This year has been a tough one: politically divisive, lots of name-calling, scandals.

We here in Tucson, however, have had a great tool to help us cope: theater that illuminated, provoked, made us laugh, cry, think.

The first play of 2017 was Live Theatre Workshopโ€™s funny and light โ€œBuyer & Cellar,โ€ about an out-of-work actor hired by Barbra Streisand to manage her basement-turned-mini-mall featuring a few of her favorite things. (Streisand actually has such a place in her home.) Ending out the year: Arizona Theatre Companyโ€™s breathtaking โ€œMan of La Mancha,โ€ the heartbreaking and hopeful musical inspired by Cervantesโ€™ โ€œDon Quixote.โ€

In between, there was Arizona Onstageโ€™s knock-out production of โ€œThe Producers,โ€ Arizona Repertory Theatreโ€™s powerful โ€œA Streetcar Named Desire,โ€ Something Something Theatre Companyโ€™s very funny โ€œMrs. Mannerlyโ€ โ€” the list goes on.

And it is from that list that we pull the winners of the 2017 Mac Awards. Now in its 17th year, the award is named for the late Mary MacMurtrie who, through her Tucson Childrenโ€™s Theatre, spent much of the last century turning local youths into actors, directors and audience members. She taught that excellence was as important as heart, honesty and intent.

There was much of all those elements in our Mac nominees and winners:

Actor, comedy

  • Keith Wick fully inhabited the multiple characters he played in Live Theatre Workshopโ€™s โ€œBuyer & Celler.โ€
  • Also at LTW, Matthew Copley was a hoot as the manipulative boss in โ€œBelow the Belt.โ€
  • David Weynand was sublime as Johann Christoph Graupner, a neurotic who just wants to be everyoneโ€™s No. 1 in The Rogueโ€™s โ€œBach at Leipzig.โ€
  • Josh Parra played multiple characters, from a young teen to a con man to a preacher in Live Theatreโ€™s โ€œThe Voice of the Prairie.โ€ He handled them all with aplomb.
  • Alec Michael Coles was a pure delight as the arrogant and foolish Malvolio in Arizona Repโ€™s โ€œTwelfth Night or What You Will.โ€ Itโ€™s a choice role and he made the most of it.
  • Christopher Younggren showed deep heart and roots in his role as the storyteller in Live Theatreโ€™s โ€œThe Voice of the Prairieโ€ He takes the Mac.

Actress, comedy

  • Carley Prestonโ€™s etiquette teacher was scary and heartbreaking in Something Somethingโ€™s โ€œMrs. Mannerly.โ€
  • Lisandra Tena gave us delicious insight into her life as she performed the play she wrote, โ€œGuera,โ€ at Borderlands.
  • Jeanne Torresโ€™ Samantha was seductive and funny in Invisible Theatreโ€™s โ€œIndoor/Outdoor.โ€
  • Vinessa Vidotto fashioned a cold and haughty, ridiculous and passionate Olivia in Arizona Repertory Theatreโ€™s โ€œTwelfth Night or What You Will.โ€
  • Samantha Cormier wowed with her performance of the blind Frankie in Live Theatreโ€™s โ€œVoice of the Prairie.โ€ The character transforms from a rambunctious teen fleeing a cruel father to an adult keeping the flame of an old love alive, and she owned the role. She takes the Mac.

Director, comedy

  • Sabian Trout has an instinct for comedy, and she saw to it that Live Theatre Workshopโ€™s โ€œBuyer & Cellarโ€ was infused with it.
  • Cynthia Meier directed the Rogueโ€™s โ€œBach at Leipzigโ€ with a visual eye and an obvious love of the material.
  • Live Theatreโ€™s โ€œVoice of the Prairieโ€ could have been a gooey, sentimental piece, but Maryann Green made sure that did not happen.
  • Also at LTW: Eva Tessler gave us a fast-paced and very funny โ€œSeminar.โ€
  • Something Somethingโ€™s โ€œMrs. Mannerlyโ€ was infused with warmth and rhythm by Joan Oโ€™Dwyer.
  • Laughter flowed freely at Arizona Repertory Theatreโ€™s production of โ€œTwelfth Night or What You Will,โ€ directed by Brent Gibbs.
  • Annette Hillman helmed Live Theatreโ€™s โ€œBelow the Beltโ€ and she made sure the humor punctuated the very dark aspects of the comedy. She takes the Mac.

