The Top 10 Lists from our four principal reviewers in 2024 serve as a reminder of how people from a similar demographic can perceive the same show so differently (although many of our picks overlap). As one of our reviewers stated, “There was some excellent theater in 2024, but there was also some DREADFUL theater, too.” Below are the lists of the best of Boston theater in the opinion of Mike Hoban, Michele Markarian, Shelley Sackett, and Linda Chin. Please bear in mind that none of us was able to see all the shows in 2024, and our lists are limited to what we did see. Please feel free to give us your opinions of our opinions in the comments section.

(Click on the production title if you’d like to read the review)

Mike Hoban, Editor

It was not an especially good year for Boston theater in 2024, particularly for devotees of well-written, high-quality dramas. While many of the mid-size and larger theaters offerings took on challenging topics or featured underrepresented constituencies, the writing and artistry of these productions rarely matched the playwrights’ ambitions. Thankfully, small theaters (Apollinaire, Boston Playwrights, Candle House Collective,  Harbor Stage) stepped up and filled the void with original and creative works. Looking to the future, it’s encouraging that nearly all of the plays on my list were written in the last decade.

Musicals fared much better, at least from an entertainment perspective, with a combination of classics and some newer pieces – some of which made the lists and others that did not but deserve kudos for abandoning convention. I missed a lot of well-received shows this year, so this is not a comprehensive list. As usual, the list is divided into plays and musicals – Five-ish each.

Plays

King Hedley II–  Actors Shakespeare Project continued August Wilson’s 10-play Century Cycle with this Pulitzer Prize-nominated work, and it was easily the most powerful drama of 2024. Summer Williams’ flawless direction and outstanding performances by a terrific cast landed this play in the top spot for this reviewer. ASP returns the series to Hibernian Hall in January with one of Wilson’s most celebrated titles: The Piano Lesson.

Touching the Void–Apollinaire Theatre Company’s production was simply mind-blowing. Scenic and sound designer Joseph Lark-Riley created two separate and distinct worlds within the limited Chelsea Theatre Works space – the side of a mountain in the Peruvian Andes and a tavern where the story of the near-death experience of two mountain climbers is told. Danielle Fauteux Jacques and her first-rate cast scaled dizzying heights with this production.

Liv at Sea– The Harbor Stage Companyventured up from the Outer Cape for a five-night run at the BCA to present this creative and moving work that skillfully explores whether it’s better to stay safe in a dead-end relationship or to take chances. Written and directed by Robert Kropf, with a cast that thoroughly owned and understood the material, this play is proof positive that great plays don’t always require grand themes. One hopes that this play receives an extended run – somewhere.

John Proctor Is the Villain–The Huntington’s production of Kimberly Belflower’s post-#MeToo re-interpretation of Arthur Miller’s The Crucible byfive teenage girls was thought-provoking, touching – and very funny, with solid performances by a terrific ensemble.

Dial M For Murder– The Greater Boston Stage Company’s fresh take on the murder mystery popularized by the Hitchcock film was brilliantly executed by a top-notch cast and expertly directed by Weylin Symmes – a shoutout also to Katy Monthei, whose elegant set was nothing short of stunning.

Musicals

An American in Paris–  Reagle Music Theatre’s revival of this Gershwin-scored musical was truly a work of art. Director Rachel Bertone and her young cast, led by Samantha Barnes and Jack Mullen, delivered an exquisitely staged and imaginative take on this updated version of the 1951 MGM screen classic.

Next to Normal– Central Square Theater & Front Porch Arts Collective’s production of “Next to Normal” illuminated the hidden depths of a seemingly perfect suburban life. The performances were astonishing across the board and lifted this musical to new heights.

Crazy for You–Ogunquit Playhouse does the classics better than anybody, and this production was no exception. Yes, the plotline is dopey, but the music, dance numbers, and comedy were out-of-this-world, and the “I Got Rhythm” number at the close of Act I was one for the ages.

The Drowsy Chaperone– The Lyric Stage brought back this silly but entertaining classic, and director and choreographer Larry Sousa, armed with a great cast, made this production sing. Watching Joy Clark’s star rise as a musical theater performer has also been a joy. But the most surprising element of the show was Boston theater stalwart Maureen Keiller’s version of the alcoholic anthem “As We Stumble Along.” We knew she could act, but why are we just finding out about her incredible singing talent?

Driving in Circles–Okay, it’s not technically a musical, but Jay Eddy’s powerful (but surprisingly funny) and touching work about sexual abuse at Boston Playwright’s Theatre was as original a theater experience as anything I’ve seen in years. Part monologue, part performance art, part standup comedy, Driving was powered by an astonishingly cool “folktronica” score that likely rivals any album you’ll hear from the current crop of indie artists – truly a unique theatrical experience.

