Unique Experiences, Crossed Feelings and A LOT of Tears
As I sit down to focus, take out the programs from all the shows I saw this year, and go through the blog to count them, it is a nice reminder of how unique each theatre year is. In this particular case, I do not like to compare years, but, at the same time, my marketing benchmark nature does. 2025 was not as hefty for me as last year. It wasn’t as international, and I did not see as many shows due to work, and yes, dear reader, there was also a little bit of fatigue, not going to lie.
Still, I am very proud of the coverage and the accomplishments: We debuted a beautiful new logo and website to match, thank you, Flor, Joel, and all your team for the fantastic work, training, morale, and journalistic boosts.
I saw around 80 shows, of which I reviewed 71, and From Another Zero won four “Excellence in Journalism” awards this year. The award that makes me the happiest is the recognition for our series dedicated to theatres in San Diego.
We have eight theatre companies in there already, and looking forward to having more! So, look out for that email 😀.
The 2025 San Diego theatre gave us unique experiences, world premieres, revivals, and crossed feelings. -I had a lot of feelings-. From touring productions to alternate spaces and a bunch of new musicals.
Here is From Another Zero’s best for 2025’s theatre:
PLAYS
The Heart Sellers–North Coast REP. A one-act, two-hander by Lloyd Suh. Set in 1973, the play explores a new friendship between two women who came to the U.S. from Asia: Luna from the Philippines and Jane from South Korea, through the 1965 Hart-Celler Act. Directed by Kat Yen, the story dealt with assimilation, American pop references, metaphors, and a lot of heart.
Appropriate–The Old Globe. Branden Jacobs-Jenkins did it again, combining different aspects like family, relationships, and upbringing with a thick side dressing of deep-rooted racism and unconscious bias in Arkansas, at the Lafayette family estate, a former plantation, where three siblings aim to sort out the property and its belongings after their father’s death. Steve H. Broadnax III directed a well-rounded cast that kept audiences engaged and on the edge of their seats with an exceptional, animated set design.
White–Scripps Ranch Theatre. Directed by Yolanda Marie Franklin, James Ijames created the most accurate puzzle by combining truth, comedy, illusion, and blurred chronicles, illustrating the constant flaw in most organizations when they aim to embark on EDI: the choice of quotas over inclusion.
Gruesome Playground Injuries–Loud Fridge Theatre Group. Two friends meet at 8 years old and are bonded for life. As one gets older, life takes over uncontrollably. Time goes by faster, and “trains get missed”. These feelings, among other complications, are at the heart of Rajiv Joseph’s 90-minute one-act, which explores the intricacies of growing up and sharing that experience with someone who is also going through it. Directed by Kaylin Saur, the “what ifs” came back to haunt. A unique theatre experience through creative transitions and raw storytelling.
Merry Me–Diversionary Theatre. Playwright Hansol Jung combines the poetry of Sappho and the tragedy of Euripides in a sensual, naughty mix full of comedic fun. It was playful and fresh thanks to Vanessa Stalling’s creative and eclectic direction, Mathys Herbert’s literal unfolding set design, and Claire Peterson’s costume design, which featured military uniforms, glitter, and angel wings.
Birthday Candles–North Coast REP. Noah Haidle’s play touches upon life, growing old, and family, all while baking a birthday cake. Margot White, who played Ernestine, the lead character, really baked a cake on stage while acting. The baked goods smelled enchanting in the theatre. David Ellenstein directed a vibrant and well-connected cast that breezed through the decades in less than two hours. So yeah, this play destroyed me. I could not stop crying.
A Streetcar Named Desire–Backyard Renaissance Theatre. Rob Lutfy directed Tennessee Williams’ multi-layered whopper of a story set in New Orleans with sisters Blanche (Jessica John) and Stella (Megan Carmitchel). Stanley (Francis Gercke) is not fond of his sister-in-law, Blanche. His colleague and poker buddy, Harold (MJ Sieber), might be a suitable suitor for her. This is one of those plays that takes on a different meaning with age. The company gave this classic a modern flair with music, a sprinkle of Spanish, and it was fire.
