stage technology intermixing with some clever theatrical tricks. There are lots of stunning imagery pulled together with the most narrative Cirque show I've seen yet (and not the usual mysteriously vague story that you never quite understand that strings together most other Cirque shows), but with the height and vast size of the stage area and two floating spinning platforms, you sort of expect far more flying and acrobatics that Cirque has come to be known for. So there is a slight disappointment in the lack of draw dropping circus elements, despite the numerous ones KÀ does actually have. Still, that stage is jaw-droppingly stunning.

The story follows brother and sister twins separated by attackers who wage war on an Asian looking kingdom. Each twin tries to survive and escape the attack in various places until they find their soulmates, reunite, than wage a final attack on the nemeses in a final sequence that seems like a superhero movie. The story allows for plenty of circus tricks to be integrated into the story, including the Wheel of Death, but there seemed to be a lot of use of "simpler" circus tricks like stick play and tossing sticks. There seemed to be a lot of sticks thrown around. Great stuff, but when you have such a spectacular stage setting, with giant flipping platforms and a vast vertical space, you'd expect more flying, but the only flying done was during a Tarzan type scene, and a giant bird made up of several people hung on a wired contraption. Amazing to look at, and athletic I'm sure, but we want to see some people flip in the air without wires.

There's also a sequence on a beach with literal costumed turtles and crabs, a fun way to throw in some contortionists, but quite a jolt from the rest of the shows vibe and look.

And then there's a part where a twin and his surviving guide start doing shadow puppets. Beautiful against the giant platform hung in midair, and I understand it's a slower moment to connect with the characters, but really? Shadow puppets? When you're paying over $100 a ticket for a Cirque show in Vegas, shadow puppets is the last thing you expect or want. So again, is it my own expectation for what the Cirque brand, especially the Cirque brand in Vegas, means to me, or am I under-appreciating the theatrical nature of Lapage's work here that integrates the athleticism that Cirque offers with his beautifully imaginative visions?

When the show does get moving, it's because people are moving. While the story allows for a bit too many chase sequences, some of them, particularly on the climbing wall, as people flip and fall while sliding up and down the angled platform, is absolutely breathtaking.

The Wheel of Death is always thrilling, and here used as a torture chamber as part of the story. Earlier in the show, a boat takes our attackers and captives into a wild and stormy sea, but the contraption seems to be ready made for more gymnast styled acrobatics but mostly the characters just seem to wave around a lot before many are tossed overboard.


So while KÀ certainly cost in the millions, millions more than Young People's entire budget I'm sure, both stories were fun enough, buoyed by creative use of stage magic. The Neverending Story propels it's story (within the story) with some imaginative theatrical tricks, and anchors it with a terrific cast. KÀ certainly dazzles simply with the mechanics and technology of its non-stage stage, but sometimes the simplicity in some of the theatrical moments tends to underwhelm against the overwhelming backdrop, but that overwhelming backdrop certainly makes the show something to behold and see.


Vance at http://tapeworthy.blogspot.com

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God(spell) Giveth

Are you one with God? Do you believe in Jesus? Well, no matter what beliefs you may have, I may be able to help convince you on Hunter Jesus Parrish and the cast of Godspell, the revival of the Stephen Schwartz classic!

Well Prepare Ye!

In honour of their current Tuesday Nights Talkback Series, I'm giving away a pair of tickets to Godspell at the Circle in the Square Theatre on Broadway! (One of my faves from last year that I've seen twice already and gave ****4 stars (out of 5))

Each cast member has or will be featured in a talkback that follows the Tuesday 7pm shows, hosted by Julie James of Sirius XM Satellite Radio’s “On Broadway,”.

The upcoming Tuesday Night Talkback Series schedule:
February 21 - Nick Blaemire
February 28 - Anna Maria Perez de Tagle
March 6 - Uzo Aduba
March 13 - Telly Leung
March 20 - Hunter Parrish
March 27 – Understudies Hannah Elless, Eric Michael Krop, Corey Mach and Julia Mattison

To enter the Godspell contest:

- Email me at tapeworthycontest at gmail dot com and tell me which talkback you would want to go to and why (you may choose from past talkbacks as well).

- Contest closes at 11:59pm EST on Thursday, February 22nd 2012. A winner will be randomly picked from all entries received.

- Please subject the email: GODSPELL CONTEST and please include your name, email and City and State or Province.

- For a BONUS Entry: Share the contest on twitter and include your twitter handle and twitter post in the email.
- For a BONUS Entry: Share the contest on Facebook on Public setting and include a link to your Facebook page in the email.


- Tapeworthy is not responsible for the prize. Voucher issued by Godspell includes 2 tickets to the show on Broadway for a date of your choice (subject to availability). Travel is not included in the prize. You must present your confirmation to the Box Office when you pick up your tickets. Once an order is confirmed, it cannot be changed. Tickets can ONLY be picked up on the day of the performance. Tickets must be picked up at the Box Office no later than 30 minutes prior to show time or your tickets WILL be released for resale. Released tickets cannot be rescheduled.
Prize has no monetary value and cannot be resold to another party.

- Only one winner will be chosen.
I will ask for further details if you are the winner. Only the one winner will be contacted.

Vance at http://tapeworthy.blogspot.com

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A World Hanging By A Thread - Penny Plain - Play Review

Penny Plain - Factory Theatre - Toronto, ON - *** (out of 5 stars)
Written and Performed by Ronnie Burkett
Runs until Feb. 18th 2012

I've heard SO much about Ronnie Burkett's marionette plays and I've tried to see them before and always made the mistake of waiting too long to get tickets and missed out every single time. So this time, I made sure I didn't miss out on Ronnie Burkett's newest play that uses his mastery of puppetry and his specifically created Marionettes in his never-for-kids show. These are dark plays. They may use puppets, but he's known for very dark plays.

In Penny Plain, the world is hanging by a thread, and I don't mean the puppets. An outbreak has ravaged every country with millions of deaths, there are food shortages and the food corporations are making excuses, and thus humankind is nearing the end of its rope. An old lady Penny Plain sits in her chair talking to her talking dog Geoffrey, which pretty much sets the tone for this absurdist look at the destruction of the earth and Penny's aim to survive it.

Burkett is the sole performer, voicing and moving every character (and there are many, with some characters having multiple marionettes in different states of dress and emotions), on an amazingly simple but beautiful puppet stage with two levels and various surprises in the mechanics of the stage that make watching Burkett perform his puppetry almost a whole show in itself. Burkett is pretty spectacular voicing every character especially when they go back and forth in conversations, and some of the details in the marionette's craft and movements are stunning.

The play itself didn't always quite work for me. I loved the dark subject matter and I loved the news clips that show the world in turmoil, but perhaps maybe my own politics clouded my view of the story. Watching the story of an old lady, already near her death (as well as several other older characters), didn't give the end-of-the-world quite the dramatic urgency as it should have. While it might have been interesting to denote how that generation aided in the worlds destruction, it never went that far in its commentary. There were some clever moments when Geppeto (yes, the one who created Pinnochio) creates a new puppet that has a stinging reflection on this new world, and when two neighbours from the south are satirized, but overall, the play felt a bit too soft on its characters. Biting but maybe not as biting enough, perhaps from all the expectations I've had built up before finally seeing a Burkett play.

Vance at http://tapeworthy.blogspot.com

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Dazed and Confused - Cruel and Tender - Play Review

Cruel and Tender - Canadian Stage Company at Bluma Appel Theatre in the St. Lawrence Centre for the Arts - Toronto, ON - **1/2 (out of 5 stars)
Written by Martin Crimp, based on Sophocles' Trachiniae, Directed by Atom Egoyan.
Runs until Feb. 18th 2012

A bold stark white set looms over the stage, with walls leaning inwardly on two sides resembling an airport control tower, with clean rectangular openings cut out near the top. Looking a bit like a Richard Meier or Gwathmey and Siegel building. The simplicity in the beautifully epic looking set (by Debra Hanson) prepares the audience for the operatic leveled emotions set forth in this modern retelling of a Greek tragedy by Sophocle. The power level sustained in the heavy story, much like the wavering lighting, is sadly uneven despite the best efforts by an impressive cast. Whether the absurdities in the play were heightened by director Egoyan or they were already in Crimp's play itself, the play failed to overcome my own personal dislike for the Greek tragedy play structure (often with long monologues spoken directly to the audience), and it diluted the overall impact of Cruel and Tender.

