Feature: Our Favorite Moments of 2016

By all accounts, 2016 has been quite the rollercoaster ride. Fortunately for DFW audiences, the local theatre community and many of the touring productions delivered nothing short of a stellar year, setting quite a high bar for upcoming performances. As we say goodbye to another December, we'd like to look back on a handful of memories that stood out among the long list of Playbills we've gathered. And like raindrops on roses and whiskers on kittens, these live theatre moments will be remembered as a few of our favorite things.

We present this list in no particular order, and without awards or titles bestowed upon those listed. To everyone who contributed to the DFW theatre community in 2016, we thank you for sharing your time and talents with us.

Feleceia Benton as Aida in Uptown Player's AIDA.

"Although Dallas actress Feleceia Benton might not (yet) be a household name, her rich vocals and commanding stage presence are indicative of future epic success. When Benton belted the final notes of "Dance of the Robe" on opening night, the audience went wild, giving an extended ovation before the show could continue." -Kyle Christopher West

Mark Mullino in Our Productions' HEART & MUSIC

Mark Mullino is one of DFW's hometown artistic heroes, celebrated for his talents both as musical director and artist. In April, Our Productions Theatre Co. produced HEART & MUSIC as an opportunity to show off Mullino's multiple talents, with a concert based on songs that shaped his life and some of his paintings that have special meaning. Although the stage was filled with powerhouse singers and exciting songs, it was Mr. Mullino's honest vulnerability that left the greatest impression, showing a side of an artist who too frequently is hidden behind a piano and music stand. -Kyle Christopher West [Note: this show was not reviewed on our site.]

The Company of The Firehouse Theatre's [TITLE OF SHOW]

Although I didn't review [TITLE OF SHOW], the cast and creative team of The Firehouse Theatre delivered a home run, in my humble professional opinion. Directed by Lon Barrera, the four-person company of Cody Dry, Elisa Danielle James, Noelle Mason and Joshua Sherman (with Andrew Friedrich making a hilarious cameo on keys) found chemistry and comedy that overflowed the small stage. Although the show selection didn't appear to be a big ticket-seller, no other show I attended in 2016 brought me more joy. -Kyle Christopher West

Janelle lutz in Uptown Player's OVER THE RAINBOW

"Lutz doesn't simply portray Judy Garland in END OF THE RAINBOW...she channels her. Lutz's unique ability to find humor and heartbreak simultaneously cannot be rivaled. In fact, there are few words to describe her skill in delivering a performance that Garland herself was not able to give without mind-altering substances." -Kyle Christopher West

Jeremy Dumont's Triple-Threat Showcase in Casa Manana's SEUSSICAL JR.

"Director and Choreographer Jeremy Dumont has masterfully structured the piece to allow the show's best moments to shine. Not a minute goes by that the audience isn't hypnotized by the bright color and imaginative staging that fills the auditorium. Whether the cast is inviting us into the Jungle of Nool or underwater in McElliot's Pool, Dumont's creative approach is exciting, convincing and unique.

Not only did Dumont direct the magic onstage, he guides it in the spotlight, too. As The Cat In The Hat, Dumont commands the stage with his charismatic and playful mannerisms. When he leads the company in numbers like "Oh, The Thinks You Can Think," Dumont's childlike energy is simply contagious. His slick sense of timing and spirited dance moves make him a perfect fit for the infamous, unpredictable ringleader." -Kyle Christopher West

Kyle Igneczi as Huey Calhoun in Theatre 3's MEMPHIS

"Leading Theatre Three's cast is the incredibly versatile Kyle Igneczi as Huey. Igneczi (whose recent credits include the title character in HEDWIG, Radames in AIDA, and Riff in WEST SIDE STORY) delivers a nuanced performance, which is both hilarious and deeply moving. His eccentric character, who battled with drug and alcohol dependencies in real life, could easily have been performed as a caricature, but Igneczi's sincere and intense approach felt so honest that it often didn't feel like he was acting." -Kyle Christopher West

Andrea Goss as Sally Bowles in the National Tour of CABARET at Winspear Opera House

"Andrea Goss leads the tour as the coequally fierce and fragile Sally Bowles. Ms. Goss, who understudied the role on Broadway (playing Frenchie/Gorilla), is riveting in her portrayal. With her youthful looks and endless energy, Goss's Sally is as hopeful as she is helpless. At the height of Sally Bowles' career, Goss is a dynamite performer with the all the right looks and moves to sell the infamous "Don't Tell Mama," "Mein Herr," and "Maybe This Time" with ease. Then, as the young star begins to fade, Goss's nuanced performance is heartbreaking. Her dark, desperate performance of the titular song is an award-worthy display. Although CABARET is famous for hiring big-name actresses in the role, not one has compared to this young actress' take on the role. If this performance doesn't launch a massive career for Ms. Goss, I can't imagine what will." -Kyle Christopher West