Fragment/o/s of Air/e–Onstage Playhouse. Carla Navarro’s world-premiere play, set during the Pinochet dictatorship. Onstage is known for bringing strong pieces to the stage, and James P. Darvas is a master at directing casts for these, capturing the emotion with the timing to achieve perfect fruition. The play is beautifully and organically bilingual: well-articulated, naturally flowing, and making sense. This is how a bilingual play should sound. Truly, one of the best this year.
Vanya and Sonia and Marsha and Spike–Cygnet Theatre. Fantastic cast and rhythm with Anthony Methvin’s direction full of heart. Yi-Chien Lee’s set design was stunning, very Snow White (the Disney animated feature version). Loved all the inside theatre references, the pop culture references, and Andrew Oswald’s (Vanya) truthful monologue about community and shared experiences. I cried. Saw it in its last performance, and I am glad I caught it.
To My Girls–Diversionary Theatre. JC Lee’s story takes place in a Palm Springs Airbnb for a friend’s weekend getaway reunion. Mathys Herbert’s gorgeous set design brought to life a modern 80s-style house full of color and aesthetic. This was totally Diversionary’s essence. And I also have to say that many things claimed about Millennials are mostly (and I guess also) for Gen X, as we younger X’s are in this generational border with the older Millennials, and it all gets mixed in. JC Lee’s writing truly captured these generations and the meaning of healthy boundaries and generational gaps, making the story about four gay friends, but the meaning is universal.
Master Class–The Roustabouts and Sripps Ranch Theatre. Towards the end of 1971 and the first trimester of 1972, Greek-American Opera star Maria Callas taught a series of master classes at the Juilliard School in New York. These events served as the basis for American playwright Terrence McNally to write this piece. Sandy Campbell reprised the role of Callas after ten years. Directed by Phil Johnson, the play featured aesthetic scenes that rose and fell in rhythm, with great gravitas. I loved the integration of real opera singers, as it was essential to the story and, of course, made it much more special.
The Waverly Gallery–Backyard Renaissance Theatre. The story of Gladys Greene (Deborah Gilmour Smyth), an elderly art gallery owner in Greenwich Village whose world begins to contract under the weight of dementia. How her family brace, negotiate, denies, justifies, and ultimately surrenders to what cannot be fixed. Kenneth Lonergan’s writing captured the desperation and helplessness that accompany this unfortunate, degenerative disease. A profoundly human play that also destroyed me. Tears filled the theatre. It felt natural and, in an artistic way, cleansing.
MUSICALS
The PROM–San Diego Musical Theatre. With book and lyrics by Chad Beguelin, book by Bob Martin, and music by Matthew Sklar. This production was balanced and fun, with great voices and even better debuts. I liked it so much, I came home and saw The Prom on Netflix, haha.
Regency Girls–The Old Globe. One of the company’s major musical world premieres. With a book by Jennifer Crittenden and Gabrielle Allan, music by Curtis Moore, and lyrics by Amanda Green, the story is set in Cheshireshire, the English countryside, during 1810. Two sisters love each other but are total opposites. The Regency ladies were absolute rock stars, and the male counterparts were also stellar—one of the best musicals of the year.
Waitress–Moonlight Theatre. Moonlight brought the pies to their 44th season opener, featuring the Broadway musical with music and lyrics by Sara Bareilles and a book by Jessie Nelson, based on the 2007 film of the same name. This cast was perfection. The voices were great, it was naughty, and hilarious. I loved the production. Just like ‘Prom, I came home and saw the filmed version on HBO. Again, haha.
Follies–Cygnet Theatre. The first production in their new space, THE JOAN, another year highlight, took Stephen Sondheim’s 1971 piece to a multigenerational journey of actors that was just delicious, with a story set in a crumbling Broadway theater, where former showgirls gather one last time before the building is demolished to become a parking lot. Now, I’m not a Sondheim person — I’ve said it before, and I’ll repeat it — BUT. This production? It may have semi-converted me.
