56. "Jack Goes Boating" by Bob Glaudini

A dull romantic comedy about losers in love. While the play did have some promise in the first 20 minutes, by the end of the first act I ......... Zzzz........Zzzzz...... decided to leave at intermission. I do remember a particularly inventive scene in which John Ortiz's character tries to teach Philip Seymour Hoffman's character how to swim. Other than that... I won't remember much.

55. "The Apple Tree" by Jerry Bock and Sheldon Harnick

My only previous run-in with Kristin Chenoweth was in "Wicked," so it was great to see her in a musical with a real book. Not only did she nail every single song, including the classic "What Makes Me Love Him?" she also brought the house down with her rendition of "Tiger, Tiger," which as Patrick says, could be a master class on how to perform musical comedy.

54. "Curtains" by John Kander, Fred Ebb, Rupert Holmes, and Peter Stone

Debra Monk steals the show. Debra Monk steals the show. Debra Monk steals the fucking show... and then David Hyde Pierce steals the fucking show. It's a classic musical comedy whodunit filled with showstoppers, knee-slappers, and side-splitters. And DHP is just too cute for words. His bumbling detective cum community theater star is pitch perfect. I can't wait to go back and see it again. It's everything "The Drowsy Chaperone" wants to be and more. And did I mention that Debra Monk steals the show?

53. "King Hedley" by August Wilson

Of course I'm going to compare this new production at Signature Theater to the Broadway premiere in 2001, which won a Tony for Viola Davis. Are there any standout performances this time around? Yes, definitely. All of them. And thankfully, Stokes isn't anywhere near this production. And it's nice to see Mr. Gaines on stage. But while this gritty production is first-rate and leaves you with the sort of depression that's common with Wilson, it isn't the right time for New York audiences to return to this play. We need a first-rate revival of "Fences" above anything else.

52. "The Pirate Queen" by Alain Boublil, Claude-Michel Schönberg, Richard Maltby Jr., and John Dempsey

photo: Joan Marcus
Granted, it was an early preview, so I'm going to reserve judgement with the very strong (and very doubtful) hope that somehow, this show can be saved. A lot of money has been put into it and many, many people are working on it. The size of the cast alone is surprising. The only thing that worked for me in this 2.5 hour wannabe spectacle was Graciela Daniele's Irish step-dancing choreography. The biggest disappointment is Stephanie J. Block, who I don't feel has the charisma to carry an entire show. During her act two duet with Linda Balgord (Queen Elizabeth I), all I heard was shrieking from one (Balgord) and belting from the other (Block). Sharp and flat don't cancel each other out, and they definitely don't create harmony. Eugene Lee's set design is all ropes and sails — attempting to create the illusion of a full-scale pirate ship. But that's also part of the problem. Like his ship without a mast, this is a musical without a backbone.

51. "Dante Variations" by Paul Taylor Dance Company

I caught Paul Taylor's adaptation of the work of Dante. I'm assuming he's referring to Dante's "Inferno" because it seems like this piece was choreographed straight out of Hell. Don't go and expect anything artistic. The costumes alone (designed by Santo Loquasto) are enough to want you to look at anything but the stage, but DO go to hear Ligeti's beautiful "Musica Ricercata" for the barrel organ.

50. "The Year of Magical Thinking" by Joan Didion

photo: Bridgette Lacombe
With a soft intensity that builds during the 90-minute monologue, Ms. Redgrave reminds us why she's one of the greatest living stage actresses. The recitation of Ms. Didion's carefully chosen words rarely rises above a gentle whisper, and the musical cadence of her speech can lull you to sleep if not for the fact that the story is so compelling and that you couldn't possibly bear to avert your eyes for fear of missing something magical. And it does happen — especially when she invades you with those devastating deep-set blue eyes, as she did me, sitting in Row C, seat 9, against the side wall. When Ms. Redgrave touches upon you and connects in that way, you know you'll never feel the same again.

But don't let me lavish all the praise on just one. Ms. Didion's play is both beautiful and hideous, emotional and stoic, introspective and philosophical. Just when you expect a major emotional thunderbolt, you are left out in the field waiting for the rain.

