Dallas Voice (Dallas, Tex.), Vol. 23, No. 32, Ed. 1 Friday, December 22, 2006 Page: 46 of 72
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Naming names
Uptown, WaterTower, Classical Acting delivered the best theater of 2006
By Arnold Wayne Jones Staff Writer
"Pageant" was one of two Uptown Players productions to be singled out as one of the top 10 shows of 2006.
Two secrets about the inner lives of critics:
First, they think top-10, year-end, best-of lists
are impossible to compile, artistically sense-
less and a little silly.
Second, they love to do them anyway.
Putting together a top 10 list is a ritual
reminder of what's great about the fields we
cover. After weeks of chirpy Christmas shows
or yet more Shakespeare revivals or lame
comedies, it's nice to look back on the year
and recall what was exciting. And it's what
keeps you coming back for more.
Lists also tend to be appallingly inadequate
and slightly political. The final list can't
include only splashy musicals or campy farces
or — much as you might want to — produc-
tions starring Denise Lee and directed by
Rene Moreno. (They actually teamed up
together twice recently — and neither show
made it to the list.) Indeed, several interesting
shows ("No Exit," "I Am My Own Wife,"
"The Crucible," "Eat the
L
Classical Acting Company nearly folded in 2006. Good thing they didn't, as "Every Trick in the
Book" ended up the comic delight of the fall.
Runt") just missed recognition, if only to
comply with the silly, self-imposed "10" lim-
itation.
But all the productions listed here were
worth a trip to the theater. They energized or
surprised or challenged their audiences in
unique ways that made the season memorable,
often pushing patrons to reconsider their
expectations. After all, when a musical named
for a bodily fluid makes critics stand up and
cheer, you know the rules have changed.
Here, then, from 10th to the top:
10. Zero (independently produced).
Playwright and star Danny O'Connor's one-
man show was a scorchingly funny and well-
conceived ditty about how men relate to one
another. It was astonishingly wise and free of
Gen Y cliches.
9. Raw Vision (Kitchen Dog Theater).
Kitchen Dog gets props for taking risks on
new plays every year. But Leslie A. Wade's
"Raw Vision" is one reason why they are right
to do so. It was an analysis of not only art, but
the art world, told from the unlikely viewpoint
of a mentally retarded genius and those in his
orbit. The tone was atmospheric and sexy.
8. The Gnadiges Fraulein (WingSpan
Theatre Co.). This peculiar little short play by
Tennessee Williams was so bizarre, it
would be nearly impossible not to love
something about it. Rene Moreno
directed Susan Sargeant, Lulu
Ward and Beverly Jacob Daniel
in a trio of kooky feminist
roles, and added a little man-
candy from Jeff Swearingen
and Joel McDonald,
just for window-
dressing (or
undressing, if you
wanna be com-
pletely accurate).
7. The Women
(Contemporary
Theatre of
Dallas). Clare
Boothe Luce's
bitchy, remark-
ably modern por-
Continued on Page 48
46 I dallasvoice.com I 12.22.06
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Nash, Tammye. Dallas Voice (Dallas, Tex.), Vol. 23, No. 32, Ed. 1 Friday, December 22, 2006, newspaper, December 22, 2006; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth238940/m1/46/: accessed April 30, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting UNT Libraries Special Collections.