Tough omission: ‘Diary of a Tap Dancer’ at the A.R.T.; The Dybbuk (my hearing kept me from fully appreciating, but performances were insanely good).

Michele Markarian, Co-Editor

This reviewer was happy to note that 2024 seemed to be more about entertainment and less about the didacticism of the past few years.  Boston was blessed with some truly extraordinary pieces and performances.  Here are my top picks in the order in which I saw them: 

Moby Dick (Arts Emerson).  While this novel was a source of frustration and hatred in high school, “Moby Dick” and its various stagings have ignited my interest, with Plexus Polaire’s production at the top of the list. Deeply disturbing, hauntingly beautiful and tremendously affective, “Moby Dick” created emotional depth with puppets and lighting, and of course, its human cast. 

Annie (Boch Center Wang Theater Boston).  I have resisted this show for years because the thought of listening to cheerful songs sung by children playing orphans sounded just awful. This charming, toe-tapping production changed all that. The cast was stellar, particularly Rainer Trevino, whose acting and singing chops brought a realistic Annie to life.

John Proctor is the Villain (Huntington Theater).  A smart, refreshing feminist take on an old classic, “The Crucible,” with wonderful performances and a surprise twist.  I called/texted a lot of English major friends after witnessing this powerful piece, urging them to see it.

The Minutes (Umbrella Stage Company).  The detail that went into making this production work, from director Scott Edmiston’s excellent cast to Janie E. Howland’s realistic set, absorbed this reviewer into the action immediately. One felt like one was witnessing a small town meeting until its climactic explosion.

Lennox Mutual (Candle House Collective). A creative and surprising theatrical experience, one where you get to be a player (don’t worry – you’re also the audience. As is the other performer if you think about it). Candle House Collective’s pieces take place over your cell phone, in the privacy of your own, wherever, and the result can be funny and frustrating but always entertaining and unique. 

The Drowsy Chaperone (Lyric Stage).  Sheer perfection, from the set to the singing to the costumes.  Director Larry Sousa struck just the right light, humorous tone with this sparkler that lit up an otherwise drizzly April.

The Dybbuk (Arlekin Players). Have you ever read a novel so absorbing, so other world creating, that you didn’t want it to end? That was this haunting, atmospheric, and evocative “Dybbuk” that, between the setting and astonishing performances, has managed to stay with me to this day. La Bouche’s “Be My Lover” now holds a special place in my heart.

Next to Normal (Central Square Theater/Front Porch Arts Collective).  A musical about mental illness?  Are you kidding me? Yet somehow, it worked magically, especially with a vocally talented ensemble like this one, adeptly directed by Pascale Florestal.

Romeo and Juliet (American Repertory Theater).  I don’t even like this play – Act 1 is a comedy, and II is not – but the leads in this production were so good that they made it work, particularly Rudy Pankow as the lovesick Romero, Emilia Suarez as a strong-willed and smart Juliet, and Terence Mann as the Friar.  Amy Rubin’s versatile, magnificent set was almost a character in itself.

Urinetown (Lyric Stage). This production, directed by Courtney O’Connor, was unfailingly terrific, so much so that my theater companion went back with her kids the following week. The talented cast was led by Anthony Pires, Jr., who, in my book, has become one of Boston’s MVPs.   

Shelley A. Sackett

While 2024 had its theatrical ups and downs, there was much to celebrate. At the end of the day, limiting accolades to a mere 10 made me realize the minor differences separating those that made the list and those that ended up on the cutting room floor. That said, my Top 10 list starts at #1 (the inimitable Arlekin Players Theatre’s spectacular “The Dybbuk”) and ends at #10. With “True Art” a strong #2, Dorset Theatre Festival once again shines brightly and proves why the drive to Vermont during its glorious summer is time well spent. SpeakEasy Stage Company produced three of the ten and compelling, smart scripts were the engines powering all 10. This was a year for strong narratives, sharp, well-crafted dialogue, and nuanced performances and direction. What more could a reviewer ask for?

The Dybbuk, or Between Two Worlds (Arlekin Players Theatre) – Igor Golyak, the peerlessly talented founder and award-winning artistic director of Arlekin Players Theatre, did it again. With the scaffolded Vilna Shul as the bones of a made-to-order set, he and co-designer Sasha Kuznetsova transported us into the beating heart of a turn-of-the-century Eastern European shtetl. Outstanding performances by Yana Gladkikh, Andrey Burkovskiy, and the incomparable Deb Martin.

True Art (Dorset Theatre Festival, Dorset, Vt.) – Playwright Jessica Provenz asks in her biting, suspenseful, thought-provoking, and funny newest play: In the “Art” world, what makes something — or someone — authentic? Is it the essence of the art/person or how others (i.e. the critics) see them? Chockful of great lines, high production value, and stellar performances (especially Fiona Robberson), “True Art” was a theater lover’s trifecta of bounty.

