In 2013, Shakespeare ruled New York theater.
He could be sighted on Broadway and off. He was done in period outfits but also with motorcycles. Men played women and women played men. There were two competing versions of “Romeo and Juliet,” both of them bad. Some productions relied on unknown fresh faces; others banked on stars. Thanks for playing, Orlando Bloom and Ethan Hawke — don’t try again.
Due to the sheer volume of Shakes in our shacks, it’s not surprising to see three on my Top 10 list. Now you can discover which ones made the cut — and the seven shows that won out over the Bard.
In alphabetical order.
“After Midnight”
(Brooks Atkinson Theatre, Broadway)
This tribute to Duke Ellington’s Harlem years is a textbook example of a revue done right. The terrific Jazz at Lincoln Center All-Stars orchestra is in full view onstage, backing the topnotch singers and dancers who deliver a series of well-curated numbers. Pure class.
“Buyer & Cellar”
(Rattlestick Theatre, off-Broadway)
Barbra Streisand displays all her tchotchkes in a mall of shoppes under her house. From this preposterous — but real! — premise, playwright Jonathan Tolins spun comic gold. And he couldn’t have found a more endearing performer for his sneakily smart solo show than the adorable Michael Urie (“Ugly Betty”).
“The Good Person of Szechwan”
(La MaMa, off-Broadway)
Brecht’s morality play got a scrumptious makeover in this exhilarating production, led by the warm, heartfelt Taylor Mac in the title role. The show also demonstrated how far a small budget can go when you have imagination.
“Here Lies Love”
(Public Theater, off-Broadway)
David Byrne and Fatboy Slim’s musical about Imelda Marcos was such giddy fun that her politics got drowned in glorious disco. Never mind: The show was a perfect storm of propulsive tunes, immersive staging and a hot cast in perfect voice.
“Julius Caesar”
(St. Ann’s Warehouse, off-Broadway)
Phyllida Lloyd (“Mamma Mia!”) set this political tragedy in a women’s prison. The gamble worked: Rarely has Shakespeare felt so immediate, so easy to follow, so evident.
“Matilda — The Musical”
(Shubert Theatre, Broadway)
This ode to bookish little girls was a feast for the eyes, ears and brain. Finally, family entertainment that never talked — or sang — down to its audience. From sets to costumes to score to direction, this wondrous musical was flawless.
“A Midsummer Night’s Dream”
(Theater for a New Audience, off-Broadway)
For her first post-“Spider-Man” show, director Julie Taymor delivered an enchantingly beautiful theatrical fantasia. The message was clear: Ladies and gentlemen and Bono, this is what real spectacle looks like!
“Mr. Burns, a Post-Electric Play”
(Playwrights Horizons, off-Broadway)
How do we create stories when civilization has ended? Playwright Anne Washburn answered with this demented post-apocalyptic tale in which “The Simpsons” becomes the stuff of legends. Literally.
“Pippin”
(Music Box Theatre, Broadway)
Stephen Schwartz’s 1971 hippie musical was reinvented as a medieval circus extravaganza. Bob Fosse-inspired choreography, Patina Miller’s wolfish MC and awesome bods contorting into sexy pretzels made for the most joyous show of the year.
“Twelfth Night”
(Belasco Theatre, Broadway)
Mark Rylance also led an all-male company in “Richard III” but his performance as a lovelorn countess made “Twelfth Night” the show to see — both were performed in rep.
