Here are the 17th annual ABEs for Professional Theater shows presented in 2022:

PROFESSIONAL THEATER

Producer: Patrick Mulcahy,

Producing Artistic Director, Pennsylvania Shakespeare Festival. PSF offered a roundelay of plays and musicals that was a poetic and delightful refrain of fully-staged productions on the Main Stage and in Shubert Theatre. The range, talent and depth again set the gold standard for theater in the Lehigh Valley and beyond. Mulcahy concluded his tenure in grand style, sensitivity and entertainment.

Director, Musical: Luis Villabon,

“A Chorus Line,” Pennsylvania Shakespeare Festival. From the review: “‘A Chorus Line’ is the ultimate musical. It strips the musical down to its bare essentials (Literally. The stage is bare): the chorus line, the dancers, the dancing, the steps (and the steps are incredible, as are the dancers), and the steps required to get in the chorus line of a Broadway musical, in talent, pluck and dumb luck.” Director, Choreographer Luis Villabon gets it all from the dancers. And they put it all on stage.

Musical: “A Chorus Line,”

Pennsylvania Shakespeare Festival. “A Chorus Line” is as it does, and PSF does it incredibly well. When the cast puts on the gold-lame outfits and top hats and breaks into The Rockettes-like kick line, you want to stand up and cheer. I know I did. From the review: “If you’re going to see one professional musical (12 Actors Equity Association members among the 27-member cast) for summer 2022, PSF’s ‘A Chorus Line’ is the one. You don’t need to schlep to New York City. This is Broadway on Station Avenue.”

Original Musical: “Christmas City Follies XXIII,”

Touchstone Theatre: The Touchstone Ensemble was back in fine form, with a kinder, gentler, more introspective “Follies” that includes heartfelt concern about the War in Ukraine. It is bittersweet because Touchstone Ensemble Member Emma Ackerman announces that this, her 15th season, with Touchstone Theatre, is her final season.

Choreography: Luis Villabon,

“A Chorus Line,” Pennsylvania Shakespeare Festival. Trot out the superlatives. This is the “One,” the “singular sensation.” From the review: “And, boy, do they have the dancers for the brilliantly-conceived ‘A Chorus Line’ in the brilliant production by Director-Choreographer Luis Villabon.”

Actress, Musical: Sissy Bell

(Cassie), “A Chorus Line,” Pennsylvania Shakespeare Festival. From the review: “Cassie (Sissy Bell, a ravishing mixture of vulnerability and nerves of steel), with ‘The Music And The Mirror’ scores with the show’s most iconic scene, whereby huge vertical mirrors rotate ... “

Actor, Musical: Jadon Lopez

(Angel), “Rent,” Northampton Community College Summer Theatre. From my review: “Lopez, who is a great vocalist, has outstanding dance abilities and as an actor disappears into the role. Lopez brought the audience to his bright eyes, his engaging smile, his energetic body in every scene he was in. His rendition of ‘Today For You’ is riveting. Lopez’s duet on ‘I’ll Cover You’ with Daniel J. Hurt (Collins) is phenomenally moving.”

Ensemble, Musical: “A Chorus Line,”

Pennsylvania Shakespeare Festival. From the review: “After all, the essence of ‘A Chorus Line’ is the dancing. Talk about extensions. Shaun-Avery Williams (Richie) does a triple spread-eagle jump (also known as a star jump) that will make you want to put your chiropractor on speed-dial. Also a standout: Musa Hitomi (Connie), who brings the spotlight to her with ‘Hello Twelve,’ along with Patrick Higgins (Mark), just outstanding. And let’s not forget Kathryn Brunner (Val), sensationally sassy, whose ‘Dance: Ten; Looks: Three’ leaves little to the imagination, in a fun way. Putting it all together is James Harkness (Zach), whose disembodied voice looms over all like the Wizard of Oz.”

Original Play: “Odysseus,” Bill George.

Touchstone Theatre. “Odysseus” is more than a tour de force. It is a monumental and important work that puts the follies of men (and women) through the lens of Ancient Greece. The journey is profound and fun in ways unexpected in the work created and performed by Bill George.

Actress, Play: Ella Joyce

(Rose Maxson), “Fences,” Pennsylvania Shakespeare Festival. From the review: “a confrontation between Troy and his wife Rose (a superb Ella Joyce in a nuanced performance). Rose wilts like a flower at hearing Troy’s devastating confession. The scene is played with sensitivity and grace by Joyce.”

Actor, Play: Tony Todd

(Troy Maxson), ”Fences,” Pennsylvania Shakespeare Festival. From the review: “At the center of the tense drama is Tony Todd in a magnificent portrayal as Troy Maxson, whose dream deferred become the stuff of nightmares for family and friends who face his often-uncontrollable anger.”

Ensemble, Play: ”Fences,”

Pennsylvania Shakespeare Festival. Led by a towering and explosive performance by Tony Todd (Troy Maxson), and accompanied by a performance of resigned sensitivity by Ella Joyce (his wife, Rose Maxson). From my review: “Providing comedic relief amidst the family drama and trauma is Brandon Edward Burton (Lyons) in an amusing performance), Troy’s son, who pops in and out at the sound of Troy’s wallet opening. ... Brian D. Coats (Gabriel), in a remarkable performance as Troy’s brother is a person with differences because of a World War II wound ... Ilan Annum (Raynell) in a lovely performance arrives late in the storyline, bringing optimism to the family and life to its future.”

Director, Play: Matt Pfeiffer,

”Much Ado About Nothing,” Pennsylvania Shakespeare Festival. From the review: “As directed by Matt Pfeiffer and with a versatile and vibrant cast, ‘Much Ado’‘s merriment and mirth explodes from the stage and, in at least one instance opening night (July 15, the performance seen for this review), spills over and nearly lands in the lap of the audience.”

Costume Design: Michael McDonald,

“A Chorus Line,” Pennsylvania Shakespeare Festival. From the review: “The actors convene in unbelievably gaudy, gold-trimmed costumes (Las Vegas on Station Avenue?). Costume Designer Michael McDonald also notates perfectly the personalities and 1970s’ ethos of the cast in their street clothes and dance outfits.”

Scenic Design: Baron E. Pugh,

”Fences,” Pennsylvania Shakespeare Festival. From the review: “Scenic Designer Baron E. Pugh creates a realistic brick front two-story facade (cleverly translucent) with a front porch, flanked by two huge trees, with a clothes line and, of course, those fences.”

Lighting Design: Richard Latta,

“A Chorus Line,” Pennsylvania Shakespeare Festival. From the review: “The finale is rendered brilliantly by Lighting Designer Richard Latta. Each dancer looks more like a ringmaster than the next, trotting in a high-step circle like thoroughbreds in a circus fantasia so powerful it’s frightening.”

Sound Design: Larry D. Fowler, Jr.,

“Fences,” Pennsylvania Shakespeare Festival. From the review: ”Evocative transitions with snippets of memorable recordings ... Fats Domino’s ‘Blue Monday’ (released as a single in 1956 and on an album in 1957; the play is set in 1957), and Sam Cooke’s ‘A Change Is Gonna Come’ (written by Cooke; released in 1964, and a Civil Rights Movement anthem).”