This is what theater gave to Tucson in 2019:
Love. Tragedy. Grace. Death. Music. Insight. Laughter. Hope. Understanding. Truth.
The list goes on.
Whether it was a musical about chasing a dream (β[title of show]β) β yes, thatβs the actual name of the production; a drama about family (βThings I Know to be Trueβ); or a comedy about drag queens (βThe Legend of Georgia McBrideβ), there was much that informed, enthralled and entertained.
Some of the productions did that more than others, and it is those that we present with the Starβs annual Mac Awards. Now in its 19th year, the award is named after Mary MacMurtrie who, through her Tucson Childrenβs Theatre, spent much of the last century turning local youth into actors, directors and audience members. She stressed that heart, honesty and intent were as necessary as excellence.
These productions had those and more.
BEST ACTOR, DRAMAΒ Marc David Pinate, who is generally in the directorβs chair, showed his very fine acting chops in Scoundrel & Scampβs βCloud Tectonics.β
Edwin Lee Gibson, the fighterβs trainer in Arizona Theatre Companyβs βThe Royaleβ had the best moment on stage last year when he took to center stage and, for a long, long time, was silent as he looked the audience over. That look told us we bore some responsibility for the injustices hurled at people of color.
Roger Owenβs Big Daddy in The Roadrunner Theatreβs production of βCat on a Hot Tin Roofβ had a fierceness and a fury.
Ryan Parker Knoxβs John Dodge in The Rogue Theatreβs βMiddletownβ was an out-of-work handyman who canβt make sense of the life he is in. Knox crawled into the skin of the character.
Guillermo Francisco Raphael Jones had the audience in his hands in Something Something Theatre Companyβs production of βThe Hall of Final Ruin.β His flippant attitude and the moments he addressed the audience made his DoΓ±a Sebastiana a joy to watch and listen to.
Christopher Younggren played a photographer grappling with guilt, a quick temper, an injured-in-the-war girlfriend and writerβs block in Live Theatre Workshopβs βTime Stands Still.β He nailed the role.
Connor McKinley Griffin was spellbinding as the title character in Arizona Repertory Theatreβs βRichard III.β
Matt Bowdren was powerful and poignant in The Rogue Theatreβs βThe Crucible.β He owned the role of John Proctor, a farmer who had a sexual encounter with young Abigail, who was once a servant in his house.
Bechir Sylvain was Jay, big, powerful and a man with a deep longing to make the world right for those who look like him in Arizona Theatre Companyβs βThe Royale.β Sylvain is a master of subtext β he makes his pain, his hunger, palpable without ever overdoing it. He was a magical presence and he takes the Mac for best actor in a drama.
BEST ACTRESS, DRAMAIn Arizona Theatre Companyβs βSilent Sky,β Veronika Duerr gave her character, the astronomer Henrietta Leavitt, a deep-seated curiosity and a warm humor.
Bryn Boothβs portrayal of Abigail in The Rogue Theatreβs βThe Crucibleβ made clear the horror and the tragedy that can result from lies and betrayals.
AzΓΊl Galindo was both awkward and ethereal as Celestina in Scoundrel & Scampβs βCloud Tectonics.β
In Scoundrel & Scampβs βThe Little Prince,β Kathleen Cannon played the Aviator with a sense of wonder that felt organic.
Susan Arnoldβs Mother of the Bridegroom in Scoundrel & Scampβs βBlood Weddingβ had a deep sorrow, regal dignity and a powerful presence.
In ATCβs βThings I Know to Be True,β Jordan Baker beautifully and honestly portrayed the matriarch of a family dealing with all that life throws at it.
Roseanne Coustonβs character in Something Something Theatre Companyβs βThe Hall of Final Ruinβ was fearless and smart.
Cynthia Jefferey had two roles in 2019 that are memorable: Her Big Mama in Roadrunnerβs βCat on a Hot Tin Roofβ was tragic and silly, and she imbued the mother and wife in Winding Road Theater Ensembleβs βThe Big Mealβ with pride and tenderness.
Carley Elizabeth Preston played Sarah, a photographer who is injured in the war in Live Theatre Workshopβs βTime Stands Still.β She allowed the characterβs inner life to inform her portrayal and that translated into a deeply moving performance, winning her the Mac for best actress.
BEST DIRECTOR, DRAMAΒ Lou Bellamy is king when it comes to directing August Wilsonβs plays, and he didnβt fail us with Arizona Theatre Companyβs βTwo Trains Running.β He made sure audiences feasted on the joy, the humor and the weight of the play.