49. "The Sisters Rosensweig" by Wendy Wasserstein

photo: Henry Leutwyler
Mama, izzatchu?
Perhaps I'm desensitized and having Baranski overload after having seen her in "Regrets Only" and then the "Follies" concert, but in last night's special one-night-only reading of "The Sisters Rosensweig," she gave her best performance of the season as Gorgeous Teitelbaum. Maybe it was because she was sitting next to Stockard Channing, who could heal sick children and the disabled with the touch of her hand, but those two women gave excellent performances, even for a reading. During the intermission, a bunch of rich old Jews (it was a benefit!) gathered in the bathroom, and while staring at themselves and praying for a miracle at the urinals, I over heard one of them say "That Robert Klein! He's the best. He's really stealing the show." Oh please.

48. "Some Men" by Terrence McNally

photo: Antoine Tempe
When I'd read a manuscript of this play well over a year ago as the Philadelphia Theater Company was casting the world premiere production, I really had no hope for it. It was a schmaltzy mess of stereoptypical scenes about the way gay life has changed in the past 50 or so years. What a delightful surprise to see that Mr. McNally has tightened the script, eliminated a few characters, and added a few more punchlines. It helps that there's a terrific crew of actors involved. David is going to go wild with Hot Guy Alerts, though I'm sure a few of these guys are already on that page. Did every gay man living in NYC during the Stonewall Riots take part? For some reason, I thought so, but after seeing this play, you are reminded that history doesn't always involve everyone — it can pass you by if you let it — but it will always affect you, much like the way this play does. I saw one of the first previews and I can only imagine it will get better in the weeks ahead. Oh, and David Greenspan steals the show with his rendition of … well I don't want to ruin it for you. Just go and see it for yourself.

47. "H.M.S. Pinafore" by Arthur Sullivan and W.S. Gilbert

The Gilbert and Sullivan canon has been begging for a revisionist staging for years, and finally the Vortex Theater company has heard the call. I consider most modern performances of the G&S operettas to be an exercise in complete boredom because they're attacked with such sincere amateurity by non-professional actors and singers. Rarely do we see a quality mounting of a G&S classic. And even then, the stage usually is filled with huge choruses who wear identical costumes, allowing the main characters to get lost in a sea of tediousness… And now for something completely different… Vortex has pared down "H.M.S. Pinafore" using a children's book as its model. A cast of seven cover all the parts. And it works. Not only is this 80-minute adapation highly entertaining, the young actors all turn in well-rehearsed and thoroughly enchanting performances. I'd love to see this in a bigger Off-Broadway house and with a much larger budget.

46. "Carmen" by Compañía Metros

photo: Josep Aznar
In a perfect world, people would express themselves with body language and movement. On one hand, it is unfortunate that we live in a world dominated by the spoken word, which can cause more damage than any action that comes to mind. I enjoy seeing dance theater for this very reason: it gives us a chance to imagine what a perfect world might be. This performance of "Carmen," is as an example of that.

45. "Dying City" by Christopher Shinn

photo: Sara Krulwich
Half of this play is good. The other half is complete shit needs a re-write. Which means that 45 minutes are bearable -- the other 45 had me staring at the slowly revolving stage. It's difficult writing something bad about a playwright you respect, so I will try to keep my comments mostly friendly. But the one troubling thing I do find with Shinn's work is that he tries far too hard to create psychological characters who don't exist beyond the limits of their own inner demons. In an Arts & Leisure piece about him from a few years ago, Shinn revealed that he sees a therapist daily. After seeing "Dying City," I'm not surprised, but therein lies the fault with this play. As their creator, he has overanalyzed his characters to death. Thankfully, there are talented actors trying to bring them to life, though good talent will only take you so far.

44. "Simon Boccanegra" by Giuseppe Verdi and Arrigo Boito

photo: Marty Sohl
If you go to the opera expecting to be entertained, I wouldn't make "Simon Boccanegra" your first choice, especially with so many great options this season at the Met. But if you are content with just hearing a good score and great voices sing it, then by all means try to catch one of the two remaining performances of "Boccanegra" -- albeit neither of them star the stunning Angela Gheorghieu, who sang her final commitment for the Saturday broadcast. She, Marcello Giordani, and Thomas Hampson, playing the title character, were all in fine voice. The stage design often evokes an Italian Renaissance painting brought to life, and while subtle, it strikes a powerful chord.

More photos from China

The Chinese version of "Do Not Touch."