Pru Payne (SpeakEasy Stage Company) – Karen MacDonald and Gordon Clapp run away with Steven Drukman’s fast-paced, funny, empathetic, and tightly crafted script that follows a woman’s 20-year decline into dementia. Paul Daigneault’s sensitive direction prevents the play from circling the drain of utter despair.

The Winter’s Tale (Commonwealth Shakespeare Company) – A spectacular production of Shakespeare’s “problem play” under the stars on Boston Common. From James J. Fenton’s breathtaking set to director Bryn Boice’s nuanced yet spunky direction to the exceptional cast, lighting, sound, and closed captions, the evening was an example of Boston’s cutting-edge theater scene at its most exciting. Outstanding performances by Nael Nacer (as usual), Paula Plum (same) and Richard Snee.

Liv at Sea (Harbor Stage Company) – Playwright Robert Kropf’s dazzling script introduces Liv (a remarkably lithe and captivating Paige O’Connor), a woman at a crossroads in her young, disappointing life, and asks us too to wonder: what might our lives have been like if we had chosen a different path? Given the chance to relive that pivotal moment, would we again choose the security and comfort of the path we know or risk all on the thrill of the other, the unknown?Kropf doesn’t just shine as a playwright with inciteful, thought-provoking, and moving dialogue. He is also a gifted director, and he brings a special vitality and cinematic creativity to this 90-minute intermission-less production. Standout performances by O’Connor, Nick Wilson and Jack Aschenbach.

Touching the Void (Apollinaire Theatre Company) – The thrilling, plot-driven narrative (based on the true story of Joe Simpson’s near-death climbing experience) receives unfussy, pitch-perfect production in a small, intimate space that miraculously transforms from base camp to Andean Siula Grande mountain top (complete with howling winds and crunching snow) and back again. Stand-out performances by Patrick O’Konis, Kody Grassett, Zach Fuller, and – especially – Parker Jennings. Kudos to director Danielle Fauteux Jacques.

Diary of a Tap Dancer (American Repertory Theatre) – ‘Diary of a Tap Dancer’ defies pigeonholing. First, it is a crackerjack tap dance concert, choreographed and performed by the jubilant Ayodele Casel. Second, it is a narrative documentary that “shines a light on women hoofers,” especially the unknown and forgotten black tap dancers of the 1920s through the ‘50s. Third, it is an oral diary that tells, in upbeat, humorous detail, the story of Casel’s life. Though long and a little preachy, the dancing is worth its weight in gold.

A Case for the Existence of God (SpeakEasy Stage Company) – Samuel D.Hunter’s masterful script and pitch-perfect direction by Melinda Lopez are solid arrows in this production’s quiver, but a two-hander is only as strong as its actors, and in De’Lon Grant (Keith) and Jesse Hinson (Ryan), SpeakEasy Stage hit the jackpot.

Cost of Living (SpeakEasy Stage Company) – Martyna Majok’s sensitive play about relationships: how two people meet; how and whether they connect, separate, and reconnect; and how they handle caring and being cared for. The fact that one person in each relationship has a disability is secondary (though hardly unimportant). Rather, Majok focuses on the universal vicissitudes of life — emotional, financial, good luck and bad, good health and illness — and how we handle them. The delicacy and craftsmanship of that artistic feat won her the 2018 Pulitzer Prize award for Drama. The SpeakEasy production was beautifully produced and sensitively acted and directed.

John Proctor Is The Villain (The Huntington) – Kimberly Belflower successfully conjures magic in her ambitious play that bridges eras of 17th-century Calvinist Puritanism, 20th-century McCarthyism, and the 21st-century #MeToo movement to create a cogent, insightful, accessible, and – most of all –funny commentary on the issues of male power and female vulnerability and agency. A solid ensemble cast and spot-on direction by Margot Bordelon squeeze every drop of theatrical juice out of the fast-paced, thought-provoking play.

There were also some Non-Theater standouts in 2024, including: the always phenomenal Martha Graham Dance Company (Presented by Celebrity Series of Boston at Emerson Cutler Majestic), Alvin Ailey American Dance Theater (Presented by Celebrity Series of Boston at the Boch Center Wang Theatre); MAKOM – Vertigo Dance Company (Presented by Celebrity Series of Boston at the Boch Center Shubert Theatre); and the SPECTACULAR ‘Message In A Bottle’ (Presented by Sadler’s Wells and Universal Music UK Production with ZooNation: The Kate Prince Company at Emerson Colonial Theatre).

