Best Plays of 2008
As a bias alert, I direct you to the breakdown of the 251 shows seen in 2008. Not surprisingly, this list reflects my off-off-Broadway habits, as well as my attraction to magical realism, aesthetic direction, and refreshingly new directions. Don't be fooled by the presence of two revivals, two musicals, and a monologue: each play on this list had a unique voice, a striking presentation, and a hypodermic of adrenaline-laced honesty.
10. Women Beware Women - Red Bull doesn't just revive plays, it resurrects them, mounting top-notch productions that highlight the language and showcase the style, not just reminding us that it's cool to kick it old-school, but that it's where we learned to kick it in the first place.
9. Bride - Lone Wolf Tribe embraced their otherworldly vision so fully that they were able to embed social commentary in a comic nightmare, get away with straightfaced puppetry, and keep the audience perpetually surprised and delighted.
8. crooked - Catherine Treishmann captured the excited magic of storytelling in this original exploration of teen angst; by refusing to conform to stereotypes, her work fleshed out characters in the most heartwrenching ways, for the deeper they are, they harder they fall.
7. Rainbow Kiss - Simon Farquhar's debut play was shockingly realistic, from the visceral axe-through-a-door staging to the desperate, craving dialogue, and the unflinching tragedy of depression, shown here without tricks or metaphors: just a raw and bloody mess of a life.
6. Aliens With Extraordinary Skills - Saviana Stanescu uses a light-hearted fantasy as a means of creating empathy for the awfully dark reality illegal immigrants work in--but never comes across as preachy; the ability to be charming and convincing is no easy feat.
5. How Theater Failed America - Mike Daisey is a wonderfully talented monologist, one of those richly voiced and charismatic people who fill the nuance of each syllable with a passion so palpable that what they say hardly matters--except that in this case, the words were every bit as important as the performance, and Daisey's usual collection of anecdotal humor was flooded with a hard-earned honesty well worth listening to.
4. Passing Strange - Though there are some gimmicky moments and a few flat pieces in the second act, those things are all part of "The Real" that Stew found so hard to communicate--breaking the standard conventions of theater, particularly Broadway, as he did so; what stands out is the way the hairs on my arm stood up as his music crackled through the theater, and the way he reclaimed "Art" as something well-worth striving for.
3. Blasted - Sarah Kane's play has never been about the eye-gouging, baby-cannibalism, anal rape, and other horrifying shocks of this Beckett-busting work; by realistically, unflinchingly directing this work, Sarah Benson has succeeded in jarring the text far enough off the page that it can be seen as the painfully alive, utterly human, and angrily demanding work that it is, shocking, ultimately, only in that it is no longer as shocking on the surface as in 1995 (although it is just as emotionally scarring as ever).
2. Fabrik - All of the characters in Wakka Wakka's production are puppets, but like Maus and Cabaret, this only allows the ensemble to shed the pretense and melodrama that often accompanies plays about the Holocaust; puppetry, when it is as specific and deliberate as used here, can show us facets of our own humanity that we are too blind (or stubborn) to notice--we get so caught up in the magic of these miniatures that their deaths are somehow more affecting: we were no longer prepared for or protected from it.
1. Hostage Song - This aptly-described "downtown supergroup" (Clay MacLeod Chapman, Kyle Jarrow, and Oliver Butler) earned that name with this transcendental indie rock musical about a pair of two doomed hostages, their loved ones, and the beautiful dreams they once had--and still cling to, Everymen for the current human condition. In an intimate black-box theater, blindfolds freed them (and us) to think outside the box, reminding us of life's horrors while at the same time meshing them with the simplest, most fragile pleasures. Not only did I go back to see this show, but if they should ever need an investor for an encore, I'm there.