Solo shows, musicals, new work and adapted classics all played a role in our list of the year’s outstanding productions.
One-person shows are difficult to pull off, but when they succeed, they can be as absorbing and transporting as the biggest blockbuster musical. Solo shows claim half the spots on this list of the best Twin Cities productions I saw in 2013.
1. “700 Sundays,” Orpheum. Billy Crystal was warmly enthralling as he shared stories about growing up with his colorful family on Long Island.
2. “An Iliad,” Guthrie. Actor Stephen Yoakam was by turns mad, magisterial and wracked in Lisa Peterson and Denis O’Hare’s adaptation of Homer’s epic. The veteran performer brought poetry and pathos to the drama as he exposed the gnarly souls of a myriad of warriors, parents and royals.
3. “A Brown Tale,” Penumbra Theatre. Actor-performer James T. Alfred was wittily captivating as he limned his journey from the projects of Chicago to Harvard. Director Lou Bellamy elicited revelatory humor from Alfred.
4. “Jamaica, Farewell,” Penumbra Theatre. Writer-performer Debra Ehrhardt enacted her gripping story of travel and escape in this show that shares a title with a languid song. Ehrhardt, a newcomer to the Twin Cities stage, delivered with lissome gusto.
5. “Misterman,” Frank Theatre. The final one-person show on the list is Enda Walsh’s “Misterman,” which was expertly directed by Wendy Knox and starred John Catron as a self-righteous Irishman who, beneath his physical haughtiness, is spiritually and psychically broken.
6. “Urinetown,” Jungle Theater. John Command shook the Jungle with his energetic and fluid production of “Urinetown,” whose huge cast was led by the ineffable Bradley Greenwald.
7. “Speed-the-Plow,” Dark & Stormy Productions. Director Ben McGovern teamed with actors Sara Marsh, Bill McCallum and Kris Nelson to make David Mamet’s “Speed-the-Plow” a savagely arresting treat in a found space.
8. “Ganesh vs. the Third Reich,” Walker Art Center. In strikingly poetic images, Australia’s Back to Back Theatre raised questions about myth and history, bigotry and brutality in this 90-minute one-act about reclamation of the swastika by Hindu deities. Spellbinding.
9. “River See,” Pillsbury House Theatre. Playwright, performer and erstwhile priest Sharon Bridgforth combined poetic play with restorative ritual in this one-act that turned the venue into a site of revelatory healing.
10. “Stick Fly,” Park Square. Marion McClinton worked his directorial magic with Lydia Diamond’s play, harnessing a cast of veterans and newcomers into a fluid whole.
Rohan Preston • 612-673-4390
The power of story was a key to these favorites from 2013. Some were well-made plays with tight dramatic frames. Others were rambling creations. All, however, made an inquiry into the human experience, which is about all you can ask from theater. In no particular order:
1. She She Pop & Their Fathers, Walker Art Center. Real-life daughters and fathers brought us a stirring modern deconstruction of “King Lear.” In the process, these performers probed questions of legacy, the ravages of old age and tender filial understanding. This most memorable work was disturbing, provocative and ultimately quite healing.
2. “Venus in Fur,” Jungle Theater. Director Joel Sass provided the perfect road map for Anna Sundberg and Peter Christian Hansen. Sundberg played an outwardly ditzy actor looking for an audition, and Hansen was the arrogant artiste. The production had style, contradicting valences and always a sure sense of where this emotional hijack was heading.