Jeff Lillico, who I have been touting as one of Toronto's best young talents (Soulpepper's Parfumerie, The Fantasticks), doesn't disappoint as the son of a General who has been away at war. His turn from spoiled son to anger at his mother should have been brought out more in the play to become the heart of the story, instead of a peripheral story around the mother at the centre of it all.

Daniel Kash, the General being spoken of in much of the play, is amazingly terrifying. Despite appearing only in the later half of the play, and never appearing in the same scene with his wife Amelia, Kash's General displays his reign of terror within seconds, pulling together much of the first half into perspective, and easily showing the cruel side of the play.

Arsinée Khanjian's Amelia is the disillusioned, in denial, devoted wife of the General. Amelia waits for her General husband to return but while waiting, slowly discovers the truths of the General's terror in war (all to, ironically, fight terrorism). While being pampered by her staff (a housekeeper Rachel, played by Brenda Robins; a physiotherapist, played by Stratford's Cara Ricketts; and a Beautician, played by Sarah Wilson). Perhaps it was Khanjian's performance, but while I believe we were supposed to feel the most for Amelia, I felt her performance left me cold through most of the play. There didn't seem to be a connection with Khanjian and the audience, despite having all the monologues that spoke directly to us. Then again, I've never really felt that device (with the 3 girls sort of acting as a chorus like entity) works in modern day theatre.

With lots of glasses breaking at the end of scenes, wildly varying lighting schemes, characters singing bad karaoke, and the appearance of Laela (a lovely Abena Malika), one of the General's new lovers he took from the war ravaged land he was in, there needed to be a coherence to put all the varying pieces together. It was absurdity without that underlying point which didn't quite make the whole play work despite interesting moments throughout. The play was never boring, but partly because I was just trying to figure it all out, trying to put all the pieces together. In the end, I didn't quite get it, but it was definitely a fascinating, if quite a mindf#ck of an experience.

The interesting thing about experiencing Cruel and Tender was that I didn't quite know what to make of it after the show, and even now. I could understand those that found it brilliant (and there are definitely fans), and those that hated it (which I didn't quite fall into either).

Vance at http://tapeworthy.blogspot.com

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Me and My People - Other People - Play Review

Other People - The Tank Theatre at the Young Centre - Toronto, ON - **** (out of 5 stars)
Written by Christopher Shinn, Directed by Aaron Willis

I couldn't help but feel uncomfortable watching "Other People" act awkwardly towards each other. For that, Other People, the play, was a fascinating look at the connections we try to form with other people, and our self destructive nature we seem to inherently have in building the bonds we want. With a terrific cast of young Toronto up-and-coming actors giving outstanding performances, Other People easily becomes a self-investigating look at our own relationships.

Shinn's play works best in its realistic moments of conversation or the awkward moments that come about. Roommates and friends Petra (Tatiana Maslany) and Stephen (Ben Lewis) invite Stephen's ex-boyfriend Mark (Indrit Kasapi) to stay with them as he returns from a bout in rehab. The intelligent Petra hides her job as a stripper from her roommates, and then finds her mind and personality as the object of a man's (Mike McPhaden) fascination. Meanwhile, Stephen says he's still loves Mark, but Mark, who has turned religious, finds himself entangled with a street kid named Tan (Brendan McMurtry-Howlett). Stephen finds Mark's religious epiphany a little perplexing, and returns to meet a bad date named Darren (Richard Lee).

Tatiana Maslany (Dog Sees God) gives an intelligent and thoughtful performance in Petra. She easily draws in the audience, never needing to fully explain her choice to strip for money, and yet still making Petra feel instantly relatable in her inability to move beyond the emotional boundaries she sets herself. McPhaden is instantly likable as the shlubby man, and his connection with Maslany's Petra gives Other People its heart, while Shinn gives Petra probably the best speeches and the best lines, including the explanation for the play's title.

Stephen is the centre of all the relationships axis and Ben Lewis (Dog Sees God, Degrassi: TNG) is a perfect foil as our audiences' entry point. Indrit Kasapi gives a solemn and mysterious performance as newly religious Mark and Lewis's Stephen outwardly vocalizes and reacts in the same manner I would have to such a turn of events.

Kasapi's performance is "weird" because I would find the same types of people's spin in life sort of weird and mysterious, and Kasapi nails down the role. When a completely energetic and confident Tan (a refreshing Brendan McMurtry-Howlett) pops into Mark's life, Mark is slowly drawn out yet afraid, with Kasapi slowly revealing the layers Mark is trying to keep tight.

Shinn's play falters at moments when it sacrifices realism with jolts to move the plot along, but when it settles backs into the conversations between Petra and the man, Stephen and Darren (a funny Richard Lee in a small role), Stephen and Mark, Mark and Tan, and when the roommates all converge in the apartment they live together in, yet not truly understanding each other's lives, does Other People hit its stride.

I left the show not exactly liking it, because it so easily makes you self-reflect into our own disconnections in our life. I liked the play because it's a perfect starting point to a great discussion. Despite some characters being strippers, or multi-millionaires and crack addicts, I found myself easily recognizable in all of these other people on stage, and making similar mistakes. The play isn't fun per se, since it gives the audiences so much to think about, but that's sort of the point, and it's taken me a few days to write this review because I keep trying to wrap my brain around each characters stories. Luckily, despite the sadness the play brings up, the production is clever and witty with some tremendous performances from some of the best young actors to watch out for. These are people to take notice of.

Vance at http://tapeworthy.blogspot.com

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Can Do Attitude - Hairspray - Musical Review

Hairspray - The Max at Signature Theatre - Arlington, VA (Greater Washington D.C.) - ****1/2 (out of 5 stars)
Music by Marc Shaiman, Lyrics by Scott Wittman and Marc Shaiman, Book by Mark O'Donnell and Thomas Meehan, Based on the 1988 film Hairspray by John Waters, Directed by Eric Schaeffer, Choreographed by Karma Camp and Brianne Camp
Runs until Feb 5th 2012

You really can't stop the beat in your head once you've seen Signature's take on the musical Hairspray. Signature does it again on their tiny stage, filling it with an abundance of energy and sass on a superb looking set. Schaeffer, hot off his Broadway hit Follies, switches gears to a more fun and frothy musical that takes some serious issues of prejudice and overcomes it with positive can-do attitude, supplied in ample size in Carolyn Cole as our protagonist Tracy Turnblad.

Carolyn Cole is a true find as Tracy Turnblad, easily mixing sassy attitude with a lovability factor that is only topped by her comedic timing. Cole is VERY funny in all manners, from her demeanor and tiny laughs, to the sounds she makes as she bounces and twists around the stage, or her zippy line readings that add heart to her character and the story. Cole balances her Tracy just right, making her out-of-the-box-thinking believable while making her a champion of the outsiders without verging onto grating annoyance. It's hard not to smile when Cole's Tracy is on the stage, and when she moves, you can understand why Corny Collins is on her side.

Cole is surrounded by a terrific ensemble, probably the best set of enthusiastic and young dancers I've seen in this company. The choreography is probably the best I've seen come out from Karma Camp (this time co-choreographing with Brianne Camp), as it keeps the story flowing with a non-stop beat that gives the entire show its energy and helps sets the time and place.

The set by Daniel Conway (who also did the gorgeous set from Woolly Mammoth's In the Next Room, the Vibrator Play) , which I believe is a reconfiguration of his beautiful set from Sunset Boulevard, is simple but extremely effective, while leaving ample space for the dancing. The overhead crown of window and shop signs is a nice touch that really fills the room, making the audience feel right in 1962 Baltimore. Kathleen Geldard's costumes are fun and bright, and with sets that have an overall muted blues and pinks, it allows the characters to pop out from the stage.

