The problem with being a working theater professional is that I get to see fewer shows than I would like. So instead of a Top Torn Tickets this year, and in keeping with the alliteration, I present, in chronological order, my Seven Superlative Shows! While not necessarily the “best,” these shows stayed with me long after the curtain went down:
Much Ado About Nothing, College of Marin. This Shakespeare play is, in many ways, the quintessential college show. COM’s production was a step above even some professional productions that this reviewer has seen. It was well-cast, well-acted and well-designed, proving that the oft-under-attended theater at COM is worthy of more attention from the community at large.
The Untime, Marin Shakespeare Company. 2024 was the Scottish Summer, with three full productions of Mackers, plus this adaptation, being the first production in Marin Shakespeare’s new indoor theater. While all four productions had good and not-so-good elements, The Untime’s adaptation made it the most memorable, with the strongest Lady M and a script that one hopes to start seeing at other theaters.
A Midsummer Night’s Dream, Curtain Theatre. I’ve said it before, and I’ll say it again—Shakespeare is best outside and should always be free. Pumpkin-pants Shakespeare is never going to be my first choice, but the enthusiasm with which this company and this community approached this show exhibited the best qualities of community theater, which are relatability and equity.
The Comedy of Errors, Marin Shakespeare Company. This was easily my favorite production of 2024. A deft adaptation that only added to the comedy and the relevancy while keeping the soul of the original intact. A highly talented all-female presenting cast brought a fresh perspective to a story that can often feel tired and overdone.
Crossing Delancey, Ross Valley Players. This show was simply more than the sum of its parts. Despite the somewhat dated script, the excellent, heartfelt acting, tight ensemble and cast chemistry elevated what could have been a forgettable saccharine love story into a truly feel-good and impactful romantic comedy.
Yaga, Marin Theater. It’s hard to sum up the experience that was Yaga. This modern-day epic, while certainly in need of some trimming, is an important reimagining of where women exist within our mythology and how that translates into our everyday society. While the spectacle of the show was impressive, it was the star power of lead Julia McNeal and the brilliantly beautiful monologues she delivered that elevated this production above an ordinary show.
The Antipodes, Actors’ Reading Collective. If it was the year of Scottish plays, it was also the year of strong bladders. No show proved this more than the two and a half hour long, intermission-free Antipodes. However, a tight ensemble with strong directing and an intriguing script served to make the pain worthwhile. The novel staging by director Alyson Schacherer was also a brilliant and promising showcase of what can be done in Marin Shakespeare’s new indoor space.
While not representative of all this year’s excellent work (i.e., Ross Valley Players’ Blithe Spirit set and Novato Theater Company’s Nunsense technicians), these seven transcended their two-hour traffic on the stage.
Support live theater!
I was in two of these. I appreciate the recognition.
Thank you