Best comedy

  • Live Theatre Workshopโ€™s production of Jonathan Tolinsโ€™ โ€œBuyer & Cellarโ€ was an evening full of quick wit and frequent laughter.
  • Also at LTW: โ€œSeminar,โ€ which introduced us to writers hungry to learn and a writing seminar leader hungry for their money.
  • Something Something Theatre Companyโ€™s โ€œMrs. Mannerly,โ€ Jeffrey Hatcherโ€™s comedy about kids taking etiquette classes, was a stitch.
  • Lisandra Tenaโ€™s bio-play โ€œGueraโ€ at Borderlands Theatre had us laughing one minute, horrified the next. But the laughter won out.
  • LTWโ€™s โ€œBelow the Beltโ€ by playwright Richard Dresser provided laughter at the foibles of men whose universe is small but whose egos are big and who take a sort of vicious glee in playing the manipulative games that can define corporate life.
  • The Mac goes to The Rogueโ€™s pitch-perfect production of Itamar Mosesโ€™ frothy, fugue-ish farce, โ€œBach at Leipzig.โ€ It was a lightweight piece heavy with laughter.

Actor, drama

  • R. Hamilton Wright shaped a Watson with a warmth and a cleverness in ATCโ€™s โ€œHolmes & Watson.โ€
  • Alec Williams captured the geekiness of a clumsy Romeo in Arizona Repertory Theatreโ€™s production of โ€œProof.โ€
  • The stage became almost electric when David Weynadโ€™s King Duncan appeared in The Rogueโ€™s production of โ€œMacbeth.โ€
  • Bill Epstein impressed as Disney in the Scoundrel & Scampโ€™s โ€œA Public Reading of an Unproduced Screenplay About the Death of Walt Disney.โ€
  • Matt Bowdren was cold and cruel and perfect in The Rogueโ€™s โ€œPenelope.โ€
  • David Alexander Johnston gave distinction, and often gravitas, to his multiple roles in Invisible Theatreโ€™ โ€œLebensraumโ€
  • Keith Wick wrecked our hearts with his portrayal of the broken, ill man in Live Theatreโ€™s โ€œAnnapurna.โ€
  • The Mac goes to David Weynand, who was riveting in his often-funny portrayal of a hell-bent-for-destruction monk in The Rogueโ€™s โ€œThe White Snake.โ€ Weynand fully possessed the character โ€” a common trait we find in the actor.

Actress, drama

  • India Osborne beautifully owned the guilt and determination that defined her social worker in St. Francisโ€™ โ€œLuna Gale.
  • Alba Jaramillo crawled into the skin of the Mexican human rights lawyer Digna Ochoa in the moving and upsetting โ€œDigna,โ€ staged by Digna Theater.
  • Kelly Hajek handled the officious Clare character like a pro in Arizona Repertory Theatreโ€™s production of โ€œProof.โ€
  • Patty Gallagher breathed full life into to her snake transformed into a woman in The Rogueโ€™s โ€œWhite Snake.โ€
  • In the same Rogue play, Holly Griffith infused her character with humor and an impishness that was hard to resist.
  • Rhonda Halquist was compelling as the woman who returns to help her ill husband after leaving their lousy marriage 20 years prior in LTWโ€™s โ€œAnnapurna.โ€
  • Marissa Medina Munter sank into Blanche DuBoisโ€™ southern belle with rawness and honesty in Arizona Repertory Theatreโ€™s โ€œA Streetcar Named Desire.โ€ She made the characterโ€™s vulnerability, mental instability and deep loneliness palpable. She takes the Mac.

Director, drama

  • Hank Strattonโ€™s insightful direction of โ€œA Streetcar Named Desireโ€ at Arizona Repertory Theatre underscored the tragedy and poignancy of the story.
  • Mark Klugheit directed the disturbing โ€œLuna Galeโ€ at St. Francis Theatreโ€™s with a clarity and a kind of urgency that served the story well.
  • David Ira Goldstein finished out his 25 years at Arizona Theatre Company with a tense and mysterious production of โ€œHolmes & Watson.โ€
  • Invisible Theatreโ€™s โ€œLebensraumโ€ had three actors playing about 50 characters. Susan Claassenโ€™s smooth direction meant the audience was never confused.
  • Cynthia Meierโ€™s direction of The Rogueโ€™s โ€œThe White Snakeโ€ was as fantastical as the play.
  • Also at The Rogue: Christopher Johnsonโ€™s sharp, smart direction of โ€œPenelope.โ€
  • The Mac goes to Bryan Rafael Falcรณn for The Scoundrel & Scampโ€™s โ€œA Public Reading of an Unproduced Screenplay About the Death of Walt Disney.โ€ It was a simple production that rarely called for an actor to move out of his seat on the stage. Falcรณn made sure the audienceโ€™s attention never wavered and that the word-heavy script sang.