Robert Aubry Davis makes a loving Mama Edna Turnblad, while Signature stalwart Harry A. Winter is an adorable Papa Wilber Turnblad.

Sherri L. Edelen (wonderfully opposite in Siganture's Walter Cronkite is Dead) is hysterical as the evil racist nemesis Velma Von Tussle, and really milks every look and walk and insult. Edelen takes a perfectly appropriate diva turn, while still emanating a mother's overbearing love for her "perfect" daughter Amber, played with wonderfully snootiness by Erin Driscoll.

Stephen Gregory Smith (so great in Signature's The Boy Detective Fails) is charming as ever as Corny Collins, the host of the dance show Tracy is trying to get onto.

James Hayden Rodriguez as Seaweed, is another great find. Handsome, smooth and charming, he's exactly what is required in Seaweed, and his connection with Lauren Williams' Penny Lou Pingleton is sweet and amusing. Williams herself is adorable and funny as Penny, Tracy's best friend.

Patrick Thomas Cragin is terrific as Link Larkin, the boy both Tracy and Amber like. Cragin has the voice and the moves of a leading man, and ironically, looks a little like a miniature version of Matthew Morrison, who originated Link on Broadway.

Nova Y. Payton rounds out the main cast, and while she doesn't appear until late in Act 1, she certainly makes up for it in every song she sings. With a quiet start, Payton nicely holds back in her diva songs, and in her dialogue delivery, giving the build up into her songs the patience they require. It makes Motormouth Maybell's "I Know Where I've Been" all the more moving.

I absolutely adored this production of Hairpsray, with my face grinning the entire time from cheek to cheek. A great response considering I felt indifferent to the show when I saw the Toronto sit-down of the original Broadway production. When the film version came out, I thought it was a vast improvement over the stage show, but Signature shows that the stage version can work with a terrific cast, a beautiful set, and an added intimacy Signature is known for. While the show inherently still has some tiny moments that don't quite work for me, (I still don't love the song "The Big Dollhouse", though here it's quite an amusing production number, nor the duet "(You're) Timeless to Me" which I never thought quite worked in any version I've seen), overall, its message of positive perseverance, it's buoyant songs and dancing, and a superb Signature production, easily won me over.

Vance at http://tapeworthy.blogspot.com

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Best of Stage 2011

Another great year on the stage, which includes plays and musicals in theatre, revivals, ballets, opera, cabarets, one-person shows. I saw shows in Toronto, New York City, Los Angeles, Washington, D.C., and Boston this year. 148 different shows, 155 different times. Plus 3 theatrically related concerts that aren't with Hugh Jackman.

It was also my first foray into Broadway on a business level, where I have a personal investment in How To Succeed in Business Without Really Trying on Broadway. So take my review as what you want, since I've involved myself with the show, but I truly did love it (and went back to see it 4 times (and not free!)).

As always, I consider shows I saw in 2011, whether they opened or not during that year. I however do not consider shows I've already seen in previous years (unless it's a brand new production) and that includes shows: Candide, Black Watch, Spring Awakening, Hair, Billy Elliot, The Lion King, As You Puppet, Chicago, The Importance of Being Earnest, War Horse, Traces as seen in previous lists:
Best of Stage 2010
Best of Stage 2009
Best of Stage 2008
Best of Stage 2007

And I had my personal record this year, seeing 158 shows, and with so much good stuff, I had to add an Honourable Mentions at the end of the list, any of them which would have easily made my Top 20 in other years. But alas, these are my Top 20 picks from everything on I saw on stage in 2011!

Here's the Best of Stage 2011:

1. The Agony and The Ecstasy of Steve Jobs (Play) - Anspacher Theater at The Public Theater - New York, NY - Review
Written and Performed by Mike Daisey, Directed by Jean-Michele Gregory
A man at a desk rants about his love for Apple, and the ups and downs in Steve Jobs career. Sounds like a lecture, and yet Mike Daisey someone transforms his diatribe of the rise and fall and rise again of Apple and Steve Jobs into an thought provoking, emotional theatrical play, that slowly unfolds and explains how the religion of Apple computers came to be. Daisey doesn’t hold back in damning the company that creates products he and all of us love, but the simplicity and beauty in his presentation (including a subtle but stunning lighting design) takes the story of the biggest company on earth Into a human and humane level.


2. Oklahoma! x2 (Musical Revival) - Fichander Theater - Arena Stage at the Mead Center - Washington D.C. - Review
Music by Richard Rogers, Book and lyrics by Oscar Hammerstein II, Based on the play Green Grow the Lilacs by Lynn Riggs, Directed by Molly Smith, Choreographed by Parker Esse, Original Dances by Agnes de Mille
What I used to think of as a creaky old corny musical is given a refreshingly young and spirited revival that makes Rogers & Hammerstein's iconic musical feel relevant and new again. With a beautiful young and colour-blind cast full of soaring voices to spare, Molly Smith invigorates Oklahoma! into a gloriously exciting show, and gives Eleasha Gamble, Nicholas Rodriguez, Cody Williams, June Schreiner, and Nehal B. Joshi star-making turns.


3. Once (Musical) – New York Theatre Workshop – Off-Broadway, New York, NY
Music & Lyrics by Glen Hansard & Markéta Irglová, Book by Enda Walsh, Based on the Motion Picture Written & Directed by John Carney, Directed by John Tiffany, Movement by Steven Hoggett
Either you will roll your eyes to sleep, or, like me, this magical little musical will keep melting your heart until you succumb into its romantic haze. With direction and movement from John Tiffany and Steven Hoggett (of my favorite stage play production Black Watch), the musical stage version of the movie takes the simple love story and transcends the cutesy premise with a deepening richness through the magic of a theatrical staging, and Enda Walsh beefs up the stories and side characters and improves upon the film it's based upon. The new additional music from Hansard and Irglová is absolutely beautiful and at every moment a new song started, I felt like something special is revealing under my eyes and ears. I cannot wait to see this again when it moves to Broadway in 2012.


4. Assassins (Musical Revival) - Birdland Theatre & Talk is Free Theatre at The Theatre Centre - Toronto, ON - Review
Music and Lyrics by Stephen Sondheim, Libretto by John Weidman, Directed by Adam Brazier
Toronto musical star Adam Brazier basically assembled some of the best musical actors in the city in his remount of Assassins and created a rich, deeply moody and atmospheric Assassins. Every assassin gets to shine and tell their "moment" in Sondheim's absorbing musical, and Brazier and the amazing cast gives it the depth, the twisted dark humour, and the emotional pathos required to elevate an already great musical into one of the year's best.


5. Sleep No More (Play Revival) - The McKittrick Hotel - Off-Broadway, New York, NY
By Punchdrunk
Macbeth by way of Hitchcock in a 100 room "hotel" that you must walk through to experience. The visuals and set decoration is worth the price of the ticket alone, but as the bellhop states at the beginning, the curious will be rewarded, and if you open your eyes (under the required mask) and seek it out, you will experience Macbeth like you've never experienced before.


6. Bengal Tiger at the Baghdad Zoo (Play) - Richard Rogers Theatre - Broadway, New York, NY - Review
Written by Rajiv Joseph, Directed by Moisés Kaufman
The ghost of a tiger, played by Robin Williams no less, haunts and wanders through the Baghdad zoo and the American soldiers who guard the grounds, all while their Iraqi translator is forced to face his own demons. Williams holds back and integrates himself perfectly with the rest of the excellent cast, including Arian Moayed and Brad Fleischer, while Kaufman, using Derek McLane's beautifully simple yet epic feeling set, directs a layered and thought provoking play that is both moving and disturbing. Rajiv Joseph's story is both comical and tragic, while interweaving the lives of an Iraqi translator, the American soldiers and the son of Saddam Hussein, all while questioning life and all its priorities while surrounded by the Iraq war. Strangely profound for a play with a tiger at its centre.


