Sunday, August 17, 2008
A+E, In this Issue..., Theater

The Spotlight Awards

SP's annual roundup of the very best of local theater

Top 10 Directors

Linnea Frye
Dad’s Garage’s “Song of the Living Dead,” directed by Kate Warner

From the elegant magical realism of "The Clean House" to the grim, in-your-face realities of "In Darfur," Horizon co-artistic director LISA ADLER demonstrated remarkable versatility. A plus: The plays offered a half-dozen or more strong roles for actresses.
 
In his first season as artistic director for Actor’s Express, FREDDIE ASHLEY helmed three of its six shows—most splendidly, "When Something Wonderful Ends." Speaking of which, he also scored with Jewish Theatre of the South’s final production, "The Last Schwartz."
 
Although Alliance artistic director SUSAN BOOTH fashioned a perfectly pleasant version of the musical revue "Jacques Brel is Alive and Well (and Living in Paris)," it was her lavishly appointed and sharply performed staging of the drama "Doubt" that really resonated.
 
He did OK with a pair of little two-character pieces ("Southern Comforts," "Six Dance Lessons in Six Weeks"), but Georgia Ensemble artistic director ROBERT FARLEY rather triumphed on a grander scale, with his striking production of the epic "Great Expectations."
 
Even lesser RICHARD GARNER efforts are a feast for the eyes. The Georgia Shakespeare artistic director’s "Richard III" and "Eurydice" (at the Alliance), while frequently breathtaking to look at, left some people cold. Still, bring on his musical "Antigone" (in October)!
 
Out of Hand co-artistic director MAIA KNISPEL collaborated with 10 other core company members to research and develop the satirical revue "Meds"—orchestrating everything with energy and imagination to spare. A high time was had by all.
 
To give credit where it’s richly due, you didn’t need to be a fan of JEFF McKERLEY’s acting career to relish his outstanding direction of Atlanta Shakespeare’s "Rosencrantz and Guildenstern Are Dead"—putting the Tavern’s fixed space to uncommonly inventive use.
 
After several years of struggle, Onstage Atlanta’s future is looking considerably brighter. New artistic director BARBARA COLE UTERHARDT’s superlative work on "A Lesson Before Dying" and "Urinetown the Musical" bodes quite well for the city’s oldest avocational company.
 
At her home theater, Dad’s Garage artistic director KATE WARNER staged rollicking renditions of "Indulgences" and "Song of the Living Dead." At Actor’s Express, she proved equally adroit with more intimate material: "Octopus" and "The Last Five Years."
 
GARY YATES excelled with a trio of historically sweeping, racially themed dramas. Theatrical Outfit’s "Pure Confidence" and "Gee’s Bend" were especially rewarding, but even Theatre in the Square’s muddled "Blue Door" was stylishly detailed. And all three featured superb acting.