Jekyll & Hyde–San Diego Musical Theatre. Omri Schein directed a solid production. The musical is long. It has always been long. Regardless, Schein and Richard Dueñez Morrison, in the musical direction, ensured it had a good rhythm, effective framing, and effective use of the stage. It was my first time seeing Richard Bermudez on stage. His portrayal of Jekyll and Hyde was powerful, with impeccable timing, modulation, and delivery.
Huzzah!–The Old Globe. Another big world premiere this year for the company, set at the Kingsbridge Midsummer Renaissance Faire, features two sisters who grew up on the site their parents created during a time of partying and lots of weed. -Probably flower children, although it is not specified. Their father has poured his life into this fair and has decided to leave the throne, entrusting it to his daughters—the princesses. Despite a few hiccups due to COVID, the production was vibrant and hilarious, featuring celebrities in the audience from all over throughout its run.
BROADWAY TOURING PRODUCTIONS
Shucked-What might seem like a silly musical about corn, brought beautiful voices, outstanding performances, puns for years, with gorgeous songs and lyrics. The book is by Robert Horn, the music & lyrics by Brandy Clark & Shane McAnally, and the direction by Jack O’Brien.
Suffs-This company was terrific with music, lyrics, and a book by Shaina Taub, based on suffragists and the American women’s suffrage movement, focusing on the historical events leading up to the ratification of the Nineteenth Amendment to the United States Constitution in 1920, which gave some women the right to vote. The piece touches upon the Black women’s vote as well, and the unnecessary debate about us voting, or well, the Amendment, happening till this day.
SAN DIEGO THEATRE EXPERIENCE HIGHLIGHTS
I added this category last year because, aside from all the good productions, some were immersive, had alternative or unconventional stages, and made the theatre year pop and feel even more special, so they deserve their own category.
Hillary and Clinton–OnWord Theatre. The new company in town, with producing artistic director Marti Gobel. Set in 2008 during the New Hampshire primary, where Hillary won the popular vote, and Barack Obama came in second. This play by Lucas Hnath, seen for the first time in San Diego, delves into the Clintons’ relationship, but I also think it puts into words what many people were thinking at the time. The play took place in the penthouse of the Alma Hotel, where people sat on the furniture or walked around, creating a dynamic and immersive experience.
La Llorona on the Blue Line–TuYo Theatre. The company continued innovating this year with immersive experiences. This world premiere was written by Mabelle Reynoso and directed by Dr. Maria Patrice Amon. La Llorona is the spirit of a woman who walks the streets at night, looking for her deceased children while crying “Ay! Mis hijos!”. The performance takes place in the National City Depot, surrounded by old trolley cars and the station itself. La Llorona (Vanessa Flores), also a producer on the show, guided audiences through the decades of 1920, 1946, and 1982, sharing stories that explore motherhood and women as common themes. Another good aspect was introducing audiences to these sites, such as the National City Depot, combining various experiences into one trip.
We Lovers–Loud Fridge Theatre. Written by Christian St. Croix, the piece premiered at the 2024 San Diego Fringe Festival with a 40-minute version. For LFT’s new season, the play received a bonus of 40 minutes. The now 80-minute, no-intermission story is set in a remote safe space full of props and lanterns, inviting visitors to leave the outside world behind for a couple of hours and simply immerse themselves in telling (and acting) their stories. The sentiment of this piece, along with Heather Larsen’s gorgeous set design, had me.
The Strangers–Chalk Circle Collective. Each production for this company is such an event that it might be all we can handle for now. And opening night was eventful for sure, with some technical difficulties and the curtain delayed by almost 40 minutes, which, in retrospect and after seeing the performance, I get why, as Sammy Webster’s lighting design was an essential, alive part of the frame. A cast of eight actors, different vignettes, and a sort of apocalyptic ending, this West Coast premiere by christopher oscar peña, hit many marks.
Dr. Seuss’s ¡Cómo el Grinch Robó la Navidad!–The Old Globe. I mean, FINALLY, after 28 years of this production in English and, in a border town, we got a glimpse of “El Grinch” in Spanish. Again, dear reader, I was skeptical…truly. But the production me calló la boca, as the cast was solid and lovely. The songs were coherent and made sense, and I think this version could even have a little more heart (see what I am doing here?) than its counterpart in English. A sweet concert production with all the aesthetic details in place had fans from all over oohing and aahing.
