The chronicles of theater are not measured in calendar years, but in seasons. Traditionally, “the season” begins in September and ends in May. Summer, in the days before air-conditioning, was the “off-season”—a time for summer stock and outdoor festivals. In Buffalo, we continue to operate according to this schedule, with Curtain Up! in September, the Artie Awards in early June, and summer reserved for Shakespeare in Delaware Park.

The Seafarer

Therefore, as 2008 comes to an end, Buffalo’s theater season is far from over. It’s just hitting its stride. We do take a little break for the holidays. But overall, now is a time to take stock of how we’re doing—so far.

Midway through the 2008-2009 season, this appears to be one of the most artistically thrilling years in many. After the sad departure of Studio Arena from the scene (temporarily, we hope), other theaters cranked into high gear with a diverse, challenging, and exciting array of offerings. Best of all, the quality has been very good indeed.

First out of the box was the Jewish Repertory Theatre of Western New York’s fine production of William Gibson’s one-woman play, Golda’s Balcony, which featured a memorable performance by Christina Rausa as Golda Meir. Almost simultaneously, Josephine Hogan was taking on a one-woman project in two one-act plays from Alan Bennett’s Talking Heads series, over at the Irish Classical Theatre—“Miss Fozzard Finds her Feet,” and “Nights in the Gardens of Spain.” This, too, was excellent.

Shea’s hosted the Broadway blockbuster, Wicked, for three impressive weeks in June and July. And Shakespeare in Delaware Park attracted large crowds with Merry Wives of Windsor and King Lear—their astounding efforts, since 1976, to entertain Buffalonians with free Shakespeare, were rewarded by County Executive Chris Collins with a recommended 53 percent cut in county funding. (The man’s much publicized head for business, does not, apparently, extend to show business.)

The Infringement Festival returned with slightly less theatrical vigor than the previous year. It is still an exciting event, but the “y’all come” philosophy may turn everyone’s festival into nobody’s festival, at least in terms of scripted live theater.

On other stages, Victoria Perez impressed with her turn in Nilaja Sun’s No Child, about an arts educator in a tough urban school, presented by Theatre Plus at the Main Street Cabaret.

Loraine O’Donnell winningly channeled Dusty Springfield in the kooky but appealing Dusty Springfield…With You, devised, written and directed by Richard Lambert, also starring Eric Rawski at the New Phoenix Theatre on the Park. The space also proved a winner for The Seafarer, an irresistible Christmas yarn by Conor McPherson, with Steve Copps, Christian Brandjes, Richard Lambert, Tom Makar, and Dan Walker.

The Kavinoky started strong with a compelling production of Theresa Rebeck’s delightfully nasty family drama, Mauritius, directed by Anne Gayley, starring Eileen Dugan and Kate LoConti as estranged sisters battling over a valuable stamp collection.

Doubt

Dan Shanahan again wowed audiences with another original avant garde work, AREA, presented by his Torn Space company at the Adam Mickiewicz Dramatic Circle.

MusicalFare scored a winner with Jamestown Gals: The Music of Lucille Ball & Peggy Lee, an oddly conceived but marvelously performed musical revue, conceived and directed by Michael Walline, with an impeccable cast: Arin Lee Dandes, John Fredo, Terrie George, Kelly Jakiel, Marc Sacco, and Kathy Weese.

Buffalo United Artists began their season by scoring a hit with their tight and intriguing production of John Patrick Shanley’s Doubt, directed by Javier Bustillos. Lisa Ludwig and Louis Colaiacovo were impressive as Sister Aloysius and Father Flynn, combatants in a war of truth, innuendo, and belief.

Ujima Company celebrated their 30th anniversary with the return of their ever popular rendering of Oscar Brown, Jr.’s In De Beginnin’ directed by Lorna C. Hill with the incomparable Beverly Dove as de Lawd, and Philip Knoerzer as the Debil.

Road Less Traveled presented one-act plays by August Strindberg, Emanuel Fried, and Jon Elston, directed by Scott Behrend. Titled Triangles, it was an exciting evening of excellent theater starring Lisa Vitrano, Kristen Tripp-Kelley, Todd Benzin, Kelly Meg-Brennan, and Bonnie Jean Taylor. Each was in top form.

Suzanne C. Dickie’s Tromping on Sacred Ground proved to be an intriguing play about the evolution debate, directed by Thomas Dooney, with Kelly Beuth, Casey Denton, Christopher Parada, and Dennis Keefe.

Despite imperfections, the Paul Robeson Theatre’s production of Simply Simone—the Music of Nina Simone, was tremendously enjoyable, under the direction of Mary Craig with an especially strong performance by Joyce Carolyn.

Subversive Theatre Collective produced a very successful production of the Manny Fried classic, Drop Hammer, at the Manny Fried Playhouse, directed by Kurt Schneiderman.

The Jewish Repertory Theatre production of Clifford Odets’ Awake and Sing! was a stunner, directed by Greg Natale, with Saul Elkin, Ellen Horst, David Butler, Patrick Cameron, Susan Drozd, Don Gervasi, Peter Jaskowiak, Lawrence Rowswell, and Tom Zindle.

The holidays brought some delightful surprises, including the by American Repertory Theater of WNY production of the George S. Kaufman and Moss Hart comedy, The Man Who Came to Dinner and an equally charming production of It’s a Wonderful Life: A Live Radio Play at the Kavinoky.

Such an abundance of great theater bodes well for continued excellence in 2009.