Page 4 of 9
10. The Bad and the Better
The Amoralists once again proved that they were the most exciting and ambitious young company in New York theater with Derek Ahonen's large ensemble drama about politics, mother love and role-playing. There were 30 speaking parts in this play, and they were all impeccably acted.
9. The Lady from Dubuque
New York revivals of Edward Albee plays have long been must-see events for any serious theatergoer, and this diamond-hard production of one of Albee's supposed failures of the 1970s revealed a play of startling depth and pessimism.
8. Storefront Church
John Patrick Shanley's latest aimed to be no less than the Hunchback of Notre Dame
of this subprime mortgage-crisis era—a play thoroughly of its time, full of knee-slapping humor, rousing speechifying about the emptiness of wealth, and poignant drama about the unbearable smallness of being (under capitalism, anyway). It made you want to be a better person.
7. Orpheus and Eurydice
After Eurydice dies in Pina Bausch's avant-garde adaptation of Gluck's ballet (performed by the Paris Opera Ballet at the Lincoln Center Festival), Orpheus crouches in the corner, his back to the audience, unmoving, for, like, 10 minutes. It was the saddest thing we saw all year.
6. Peter and the Starcatcher
This scrappy, inventive and delightful Peter Pan prequel proved that, even on Broadway, $60 million spectacles can't out-wonder imaginative minds.