It’s been another challenging year for theater, but theater demonstrated its resilience.

The year 2021 began with Lehigh Valley theaters, still under the coronavirus (COVID-19) pandemic shutdown, forging ahead with virtual performances.

By the spring and into summer, theater groups started to present in-person shows outdoors and with limited audiences.

The fall marked the return of most theaters to indoor live performances with full capacity audiences.

Since there have been virtual and live shows, I wanted to recognize outstanding performances in all formats.

Best virtual performance, Zoom format

“In The Heights,” Lehigh University.

Lehigh University’s Mustard & Cheese Drama Society chose to present its production of “In The Heights” via Zoom with cast members videotaping their parts separately.

Zoom is an unforgiving format, and for a show built around the pulsating, close-knit Dominican American neighborhood of Washington Heights in New York City, it was a huge challenge. Lehigh’s production met the challenge and succeeded in creating the feeling of community, which is essential to the show.

Juan Aleman was personable and appealing as Usnavi, a young bodega owner, despite the constrictions of the Zoom format, in which most of the cast performed against a white wall.

Other cast members, including Arianna Pineiro as a strong-willed Abuela Claudia, and Jess Flores, as the painfully-conflicted Nina Rosario, who won a scholarship to college but dropped out, overcome the format’s limitations to get to the heart of their characters.

Best virtual performance, videotaped stage format

“How I Learned To Drive,” Northampton Community College.

The Northampton Community College Department of Theatre presented a fascinating, harrowing and uncomfortable play that followed the inappropriate relationship between a young woman and her uncle, starting when she is a preteen and continuing into her adulthood.

Paula Vogel’s searing drama examined how an over-sexualized environment and thoughtlessly sexist comments by family members created a no-way-out situation for Li’l Bit, the young woman at the center of the quirky play.

Marian Barshinger conveyed the strained innocence of a young girl who is bombarded with inappropriate sexual input, juxtaposed against Jesse Nitchkey’s disarmingly charming Uncle Peck, who offers to teach her to drive, but has an ulterior motive.

Best production, face masks

“Dracula,” Cedar Crest College.

The Performing Arts Department at Cedar Crest College presented a satisfyingly cerebral production of the classic vampire thriller “Dracula.” The entire cast was masked throughout the show, but turned in strong performances that made audience members forget the actors were encumbered by masks.

Ryan Patrick Allen as the titular vampire took creative masking to the next level and made particularity good use of his eyes to convey another level of unease.

Thinking outside the mailbox award

“Letters From Far,” Touchstone Theatre.

When audiences couldn’t come to Bethlehem’s Touchstone Theatre, Touchstone figured out a way to send theater to its audience. Touchstone’s original production “Letters from Far” was sent to audiences by mail over four weeks.

Letters, journal excerpts and artwork told a story of an expedition to another world in the future. The expedition, sent to explore a mysterious rift in the American Midwest in 2032, reported a world with a strangely threatening sun, creepy moving statues and huge singing trees. The story unfolded intriguingly through the letters from scientists, journalists and artists.

Best musical, in-person

“Spring Awakening,” Northampton Community College.

The Northampton Community College Theatre Department kicked off its 2021-22 season with a dynamic and heartbreaking performance of the coming-of-age rock musical “Spring Awakening.”

Deft direction by NCC Theater Department Chair William Mutimer, combined with powerful performances by Samantha Prentice as the innocent teenage Wendla, Justin Abarca as the quietly rebellious Melchior and August Gaumer as the anxious, ostracized Mortiz, created a moving and memorable show.

Best play, in-person

“Crumbs From The Table of Joy,” DeSales University Act 1.

The memory play, “Crumbs From The Table Of Joy,” was unforgettable from beginning to end. The devastating play about loss, hope and resilience featured standout performances by Gabrielle Mosley as the shy but determined Ernestine, whose goal is to be the first in the family to graduate high school; Lee Shawn as Lily, Ernestine’s aunt who explodes on the stage with her talk of revolution and empowerment, and Kayman Brown as Ernestine’s desperate father devastated by his wife’s death.

Best performance, actor

Christopher D’Imperio, “A Gentleman’s Guide to Love And Murder,” Pennsylvania Playhouse.

In the delightfully decadent musical that featured plenty of outstanding performances, Christopher D’Imperio played the entire D’Ysquith family with gusto. D’Imperio was memorable in each of his nine roles, whether playing the detestable Asquith D’Ysquith Jr. or the kindly but doddering Lord Asquith D’Ysquith Sr. His roles included an incredibly hammy actress, a flamboyant gay man, a bodybuilder with an hilarious muscle suit and a tipsy pastor.

Best ensemble

“A Midsummer Night’s Dream,” Pennsylvania Shakespeare Festival.

The outdoor production of “A Midsummer Night’s Dream” was a laugh-out-loud delight from the moment the cast marched in from stage left, beating drums and dancing, The playful and vibrant play about fairies, lovers and magic was brisk, energetic and featured outstanding performances all around.

Best director

William Sanders, “Annie,” Civic Theatre of Allentown.

It’s always a challenge to direct children and pets. In Civic Theatre’s “Annie,” director William Sanders held it all together for a wonderfully-buoyant musical that was a perfect choice to open Civic’s fall season. From the moment the curtain rose on a stage full of energetic orphans, the production proved enchanting and exuberant to the jubilant end. As red-headed orphan Annie, Annie Hotz, had lots of presence and a big voice. The other children were adorable, particularly Arianna Millheim as Annie’s younger sidekick Molly. Even when dog Jingles as Sandy didn’t follow stage directions, it just added to the live theater charm.

Most cathartic production

“Shrek,” Munopco Music Theatre.

As one of the first productions to be presented in person in the fall, Munopco’s “Shrek” was an unapologetic delight that felt like a huge breath of fresh air. The big, bright, colorful, triumphant performance had energy to spare and got the entire audience on its feet dancing by the end. Strong performances by Rob Clausnitzer as the wise-cracking ogre, Monica Handwerk as the brassy princess Fiona, Shy Torres as the motor-mouth Donkey and a scene-stealing turn by Kristofer Swanson as the height-impaired Lord Farquaad combined with Daniel Petrovich’s brisk direction for a show that was unabashedly joyous.