Bryan Rafael FalcΓ³n wasnβt afraid of the magic realism in Scoundrel & Scampβs production of βCloud Tectonics.β Though time is a jump-around thing in the play, and the unlikely happens throughout, he made sure the audiences did not get lost.
Brent Gibbsβ direction of Arizona Repertory Theatreβs βRichard IIIβ was rich with pace and detail, which made watching a play about a really awful human being an engrossing experience.
Eva Tesslerβs βTime Stands Stillβ at Live Theatre Workshop had an immediacy and tension that served the play well.
Christoper Johnson directed two plays for The Rogue Theatre. His βMiddletownβ had a rhythm and a pace that gave the story about small town life full breath. And his direction in βThe Crucibleβ was riddled with tension and insightful performances.
The Rogueβs Cynthia Meier also wowed us with her direction of the packed-with-fairy-tales βThe Secret in the Wings.β While the tales switched, she effectively used costumes and props to keep us engrossed as she took us from one story to the other.
Mark Clements direction of the heartbreaking family drama βThings I Know to Be Trueβ made that Arizona Theatre Company play one of the best of the year.
Holly Griffith used mime, dance and props to take us on a joyful journey with Scoundrel & Scampβs wonderful βThe Little Prince.β
ATCβs βThe Royale,β about the βNegro Heavyweight Champion of the Worldβ and his quest to fight the white champion, was a highlight of the year. Michael John GarcΓ©sΒ Β spiked it with tension and grace. He takes the Mac for best direction.
BEST DRAMA Scoundrel & Scampβs βThe Little Princeβ was packed with imagination and adventure.
Arizona Theatre Companyβs βThings I Know to Be Trueβ shook with heart and honesty.
The Rogue Theatreβs βMiddletownβ and βThe Secret in the Wingsβ both captured imaginations. And its production of βThe Crucibleβ was illuminating and terrifying.
Arizona Repertory Theatreβs βRichard IIIβ was mesmerizing.
The story, the language and the performances in ATCβs βThe Royaleβ blended together to create a piece of art that is impossible to forget. It takes the Mac.
BEST ACTOR, COMEDYΒ Naphtali Curry and Jax Wujek were outrageous and graceful and hysterical as the drag queens in Arizona Repertory Theatreβs production of βThe Legend of Georgia McBride.β
Steve Wood was a man grappling with the end of his marriage and Stephen Frankenfield was his divorced neighbor in the very funny βThings Being What They Areβ at Live Theatre Workshop. The two brought out all the humor and heartbreak in the play.
Matt Walley took on the role of Shakespeareβs clown Dogberry in The Rogue Theatreβs βMuch Ado About Nothingβ and he made him as funny as the Bard intended.
Keith Wick was deliciously over the top in several roles he had in Live Theatre Workshopβs βStage Kiss.β
In Invisible Theatreβs βDancing Lessons,β Damian Garciaβs portrayal of the touch-adverse Ever, a man with Aspergerβs syndrome who needs to learn to dance, is sensitive and sweet and never over-played. He takes the Mac.
BEST ACTRESS, COMEDYΒ Shanna Brock showed her well-honed comedic skills as the actress who is in a play with her ex-lover in Live Theatre Workshopβs βStage Kiss.β
Invisible Theatreβs production of βNow and Thenβ included a talented Gabriella de Brequet in the role of Abby, who, with her boyfriend, meets an older man who could change their lives. She gave Abby a sweetness and innocence that rang true.
Claire Marie Mannleβs solo turn in Scoundrel & Scampβs βEvery Brilliant Thingβ was honest and deeply rooted.
The tenderness, anger and frustration in Senga, an injured dancer in Invisible Theatreβs βDancing Lessons,β were clear and painful in Samantha Cormierβs hands.
Cynthia Meierβs medium in The Rogue Theatreβs βBlithe Spiritβ was deliciously outrageous.
China Young gave us a Mash who is near helpless in her unrequited love in Winding Road Theater Ensembleβs βStupid F#!*ing Bird.β
In the same play, a comedic adaptation of Chekhovβs βThe Seagull,β Samantha Severson so owned the characterβs desperation, fury at his mother and soul-wrecking love for Nina, that we barely noticed that she was playing a he. She takes the Mac.
BEST DIRECTOR, COMEDYΒ Samantha Cormier gave heft to the Live Theatre Workshop comedy βThings Being What They Are.β
Michelle Milneβs direction of Scoundrel & Scampβs βEvery Brilliant Thingβ smacked of warmth and humor.
