THE YEAR IN THEATER: Highlights from 2013, on and off the boards
YEAR IN THEATER Before the holiday season crushes us in its tinsel-glinted maw and poops us out into 2014, it's time to cast a backward glance and ponder 2013's best moments in theater and performance.
Most satisfyingly enigmatic flights Getting lost can be a good thing. It can concentrate the attention, heighten the senses, activate the imagination, leave room for reflection — and leave something to talk about afterward. This is as true for a visit to the theater as it is for a walk around town.
The great director Robert Wilson put it like this when, speaking in 2012 in Berkeley during the revival of Einstein on the Beach, he noted the difference between his brand of theater and the average: "It's something that you can freely associate with. [In the usual theater piece] you're constantly told what to think or how to respond. If you go to the theater tonight, if you go to Broadway, every 20 seconds, 10 seconds, no more than 30, you have to react. It's always, 'Do you understand? Do you get it? Do you understand? Do you get it? Do you understand? Do you get it? Do you understand? Do you get it? Do you understand? Do you get it?' And after a while you don't understand anything. So in this work it's ok to get lost."
Without detracting from the power that can attend even the most didactic of narratives, let's hear it for the productions this year that did not shy away from abstraction and mystery, as in Shotgun Players' staging of Linda McLean's strangers, babies or (more radically, if in workshop form) Affinity Project's Nocturne (the best part in foolsFURY's inaugural Factory Parts, a works-in-progress festival). (Robert Avila)
Best Habitués of the Home Theater Circuit We're big fans of the Home Theater Festival and the back-to-the-basics performance model it so ably demonstrates. But where the festival ends, at the threshold of one's own doorstep, the notion that there could be a whole DIY living room tour circuit is gaining ground. Two recent exemplars of this lo-key, high-mileage approach are Sebastopol's the Independent Eye, which just returned home from a month-long, cross-country sojourn during which it performed 17 shows — nine in living rooms — and San Francisco's Right Brain Performancelab expanded its private-home Due West salon into a roving three-weekend run of its 10-year anniversary performance, What Stays?, from Half Moon Bay to Oakland. (Nicole Gluckstern)
Most "Twisted" take on the big screen Dogugaeshi at Zellerbach Playhouse. Combining his own brand of invention and humor with the titular ancient Japanese form — in which moving sets of painted screens coaxed the eye through a seemingly infinite recession of figurative and abstract environments — master puppeteer Basil Twist and his deft collaborators created an opulent, entrancing, even mystical journey that ranks as one of the purest theatrical experiences all year. (Avila)
Most Pervasive Unofficial Theme for 2013: "Losing my Religion" While our headlines were more concerned with political détente and economic implosion, our stages were full of struggles of a more personal nature: that of religious belief (or lack thereof). With works like Tanya Shaffer's Siddhartha-inspired musical The Fourth Messenger; Mugwumpin's mesmerizing fall from prophetic grace, The Great Big Also; the epistemological ponderings of a dead felid in SF Playhouse's Bengal Tiger at the Bagdhad Zoo; and the wounded evangelicalism simmering in Aurora Theatre's A Bright New Boise, both actors and audiences were forced to confront questions of faith in ways that pointed to unresolved unease on both sides of the pulpit. (Gluckstern)
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