2012 in Theatre Superlatives

"What good thing have you seen lately?"

That's the question I'm usually asked when I tell people that I write about theater (for a living, wow). It's as if because I report on it, I am suddenly the guru of good theatrical tastes. And since year-end lists and summations are "a la mode" during this time in the season, I want to offer something in the stream-of-consciousness vein. I'm realizing that the more theater I see, the more they start to blend together. And what makes a play stand out in your memory, even months later, were small moments that just burrowed deep into your brain and refused to let go.

So here is the 2012 Deep (Diep) Theater Superlatives!, a list of shows that were memorable in many different ways to me. It's not a complete list of the best things I saw this year, it's even more subjective than that. These plays, at different price points, in different locales in New York City, did what the arts does best, grab a piece of your soul and leave their mark on it.

Into the Park (Act II)

My new niece. Doesn't she make you want to pull a Witch and steal a baby?

And we're back...a month later. I have a good explanation for the long absence, I swear. It's called the October 152-page issue of "American Theatre" and a managing editor on maternity leave. And it was also called my sister Thao, who had a baby on August 15, which was the same day as my dad's birthday (who turned 69 this year). "Happy birthday daddy, I got you another granddaughter!"

And speaking of my daddy, my parents also visited for a week and a half to see their new granddaughter. This is grandkid #5 for them and apparently, it doesn't get old.

As for me, I was at the magazine's beck-and-call while at work and my mom's beck-and-call after work. And as for the boyfriend...he's been putting up with the family crazy and baby photos admirably (though he did say "I want 8 of those" when I showed him the above photo of my niece, I hope that's not a hint).

But I am determined to write about (the Public Theater's Shakespeare in the Park) "Into the Woods" dammit, because it's Sondheim and a large cast (practically unheard of these days) and now that my life is literally filled with children, it's even more appropriate, because children will listen. Which is why I tell my boyfriend not to swear so much in public but unlike my nephews and nieces, he doesn't listen to me.

But now that it's too late for a "is this show worth seeing or not?" type of review, I want to talk more about the show's concept, which is the thing I found most interesting and what I thought I remember most vividly since I saw the musical last month.

Spoilers abound in this analysis so proceed in with caution. Mind the path.

Into the Park (Act 1)

Amy Adams and Josh Lamon go Into the Woods.

Overture

Last Thursday, August 2nd, I stood in line for the Public Theater's Shakespeare in the Park the whole time. But this year was not just Shakespeare, it was also Sondheim. And this was Into the Woods, in Central Park, at the rustic, outdoor Delacorte Theater. And if there was anyone I would line up for, it would be the God of musical theater (no offense to the Bard but I can readily see free Shakespeare productions all over the city).

I waited in line for 7 hours beginning at 6 a.m., got two tickets, took a nap and then went back that night refreshed and dressed up for the show (including a free dinner and dessert from the boyfriend because he owed me for waiting in line for 7 hours).

Below is an hour-by-hour play of the waiting in line part.