7. His Greatness (Play Revival) - independent Artist Repertory Theatre at Factory Studio Theatre - Toronto, ON - Review
Written by Daniel MacIvor, Directed by Edward Roy
A play about Tennessee Williams' in Canada near the end of his career, his dutiful assistant, and the male escort hired for the premiere of a reworking of one of Williams' later failed plays. Writer Daniel MacIvor joins the cast in an intimate but grand mess of a night within William's life. Greg Gale as the escort, and Richard Donat as Williams, give epic performances that is like a trashy behind the scenes look at a classy subject matter. Or is it a classy behind the scenes look at a trashy subject matter? His Greatness lets you decide, but it's fascinating either way.


8. How To Succeed in Business Without Really Trying (Musical Revival) - Al Hirschfeld Theatre - Broadway, New York, NY - *Biased Review*
Music and Lyrics by Frank Loesser, Book by Abe Burrows, Jack Weinstock and Willie Gilbert, based on the book by Shepherd Meade, Directed and Choreographed by Rob Ashford
I might be totally biased (see intro above) but I had an absolute blast watching one of my favorite musicals come to life in a delightfully spirited and energetic production (with some amazing choreography from Ashford). The satirical tone is a little too toned down for my taste, and Anderson Cooper muddles the role of the narrator (missing most of the comical beats) but an amazing supporting cast of Ellen Harvey, Rose Hemingway, Christopher J. Hanke, Mary Faber, Michael Park and Rob Bartlett only reinforced the charming and gung-ho Daniel Radcliffe in the leading role. While his voice wasn't belting quality, it was suitable for the young naive go-getter who must use a book to overcome his career standing and to get ahead of the rat race. Radcliffe gives his fullest effort which shines the most in his dancing skills as he easily oozes his awkward charms. John Larroquette seems to be having a blast, and the pairing of Larroquette and Radcliffe is inspired. Ashford didn't quite have the pacing right (but has cut and edited the show down several minutes creating a smoother show) but what the show lacked in finesse, it overcompensated in energy, a little like it's central character!


9. Clybourne Park (Play) - Woolly Mammoth Theatre - Washington, D.C.
Written by Bruce Norris, Directed by Howard Shalwitz
A sort of sequel to Raisin in the Sun, Pulitzer Prize winner Clybourne Park is a clever, and surprisingly hysterical follow-up to Lorraine Hansberry moving classic (pun not initially intended but works, so why not?!). The beauty of Clybourne Park is that we get both the historical telling, that looks at the other side of Raisin in the Sun, at the house being sold to the black family. Act 2 fasts forwards to current times when we can no longer decipher if our prejudices are based on racial factors, economics, or simply architectural preferences which Norris sets up a thought provoking play without losing any entertainment value. Shalwitz and the Woolly Mammoth Theatre cast delivers it with zest and aplomb, in a beautiful set that manages to let the audience reactions become part of the story, further pushing the discussions (and the buttons) the play brings up.


10. Venus in Fur (Play) - Manhattan Theatre Club at Samuel J. Friedman Theatre - Broadway, New York, NY
Written by David Ives, Directed, by Walter Bobby
Is she a silly dumb actress or is she hiding her intelligence? Is she playing the writer/director or is she just his puppet? Who has the power, the female actress or the male writer/director? And is there even more to David Ives' fun and intriguing play about an actress who is late for an audition, but barges in anyways to give an audition of a lifetime? Nina Arianda is everything you have heard about and revives her astounding performance against a worthy opponent in Hugh Dancy. The fun is watching the power balance constantly shifting back and forth, and Arianda and Dancy are superb in this masochistic quest to outsmart each other in this "casting" process. Or is this even a "casting" process? Either way, it's a sexy power struggle that is out of this world.


11. Jesus Christ Superstar x2 (Musical Revival) - Stratford Shakespeare Festival's Avon Theatre - Stratford, ON
Music by Andrew Lloyd Webber, Lyrics by Tim Rice, Directed by Des McAnuff
An Andrew Lloyd Webber musical about Jesus Christ makes my list? Hell ya! Des McAnuff's thrilling new revival of the rock classic (that I had never loved before) is both deeply moving and richly layered in a strangely subtle interpretation of the very bombastic musical. Having the Stratford Shakespeare company of actors give serious performances, and bringing out the subtle love triangle between Jesus, Judas and Mary Magdalene, somehow gives the show the depth it needs. Stratford's trio of musical stars Paul Nolan, Chilina Kennedy and Josh Young, anchor the show, while vets Brent Carver and Bruce Dow adds some extra luster to the shiny production. McAnuff's interpretation that uses modern sets and Lisa Shriver's pounding choreography and mixing it with a mix of ancient and modern costumes, gives the story it's historical period weight while adding relevancy to the biblical play.


12. Cat on a Hot Tin Roof (Play Revival) - Shaw Festival's Royal George Theatre - Niagara-On-the-Lake, ON
Written by Tennessee Williams, Directed by Eda Holmes
Gray Powell, Jim Mezon and Moya O'Connell sizzle in Tennessee Williams' classic tale of disappointments and family commitment. The heat seems to seep through Sue Lapage's set, letting O'Connell sweat it out as Powell's Brick and Mezon's Big Daddy battle it out. Thrilling as ever and Powell is heartbreaking.


13. Ghosts (Play Revival) - Soulpepper Theatre at Young Centre’s Baille Theatre
Written by Henrik Ibsen, Adapted and Directed by Morris Panych
Gregory Prest and Nancy Palk, as the son and mother who are entrapped in a life left behind from their late father/husband, give quiet but entrancing performances in Ibsen's classic. Panych's no frills re-telling of Ghosts is crisp and sits within its wonderfully beautiful set letting the ensemble give straightforward performances that doesn't muddle Ibsen's captivating story of familial binds.


14. The Grapes of Wrath (Play Revival) - Stratford Shakespeare Festival's Avon Theatre - Stratford, ON
Adapted by Frank Galati, Based on the novel by John Steinbeck, Directed by Antoni Cimolino
A sprawling tale of misfortunes thrust upon a family crossing the land from the midwest to California seems like it would be a difficult tale to put on a static stage, but Cimolino and the large Stratford casts keeps the show moving by being extremely... well..., moving. A superb cast, led by Evan Buliung, Janet Wright, and Tom McCamus, (and includes Paul Nolan, Chilina Kennedy, Josh Young, also starring in Jesus Christ Superstar) reminds us that stories of the poor and downtrodden are timeless and in every time period.


15. The Book of Mormon (Musical) - Eugene O'Neill Theatre - Broadway, New York, NY
Music, Lyrics and Book by Matt Stone, Trey Parker and Robert Lopez, Directed and Choreographed by Casey Nicholaw
Two Mormons go to Africa and learn that they are not necessarily the butt of all jokes, but in fact the Black people are. Still, the music from Robert Lopez (Avenue Q) combined with the spitfires of the South Park boys Matt Stone and Trey Parker, have created a spirited and spiritual new musical that is every bit as heartwarming and loving as a the musical classics, only with a lot more swear words. While the satire and the punches don't go quite as far as I had hoped, and the jokes while amusing, aren't necessarily gut-hurting laughs, it's still one of the most fun and hummable new musicals to appear on Broadway, one that has made stars out of the talented but unknown Josh Gad (Back to You), Andrew Rannells (who was wonderful in Jersey Boys tour) and Nikki M. James (who held her own against Christopher Plummer at Stratford a couple years ago).


16. Peggy Pickit Sees The Face of God from Another Africa (Play) - Volcano Theatre presented by Canadian Stage Company at St. Lawrence Centre's Bluma Theatre - Toronto, ON - Review
Written by Roland Schimmelpfennig, Directed by Liesl Tommy
Two couples reunite after one couple returns from years of charity work in Africa, while the other has led the typical suburban North American life, and as the night progresses and the wine flows, hurtful truths, secrets and tragedies spill out. It reminded me of God of Carnage only much better, far deeper, and with a larger emotional punch. With a neat use of live video projection, and a time jumping device that reinforces key plot points after bouts of confusion, Tommy's production blurs the lines between the comical and the devastating turns in these two couples' lives.