Maria A. Caprile was gutsy and sly with her direction of the very funny βStupid F#!*ing Birdβ at Winding Road.
Sabian Trout let the humor fly in Live Theatreβs βStage Kiss.β
Joseph McGrath used a light touch and lots of physical humor in The Rogue Theatreβs production of βMuch Ado About Nothingβ and his production of βBlithe Spiritβ danced with humor and rhythm.
Susan Claassenβs sensitive direction of Invisible Theatreβs βDancing Lessonsβ resulted in a production that was tender and insightful. She takes the Mac.
BEST COMEDYLive Theatre Workshopβs βThings Being What They Areβ was about an unlikely friendship and life-changing conundrums. It had dark humor and insight.
βEvery Brilliant Thingβ at Scoundrel & Scamp was full of heart, despair and hope.
βDancing Lessonsβ was sweet without being cloying and insightful without being preachy. The Invisible Theatre production served the story well.
Live Theatreβs βStage Kissβ was outrageously funny and a perfect antidote to dark days.
Winding Road Theater Ensembleβs βStupid F#!*ing Bird,β this adaptation of Chekhovβs dark and brilliant βThe Seagull,β clipped along at a hilarious pace.
The Rogue Theatreβs βBlithe Spiritβ was jaunty and sophisticated and grand fun. Playwright NoΓ«l Coward,βs wit was given full breath by the talented cast. It takes the Mac.
BEST ACTOR, MUSICALSean Patrick Doyle strutted on stage as the Emcee in Arizona Theatre Companyβs production of the classic musical, βCabaret.β His voice is exquisite and his portrayal of the character was both chilling and soul wrenching.
Tristan Caldwell was a highlight in Arizona Repertory Theatreβs production of βPippin.β His Emperor Charlemagne burst with sass and savvy.
Tyler Wright and Andrew Miller were a complete hoot as the two playwrights in Southern Arizona Performing Arts Companyβs β[title of show].β They had a chemistry that sparked on stage and both showed us the joy in being musical theater geeks who just want to create.
Michael Schulz gave Melchior in Arizona Repertory Theatreβs βSpring Awakeningβ all the swag and earnestness that defined his 14-year-old character.
And it was in that production of βSpring Awakeningβ that we found our Mac winner for best actor in a musical: Zach Zupke, who played Moritz, a troubled student, bored by the Latin he must learn, terrified of his father, and confused by the sex dreams that visit him in his sleep. Zupke has a riveting voice, and he made the characterβs fear and confusion painfully clear.
BEST ACTRESS, MUSICALΒ Robin Bousel put her gorgeous voice and pristine comedic timing on full display in Southern Arizona Performing Arts Companyβs β[title of show].β
Amanda Gremel caught the heart and personality of the title character in Live Theatre Workshopβs production of βAlways ... Patsy Cline,β which isnβt a traditional musical but had so much music weβve decided to call it one.
Lori Wilner played FrΓ€ulein Schneider in Arizona Theatre Companyβs production of βCabaret.β When she sang βWhat Would You Doβ the pain and resignation about breaking her engagement and the plight of the world was palpable.
The terrible angst that comes with being a teenager was in full force in Rachel Frankeβs performance as the confused Wendla in Arizona Repertory Theatreβs βSpring Awakening.β She takes the Mac.
BEST DIRECTOR, MUSICALΒ Carson Wright mined all of the comedy out of Southern Arizona Performing Arts Companyβs β[title of show],β and there was plenty there.
Annette Hillman made the humor as present as the music in LTWβs βAlways ... Patsy Cline.β
Sara Bruner gave us a beautiful, and terrifying, βCabaretβ at ATC.
It is Hank Stratton who takes the Mac for his direction of Arizona Repertory Theatreβs βSpring Awakening.β In his hands, the musical about teens grappling with unwanted pregnancy, suicide and confusion about life had clarity and an expansive heart.
BEST MUSICAL ATCβs βCabaretβ was dark and disturbing, just as it should be.
Southern Arizona Performing Arts Companyβs β[title of show]β was a low-budget production with high-budget results.
A play packed with Patsy Clineβs music? Whatβs not to love about Live Theatre Workshopβs βAlways ... Patsy Cline.β
Arizona Repertory Theatreβs production of βSpring Awakeningβ was near flawless and always engrossing. It takes the Mac.