Linda Chin

As 2024 draws to a close, I’m grateful for the abundance of talented theater makers and theater offerings in the Greater Boston/New England region, for the storytelling that bridges differences and the community-building that is an antidote to loneliness. Of the 100+ productions I saw at venues large and small in five different states, the ones I’ve selected for this year’s Top Ten list were stories of persistence, resilience, and courage that moved me, stayed with me, and that I wish I could experience again. There were two plays with music, three “straight” plays, and five musicals that make up my Top Ten list this year. In chronological order of appearance:

Northside Hollow – Wellfleet’s Harbor Stage Company transformed the subterranean Plaza Black Box Theatre into a collapsed mine, and theatergoers became transfixed by an imagined conversation between two men who talk for the first (and possibly the last) time when they are trapped together under the surface This two-hander with a simple premise turned out to be one of the most intimate, immersive, and gripping experiences of the year. The use of hard hats with headlamps (donned by audience members in the back row) as the play’s principal lighting source was also ingenious.

Steel Pier – A rousing rendition of this lesser-known musical by Cabaret and Chicago creators Kander and Ebb marked the dazzling debut of Sullivan Rep in Greater Boston’s theater scene. Founder and Artistic Director Dan Sullivan (also the show’s director and choreographer) took a well-calculated risk in launching a company in the wake of the pandemic. With the American Legion Nonantum Post 440’s circular wooden dance floor, polished performances by the charismatic cast, and music direction by J. Kathleen Castellanos, this production’s vibe was pitch-perfect.

Cost Of Living – Like life itself, Pulitzer Prize-winning playwright Martyna Majok’s Cost of Living is a balance – of powerfully strong and exquisitely tender moments and of individuals with diverse perceptions of privilege, degrees of emotional intelligence, and physical abilities. With sensitive direction by Alex Lonati, actors Lewis D. Wheeler, Stephanie Gould, Sean Leviashvili, and Gina Fonseca delivered inspiring portrayals of two mismatched pairs of people that drew me in from the start and still have a hold on my heart.

The Porch On Windy Hill – Merrimack Rep’s production of this contemporary play with music featured a tremendously talented trio of actors who play the banjo, dulcimer, guitar, harmonica, mandolin, violin, and erhu onstage with impressive proficiency. The music and messages were so well presented that I went again with a group of musicians from Tunefoolery Music – who had a hooting good time at the play and jamming with the actor-musicians at the hootenanny during the cast party. 

La Cage Aux Folles – Trinity Rep proudly presented Harvey Fierstein and Jerry Herman’s musical for the entirety of June 2024 to celebrate Pride Month and its 60th anniversary season. In the performance I saw, the leading role of Georges, the sparkly-suited master of ceremonies at the popular St. Tropez drag nightclub, was played by an alternate actor. His scene and romantic partner Albin/Zaza was played by the majestic, mellifluous C. Mingo Long. The actor who raised the bar for future portrayals in this show is Brad Reinking as the butler-maid Jacob.

Next to Normal – (Central Square Theater/Front Porch Arts Collective) – In this story of an archetypal suburban family’s (the Goodman’s) struggles with mental illness, Sherée Marcelle’s portrayal of Diana, the family matriarch with bipolar disorder and Anthony Pires, Jr.’s portrayal of her husband Dan raised the bar with their exceptional acting as well as singing skills.

Crazy for You – Broadway star Max Clayton returned to Ogunquit Playhouse’s Maine shore after wrapping up his run in Broadway’s Chicago to star in this production as Bobby Child, the stage-struck son of a wealthy NY banking family.  Clayton’s got rhythm, music, and starlight. Was there anything more one could ask for?

Beautiful: The Carole King Musical at The Cape Playhouse in July made for ‘one fine day’ this summer. Over the years, I’ve seen other productions of this musical on larger stages, but experiencing the actors’ pitch-perfect renditions of the iconic songs of my adolescence on the Playhouse’s small, intimate stage was like getting a warm hug in a living room from the 60’s (plastic on the sofas and all).

Did You Eat? ( 밥 먹었니? (October) – Boston Center for the Arts resident company CHUANG Stage’s co-production with NYC-based Seoulful Productions of the solo show was stunningly penned and performed by Asian American storyteller Zoë Kim. There was so much to admire about this production – the scenic design, costumes, lighting, and projections were expertly designed and executed and advanced the storytelling. Kim’s performance – her ability to physically embody and convincingly portray multiple characters of different ages, with varying accents and speech was impressive, as was her energy and stamina. Zoë Kim is a remarkable human, and her courageous autobiographical show fills you up and makes you hungry for more. 

Diary of a Tap Dancer (American Repertory Theatre) – There’s an unequivocal audience and critical consensus that Ayodele Casel and the seven dancers she tapped to illuminate the story of her life in Diary of a Tap Dancer have big aspirations and tremendous talent. Casel also has a huge heart that’s full of gratitude. In Act II, Casel paid tribute to the women whose shoulders she stands on – tap dancers who were largely invisible in tap history despite their remarkable artistry and advanced technique, film, and live performance credits.  Luckily, the show runs through January 4 (as of this writing, there is limited availability for some of the remaining shows).