OUTSTANDING PERFORMANCES
Amira Temple in Merry Me. Her role as The Angel has been one of her best, and she has had good ones in the past. (and now, in the future, as she also did a stellar job in The Strangers). The interactions with the audience, the playfulness, brought a heavenly A+.
John Rubinstein in Eisenhower: This Piece of Ground. An absolute rockstar, giving a full embodiment of Dwight D. Eisenhower—an excellent storyteller with tone, pace, and organic movement through the space. This play was over two hours with just him. Not an easy task, and the performance went by like a breeze.
Jessica John in A Streetcar Named Desire. She won the Craig Noel award last year for her role as Barbara in August: Osage County. Has also given us other gems, such as Veronica in God of Carnage and the hilarious Beverly in Abigail’s Party. Well, her Blanche, I believe, is one of her best roles yet, delivering a combination of frailty with passion and grit. In the performance I saw, she seemed to be struggling with a cold, but she pulled through like a champ.
Robert Montano in SMALL. I wish all the influencers who came to see Huzzah! Would’ve also seen this piece—an autobiographical solo show written and performed by the electric Robert Montano about his teenage dream of becoming a jockey. But the cold reality of height and weight requirements quickly turned his passion into a battle with his own body. A fight that ultimately became a health hazard. His flow throughout the round was engaging and powerful.
Marti Gobel in Beauty’s Daughter. Gobel came back to the role after almost a decade. A solo piece with several characters that Marti made her own, moving gracefully throughout an intimate space with strong interpretive skills, with range, voice, tone, and personality.
Deborah Gilmour Smyth in The Waverly Gallery. Such a force. She ignited every possible emotion—raw, intense, and debilitatingly moving. Her performance captured the disorientation, the stubborn spark of humor, the repetition, and the moments of sudden, painful clarity while ailing from dementia. I cried so much this year with theatre. This was not the exception.
HONORABLE MENTIONS
Photo by Karli Cadel Photography
Hello, Dolly!–San Diego Musical Theatre. The cast, the choreography, the wardrobe, and the vocals made for a wonderful production.
3 Summers of Lincoln–La Jolla Playhouse. For me, Carmen Cusack was the star of this show, along with the choreography and the wardrobe design.
Mary’s Wedding–Scripps Ranch Theatre. A one-act, two-hander with a beautiful maple wood set design and creative use of the space to bring this touching and sad love story to life.
The Mountaintop–New Village Arts. The tone, intention, rhythm, and set design -almost identical to the real hotel- illustrated this powerful chapter of history.
Indian Princesses–La Jolla Playhouse. Theatre does justice and reclaims the space. Enough said.
Oklahoma!–Cygnet. Vibrant cast that performed their heels out with an amazing, amazing! Choreography and outstanding vocals.
The Heart–La Jolla Playhouse. Even though the music, which I really liked, did not match the feelings evoked by the story, the sense of community and love in the space during that performance was priceless.
Spring Awakening–Oceanside Theatre Company. I see what the Artistic Director is doing with this company’s mission, and I dig it. I would have done a shuffle-ball-change in the casting, but that’s just me. Credit where credit is due, as a staging of this show, is not easy, nor is the subject matter.
Young Audiences–Onstage Playhouse. A good cast and great delivery. The accuracy of this story was impressive and hit all the marks until, again, for me, it got lost and became the stereotype of the stereotype. Still deserving of a mention because of the bold, brave choice and good performances.
RENT–New Village Arts. Some shows get overproduced, and RENT is one of them. This cast, though, was so lively, fresh, and dynamic that it made the trip worth it. Also, the projections/video were the cherry on top. (Photo. Xavier J. Bush. Dupla Photography/Jason Sullivan).
We will see what Diversionary does with their production in 2026.
Thank you to all the publicists for their patience and for working with my schedule to see the shows. Thank you for the pictures. If there is no picture of your show, it is because I did not get them.
And thank YOU, dear reader. I hope you got a snack.
I will see you at the theatre.