Best drama

  • The young Scoundrel & Scamp Theatre staged an intimate production of the dark and delicious Lucas Hnath play, โ€œA Public Reading of an Unproduced Screenplay About the Death of Walt Disney.โ€
  • Digna Theaterโ€™s one-woman show, โ€œDignaโ€ by Patricia Davis, powerfully told the story of Mexican lawyer Digna Ochoa, who was assassinated for her human rights work. It is an important story and it was told with grace.
  • Little St. Francis Theatre hit it big with its production of the disturbing Rebecca Gilman play, โ€œLuna Gale.โ€
  • Live Theatre Workshopโ€™s poignant โ€œAnnapurnaโ€ was dark and funny and moving.
  • Itโ€™s hard to think of a play that features men in Speedos as a drama, but The Rogueโ€™s production of โ€œPenelopeโ€ was thick with it.
  • Arizona Repertory Theatre took on a big project with Tennessee Williamsโ€™ devastating โ€œA Streetcar Named Desire.โ€ The cast of University of Arizona students was not intimidated and gave us a powerful theatrical experience.
  • The Rogue staged a breathtakingly beautiful production of Mary Zimmermanโ€™s โ€œThe White Snake.โ€
  • Arizona Theatre Companyโ€™s world premiere of Jeffrey Hatcherโ€™s โ€œHolmes & Watsonโ€ was packed with suspense, atmosphere and first-rate acting โ€” and plenty of surprises. It takes the Mac.

Actor, musical

  • Dennis Tamblyn and Matthew Holter as Bialystock and Bloom respectively in Arizona Onstageโ€™s production of โ€œThe Producersโ€ were a dream team. We loved every minute they were on stage, and they were on stage practically every minute.
  • Monte Ralstin made Uncle Fester in Arizona Repโ€™s โ€œThe Addams Familyโ€ silly and vibrant and so much fun.
  • Matthew Osvogโ€™s Che in Arizona Repโ€™s โ€œEvitaโ€ was powerful and nuanced. He was hard to turn away from.
  • Carlos Lopez was captivating and provided much of the lighter moments as Quixoteโ€™s man servant, Sancho, in ATCโ€™s โ€œMan of La Mancha.โ€
  • There is no denying the riveting performance Philip Hernandez gave as Cervantes/Quixote in ATCโ€™s โ€œMan of La Mancha.โ€ He was deeply rooted in the characters, and the audience was deeply invested in him. He takes the Mac.

Actress, musical

  • Liz Cracchioloโ€™s Ulla, the sexpot who revs up both Max and Leoโ€™s engines in Arizona Onstageโ€™s โ€œThe Producers,โ€ conveyed the sultriness and innocence of the character with complete honesty.
  • Kelli Workman showed her impressive comedic chops โ€” and voice โ€” in Roadrunnerโ€™s โ€œTriumph of Love.โ€
  • Flamenco dancer Amelia Moore was Aldonzaโ€™s alter ego in ATCโ€™s โ€œLa Mancha.โ€ She brought her stately grace to the role, allowing us to see another facet to the woman Quixote loves.
  • The Mac goes to Michelle Dawson, who took on the role of Aldonza just before opening when the actress originally cast fell ill. She tightly embraced the character with heartbreaking grace.

Director, musical

  • โ€œThe Addams Familyโ€ isnโ€™t a great musical, but Danny Gurwin, who directed the Arizona Repertory Theatre production, made it great fun. Gurwin also directed Arizona Repโ€™s stellar production of โ€œEvita.โ€
  • Annette Hillman had a big job directing the 27 cast members of Arizona Onstageโ€™s โ€œThe Producers.โ€ She was up to it, giving us a musical that was smooth and funny and a joy to see.
  • Josรฉ โ€œChachโ€ Snook fashioned a clever production of Roadrunnerโ€™s โ€œTriumph of Love.โ€ Thatโ€™s doubly impressive when you consider he had a hefty role in the chamber musical.
  • David Bennett gave new life to ATCโ€™s โ€œMan of La Mancha,โ€ taking creative chances that paid off in a big way. His direction revealed new layers in the play. It is among the best ATC has done. He takes the Mac.

Best musical

  • Roadrunner Theatre Companyโ€™s โ€œTriumph of Love,โ€ was seductive, silly, and a giddy evening of theater.
  • Arizona Rep staged a vivid production of โ€œEvitaโ€ in the intimate Tornabene Theater on the UA campus.
  • Johnny Cash fans were in heaven with Arizona Theatre Companyโ€™s production of โ€œRing of Fire: The Music of Johnny Cash.โ€
  • Arizona On Stage completely wowed with its rollicking production of โ€œThe Producers.โ€ It was a huge undertaking and the cast made it look effortless.
  • It is Arizona Theatre Companyโ€™s profound production of โ€œMan of La Manchaโ€ that takes the Mac. In a twist on the classic musical, the actors played instruments, sang and danced. This musical never felt dated; in fact, it eloquently spoke to today and the toxic, often dangerous, state of affairs in the world.

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Contact reporter Kathleen Allen at kallen@tucson.com or 573-4128. On Twitter: @kallenStar