17. On A Clear Day You Can See Forever Workshop (Musical Revival) - Vineyard Theatre - Off-Broadway, New York, NY
Music by Burton Lane Lyrics by Alan Jay Lerner, New book by Peter Parnell Based on the original book by Alan Jay Lerner, Reconceived and Directed by Michael Mayer
While the full Broadway production has been much maligned (even though I really loved it as well, despite a hideous set design, and some poor stage directions), I was truly enthralled at the workshop lab that was presented at the Vineyard Theatre to it's subscribers and insiders. While the cast (almost all who have moved to the Broadway production, except notably the lead Marc Kudisch who was a stand-in for Harry Connick, Jr.) simply sat in an arc, only standing and raising their music stands holding their scripts, the simplicity let my imagination run along with the wildly crazy new book about a therapist who hypnotizes a gay florist only to discover a jazz singer from a former life. With Jessie Mueller belting out gorgeous tunes, David Turner as a delightfully simple florist, Drew Gehling as a gentlemanly boyfriend, and Sarah Stiles as the sassy best friend, gives Marc Kudisch's straight laced and strong centre more room to emotionally collapse, and it's quite the emotional twister.



18. Arabian Nights (Play) - Arena Stage's Finchlander Theatre - Washington, D.C. - Review
Written and Directed by Mary Zimmerman
Mary Zimmerman made Greek seem easy in the astounding Metamophoses and then gave us a splendidly funny Voltaire via her revised Candide. This time around, she presents the 1001 tales of Arabian Nights in a magical evening of moral and odd tales and tales within tales that can sometimes be confusing and a little overwhelming, but when it worked, Zimmerman took us away to the desert nights of ancient times within the confines of theatre-in-the-round at Arena Stage. The flexible cast switched it up to present the numerous tales, and creates a whirlwind of intimacy when the cast finishes off the remaining 1001 stories be splitting off to tell each corner of the theatre all the different stories as they slowly rotated around the stage. Definitely magical.



19. Seussical (Musical Revival) - Young People's Theatre - Toronto, ON - Review
Music by Stephen Flaherty, Lyrics by Lynn Ahrens, Book by Lynn Ahrens and Stephen Flaherty, Directed by Allen MacInnis
A delightful production of an imperfect musical made to feel perfect for the young and the young-at-heart from a superb cast, some colourful and imaginative costumes, and the lovely music of Lynn Ahrens and Stephen Flaherty. And George Masswohl is so devastating as Horton, who tries to save the Who's, he really does become the elephant in the room.


20. Anything Goes (Musical Revival) - Roundabout Theater at Stephen Sondheim Theatre - Broadway, New York, NY
Music and Lyrics by Cole Porter, Original Book by Howard Lindsay and Russel Crouse, New Book by Timothy Crouse and John Weidman, Directed and Choreographed by Kathleen Marshall
Really? That's the story of this classic Cole Porter musical? And this is the revised version? Despite the clunky story that pulls together a string of zany characters each with their own completely different storylines (is that why it's called Anything Goes?), the cast is game and the show truly starts sailing as soon as the tap dancing numbers begin. And oh what tap dancing numbers with a giant cast of delicious looking sailors and the sparkly Sutton Foster at the helm.



Honourable Mentions (in alphabetical order):

A Minister's Wife (Lincoln Center Theater Off-Broadway)
Andrea Martin’s Final Days! – Everything Must Go!! (Oakville, ON)
Angels in America: A Gay Fantasia on National Themes - Part One: Millennium Approaches, Part Two: Perestroika (Signature Theatre Off-Broadway)
Follies (Broadway)
Godspell (Broadway)
Good People (Manhattan Theatre Company on Broadway)
The Hollow (Signature Theatre in Arlington, VA)
Hugh Jackman in Concert (Toronto)
The Normal Heart (Buddies and Bad Times Theatre/Studio 180 in Toronto) and The Normal Heart (Broadway)
Now. Here. This. (Vineyard Theatre Off-Broadway)
Other Desert Cities (Broadway)
Red (Canadian Stage Company in Toronto)
Sons of the Prophet (Roundabout Theater Company Off-Broadway)
Suicide, Incorporated (Roundabout Theater Company Off-Broadway)
Unnatural Acts: Harvard's Secret Court of 1920 (Classic Stage Company Off-Broadway)



Independent Shows
These shows may not have large budgets, but while some are imperfect and could use a bit of retooling, I believe these shows could have definite futures on a larger scale (in alphabetical order):

Hero & Leander (Musical) - Summerworks at Factory Theatre - Toronto, ON
Music by Scott Christian, Lyrics by Wade Bogert-O'Brien, Book and Directed by Kevin Michael Shea

Kim's Convenience (Play) - Best of Fringe at Studio Theatre in Toronto Centre for the Performing Arts - Toronto, ON
Written by Ins Choi

Mickey and Judy (Musical) - Fringe Festival at Tarragon Theatre Extra Space - Toronto, ON - Review
Written by Michael Hughes

The Tiki Bikini Beach Paradise Party A-Go-Go! (Musical) - Fringe Festival at Tarragon Theatre - Toronto, ON
Written, Directed and Choreographed by Allison Beula, Original Music by Jeffery Straker



Breakthrough Performances (in alphabetical order):
The Cast of Unnatural Acts: Harvard's Secret Court of 1920: Jess Burkle, Joe Curnutte, Frank De Julio, Roe Hartrampf, Roderick Hill, Max Jenkins, Brad Koed, Jerry Marsini, Devin Norik, Will Rogers, Nick Westrate

Uzo Aduba in Godspell
Nina Arianda in Born Yesterday and Venus in Fur
Gabriel Ebert in Suicide, Incorporated
Greg Gale in His Greatness
Eleasha Gamble in Oklahoma!
Drew Gehling in On a Clear Day You Can See Forever
Joel Gomez in Rent (Sheridan)
Sarite Harris in The Great American Trailer Park Musical
Kaylee Harwood in Camelot
Jacob James in The Life & Times of Mackenzie King
Nehal B. Joshi in Oklahoma!
Steve Kazee in Once
Aaron Krohn in The Homecoming
Telly Leung in Godspell
Jennifer Lim in Chinglish
Julia Mattison in Godspell
Julia McLellan in Rent (Sheridan)
Lindsay Mendez in Godspell
Cristin Milioti in Once
Arian Moayed in Bengal Tiger at the Baghdad Zoo
Jessie Mueller in On A Clear Day You Can See Forever
Chris Perfetti in Sons of the Prophet
Kimberly Persona in Hero & Leander
Gray Powell in Cat on a Hot Tin Roof
Gregory Prest in Ghosts
Elizabeth Rodriguez in The Motherf*cker with the Hat
Nicholas Rodriguez in Oklahoma!
George Salazar in Godspell
Brett Schaller in Rent (Sheridan)
June Schreiner in Oklahoma!
Andrés Sierra in Rent (Sheridan)
Paul Sun-Hyung Lee in Kim's Convenience
Alexandra Silber in Master Class
Stephen Gregory Smith in The Boy Detective Fails
Yul Vázquez in The Motherf*cker with the Hat
Cody Williams in Oklahoma!
Jonathan Winsby in Camelot



Great Performances (in alphabetical order):

The Cast of Angels in America: Robin Bartlett, Christian Borle, Bill Heck, Zoe Kazan, Billy Porter, Zachary Quinto, Robin Weigert, Frank Wood

The Cast of Assassins: Graham Abbey, Whitney Ross-Barris, Kevin Dennis, Alex Fiddes, Lisa Horner, Martin Julien, Paul McQuillan, Janet Porter, Steve Ross, Christopher Stanton, Jonathan Tan, Alicia Toner, Geoffrey Tyler, Ezra Tennen

The Cast of By the Way, Meet Vera Stark: Stephanie J. Block, Daniel Breaker, David Garrison, Kimberly Hebert, Kevin Isola, Sanaa Lathan, Karen Olivo

