Two Thumbs Up What Spokane Lacks In Theater Critics, It Makes Up For On Stage, As Season Proves To Be Biggest In Region’S History

All of Spokane’s theater critics — all two of us — have gathered together once again to present our annual choices for the best in theater.

The 1999-2000 theater season was the biggest in Spokane’s history, at least by the standards of attendance and budget. More than 169,300 people attended the Best of Broadway series; 83,000 people saw “Phantom of the Opera” alone.

However, as you can see from the picks below, “Phantom” was not the only, or even the best, attraction.

This year, Jerry Kraft of the Inlander once again joins me in our mini-critic’s circle. We each made our picks independently of each other. This year we added an “other choices” list to each category, since so many times the choice is a virtual toss-up. The final two categories are “wild-card” categories of our own choosing.

Best Play

* “Our Town,” Spokane Civic Theatre — Thornton Wilder’s 1938 masterpiece should be required viewing for all Americans. The Civic’s production, directed by John G. Phillips, successfully captured both the joy of the show and its profound messages about life and death. Other choices: “A Touch of the Poet,” Interplayers Ensemble; “Joined at the Head,” Spokane Civic Studio Theatre; “Beauty Queen of Leenane,” Interplayers Ensemble. (Kershner)

* “Private Eyes,” Interplayers Ensemble — Playwright Steven Dietz’s remarkably inventive exploration of the nature of perception, the methods and means of storytelling, and the way in which those things create as well as describe our reality. On the surface a simple story of an affair and its consequences, this show is a reminder of how drab most conventional writing is. Other choices: “Joined at the Head,” Civic Studio; “The Old Settler,” Civic Studio. (Kraft)

Best Local Musical

* “1776,” Spokane Civic Theatre — Can a musical double as an entertaining civics lesson? Absolutely, as this remarkable production proved. Director Marilyn Langbehn put together an outstanding ensemble in a show that was fast, irreverent and ultimately full of respect for the achievements of the Founding Fathers. Other choices: “Sweeney Todd,” Spokane Opera; “Big River,” Spokane Theatrical Group; “Pajama Game,” Coeur d’Alene Summer Theatre. (Kershner)

* “Big River,” Spokane Theatrical Group — A gorgeous production with terrific talent, smart direction and choreography, and real feeling. Patrick Treadway was born to play Huck Finn, and the rest of the cast kept Twain’s classic immediate and heartfelt. The best of last summer, it held its position through this season. Other choices: “Fiddler on the Roof,” Lake City Playhouse; “Scrooge,” Spokane Children’s Theatre. (Kraft)

Best Touring Musical

* “Les Miserables” — Sorry, all of you “Phantom” fans. This show has better music, superior lyrics and deeper themes. And since this version was the best of the five “Les Miz” productions I have seen, how can I not pick it as No. 1? Other choices: “Miss Saigon” and “Showboat.” (Kershner)

* “Phantom of the Opera” — In addition to being the event of the year, it was an extraordinary blend of talent, production values and pure theatrical experience. People drove great distances to see this show and they’ll remember it a very long time. Far more genuinely satisfying than I had expected. Other choices: “Miss Saigon” and “Showboat.” (Kraft)

Best Actress, Comedy or Drama

* Ann Russell, “Master Class,” Spokane Opera — Playing Maria Callas is no easy feat. An actress must be funny, grand, tragic, passive-aggressive, and above all, she must dominate the stage at every moment. Russell accomplished this in an unforgettable performance, equal to Zoe Caldwell’s on Broadway. Russell was Maria Callas. Other choices: Mary Starkey, “Joined at the Head,” Civic Studio; Amy Perry, “Beauty Queen of Leenane,” Interplayers; Susan Mansefield, “Private Eyes,” Interplayers. (Kershner)

* Susan Mansefield, various roles, Interplayers — A very tough category, but for range, craftsmanship, reliability and pure finesse, this actress comes out on top. Whether in classical or contemporary drama or comedy, she always presents a character that is complete and interesting. Other choices: Ann Russell, Mary Starkey and Jane Fellows, various roles, Interplayers. (Kraft)

Best Actress, Musical

* Buffy Baggott, “Sweeney Todd,” Spokane Opera — Baggott is an operatic mezzo-soprano, but in this role she demonstrates world-class talent as an actress and comedienne. She’s brassy, tender, and deliciously vulgar as Mrs. Lovett, who bakes some very unusual pies. Other choices: Bobbi Kotula, “Pajama Game,” Coeur d’Alene Summer Theatre. (Kershner)

* Jean Hardie, “Nuncrackers” and “Pippin,” Spokane Civic Theatre — An absolute marvel. Whether it’s low-rent material like “Nuncrackers” or a relatively minor role as in “Pippin,” she invariably knocks down the house. As a singer, dancer and actress, she’s incredibly assured, capable of stealing the stage from anyone, and generous enough to always be part of the ensemble. Other choices: Kathie Doyle-Lipe, “Nuncrackers,” Civic, and Rebecca Priano-Hopkins, “A Funny Thing Happened on the Way to the Forum,” Lake City Playhouse. (Kraft)

Best Actor, Comedy or Drama

* Jack Bannon, “Our Town,” Spokane Civic Theatre — The Civic could not have found a better pinch-hitter (for the originally scheduled Patty Duke) as the Stage Manager. Bannon was folksy, thoughtful and commanding of the stage without being domineering. Other choices: Keith Burkland, “A Touch of the Poet,” Michael Denini, “Beauty Queen of Leenane.” (Kershner)

Michael Denini, various roles, Interplayers - His monologue in “The Beauty Queen of Leenane” was the best thing in the show and still resonates in my memory. His slowly disillusioned lover in “Bedroom Farce” was smartly crafted, sympathetic and very funny. An actor to watch. Other choices: Michael Weaver and Mike Hynes. (Kraft)

Best Actor, Musical

Bryan Jackson, “Big River,” Spokane Theatrical Group. As the runaway slave Jim, Jackson exhibited a powerful reserve of will and strength that lent immense dignity to the role. Other choices: Patrick Treadway, “Big River,” Andrew Start, “Pippin,” Terry Sticka, “1776.” (Kershner)

Andrew Start, “Pippin,” Civic - This bright young singer-danceractor focused a rather dated show with his energy and investment. In a musical, command of the stage, dynamics and conviction are critical, and he had all of those. Other choices: Patrick Treadway, “Big River,” Russ Haleen, “Fiddler on the Roof.” (Kraft)

Best Season-To-Be

Interplayers Ensemble’s upcoming season - Last year, we eagerly anticipated the high-budget glitz of “Phantom” and “Miss Saigon.” This year, I am knocked out by Interplayers’ upcoming season, which includes both the 1998 and 1999 Tony winners for Best Play (“Art” and “Sideman”), as well one of the most acclaimed plays from 1999 Pulitzer Prize winner Donald Margulies (“Collected Stories”). This is Interplayers doing what it does best: bringing us the best writing in the theater world today. (Kershner)

Best Ensemble

“The Cripple of Inishmaan,” Civic Studio - Everyone on this stage was a convincing member of a community, and they made this flawed tale of a little Irish town into a touching and memorable production. No one stood out, and everyone was just right. That’s ensemble. (Kraft)