Stage, it is said, is an actor’s medium, and that is true with the local theater community, who did excellent work last year. Pam Daugherty and Jerry Crow breathed comfortable authenticity in Theatre 3’s contribution to the Foote Festival, The Roads to Home; seven months later on the same stage, Sally Soldo and Sonny Franks transformed the domestic musical A Catered Affair into a kitchen-sink master class in acting for the musical genre.
Larry Randolph, in the nearly-one-man show The Madness of Lady Bright, was a dazzling tragic tour-de-force of a drag queen in winter, nearly matched by Barry Nash’s entirely-one-man show Bob Birdnow’s Remarkable Tale of Human Survival and the Transcendence of the Self, both running at the Festival of Independent Theatres — Bright from 1:30 Productions, Birdnow from Second Thought Theater. Second Thought was also represented by the threesome of Drew Wall, Natalie Young and Alex Organ, in the most compelling drama of the first half of 2011, Red Light Winter; Organ scored again (at comedy) in WaterTower Theatre’s Little Shop of Horrors, stealing the show in several roles.
The men offered the “wow” factor to DTC’s The Wiz, with Scarecrow James Tyrone Lane, Lion David Ryan Smith and Tin Man Sydney James Harcourt buoying that production. Oozing charisma, Wade McCollum’s sinewy, villainous M.C. in Cabaret turned a part often played for androgyny into a testosterone-laden sex show. Max Swarner oozed something different — goofy likeability — in ICT’s How to Succeed.
Comic women shone at Contemporary Theatre of Dallas, with Emily Scott Banks and Catherine Wall standouts in Five Women Wearing the Same Dress, while Shannon J. McGrann plucked her way through Bad Dates. The entire cast of In the Next Room, or The Vibrator Play at Kitchen Dog Theater “got” the humor in a sickly perverse comedy. Angel Velasco’s brain-dead beachcomber was a comic hoot in Level Ground Arts’ camptacular musical Xanadu.
But a trio of actors at Uptown Players made 2011 special. First Patty Breckenridge and Gary Floyd, pictured, turned the quasi-opera Next to Normal into Uptown’s best production to date, exploring music, family life and mental illness with tenderness and strength.
If I had to pick one performance I can’t shake all these months later, it would be Lulu Ward in, of all things, the Paul Rudnick comedy The New Century. Over a 25-minute monologue as the craft-happy mother of a son with HIV, she delved into the quirky charms of a kitschy Southerner to the depths of pain a mother feels watching her child die. Between fits of uncontrollable laughter was a cascade of tears from the audience as she choked back hers. You couldn’t walk away from what seemed like a frivolous comedy without feeling transformed by Ward’s performance. That’s what made her the actor of the year.
This article appeared in the Dallas Voice print edition December 30, 2011.
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