Opinion: Gary Smith’s best theatre of 2024 (Hamilton Spectator)

A scene from “Beautiful Scars.” Gary Smith calls it “a knockout in a visual kaleidoscope of a production.”Dahlia Katz

Here’s to a better 2025 and a major return to prosperity in the theatre world.

By Gary Smith | Special to the Hamilton Spectator

Tuesday, December 24th, 2024

Theatre has survived another year, and audiences are returning to performances in greater numbers. But there are still too many empty seats to celebrate a return to pre-pandemic levels.

Only the most popular shows sell out these days and the uncertainty of sales is frightening to even the most celebrated companies.

Here’s to a better 2025 and a major return to prosperity in the theatre world. And here’s to seeing you in a theatre soon.

In no particular order, here are the 13 best shows I saw this past year.

“Ragtime” at Encores City Center New York. This rangy, sprawling musical with its passionate score and stunning cast was a magnificent reminder of how powerful great theatre can be. Hamilton-born star Caissie Levy played Mother and she stopped the show cold for six minutes while the audience stomped, cheered and screamed the place down. Her version of “Never Go Back to Before” was riveting.

“Salesman in China” at the Stratford Festival. This was the most compelling theatre experience of the Stratford season, recalling the great playwright Arthur Miller’s experience directing his heartbreaking play “Death of a Salesman” in Beijing with an all-Chinese cast. At Stratford, Tom McCamus, Ying Ruocheng, Sarah Orenstein and George Chiang gave stirring performances that buried themselves deep into the imagination. An illuminating experience.

“Maggie” at Goodspeed Opera House in Goodspeed, Conn. This musical, originally produced at Hamilton’s Theatre Aquarius, was even better in its American iteration with the astounding Christine Dwyer in its titular role. Everything about Mary Francis Moore’s elegant direction was braver and richer in Connecticut.

“Something Rotten!” at Stratford Festival Theatre. Yes, this is only a so-so musical with a lot of silly business and not so memorable songs, but director Donna Feore made up for that with smart staging and stunning choreography. She is a wizard at making the ordinary spectacular. Long may she set folks dancing at Stratford.

“The Master Plan” at Theatre Aquarius Hamilton. No, not everyone liked this powerhouse play by Michael Healey, but it was sensational theatre, acted by a crack cast and directed by the gifted Chris Abraham. The energy, pace and star power of its cast, led by Mike Shara, Philippa Domville and Ben Carlson, was superb. The show deserved sold-out houses in Hamilton — sadly, it didn’t get them. Great theatre is hard to come by and this was great theatre.

“Next to Normal” at Wyndham’s Theatre London, England. Hamilton’s Caissie Levy was again burning a patch off the stage in a power-packed performance as a woman haunted by the death of her son. This was Levy’s second time in this role and she led an amazing cast. She was nominated for an Olivier Award as Best Actress. She didn’t win. Doesn’t matter. She was terrific.

“Mary’s Wedding” at Lighthouse Festival Theatre Port Dover. Forget the perch at the restaurant, this was the reason to go to Dover this summer. A first-class production of Stephen Massicotte’s Canadian play was directed beautifully by Derek Ritschel. Every shade and nuance was carefully etched into exquisite performances by Daniel Reale and Evelyn Wiebe.

“Water for Elephants” at New York ‘s Imperial Theatre. Burlington-born choreographer Jesse Robb was nominated for a Tony for his work on this stunning show and Paul Alexander Nolan, who has starred at Theatre Aquarius, was superb in it. This show has everything: fine music, a great story about finding yourself and dance to die for. It’s closed now after a good run. Maybe it will come to Toronto. We can always hope.

“Beautiful Scars” at Theatre Aquarius Hamilton. This rangy musical about the epiphany that gave Hamilton musician and writer Tom Wilson a whole new world was written alongside Shaun Smyth, with larger than life music by Wilson. It was a knockout in a visual kaleidoscope of a production smartly directed by Mary Francis Moore.

“The Hills of California” at the Broadhurst Theatre, New York. It’s too late to catch this one in its outstanding U.S. premiere, but someone will do it in Toronto, or maybe even Hamilton. Jez Butterworth’s script about a dysfunctional family is excoriating and Sam Mendes directed a brilliant cast that shone through the play’s hills and valleys of hope and despair. A real stunner.

“Come From Away” at the Royal Alexandra Theatre in Toronto. OK, it’s been around the block and just won’t go away — and that’s because it’s good. Back in Toronto, the show is still telling a heartwarming story about pluck and courage and Canadian good manners. And Hamilton’s Kristen Peace is still in it and terrific as usual.

“The Marilyn Conspiracy” at Park Theatre in London, England. This play about what might have happened to Marilyn Monroe is a real shocker, with some heavyweight accusations about some very famous people. Performed at a small theatre in London, it was riveting theatre with Genevieve Gaunt as a clone of Monroe. The Kennedys would certainly never endorse this stunning conclusion to the mystery of Marilyn’s death. Maybe someone will do the play here. It will certainly shock you silly.

“A Christmas Story The Musical.” Hamilton’s Theatre Aquarius offered a terrific production of what is really just a so-so musical to bring family entertainment back to their stage. Performers Jamie McRoberts, Adam Brazier, Finn Kirk and Addison Wagman made it work, along with some smart direction by Mary Francis Moore.

And that’s it. The best of 2024. Have a very happy 2025 and support theatres everywhere. They need us more than ever.

_{Opinion articles are based on the author’s interpretations and judgments of facts, data and events. More details}

Gary Smith has written about theatre and dance for The Hamilton Spectator, as well as a variety of international publications, for more than 40 years.