Atlanta director Kenny Leon won a Tony Award for his second Broadway staging of “A Raisin in the Sun.” Georgia Shakespeare called it quits — after a remarkable, 29-year run — citing irreconcilable financial obligations. The Alliance Theatre received a $11.5 million gift from the Robert W. Woodruff Foundation, money that will be used to transform its 46-year-old mainstage into a more intimate, user-friendly environment. Dad’s Garage — the scrappy Inman Park comedy troupe that was displaced by a new development in 2013 — announced plans to buy and renovate a church in the Old Fourth Ward.
This is how 2014 shaped up to be the year of the haves and the have nots in Atlanta theater. But what of the work that emerged between the curtains of Atlanta theaters large and small? Let us pause now to remember the best shows of the year. But first a note: This chronological list is compiled only from shows I reviewed and is a reflection of my personal taste. For the record, AJC reviewer Bert Osborne gave high marks to Georgia Ensemble Theatre’s “The Elephant Man,” Alliance Theatre’s “Native Guard,” True Colors’ “Race” and Theatrical Outfit’s “My Children! My Africa!”
"The Geller Girls." Set against the backdrop of the 1895 Cotton States Exposition at Piedmont Park, Atlanta playwright Janece Shaffer's play was a poignant, pitch-perfect romantic comedy, steeped in history. Directed by Susan V. Booth at the Alliance Theatre.
"Maurice Hines is Tappin' Through Life." One of the last of the great vaudevillians, Hines sang, danced and told stories about Judy Garland, Frank Sinatra, Tallulah Bankhead and his more famous brother, Gregory. Shot through with spunk and tenderness, Hines' Alliance Theatre revue was a master class in the art of survival.
"Evita." Andrew Lloyd Webber's tale of Argentina's Eva Peron was steamy, stylish and seductively sung. As Che, actor Josh Young proved he has one of the finest voices in the business. Presented by Broadway in Atlanta at the Fox Theatre.
"End of the Rainbow." Playwright Peter Quilter's account of Judy Garland's last gasp may be imperfect. But in director Freddie Ashley's Actor's Express production, Natasha Drena radiated the blazing incandescence of Garland at her most dangerous — and delicious.
"Oklahoma!" Serenbe Playhouse has made its name by presenting visually imaginative site-specific work. But when Curly (Edward McCreary) made his entrance on a horse, just as the sun set over the rolling meadows of the southside community of Serenbe, real magic happened: This was Rodgers and Hammerstein for the ages.
"Detroit." Playwright Lisa D'Amour's scathingly funny investigation of social status and moral responsibility was lurid, intense and irresistible. Pretty remarkable that Horizon Theatre director Lisa Adler and her company found order in the chaos of this party gone out of bounds.
"Driving Miss Daisy." The all-star ensemble of Jill Jane Clements, Rob Cleveland and Jared Simon proved, once again, why Alfred Uhry's classic is the best play ever written about our town. Directed by Justin Anderson at Aurora Theatre.
"How I Learned What I Learned." It can't be easy stepping into the shoes of the towering August Wilson. But that didn't stop Eugene Lee. Directed by Todd Kreidler at True Colors Theatre, this magnificent actor captured the complex inner life of the world-class poet and playwright.
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