Like love, a perfect play will sneak up on you when you least expect it and rock your world.  It may be occasioned by the time you are in your life, the voice of a new writer, the performance of a great actor.   It may be an ensemble effect - everyone coming together at the same time - or an individual effort - after 50 or 100 performances the actor will finally break through to the essence of the character and present it successfully to an audience.  Perhaps the director has a singular vision of the play and how to evoke all of the talent at hand while hiding any of the defects in a performance. Whatever it is, and whatever it takes, you will feel that you have witnessed and been part of history, if only for a fleeting period of time, because you have.  And you will give thanks for the experience and pray that, if you're lucky, it will come again.  Here's hoping that it does!  For me my list looks like this (some of the early programs are lost):

The Basic Training of Pavlo Hummel by David Rabe, Director Unknown  - New Locust  Theater, Philadelphia, 1971 or 1972,  Joseph Papp touring production. I had been in the military, but nothing, and I do mean nothing, prepared me for the raw experience of this play.  Perhaps this is the only voice in which to portray the horror and degradation of war.  The first in his Vietnam trilogy, Mr. Rabe had a lot more to say about the war, but he was out-of-the gate, ahead-of-the-field with this shocking piece of theater. I was taken by chance by friends who had an extra ticket.  The stars were aligned for me that night!

The Crucible by Arthur Miller, Director unknown - La Salle College, Philadelphia, 1974.  The play operates on multiple levels and will always be timely as long as theater exists as an art form.  The actors, however, were my classmates: how did they transform themselves from the mild-mannered students during the day into possessed and heroic characters at night?  Where did these performances come from?  I didn't know for sure then, and I don't know now.  It was magic.

Travesties by Tom Stoppard, Director unknown - Walnut Street Theater, Philadelphia, 1977-79.  I was coming down with the flu when I witnessed the first disjointed moment of this cubist play, and it seemed like I was transported into another world where speech and action had alternative meanings and new forms.  This was my first experience with Mr. Stoppard's work which would turn into a life-long appreciation. Surreal, madcap, irreverent, almost mystically linguistic - was it me or the play?  Don't know or care - it's made me a Stoppardian.

The Visit - Arena Stage, Directed by Doug Wager, 1992.  It was about 95 degrees outside, but inside the theater a dark, cold world was unfolding.  If I recall correctly, each character that compromised his or her integrity wore yellow and I remember feeling the shock of seeing the stage slowly transformed into that color.  Bobby, played by Richard Bauer, was mic'd at the throat and it produced an eerie effect when he spoke. Franchelle Stewart Dorn was riveting as Claire.  Corruption of a society was never so well or chillingly demonstrated.  My internet search indicates that the performance is preserved on VHS at George Mason University Library and I put a viewing on my TTD for this summer.

Moon for the Misbegotten by Eugene O'Neill - Center Stage, Directed by Lisa Peterson, 1993.  Before she was an Heiress, there was no Doubt that Cherry Jones was something special as she transformed the earthy Josie into a unique character, all her own.  Pulled along by that great performance, and directorial vision, all the actors rose to create an outstanding evening of theater and showcased the emergence of a great new talent.

Medea by Euripides - Wyndham's Theater, London, Directed by Jonathan Kent, with Diana Rigg, 1993.  A dramaturge's and director's worst nightmare - a monster of a lead character and a plot that's known before the first line is uttered, yet they solved it as they have since the time of the Greeks.  Ms. Rigg revealed the psychological complexity and motivation of the character, humanized her, and we understand Medea if not her actions.  The director built the performance slowly to the final horrific moment, and then delivered it with a sledgehammer.    Ms. Rigg joined legendaries Judith Anderson and Zoe Caldwell as the winner of a Tony Award for her performance in the same role, but we got to see her before she crossed the pond.

Twelfth Night by William Shakespeare - Stratford, Ontario, Directed by Richard Monette, with Lucy Peacock as Viola, Stephen Ouimette as Sir Andrew Augecheek, Brian Bedford as Feste, David William (Stratford's former Artistic Director!) as Malvolio, 1994. I have seen the play a few times before - once with Lynn Redgrave as Viola - and a few times since, but never anything like this.  Late in the run all of the pieces fell together in this repertory production.  We left the theater with one thought, one word on our minds: Wow!  Casting, directing, acting, design, and costumes all clicked.  It was heavenly.

