When presented with the task of putting together an end-of-the-year review of community theater, one main idea stood out in my mind: a panel of knowledgeable and respected individuals who regularly engage in local theater made a lot more sense than me just throwing in my two cents. The end result should, hopefully, be a well-rounded summary brimming with objectivity and insight.

Helping with the following look at the best of local theater for 2001 are two of the most active and experienced theater people in the Springfield area.

Phil Funkenbusch is a local director, actor and producer who considers himself a "town crier" when it comes to motivating people to get involved in theater. He regularly directs for the Chautauqua Series at New Salem and last summer directed Springfield Muni Opera’s "Peter Pan." In April 2002, he will be directing the contemporary drama "The Laramie Project." In his spare time, Phil works for the Illinois Department of Historic Preservation.

The second panel member, Gus Gordon, could be considered a clearinghouse of Central Illinois theater news and culture. Gus is a local actor and producer who, in 2001 alone, produced eight shows through his co-founded Gordon Productions. Gus is chief meteorologist for WICS Channel 20, maintains an informative theater Web site at www.oocities.org/gordonproductions and does occasional reviews of national touring stage productions for The State Journal-Register.

We’ve tried to come up with our top three to five most memorable moments from 2001. They could be anything from performances to sets to the food in the concession stand. Many of our choices were strikingly similar. Many were not.

Here are the things we thought made 2001 memorable for local theater audiences:

Individual performances

YOUNG: Phillip Edgar Stone first blew me away as Judas in an independent production of "Jesus Christ Superstar." This man is one of the best talents I’ve ever seen on any local stage. His Judas was heart-wrenching; his facial expressions and passionate singing had me riveted. As Fredrik in "Night Music," he was a refined, dignified nobleman and again was subtle and sang beautifully.

Young Joe Candioto is one to watch for. He’s displayed natural acting ability and innate comic timing as Flute in the junior version of "A Midsummer Night’s Dream" at Springfield Theatre Centre and as a Lost Boy in Muni’s "Peter Pan."

With only a few lines, his delivery motivated the audience to bursts of laughter.

Mary Beth Maloney and Pat Young deserve mention for their portrayals of deeply complex and emotionally driven characters.

Maloney’s portrayal of the grieving and committed widow in "The Cemetery Club" at New Salem absolutely floored me. Maloney has played a wide range of characters, from slapstick comedy to serious drama, but I’ve never seen her more focused and natural than she was in this play.

Young’s Blanche in the Theatre Centre’s "A Streetcar Named Desire" was provocative, tragic and charming everything we would expect in this role. But Young was all of those things without being an overwrought characterization of a mentally fragile person. Her collapse at the end of the play moved many in the audience to tears.

GORDON: Don Schneider did outstanding work in everything he did this year, particularly in "My Fair Lady" at the Theatre Centre and "Distant Thunder" at New Salem. Don makes every character different and brings solid professionalism to everything he does.

At Muni, Ed MacMurdo brought his brand of boyish charm to the lead role in "How To Succeed in Business Without Really Trying" and Carolyn Otten reminded everyone how much fun it is to watch Peter Pan fly across a star-filled night sky.

FUNKENBUSCH: Mark Silberman’s portrayal of Mitch the good-hearted, lonely bachelor in "A Streetcar Named Desire" who sees a ray of hope when meeting Blanche DuBois was an example of a full-blooded, complex, emotional characterization. Blair Vickroy sang, danced and acted the role of Anita in Muni's "West Side Story" with such an electric intensity that it became one of those star-in-the-making performances. The entire ensemble of performers in that show was a highlight of the year.

Jill Poffenbarger must be singled out for the versatility she showed in four roles. She was Lucy in "You're A Good Man, Charlie Brown" and Grace Farrell in "Annie," both in Jacksonville.

At the Springfield Theatre Centre, she gave a hilarious, finely tuned performance as a blond bombshell in "Something Afoot," and followed it by playing Eunice, Stella's upstairs neighbor, in "Streetcar."

Overall production/staff

YOUNG: "Peter Pan" (Muni)

There were so many things right about this production and so many positive comments that it seemed inconceivable to not mention it. (Let me help qualify my opinion, in case I'm accused of any nepotism, by saying fellow panel member and director Phil Funkenbusch did not know that this was one of my picks.)

First, Carolyn Otten's astonishing performance as Peter is one for the books. I heard a few rumblings after she was cast since she had already played the part before (in 1984).

