Arts

2017 in SE Theater

by Jules Becker
Friday Dec 29, 2017

South End theater-Theater District South to this critic-continued to be a major Hub force in 2017. On small and large Boston stages alike, local triumphs included an all-women ''Julius Caesar,'' a timely examination of both Islam and the legal profession and a moving new look at the relationship of a closeted gay Jewish aid worker and an African-American businessman.

These offerings are prominent in my small and large theater best of 2017, here in alphabetical order.

Small Stages

Billy Elliot the Musical, Wheelock Family Theatre: A strong multi-cultural cast brought soaring expression to this Tony Award celebration of solidarity and the inner electricity of a boy born to dance.

Days of Atonement, Israeli Stage at Calderwood: Four very different sisters sought redemption and respect during a tense holiday reunion in Hanna Azoulay-Hasfari's poignant drama, sensitively staged by company artistic director Guy Ben-Aharon.

Edward II, Actors' Shakespeare Project at Charlestown Working Theatre: Maurice Emmanuel Parent, one of Boston's best actors, was majestic as the title 14th century monarch in Christopher Marlowe's provocative classic.

Faceless, Zeitgeist Stage Company at Boston Center for the Arts: Lawyers-Muslim and Jewish-tested their own beliefs and the motivation of a radicalized young woman in Selina Fillinger's stereotype-free play.

Gabriel, Greater Boston Stage Company, formerly Stoneham Theatre: The late Thomas Derrah displayed his great gifts in the role of a Nazi officer in this gripping World War II-set drama. Arguably the most talented Hub actor of his generation, with even a beautifully sung Fraulein Schneider in ''Cabaret'' at American Repertory Theatre. Derrah's untimely passing at 64 was an incalculable loss to both the South End and area theater.

Julius Caesar, Actors' Shakespeare Project at Studio 210: Bobbie Steinbach and Marya Lowry headed up the stellar all-female cast of Bryn Boice's sharp revival with Marianna Bassham definitive as Anthony.

She Loves Me, GBSC: Director/choreographer extraordinaire Ilyse Robbins clearly paid homage to Jewish collaborators Jerry Bock and Sheldon Harnick of Fiddler on the Roof fame with a hora and a kazatzke in this sweet revival.

The Curious Incident of the Dog in the Night-Time, SpeakEasy Stage Company at Calderwood Pavilion: Gifted artistic director Paul Daigneault made this Hub edition clearer and actually more satisfying than the tour of the Tony-winning look at the challenges facing an autistic young man.

The Little Dog Laughed, Take Your Pick Productions at Calderwood: Cassandra Lovering's taut revival of Douglas Carter Bean's savvy look at fame, art and personal integrity proved a remarkable company debut.

Who's Afraid of Virginia Woolf?, Lyric Stage Company of Boston: Steve Barkhimer and especially Paula Plum captured the fiery vision of Edward Albee's masterwork.

Honorable Mentions

Coyote on a Fence, Hub Theatre Company of Boston; Elemeno Pea, Boston Playwrights Theatre; Incident at Vichy, Praxis Stage; Fat Pig, Flat Earth Theatre at Arsenal Center for the Arts; Nurse Play, Exiled Theatre at BPT; One Flew Over the Cuckoo's Nest, New England Theatre Works; Boston Children's Theatre at BCA; Plank, Alley Cat Theatre at BCA; The 39 Steps, Moonbox Productions at BCA.

Solo Best

American Moor, O.W.I., Bureau of Theatre and Phoenix Theatre Ensemble. Keith Hamilton Cobb was electrifying in excerpts from Othello and in his own work about the fortunes of black actors. He should return to Boston as Shakespeare's moor.

Golda's Balcony, New Repertory Theatre. Bobbie Steinbach brought Golda Meir, Israel's first woman prime minister, to vital life.

Thurgood, New Rep. Johnny Lee Davenport was tremendous as pre-Supreme Court 'Mr. Civil Rights.'

Large Stage

A Guide for the Homesick, Huntington Theatre Company. Writer Ken Urban's moving advice about love and caring proved the best new play of 2017.

Merrily We Roll Along, Huntington. Maria Friedman gave lesser Sondheim a revival worthy of his best work.

Silent Sky, Merrimack Repertory Theatre. The accomplishments of Henrietta Leavitt and her fellow women colleagues soared in this radiant staging.

The Royale, Merrimack. Thomas Silcott scored a knockout as the conflicted boxer in a championship drama about pain, prejudice and the price of personal victory.

Top Dog Underdog, Huntington-Bill Porter brought new life to Suzan-Lori Parks' intense sibling face-off.

Transcripts, Part I: The Women, American Repertory Theatre: Paul Lucas' insightful new look at transgender women was a revelation.

Young Frankenstein, North Shore Music Theatre: Brian Padgett's song and dance as the Monster in ''Puttin' on the Ritz'' would make Mel Brooks proud.

Honorable Mention

Our American Hamlet, Commonwealth Shakespeare Company at Babson Arts, Showboat, Reagle Music Theatre)