The Pitchfork Disney - by Philip Ridley, Wooly Mammoth Theater, Directed by Rob Bundy, 1995, with Wallace Acton and Mary Teresa Fortuna.  Whatever dimension or universe these characters and story slithered out of, I've never seen the likes before or after this completely riveting show.  Mr. Acton demonstrated all of his considerable talents with stage sis twin Ms. Fortuna in this folie a deux wrapped in a nightmare.  This play seems due for a revival in an era of graphic novels and manga, with a readymade audience in the wings.  While I wait, maybe I'll send for a DVD of Mr. Ridley's The Krays to get me in the right mood. Chocolate anyone?

Sunday in the Park with George with Music & Lyrics by Stephen Sondheim, Book by James Lapine - Signature Theater-Arena Stage Co-Production, Directed by Eric Schaefer with Musical Director Jon Kalbfleisch, 1997.  The artistic process and complexity of character had never been as well or as entertainingly realized for me in a musical. Hard to believe, but I had never seen a Sondheim work before this. I was fortunate to watch the rehearsals and show put together and saw the equivalent of a dozen performances.   When the lights came down on the final one, I felt an inexpressible sense of loss.  I still get goose bumps when I hear the music.  There would be other shows and many other Sondheim plays, but as they say, nothing like the first time.  The show, cast, and creative team are locked into my memory forever.

Mourning Becomes Electra - Shakespeare Theater Company, Directed by Michael Kahn and Ethan McSweeny, with Franchelle Stewart Dorn, Kelly McGillis, Robert Sella, Ted van Greithuysen, 1997.  Unbelievable direction and design powered unforgettable performances: overwhelming and otherworldly, this mammoth script was excised to the bone with care and precision to get it to about 3 ½ hours of spellbinding theater.  Once in a Lifetime.

Metamorphosis by Franz Kafka - Washington Shakespeare Theater, Adapted by Stephen Berkoff , Directed by Jose Carasquillo with Delia Taylor, Rena Cherry Brown, Tim Marrone, 1998.  An expressionistic take with strobe lights opened up Kafka's story in strange and exciting ways. As I recall, the robotic movements, accentuated by the strobes, brought out the mechanized and routinized features of a world which Kafka never wanted to have depicted literally.  It was a casting stroke of genius to play Ms. Taylor as Gregor and Ms. Brown as the Mother, eliciting unusual sympathies from the viewer.  We count ourselves as among the fortunate few to see it.

The Beauty Queen of Leenane by Martin McDonagh - Walter Kerr Theater, New York, Directed by Garry Hynes, with Anna Manahan, Marie Mullen, Tom Murphy, Brían O'Byrne, 1998.  My first encounter with the dark and comic world of Mr. McDonagh's imagination, I've since seen every play and movie he's made, many multiple times.  He has strange access into that shadow world lurking in all of us, where payback (most excellent!) lies.  A bounty of Tony Awards was heaped on this production, but alas not for the play, which was edged out by the safer but also excellent Art. 

Chicago - Shubert Theater, New York, Directed by Walter Bobbie, Music & Lyrics by John Kander & Fred Ebb, Book by Fred Ebb & Bob Fosse, with Bebe Neuwirth as Velma and Karen Ziemba as Roxy, 1998.  These two talented ladies totally, and I do mean totally, blew us away in this production.  The singing, dancing, and acting were perfection from beginning to end.  We saw it in the second year of its run, and if the stars, or any of the other actors or musicians were tired of their performances, it did not show (James Naughton had moved on).  Choreography, staging, and execution were breathtaking.  We left the show almost in shock at what we had just witnessed.  If we could only put that experience in a bottle!   

Hughie by Eugene O'Neill - Goodman Theater, Chicago, Directed by Robert Falls, with Brian Dennehy, 2004.  A privileged look through the fourth wall, Mr. Dennehy was mesmerizing as he transformed himself into the down, but not out, occupant of this seedy hotel.  Mr. Dennehy, who has had a long and mutually beneficial collaboration with Mr. Falls, owns the part of Erie Smith which he has performed a number of times over the years.   We were thrilled to meet the good-natured Mr. Dennehy - though a star, really a regular guy - after the show to speak with and have him sign our programs.  If he passes your way in this or any show, don't miss him.  He puts 100 percent of himself into a performance. 

You may wonder why five years has gone by since my last qualifying show.  Well, my other performing arts passion had taken hold ... Baseball!  With two teams now in the area, I've had a lot on my plate for three-fourths of the year - baseball like theater is a long season.  But that's a blog for another time.  And things have changed, so like you I'm out there still looking and hoping I'll be updating my list shortly. 

Let me know of your life-changing shows at John@Dramaurge.com.            test