But she put any skepticism to shame. And anyone who can sing, dance and act while mastering the difficult skill of stage flight deserves a nod.

Troy Kemp's subtly smarmy Captain Hook, Ron Seeny's Smee and the entire hilarious group of pirates were perfectly cast. The sets were fantastic, the costumes were adorable, the narrator was enchanting and this entire magical event came together under the skillful direction of Phil Funkenbusch.

He showed good instincts all throughout, not only with his casting but with his insightful decision-making like cutting the song "Mysterious Lady." Bravo to this standout cast and crew!

GORDON: The pirates and kids in "Peter Pan" also were worthy of praise. The kids acted with maturity and the adults were able to be silly; what a great combination! Phil Funkenbusch certainly brought out the best in his cast.

The dancers in "West Side Story" deserve recognition for bringing youthful energy and enthusiasm to the choreography of the great Jerome Robbins, as interpreted by the equally great Gary Shull. And the "West Side Story" orchestra, led by Dick Garretson, was also one of the strongest of the year. It's magic when talented musicians get to play a classic score.

"A Little Night Music" at Muni featured one of the strongest ensembles of the year, with standout performances by Cynda Wrightsman, Nancy Diefenback, Phil Edgar Stone, Steve Williams, Greg Donathan and Georgia Dirksen, among others. Kudos to director Doug Hahn for coming through in a pinch and taking over Muni's production of "Night Music" from the late Jim Murray, who died unexpectedly on April 9. Doug came in unselfishly and did fine work helping to bring Jim's concept to the stage.

Marge Roth, Nancy Whalen and Phyllis Maynerich did the jobs of thousands this year, costuming shows for Springfield Theatre Centre, New Salem and Muni. These three women, along with their staffs and helpers, need to be recognized for their dedication and their stamina.

FUNKENBUSCH: Julie Guttas' choreography for Muni's "How To Succeed in Business Without Really Trying" was the first time she choreographed a Muni show. Best known as the artistic director of the Springfield Ballet Company, she brought a great sense of style and comic timing to her dances. Each one was different and fun to watch.

Karen Lynne Deal and the Illinois Chamber Orchestra crafted a perfect blend of music and the written word of Mozart with their "Mozart's Letters" concert. Deal's readings of the letters before we heard the music brought a heightened emotional component to the evening. It was a privilege to be in the audience that night.

People

YOUNG: Hearing about the sudden and unexpected passing of director and actor Jim Murray regrettably is on my list. I had the pleasure of working with Jim in a few shows over the past several years. He was always patient and thoughtful and presented himself as a humble artist, not one full of pretense.

It was at a cast party in his home when I learned that he was also a gifted visual artist and exceptional painter.

At the time, I myself was visual arts major at then-Sangamon State University and was impressed by his talent. I told myself several times, "When I have the time, I should take one of his classes (at Lincoln Land Community College)." I never did.

Jim was slated to direct "A Little Night Music" at Muni last summer but died shortly after casting the show. His artistic vision was thoughtfully brought to the stage by director Doug Hahn and Jim's chosen cast and crew.

It was a lovely musical that honored a lovely man.

Honorable mentions

YOUNG: Watching Tom Shrewbury's surprised reaction during the dedication of the Shrewsbury Concession Stand at Muni, Greg Donathan's unbelievable singing voice, Bad Ass Productions' edgy theater, founded by Springfield native Arik Martin, coming to Springfield, "How to Succeed's" colorful sets and costumes, John O'Connor in "1776," Roxy Group's laudable and brave decision to move ahead with opening the entertaining "Swingtime Canteen" only three days after the Sept. 11 attacks.

GORDON: Muni set designers and builders for an exceptional year of excellent work - each set was beautifully and efficiently designed and rendered, Bob Crowe and his staff at Theatre in the Park for wonderful programs and sold-out shows, Roxy Group's "Swingtime Canteen" was very professional and came at a perfect time for a patriotic pick-me-up.

FUNKENBUSCH: Kate Rotroff as "Adelaide" in Theatre Centre's "Guys and Dolls Jr." She was absolutely adorable and showed a natural gift of musical comedy performance. I don't know what grade she's in, but she's young, gifted and definitely one to watch for.

Mary Young is a free-lance arts reviewer and can be reached at myoungfeedback@yahoo.com.