Photos from China

43. "Prelude to a Kiss" by Craig Lucas

Because I'd arrived at the American Airlines Theater early, I was directed by an usher to take an elevator to the theater's fifth floor and wait in the Penthouse Lounge. A pre-performance lecture was in progress and while I listened to the Roundabout flak go on about this "magical" play and the "brilliance and genius" of "homosexual" and "not very attractive" Craig Lucas, I couldn't help but recall that one of the playwright's AOL screenames includes (or at one point in time included) a derivation of the word "Skinflute." This made me smirk while I ordered a $3 cup of burnt coffee and watched the senior crowd as they listened attentively.

As for the performance, John Mahoney is adorable in this revival. The two leads aren't.

Letter from China

Two weeks in China is enough to give you a taste, but also enough to leave you hungry -- and I didn't even try the canine stir fry. Due to a busy schedule that encompassed seven cities in 14 days, there were only two occasions that permitted a night at the theater. Both of those outings were spent at Chinese opera. I explored two of the five or so varities that constitute the ancient artform: Cantonese and Peking/Beijing. While in Hong Kong -- a city whose manners have been ruined by a few centuries of Western domination -- we ventured out of the downtown area to a theater that offers soap opera confections set to a percussion-heavy score. The most fascinating thing about Cantonese opera is that it is attended by elderly female groupies who arrive early to purchase large bouquets of flowers, which they place on stairs on either side of the stage to honor their favorite singers. I couldn't tell you the name of the opera I saw, nor could I determine the plot since there were no supertitles or English language program, but I can say that the time flew by when I started pretending that the actors onstage were performing an old episode of "I Love Lucy." It's just too bad that none of them were redheads.

In Beijing, we opted for more touristy fare. Three scenes from popular operas with titles such as "Goddess of Heaven Scattering Flowers" and "Presenting A Pearl on the Rainbow Bridge" that combined music, dance, acrobatics, and kung fu. Like Cantonese opera, the Beijing variety doesn't compare to the Western tradition in tone or harmony. It has to be experienced at least once, and despite the jarring sound, I left wanting more.

Also, the Chinese audiences don't hesitate to burp, eat, drink, talk, or take bathroom breaks during performances. They'd feel right at home seeing a Broadway show.

Bonus: The audience is invited to watch the actors prepare for the performance in the 30 minutes prior to curtain while they apply makeup and get into costume.

Regret: Not seeing "Cats" in Tokyo during a two-day layover.

40. "Eugene Onegin" by Pyotr Ilyich Tchaikovsky

I was lucky (and smart enough) to buy tickets for "Onegin" a few months ago when only a handful were still remaining, and I was glad that I did. Arguably, this opera is Tchiakovsky's finest. The tunes swirl around you like waltzers at a ball, and Tatijana's theme grabs at your heart in the same way that Mozart's clarinet concerto will always make you think of "Out of Africa." But in "Onegin," there are plenty of gorgeous arias. In this minimalist staging by Robert Carsen, the focus is on the music and the acting. Tatiana's letter scene isn't just a long aria for a soprano, it's a dramatic soliloquy by a young girl who has awakened to the joys of teenage love and submits to it without care or consequence. It is a joy to watch the 40-something Renee Fleming run in passionate circles onstage, throwing fallen leaves into the air with youthful abandon. And Gergiev's conducting, while unpredictable, is nothing short of perfect.

For those readers who aren't in New York, the Met will be broadcasting "Onegin" into movie theaters Feb. 24 and on PBS in April.

39. "Follies" by Stephen Sondheim and James Goldman

Was this a perfect "Follies"? No. Was it an entertaining one? Yes. The highlights for me were of course Victoria Clark and Donna Murphy, both who brought new insights to their characters. It was the first time I'd seen Sally as a bit of a selfish doozy and the first Phyllis for whom I had any compassion. Victor Garber was cold and steely as Benjamin. But the low points for me were Christine Baranski, who massacred "I'm Still Here" and the Solange of Yvonne Constant, who just talked her way through "Ah, Paris!" without any flirtatious charm. Oh, and one more thing: I want to see Joanne Worley as Auntie Mame.

38. "Howard Katz" by Patrick Marber

While I disagree with Aaron and Patrick's assessments of "Howard Katz," I do acknowledge the points they make about this play's faults. But despite them, I was blown away by this tale about a man who, after his father's death, makes a string of bad decisions that eventually lead to his downfall. Alfred Molina is superb and he's supported by a cast of pros, including the perfectly cast Alvin Epstein and the graceful Elizabeth Franz.