The Cast of Clybourne Park (Washington, D.C.): Chris Dinolfo, Kimberly Gilbert, Michael Glenn, Mitchell Hébert, Jennifer Mendenhall, Cody Nickell, Jefferson A. Russell, Dawn Ursula

The Cast of Other Desert Cities: Stockard Channing, Rachel Griffiths, Stacy Keach, Judith Light, Thomas Sadoski

The Cast of Peggy Pickett Sees the Face of God: Tom Barnett, Maev Beatty, Tony Nappo, Kristen Thompson

The cast of Traces: Mason Ames, Valérie Benoît-Charbonneau, Mathieu Cloutier, Bradley Henderson, Philippe Normand-Jenny, Xia Zhengqi, Florian Zumkehr

Angela Bassett in The Mountaintop
Tammy Blanchard in How To Succeed in Business Without Really Trying
Justin Bott in Dirty Rotten Scoundrels
Evan Buliung in The Grapes of Wrath
Danny Burstein in Follies
E. Faye Butler in Oklahoma!
Bobby Cannavale in The Motherf*cker with the Hat
Jenn Colella in Kiki Baby
Mike Daisey in The Agony and the Ecstasy of Steve Jobs
Tyne Daly in Master Class
Hugh Dancy in Venus in Fur
Oliver Dennis in The Fantasticks (Toronto)
Colman Domingo in Chicago
Richard Donat in His Greatness
Bruce Dow in Jesus Christ Superstar
Michael Esper in The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and The Lyons
Francesca Faridany in The New York Idea
Brad Fleischer in Bengal Tiger at the Baghdad Zoo
Santino Fontana in Sons of the Prophet
Sutton Foster in Anything Goes
Josh Gad in The Book of Mormon
Renée Elise Goldsberry in Good People
Christopher J. Hanke in How To Succeed in Business Without Really Trying
John Benjamin Hickey in The Normal Heart (New York)
Adam Jacobs in The Lion King
Nikki M. James in The Book of Mormon
James Earl Jones in Driving Miss Daisy
Ryan Kelly in Living with Henry and The Normal Heart
Marc Kudisch in On a Clear Day You Can See Forever (Workshop)
Florence Lacey in Sunset Blvd
Linda Lavin in The Lyons
Hugh Jackman in Hugh Jackman in Concert
John Leguizamo in Ghetto Klown
Matt Leisy in The Fantasticks (New York)
Jeff Lillico in Parfumerie
Hamish Linklater in School for Lies
Chilina Kennedy in Jesus Christ Superstar and The Grapes of Wrath
Lorne Kennedy in The President
Daniel MacIvor in His Greatness
Andrea Martin in Andrea Martin’s Final Days! – Everything Must Go!!
George Masswohl in Seussical
Jan Maxwell in Follies
Jim Mezon in Cat on a Hot Tin Roof and Red
Liz Mikel in Lystrata Jones
Jeff Miller in The Normal Heart (Toronto)
Patina Miller in Sister Act
Tam Mutu in Chess
Paul Nolan in Jesus Christ Superstar
Moya O'Connell in Cat On a Hot Tin Roof
Lisa O'Hare in Gigi
Sarah Orenstein in The Normal Heart (Toronto)
Geoff Packard in Liberty Smith( and Candide)
Nancy Palk in Ghosts
Christopher Plummer in Barrymore
Daniel Radcliffe in How To Succeed in Business Without Really Trying
Aaron Ramey in Oklahoma!
Andrew Rannells in The Book of Mormon
Fiona Reid in White Biting Dog
Cara Ricketts in The Homecoming
Mark Rylance in Jerusalem
Melissa van der Schyff in Bonnie & Clyde
Eliza-Jane Scott in Amelia: The Girl Who Wants to Fly
Jeremy Shamos in New York Idea and We Live Here
Jos Slovick in The Secret Garden
Piotr Stancyk in Romeo & Juliet
Bobby Steggert in A Minister's Wife
David Turner in On A Clear Day You Can See Forever
Aaron Tveit in Catch Me If You Can
Robin Williams in Bengal Tiger at the Baghdad Zoo
Janet Wright in The Grapes of Wrath
Josh Young in Jesus Christ Superstar




Here is every Stage Show I saw in 2011 in alphabetical order. All reviews are based on a 5 stars system:

The Agony and The Ecstasy of Steve Jobs (Play) - Anspacher Theater at The Public Theater - New York, NY - Review *****

Alice in Wonderland (Play) - Théâtre Tout à Trac at Lorraine Kimsa Theatre for Young People - Toronto, ON - Review ***

All New People (Play) - Second Stage Theatre - Off-Broadway, New York, NY - **1/2

All's Well That Ends Well (Play Revival) - The Public Theater at Delacorte Theater - Shakespeare in the Park, Central Park - New York, NY - **1/2

Amelia: The Girl Who Wants To Fly in Concert (Musical Revival) - Theatre 20 at Panasonic Theatre - Toronto, ON - ***

A Minister's Wife - Mitzi E. Newhouse Theatre - Off-Broadway, New York, NY - ****

Andrea Martin’s Final Days! – Everything Must Go!! (Play) – Oakville Theatre – Oakville, ON - ****1/2 *Biased Review*

Angels in America: A Gay Fantasia on National Themes - Part One: Millennium Approaches, Part Two: Perestroika (Play Revival) - Signature Theatre at The Peter Norton Space - Off-Broadway, New York, NY - ****

Another Africa (Play) - Volcano Theatre presented by Canadian Stage Company at St. Lawrence Centre's Bluma Theatre - Toronto, ON - Review ****
Shine Your Eye - ***
Peggy Pickit Sees The Face of God - ****1/2

Anything Goes (Musical Revival) - Roundabout Theater at Stephen Sondheim Theatre - Broadway, New York, NY - ****

Arcadia (Play Revival) - Barrymore Theatre - Broadway, New York, NY - ***

Arabian Nights (Play) - Arena Stage's Finchlander Theatre - Washington, D.C. - Review ****

Assassins (Musical Revival) - Birdland Theatre & Talk is Free Theatre at The Theatre Centre - Toronto, ON - Review ****1/2

As You Puppet (Play) - Lorraine Kimsa Theatre for Young People - Toronto, ON - Original Review *****, Revised Review ****1/2

Barrymore (Play Revival) - Elgin Theatre - Toronto, ON - ***

Bengal Tiger at the Baghdad Zoo (Play) - Richard Rogers Theatre - Broadway, New York, NY - Review ****1/2

Bharatti (Musical) – Sony Centre for the Performing Arts – Toronto, ON - **1/2

The Big League (Play) - Lorraine Kimsa Theatre for Young People - Toronto, ON - Review ***

Billy Elliot (Musical) - Canon Theatre - Toronto, ON - Original Broadway Review ****1/2, ****1/2

Black Watch (Play) - National Theatre of Scotland at Shakespeare Theatre Company's Sidney Harmon Hall - Washington, D.C. - Original Toronto Review *****, Original New York Review *****, *****

The Blue Flower (Musical) - Second Stage Theatre - Off-Broadway, New York, NY - *1/2

Bonnie & Clyde (Musical) – Gerald Schoenfeld Theatre - Broadway, NewYork, NY - **

The Book of Mormon (Musical) - Eugene O'Neill Theatre - Broadway, New York, NY - ****1/2

Born Yesterday (Play Revival) - Cort Theatre - Broadway, New York, NY - ***

The Boy Detective Fails - The Max at Signature Theatre - Arlington, VA - ***1/2

Bullet for Adolf (Play) - Hart House Theatre - Toronto, ON - *1/2

Burning (Play) – The New Group at Theatre Row’s Acorn Theatre – Off-Broadway, New York, NY - Review ***1/2

By the Way, Meet Vera Stark (Play) - Second Stage Theatre - Off-Broadway, New York, NY - Review ***

Calendar Girls (Play) - Royal Alexandra Theatre - Toronto, ON - Review **

Camelot (Musical Revival) - Stratford Shakespeare Festival's Festival Theatre - Stratford, ON - ***

Candide (Musical Revival) - Huntington Theatre – Boston, MA – (Original Review from Washington, D.C. ****1/2) - ****1/2