Runway Theatre's SPRING AWAKENING Company (And Their Tony Award Fundraising Efforts)

While SPRING AWAKENING was wowing local audiences over at Runway Theatre, a revival of the same musical was making a big splash on the Great White Way. Featuring many talented deaf actors, this Broadway remake was produced by a non-profit theatre company from California. When the company was unable to cover the costs associated with performing on the Tony Awards, Runway Theatre director Derek Whitener and his cast dedicated their time and talents to assist in fundraising. Not only did their efforts pay off, but they also succeeded in gaining the attention and appreciation of Broadway producer Ken Davenport. Kudos to the Runway Theatre team for believing in the message of their show and "paying it forward" to their fellow performers across the country. -Kyle Christopher West

Elizabeth Ramos and Ivan Jasso of Dallas Theater Center's DEFERRED ACTION

"Elizabeth Ramos (Lisa) and Ivan Jasso (Javi) make a dynamic pair, divided yet desperately trying to remain united. Their energy on stage is pervasive, making it quite easy to empathize with the characters in their pursuit to demand the better life that their parents had envisioned for them...Frida Espinosa-Muller personifies the character of Abue, Javi's abuela. Her acting skills are clearly defined as she so appropriately physically displays the pain, anguish, frailty, humility and love that a survivor such as Abue has experienced." -Aaron Zilberman

Jeff McCarthy and Christopher Deaton as King Arthur and Sir Galahad in Casa Manana's SPAMALOT

"King Arthur leads the majority of the show's action, and DFW audiences are in for a treat with Jeff McCarthy in the role. McCarthy, whose eight Broadway credits include URINETOWN, CHICAGO, SIDE SHOW, and BEAUTY AND THE BEAST, delivers an extraordinary performance. His portrayal of the confident king offers a perfect balance of sincerity and deadpan humor. It's unimaginable that McCarthy created such a superior performance in Casa's brief two-week rehearsal process; his demeanor onstage is as calm, cool and collected as if he'd performed the role for months.

As Sir Galahad/The Black Knight/Prince Herbert's Father, Christopher J. Deaton once again proves his status as a local theatre treasure. His booming baritone voice so strongly rivals his impeccable comedic timing that it is hard to say which is his greater strength. In fact, he is so versatile that he is nearly unrecognizable as he changes from role to role. His duet with The Lady of the Lake, "The Song That Goes Like This," hilariously demonstrates his charm and wit, but also offers some gut-busting moments, which I won't spoil in writing." -Kyle Christopher West

Diane Worman of Kitchen Dog Theatre's THE THRUSH AND THE WOODPECKER

"Ms. Worman delivers a powerful performance, embodying all of the physicality of her character's mental illness, yet never creating a caricature. Her deranged smile and piercing eyes speak more than any words can iterate. From the moment she enters the stage, Róisín's manic energy is confounding. Even her entrance seems almost to be a grand affair. Her mood shifts quite drastically, from angry and irritable to euphoric and almost happy. She certainly laughs with a peculiarity worthy of any good horror story." -Aaron Zilberman

Marisha Wallace as Effie in DREAMGIRLS at Dallas Theater Center

"The highlight of the show is truly any moment Marisha Wallace steps on stage. With her eager and aggressive approach, there's never a question of what Wallace's Effie White wants, or how much she's willing to fight for it. Not only does Wallace's voice soar on her epic ballad "(And I Am Telling You) I'm Not Going" (a unique, refreshing take on the number), but she shines whether she's centerstage or singing "oohs and ahhs"' as back up. Wallace has appeared on Broadway in SOMETHING ROTTEN, ALADDIN and on tour with THE BOOK OF MORMON, and if the charismatic energy she exudes is any indication, there's no doubt her talent will continue to take her far." -Kyle Christopher West

Karen Perry's Costume Design for DREAMGIRLS at Dallas Theater Center

"...Karen Perry's tremendous costume design (from the subtle piano-inspired fringe dresses to the Cinderella-like transformations) are truly worth the price of the ticket alone." -Kyle Christopher West

Jocelyn Moss as understudy to Peggy Sawyer in 42nd STREET tour at Music Hall At Fair Park

