As in all critical choices, this is a very subjective list. The productions are in alphabetical order because there is not a first among equals.
As in the past, there are also a few honourable mentions, and as always, there must be one poor show that is the bottom feeder of the gene pool.
The Top Ten
A Case for the Existence of God, written by Samuel D. Hunter, directed by Ted Dykstra (Coal Mine Theatre)
This utterly moving play chronicles the unlikely platonic friendship between two men, a working-class dude (Noah Reid) and a college-educated insurance broker (Mazin Elsadig), united by the love of their young daughters and the individual turmoil and traumas that they share. An unforgettable ending.
De Profundis: Oscar Wilde in Jail, adapted and directed by Gregory Prest, lyrics by Sarah Wilson, music by Mike Ross (Soulpepper)
A collision of odd bedfellow theatrical elements, plus the exquisite acting/singing talents of Damien Atkins, came together to create a show that was both poignant and exhilarating at the same time. This production was a triumph of musical and theatrical experimentation and innovation.
Dana H, written by Lucas Hnath, directed by Les Waters (Crow’s Theatre, Goodman Theatre, Centre Theatre Group & Vineyard Theatre)
This remarkable play details Hnath’s chaplain mother’s harrowing captivity by a psychopathic ex-convict, Aryan Brother, and former patient. American actress Jordan Baker lip-synced to Dana H’s actual voice based on interviews fashioned into a play by her son. Verbatim theatre was taken to a whole new level.
La Bête, written by David Hirson, directed by Dylan Trowbridge (Talk Is Free Theatre)
This Barrie-based TIFT production brought to Toronto a brilliant original faux-Molière script in rhyming couplets, a dazzling performance by Mike Nadajewski, who led a very strong cast, deliciously rambunctious physicality, and laughs galore – all underpinned by a serious argument about the nature of art.
Life of Pi, based on the novel by Yann Martel, adapted by Lolita Chakrabarti, directed by Max Webster (David Mirvish & Simon Friend)
A breath-takingly imaginative adaptation of Martel’s celebrated novel, propelled by magnificent puppets, gorgeous video projections, a stirring cinematic score, uber-clever sets, costumes and lighting, not to mention an impressive British acting company. Who would have thought it possible to stage this novel?
Playing Shylock, written by Mark Leiren-Young, directed by Martin Kinch (Canadian Stage in association with Starvox Entertainment)
After an absence of many years, distinguished film and television actor/director/writer Saul Rubinek made a triumphant return to the Toronto stage, at age 76, performing a witty script that was part autobiography, and part mediation on cancel culture, antisemitism, identity and the ethos of art.
Roberto Zucco, written by Bernard-Marie Koltès, translated by Martin Crimp, directed by ted witzel (Buddies in Bad Times Theatre)
French playwright Koltès, who died of AIDS at 41, was considered the new Genet or Beckett, and a master of pessimistic absurdism. This play, which was given an impressive production by Buddies, is Koltès very idiomatic and fascinating take on real-life psychopathic Italian serial killer, Roberto Succo.
Rosmersholm, written by Henrik Ibsen, adapted by Duncan Macmillan, directed by Chris Abraham (Crow’s Theatre)
Ibsen’s 1886 masterpiece about progressive thought versus tradition, and the blighted power of women, could never be more relevant, and this splendid production with its impressive acting company, held us in its thrall as the characters agonized over both their personal demons and societal traumas.
The Caged Bird Sings, written by Rouvan Silogix, Rafeh Mahmud and Ahad Lakhani, directed by Rafeh Mahmud (Modern Times Stage Company & The Aga Khan Museum (in association with Theatre Artaud)
This daring production, a radical take on Rumi, the revered 13th century Persian Sufi mystic and poet, and his magnum opus, The Masnavi, used very contemporary dialogue, acted out by three very earthy characters, as a metaphor about freeing the physical body to pursue a spiritual journey.
Two Plays written and directed by George Walker: Girls Unwanted (The King Black Box) and Fierce (Moss Theatre Collective)
These two independent productions took place in different parts of the city, but both were vintage Walker in terms of brilliantly creating memorable characters through outstanding acting. The first concerned three troubled girls in a halfway house, while the latter featured a recovering drug addict and her psychiatrist. Needless to say, both were harrowing.
Honourable Mentions
Big Stuff, written and performed by Matt Baram and Naomi Snieckus, co-created and directed by Kat Sandler (Crow’s Theatre)
This comic married couple crafted a play that was funny and poignant by turns about what happens after the loss of a loved one.
Dear Robert, written by Jim Garrard, directed by Aviva Armour-Ostroff, and, Special Delivery, performed by JD “Jack” Nicholsen and Laska Sawade (VideoCabaret Double Bill)
A charming play about a young woman (Rebecca Gibian) who writes some startling letters, was followed by a clever musical act of songs about letters.
Goblin: Macbeth, devised by Rebecca Northan and Bruce Horak, music by Ellis Lalonde (Tarragon Theatre & A Spontaneous Theatre Creation)
An outrageous romp as Goblins put on a production of Macbeth, making for a hilarious immersive experience for the audience.
Phantasmagoria 3D, performed and created by Kira Hall, Michelle Urbana and Eric Woolfe, written by Eric Woolfe, 3D created by Micha Dahan and Coal Mine Theatre (Eldritch Theatre)
Eldritch Theatre specializes in horror with a sly and ironic touch, and Woolfe’s bizarre story was made even more bizarrely comic by the primitive 3D.
The Inheritance, Parts 1 and 2, written by Matthew Lopez, directed by Brendan Healy (Canadian Stage)
A complex epic play that examines the post AIDS generation of gay men inspired by E.M. Forster’s 1910 classic novel Howard’s End.
And special mention:
Come From Away, book, music and lyrics by Irene Sankoff and David Hein, musical staging by Kelly Devine, directed by Christopher Ashley (David and Hannah Mirvish & The National Arts Centre)
This beloved Canadian musical detailing Gander’s kindness to the plane passengers trapped there by 9/11 continues to be an enchanting journey of laughter and tears.
R.I.P. and Best Forgotten
Timon of Athens, written by William Shakespeare, directed by Max Ackerman (William Shakespeare & Friends Collective with support of Dandelion Theatre)
I don’t like discouraging ambitious young companies, but when the person who is the dialogue coach is incomprehensible in Shakespearean speech, ‘nuff said. The dialogue was mush, and while veteran actor Brian Smegal as Timon had a good sense of character, he kept calling for “Line”. A sad and sorry evening.
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