Catch Me If You Can (Musical) - Neil Simon Theatre - Broadway, New York, NY - ***1/2

Cat on a Hot Tin Roof (Play Revival) - Shaw Festival's Royal George Theatre - Niagara-On-the-Lake, ON - ****1/2

Celebrating Greta (Ballet) - The National Ballet of Canada - Four Seasons Centre - Toronto, ON - Review ****
Mozartiana - ***
Other Dances - ****
In the Upper Room- ****1/2

The Cherry Orchard (Play Revival) - Classic Stage Company – Off-Broadway, New York, NY - ***1/2

Chess x2 (Musical Revival) - Princess of Wales Theatre - Toronto, ON - ***

Chicago (Musical Revival) - Ambassador Theatre - Broadway, New York, NY - ****

Chinglish (Play) - Longacre Theatre – Broadway, New York, NY – ***

Cinderella (La Cenerentola) (Opera) - Four Seasons Centre for the Performing Arts - Toronto, ON - **1/2

Close Up Space (Play) - Manhattan Theater Club at Stage 1 City Center – Off-Broadway, New York, NY = **

Clybourne Park (Play) - Woolly Mammoth Theatre - Washington, D.C. - ****1/2

the cosmonaut's last message to the woman he once loved in the former soviet union (Play) - Canadian Stage Company at Bluma Theatre in the St. Lawrence Centre for the Performing Arts - Toronto, ON - Review *1/2

Dangerous Beauty (Musical) - Pasadena Playhouse - Pasadena, CA - ***

Death Takes A Holiday (Musical) - Roundabout Theatre at Laura Pels Theatre at the Harold and Miriam Steinberg Center For Theatre - Off-Broadway, New York, NY - ***1/2

Dirty Rotten Scoundrels (Musical Revival) - Empire Theatre - Belleville, ON - ***1/2

Don Quixote (Ballet Revival) - The National Ballet of Canada at the Four Seasons Centre for the Performing Arts - Toronto, ON - Review ****

Driving Miss Daisy (Play Revival) - Golden Theatre - Broadway - New York, NY - Review ***

The Fantasticks (Musical) - Jerry Orbach Theater at the Snapple Theater Center - Off-Broadway - New York, NY - Review ****

The Fantasticks (Musical Revival) - Soulpepper at Baillie Theatre at the Young Centre - Toronto, ON - Review ****

Follies (Musical Revival) - Marquis Theatre – Broadway, New York, NY - ****

Forests (Play) - Tarragon Theatre - Toronto, ON - Review *1/2

Ghetto Klown (Play) - Lyceum Theatre - Broadway - New York, NY - Review ****

Ghosts (Play Revival) - Soulpepper Theatre at Young Centre’s Baille Theatre - ****1/2

Ghost Stories (Play) - Panasonic Theatre - Toronto, ON - ***

Gigi (Musical Revival) - Reprise Theatre Company at Freud Playhouse - Los Angeles, CA - Review **

Godspell (Musical Revival) - Circle in the Square Theatre – Broadway, New York, NY - ****

Good People (Play) - Manhattan Theatre Club at Samuel J. Friedman Theatre - Broadway, New York, NY - ****

The Grapes of Wrath (Play Revival) - Stratford Shakespeare Festival's Avon Theatre - Stratford, ON - ****1/2

The Great American Trailer Park Musical (Musical Revival) - Hart House Theatre - Toronto, ON - ***

Hair (Musical Revival) – Royal Alexandra Theatre – Toronto, ON – (Original Review from the Park and Broadway ****1/2) - ***1/2

Hero & Leander (Musical) - Summerworks at Factory Theatre - Toronto, ON - ****

His Greatness (Play Revival) - independent Artist Repertory Theatre at Factory Studio Theatre - Toronto, ON - Review ****1/2

The Hollow (Musical) - The Max at Signature Theatre - Arlington, VA - ****

The Homecoming (Play Revival) - Stratford Shakespeare Festival's Festival Theatre - Stratford, ON - ***

House of Blue Leaves (Play Revival) - Walter Kerr Theatre - Broadway, New York, NY - **1/2

How To Succeed in Business Without Really Trying x 4 (Musical Revival) - Al Hirschfeld Theatre - Broadway, New York, NY - ****1/2 *Biased Review*

Hugh Jackman in Concert x2 (Musical) - Princess of Wales Theatre - Toronto, ON - Review ****

The Importance of Being Earnest (Play Revival) - Roundabout Theatre at American Airlines Theatre - Broadway, New York, NY - ****

The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures (Play) - Newman Theater at The Public Theater - Off-Broadway, New York, NY - **1/2

i think i can (Play Revival) - Lorraine Kimsa Theatre for Young People - Toronto, ON - Review ****

Jerusalem (Play) - The Music Box Theatre - Broadway, New York, NY - ***

Jesus Christ Superstar x2 (Musical Revival) - Stratford Shakespeare Festival's Avon Theatre - Stratford, ON - ****1/2

Julius Caesar (Play Revival) - Shakespeare Theatre Company at Sidney Harmon Hall - Washington, D.C. - **1/2

Kiki Baby (Musical) - New York Musical Festival at The Theatre at St. Clements - New York, NY - **1/2

Kim's Convenience (Play) - Best of Fringe at the Studio Theatre in the Toronto Centre for the Arts - Toronto, ON - ****

The Last 15 Seconds (Play) - Theatre Passe Muraille - Toronto, ON - ***

Liberty Smith (Musical) - Ford's Theatre - Washington, D.C. - ***

The Life & Times of Mackenzie King: The History of the Village of the Small Huts: 1918-1939 (Play Revival) – VideoCabaret at Cameron House – Toronto, ON – Review ****

The Lion King (Musical) - Princess of Wales Theatre - Toronto, ON - ****

Little Miss Sunshine (Musical) - Mandell Weiss Theatre at La Jolla Playhouse - La Jolla, CA - **1/2

Living with Henry (Musical) - Fringe Festival at George Ignatieff Theatre - Toronto, ON - **

Love Lies Bleeding - Alberta Ballet at the Sony Centre for the Performing Arts – Toronto, ON – Review *

Love Virtually (Musical) - Best of Fringe at the Studio Theatre in the Toronto Centre for the Arts - Toronto, ON - ***

The Lyons (Play) - Vineyard Theatre – Off-Broadway, New York, NY - ****

Lysistrata Jones (Musical) – Walter Kerr Theatre – Broadway, New York, NY - **1/2

Master Class - Manhattan Theatre Company at Samuel J. Friedman Theatre - Broadway, New York, NY - ***1/2

Measure for Measure (Play Revival) - The Public Theater at Delacorte Theater - Shakespeare in the Park, Central Park - New York, NY - ***

Mickey and Judy (Musical) - Fringe Festival at Tarragon Theatre Extra Space - Toronto, ON - Review ****

Milk Like Sugar (Play) – Playwrights Horizons' Peter Jay Sharp Theater – Off-Broadway, New York, NY - ***1/2

The Milk Trains Doesn't Stop Here Anymore (Play Revival) - Roundabout Theatre at Laura Pels Theatre at the Harold and Miriam Steinberg Center For Theatre - Off-Broadway, New York, NY - *1/2

The Misanthrope (Play Revival) - Stratford Shakespeare Festival's Festival Theatre - Stratford, ON - ***

Miss Abigail’s Guide to Dating, Mating & Marriage! (Play) - Sofia's Restaurants Downstairs Cabaret Theater - Off-Broadway - New York, NY - Review **1/2

The Motherfucker with the Hat (Play) - Gerald Schoenfeld Theatre - Broadway, New York, NY - ***1/2

The Mountaintop (Play) - Bernard B. Jacobs Theatre – Broadway, New York, NY - ***

My Mother’s Jewish, My Father’s Italian, and I’m in Therapy! (Play) - Bathurst Street Theatre – Toronto, ON - *1/2

