The world is over-run with top lists for the year. This being my own little world I figure I’ll make a list of the top ten things about 2009. Below, with no real sense of order, are highlights of my life in the arts and the art in my life.
This picture was taken last January from a boat off the coast of Puerto Vallarta. I love it for how it looks like a watercolor or something, but it’s a completely untouched photo. The guide had thrown bread crumbs in the water to attract the fish, and got more than we expected.
When I made my list of highlights I knew I would want to include pictures, so I chose those two, although there are many other photos that excited me this year, including ones below. But it turns out that most of my highlights are theatre related.
Caroline, Or Change was the surprise of the Kushner fest. While all eyes were on his big-new-will-he-ever-finish-it Homo’s Guide, this wonderfully imaginative musical, with singing washing machines and solidly written characters stole people’s hearts, and lingered for days with me. I should probably add that to coincide with the Kushner fest at the Big G I finally got around to seeing HBO’s Angels In America and wondered why it took me so long to see that masterpiece.
Scream Blue Murmur is my absolute favorite Northern Irish performing poet group. Ok, perhaps the only group of poets I’ve seen perform. But let me just say that I love these people. They brought their piece Morning After the Summer of Love to the Fringe Festival this summer, and not surprisingly it was a huge hit. (Lovely piece about 1968 – love, war and civil rights. Powerfully current.) I first learned of them when they were here a couple years ago, and fell in love with their flowing words and images and energy and depth. This summer I fell in love again. I’d go to Ireland just to see them, and I think it would be awesome to be in some little village pub, listening to them and chatting them up over a pint after. Chatted with a couple of them briefly during the Fringe and I was like a Marcia Brady meeting Davey Jones.
The Syringa Tree at the Jungle was the best one-person show I think I have ever seen. No props, and virtually no set. Numerous characters from a single, amazingly talented actress. It was astounding. Kudos to director Joel Sass. As for the actress, well….I had to write Ms. Agnew a fan note.
I saw a production of The Skin of Our Teeth that I described as “…this whole play boils down to hope and optimism and the fight to not lose it or have it destroyed. If that’s not a theme for 2009, I don’t know what is.” I applaud Girl Friday Productions for taking on such a massive and complicated play.
And as for small, independent theatres go, I have to give kudos to Walking Shadow. I saw two of their shows, Squawk, and Some Girl(s) and both shows were incredibly impressive. These people are hard working, dedicated and smart—all of which I find very exciting. If they don’t burn out like so many theatre companies can easily do, they’re on their way to making a big name for themselves.
Earlier this year there was a gathering of actors who did a semi-staged reading of The Seagull. Not only was the reading very well done, and thoroughly enjoyable, but it represented so many of the things about theatre that excite me, and exemplifies the high quality of artists in Minneapolis. I recall saying that we need more of this kind of thing, and I hope we see more next year.
Romeo & Juliet at The Children’s Theatre Company was the first time I’d ever seen a promenade style production, and now I want all my Shakespeare to be staged this way. The audience stood, and moved, throughout the show which took place in a huge black box space, with a few set elements up on accessible platforms around the perimeter. The action moved throughout the crowd, directing audience members out of the way as needed. It was like we were all standing in the town’s center plaza, surrounded and part of the action—even the sword fight. And the performances were all incredibly strong and beautiful.
June of Arc, or more specifically Heather Stone’s performance blew me away with the strength and power of her work. It was a beautiful, riveting performance, and I was inspired by the detailed, focused work she did and how she so fully owned it. Some folks will be able to catch Sandbox’s reprisal of this show in January at the Guthrie, and I hope many people do. If Heather keeps up that kind of work, her life is going to change in 2010.
The William Williams Effect, with Balance Theatre Project, was virtually all of 2009 for me, and has a very prominent place on my theatrical resume. I felt almost arrogant telling some people before it opened that I thought it would be a “highlight of my so-called career” but that’s just what it’s become. The performances, the response—it was all more than I had wished for. I can’t even begin to describe the challenge and excitement and pride I have regarding this project. As a director there’s nothing so satisfying as watching a crowd in a packed theater sitting with rapt attention on a show.
It was also thrilling to once again join forces with my long-time friend Nancy Ruyle in researching, writing and getting this show up on its feet. The whole thing, from start to finish, was a collaborative process, and much of it was organically created in rehearsals with the cast, too.
While I feel very fortunate to have had such a successful show, I feel even more fortunate to have such a great working relationship and friendship with Nancy, who can challenge me, keep me on track and, frankly, keep me balanced.
The trip didn’t end with closing night back in August, and this script has a new version that will be shared soon. So, thank you 2009 for being good to me.
Here’s to 2010.
Happy New Year.