A look at theatrical highlights that helped define the year on local stages
With a stage scene as fertile and busy as San Diego’s, it’s never easy to try and distill a year’s worth of theater down to a “10 best.”
Which is why I’m going with 15. (Sue me.)
I also can’t pretend to have seen every show produced here in 2019 (see: “busy stage scene” above), much less reviewed them all. (One that I caught up with late, San Diego Rep’s world-premiere musical “33 1/3: House of Dreams,” proved an entertainingly and smartly performed work-in-progress, and one you’ll likely be hearing more from.)
If I had upsized the list to 20, strong candidates would’ve included La Jolla Playhouse’s “Kiss My Aztec!,” Cygnet’s “The Last Five Years,” North Coast Rep’s “Amadeus,” New Village Arts’ “Smokey Joe’s Cafe” and the Old Globe’s “As You Like It” and “The Tale of Despereaux.”)
Here, some highlights among shows I reviewed over the course of a year absolutely packed with memorable productions:
This music-driven stunner of a piece by Lauren Yee — a University of California San Diego grad who has become one of the celebrated young playwrights in the nation — pulsed with a bold mix of family drama, humor and history at the Playhouse. As our review had it: “Whether meditating on genocide or reveling in the ecstasy and raw fury of rock, this work is straight-up electric.”
Fans of the original movie’s shambling charms will be pleased to know that writer-director Cameron Crowe (a favorite son of San Diego) kept all the heart and rock mojo intact in adapting his own, cult-y coming-of-age film for the stage — with big help from composer Tom Kitt and an ace cast. It’s a show that might well be saying “Hello, Broadway!” soon.
Sometimes it’s hard to say why a play hits you the way it does, but Keith Bunin’s Playhouse-commissioned piece about six strangers whose lives intersect (in ways both real and imagined) aboard a California train left me feeling a little derailed in the best, most soul-aching way. (I’ll admit I have a soft spot for wistful and bittersweet stories involving locomotives.)
Just when you think you’ve seen about everything a musical can do, along comes someone like the young Canadian writer-composer-lyricist Britta Johnson to grace the form with her own, fiercely poetic vision. As directed by Globe artistic chief Barry Edelstein, “Life After” proved a thing of luminous beauty, heartache and humor in its U.S. premiere.
How lucky is San Diego to have Culture Clash co-founder Herbert Siguenza doing his singular thing right here in town, as San Diego Rep’s resident playwright? (Answer: Very.) The latest from the ever-fertile mind of the writer-actor mashed up Molière and modern-day politics winningly (and very funnily).
Cygnet artistic chief Sean Murray’s revival of Tony Kushner’s dual-part masterwork, set amid the AIDS crisis of the 1980s, reminded us why the epic play’s meditations on fear, bigotry and redemption still matter so much.
This quietly moving world-premiere drama, set in a remote Alaska town, announced the arrival of a significant new voice in Miranda Rose Hall, and continued the LGBTQ-centered Diversionary’s admirable commitment to new work.
Barry Edelstein’s imaginative rethinking of the Shakespeare favorite brought some wild surprises (Morrissey! A giant sandbox! Barry Manilow!) but stayed true to the heart of the piece, while also managing to comment cleverly on how its tropes have been subsumed by pop culture.
Nobody rocks quite like Hedwig, and the genderqueer actor Jeremy Wilson rocked the role of the mouthy, hard-living heroine like nobody’s business in Diversionary’s worthy 20th-anniversary revival.
Moira Buffini’s taut, fraught play about a mysterious arrival on a remote, Nazi-occupied island during World War II gripped audiences with its committed acting at North Coast Rep, including a memorable turn by young Catalina Zelles.
Steven Glaudini, Moonlight’s producing artistic director, put up a hard-hitting revival of the great, ever-durable musical; the show’s focus on the corrosive power of prejudice felt pitch-perfect for the times.
This sprawling and kinetic show is the kind of musical that’s right in SDMT’s wheelhouse, and the company’s production proved a winner, with a vibrant lead turn from Miriam Dance and strong support from Bethany Slomka and Sarah Errington.
The young playwright Grace McLeod’s funny and inventive play is that rare piece that puts the lives of older women onstage and gives them full dramatic dimension; the women-centered Moxie made the music-minded piece sing.
David Mamet’s play is returning to Broadway soon, but Backyard Renaissance brought its own sharp feel for the cuttingly funny and desperately sad to the company’s revival of this ‘70s-era story about a crime caper gone wrong.
Bonkers in the best way (at least most of the time), NVA’s deliriously antic adaptation of the 18th-century Carlo Goldoni classic moved us to write: “The plotting can get a little byzantine (Italian for ‘What in God’s name just happened?’).”