Newsies (Musical) - Paper Mill Playhouse – Millburn, NJ - ***1/2

The New York Idea (Play Revival) - Atlantic Theatre at the Lucille Lortel Theatre - Off-Broadway - New York, NY - Review ***

The Normal Heart (Play Revival) - Buddies and Bad Times Theatre in association with Studio 180 - Toronto, ON - Review ****

The Normal Heart (Play Revival) - Golden Theatre - Broadway - New York, NY - Review ****

Now. Here. This. (Musical) - Vineyard Theatre - Off-Broadway, New York, NY - ****

Oklahoma! x2 (Musical Revival) - Fichander Theater - Arena Stage at the Mead Center - Washington D.C. - Review ****1/2

Olive and the Bitter Herbs (Play) - Primary Stages at 59E59 Theaters - Off-Broadway, New York, NY - *

On A Clear Day You Can See Forever (Musical Revival) - St. James Theatre - Broadway, New York, NY - ****

On A Clear Day You Can See Forever Workshop (Musical Revival) - Vineyard Theatre - Off-Broadway, New York, NY - ****1/2

Once (Musical) – New York Theatre Workshop – Off-Broadway, New York, NY - ****1/2

Other Desert Cities (Play) - Lincoln Center Theater at the Booth Theatre – Broadway, New York, NY - ****

Parade (Musical Revival) - Acting Upstage and Studio 180 at the Berkeley Street Theatre Upstairs - Toronto, ON - Review **1/2

Parfumerie (Play Revival) - Soulpepper Theatre at Young Centre’s Baille Theatre - ***1/2

The Post Office (Play Revival) - Pleiades Theatre at Berkeley Street Theatre - Toronto, ON - Review **

The President (Play Revival) - Shaw Festival's Royal George Theatre - Niagara-On-the-Lake, ON - ***

Private Lives (Play Revival) - Royal Alexandra Theatre - Toronto, ON - Review **1/2 and
Private Lives - Music Box Theatre - Broadway - New York, NY - Review ***1/2

The Railway Children (Play) - Roundhouse Theatre - Toronto, ON - ***

Red (Play) - Canadian Stage Company at Bluma Theatre in the St. Lawrence Centre for the Arts - Toronto, ON - Review ****

Relatively Speaking (Play) - Brooks Atkinson Theatre – Broadway, New York, NY - *1/2

Rent (Musical Revival) – Sheridan College Theatre – Oakville, ON - ****

Romeo and Juliet (Ballet) - National Ballet of Canada - Four Seasons Centre for the Performing Arts - Toronto, ON - Review ***1/2

Saint Carmen of the Main (Play Revival) - Bluma Apel Theatre at St. Lawrence Centre for the Arts - Toronto, ON - Review *1/2

The School For Lies (Play) - Classic Stage Company - Off-Broadway, New York, NY - Review **1/2

The Secret Garden (Musical Review) - Royal Alexandra Theatre - Toronto, ON - Review **1/2

Seussical (Musical Revival) - Young People's Theatre - Toronto, ON - Review ****

Sex, Religion and Other Hang Ups (Play) - Theatre Passe Muraille - Toronto, ON - Review ***1/2

The Shape of a Girl (Play Revival) - Green Thumb Theatre at Lorraine Kimsa Theatre for Young People - Toronto, ON - Review ***

Sister Act (Musical) - Broadway Theatre - Broadway, New York, NY - ***

Sleep No More (Play Revival) - The McKittrick Hotel - Off-Broadway, New York, NY - ****1/2

The Soaps - The Live Improvised Soap Opera (Play) - Fringe Festival at Bathurst Street Theatre - Toronto, ON - ***

Songs For a New World (Musical Revival) - Angelwalk Theatre at Studio Theatre in the Toronto Centre for the Arts - Toronto, ON - Original Review ****1/2, Revised Review ****

Sons of the Prophet (Play) - Roundabout Theater at Laura Pels Theatre at the Harold and Miriam Steinberg Center For Theater - Off-Broadway, New York, NY - ****

Spider-Man: Turn Off The Dark (Musical) - Foxwood Theatre - Broadway, New York, NY - Review **

Spring Awakening (Musical) - Pantages Theatre - Los Angeles, CA - Original Broadway Review *****, ****

Standing on Ceremony: The Gay Marriage Plays (Play) – Minetta Lane Theatre – Off-Broadway, New York, NY - ***1/2

Stick Fly (Play) – Cort Theatre – Broadway, New York, NY - ***1/2

Suicide, Incorporated - Roundabout Theater at the Black Box at the Harold and Miriam Steinberg Center for Theater – Off-Broadway, New York, NY - ****

Sunset Blvd (Musical Revival) - The Max at Signature Theatre - Arlington, VA (Greater Washington D.C.) - Review ***

Theme and Variations & Apollo & Russian Seasons (Ballet) - National Ballet of Canada at the Four Seasons Centre for the Performing Arts - Toronto, ON - ****
Theme and Variations - ***1/2
Apollo - ***1/2
Russian Seasons - ****1/2

Three Sisters (Play Revival) - Classic Stage Company - Off-Broadway - New York, NY - Review ****

The Tiki Bikini Beach Paradise Party A-Go-Go! (Musical) - Fringe Festival at Tarragon Theatre - Toronto, ON - ****

Traces (Circus) - Union Square Theatre – Off-Broadway, New York, NY – (Original Review from Toronto ****1/2) - ****1/2

Unnatural Acts: Harvard's Secret Court of 1920 (Play) - Classic Stage Company - Off-Broadway, New York, NY - ****

Untitled - La La La Human Steps at Canadian Stage - Bluma Appel Theatre - Toronto, ON - **

Venus in Fur (Play) - Manhattan Theatre Club at Samuel J. Friedman Theatre - Broadway, New York, NY - ****1/2

Wanda T. Grimsby: Detective Extraordinaire (Play) - Fringe Kids at Palmerston Library Theatre - Toronto, ON - ***

War Horse (Play) - Lincoln Center Theater at Vivian Beaumont Theater - Broadway, New York, NY - Original London Review ****, ****

War of the Clowns (Play) - Fringe Festival at Jewish Community Centre's Courtyard - Toronto, ON - *1/2

We Live Here (Play) - Manhattan Theater Club at Stage 1 City Center – Off-Broadway, New York, NY = **1/2

White Biting Dog (Play Revival) - Soulpepper Theatre at Young Centre's Michael Young Theatre Stage - Toronto, ON - **

Wishful Drinking (Play) - Royal Alexandra Theatre - Toronto, ON - ***

The Wizard of Oz (Pantomime) – Ross Petty at the Elgin Theatre – Toronto, ON - ***

The Yellow Brick Road (Musical) - Theatreworks USA at The Lucille Lortel Theatre - Off-Broadway, New York, NY - Review ***




_________________________________________


Best of 2011 Lists:
Best of Music 2011
Best of Television 2011
Best of Stage 2011
Best of Movies 2011

Previous Best-of Lists:
Best of 2010 Lists:
Best of Music 2010
Best of Television 2010
Best of Stage 2010
Best of Movies 2010

Best of 2009 Lists:
Best of Music 2009
Best of Television 2009
Best of Stage 2009
Best of Movies 2009

Decadeworthy - The Best of 2000-2009 Lists:
SYTYCDworthy (w/ Videos) - List Format
Theatre of the Decade
Best Films of the Decade
Favorite Films of the Decade
Television of the Decade
Television of the Decade - 1 Season Wonders

Best of 2008 Lists:
Best of Music 2008
Best of Television 2008
Best of Stage 2008
Best of Movies 2008
Best of Television Fall '07 - Winter '08 List

Best of 2007 Lists:
Best of Music 2007
Best of Television 2007
Best of Movies 2007
Best of Stage 2007
Best of 2007 (The Final Wrap Up)
Best of Television Fall '06 - Winter '07 List

Best of 2006 Lists:
Best of Music 2006
Best of Television 2006
Best of Movies 2006
Best of 2006
Best of Television Fall '05 - Winter '06 List

Best of 2005 Lists:
Best of Television 2005
Best of Movies 2005

Vance at http://tapeworthy.blogspot.com

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