Shining successes, all-wet attempts

HERE are some notable -- and forgettable -- productions cited by Times reviewers and writers Philip Brandes, F. Kathleen Foley, Lynne Heffley, Daryl H. Miller, David C. Nichols, Don Shirley and James C. Taylor:

The true-life controversy at the Barnes Foundation in Philadelphia provided ripe material for Thomas Gibbons’ “Permanent Collection.” This glimpse into the internal struggles at an art institution took on issues of race and cultural ownership. If you missed it during its run at the Greenway Court Theatre, don’t fret -- Center Theatre Group will present the Robey Theatre-Greenway Arts Alliance production at the Kirk Douglas Theatre beginning in January.

Blank Theatre Company artistic director Daniel Henning’s staging of Michael John LaChiusa’s “The Wild Party” squeezed great performances and fascinating detail onto a tiny Los Angeles stage. It’s been a big year for the Blank, which found audience success with its long-running production of Amy and David Sedaris’ “The Book of Liz.”

Chris Butler and Deidrie N. Henry gave searing performances in Dael Orlandersmith’s “Yellowman,” an intense look at racially charged romance in a distant culture. The play enjoyed an extended run at the Fountain Theatre.

Gordon Davidson, in his final season as CTG leader, proved political theater is alive and well -- especially when lively and well done. His staging of David Hare’s “Stuff Happens” -- with its surprisingly neutral take on George W. Bush and its top-flight cast -- provided insight into the decisions leading to the war in Iraq. Audiences at the Mark Taper Forum booed or burst into applause midplay, a true sign of engagement.

Other favorites included “Killer Joe” (Los Angeles Theatre Company at Gardner Stages), “The Caucasian Chalk Circle” (South Coast Repertory), “tick, tick ... BOOM!” and “Songs for a New World” (both by Rubicon Theatre), “She Stoops to Comedy” (Evidence Room), “Theatre of the New Ear” (UCLA Live), “Beauty Queen of Leenane” (Celtic Arts Center) and “I Am My Own Wife” (Geffen Playhouse and La Jolla Playhouse).

On the other hand

THE always-unpredictable L.A. playwright Justin Tanner had a good-bad year with his newly relaunched Third Stage Company. His satirical “Oklahomo” delighted audiences and critics but ran into a bit of controversy when the Rodgers & Hammerstein Organization protested some of the lyrics. Meanwhile, his staging of “Tobacco Road” proved to be an egregious misfire that continues to baffle.

Margit Ahlin’s “Climbing Everest” was a nadir for the Colony Theatre. That, combined with the disappointing “premiere revision” of Jerry Herman’s “The Grand Tour,” brought a jolt to the usually well-regarded theater company. As one reviewer notes: “In shocking contrast to past seasons, the Colony has plunged downhill like a greased turkey down a luge run.”

Even the “let’s-make-a-big-splash-by-filling-the-orchestra-pit-with-water-to-r eplicate-the-East River” gimmick couldn’t save the $3-million “Dead End,” Michael Ritchie’s first offering at the Ahmanson Theatre, from being all wet. Apparently big bucks + big cast + big ambitions = a big bore.