When guest editor Christina Hoth reviewed the company of 42nd STREET on press night, she made special note of the talent of the "ensemble in the zealous, knock-out dance numbers." I had the opportunity to attend the show more than once, fortunately catching the stunning performance of Jocelyn Moss, who leapt from the aforementioned ensemble to understudy the perky, young lead Peggy Sawyer. Moss' interpretation bore little resemblance to the actress she filled in for. Instead, her approach was full of humor and spunk, with a youthful maturity that provided perfect chemistry with the two seasoned leading men she shared the spotlight with. -Kyle Christopher West

Daron Cockerell and Andy Baldwin as Reno Sweeney and Reverend Dr. Moon in Anything Goes at Lyric Stage

"...several performances elevate the company's suburb product, most notably Andy Baldwin as Reverend Dr. Moon and Daron Cockerell as the iconic Reno Sweeny. As "Moonface Martin," Baldwin turns the somewhat tired and trite role into a fresh, amusing highlight of the show, full of physically comedic antics and one liners. His interpretation manages to honor the 1930's style of writing without ever feeling stale or over-the-top. Ms. Cockerell's soul-shaking vocal range shows great versatility in this classic score. Her renditions of "I Get A Kick Out Of You," "Anything Goes," and "Buddie, Beware" show not only contrasting sides of her dynamic voice, but of her sassy and sultry personality as well. It's performers like Baldwin and Cockerell, constantly delivering professional-caliber work, that give local theatre a good name." -Kyle Christopher West

Westin Brown in the title role of BILLY ELLIOT at The Firehouse Theatre

"Billy Elliot may just be the most demanding child's role to-date (sorry, Annie), and Westin Brown is utterly charming in the complex part. Although Brown may not yet have the full technical training that those who have played his character typically possess, the young actor's potential is crystal clear. His emotional maturity brought me to tears on several occasions, and oftentimes the script was not the responsible party (I first wiped tears as he learned to chaines turn across the stage)." -Kyle Christopher West

Kevin Brown's imaginative scenery for BILLY ELLIOT at The Firehouse Theatre

"Kevin Brown's clever scenery is impeccably detailed, and perhaps the best use of the shallow stage I've seen to this point." -Kyle Christopher West

Emmie Kivell as Lina Lamont in Stolen Shakespeare Guild's SINGING IN THE RAIN

"As Lina Lamont, Emmie Kivell is an absolute delight. Her appropriately annoying squeak is a riot, and her eleven o'clock number, "What's Wrong With Me," is one of the highlights of the evening. Unlike the talentless character she personifies, it is a shame Ms. Kivell didn't have more stage time." -Kyle Christopher West

The Entire cast and creative team of THE TOXIC AVENGER at Uptown Players

"Not every musical leaves you inspired or educated, but that doesn't mean a show written for pure enjoyment can't be fulfilling. In Uptown Player's current feature THE TOXIC AVENGER MUSICAL, a B-list plot creates an A+ evening." -Kyle Christopher West

(Read the full, gushing review at HERE!)

Director Cheryl Denson and the company of ANGELS IN AMERICA (MILLENNIUM APPROACHES) at Uptown Players

"Uptown Players ambitiously mounts the first play in the two-part sequence (Millennium Approaches), and does not disappoint. Aside from a few minute mic and lighting issues, as one might expect on opening night, the show ran easily and cleanly - hitting all the right chords under the direction of Uptown regular Cheryl Denson. I'm always wary of seeing Angels, as if only for the shear amount of text and work, the play is not an easy one to pull off, let alone well. I was pleased to find the show easy to digest, enjoyable to watch, and frankly a cathartic way to end my week." -Sam Weber

And although the public didn't see this performance, it's absolutely worth noting:

Ally Van Deuren in THOROUGHLY MODERN MILLIE at The Firehouse Theatre

Having participated in The Firehouse Theatre's production of THOROUGHLY MODERN MILLIE, I can tell you that audiences missed one of the most exciting performances by an understudy. Ally Van Deuren, who performed in the show's ensemble, occasionally filled in for Janelle lutz as the title character during rehearsals. Not only was Van Deuren's performance uniquely spirited (and fully prepared), but when the talented co-star Rebecca Paige was absent from a last-minute dress rehearsal, Miss Van Deuren was able to step in as Miss Dorothy without notice, delivering a charming and memorable appearance without missing a beat. There was no audience to celebrate the rising star's performance, but there was no one in the tiny building who didn't take notice. -Kyle Christopher West

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