HOUSTON’ S BEST THEATRICAL PERFORMANCES OF 2016

GREG DEAN AS TILDEN IN “BURIED CHILD”

Dean’s sputtering Tilden reminded me of two other silent-but-knowing characters in theater: the senile Momo from “The Humans” and the mute Chief in “One Flew Over the Cuckoo’s Nest,” outcasts who blended into the scenery while still actively participating in each moment, waiting for their time to explode to the surface. Dean did this with a mastery of body language and the eerie cadence of a prophet.

EMILY SKINNER AS THE WITCH IN “INTO THE WOODS”

Skinner didn’t need to fill the shoes of Bernadette Peters, who played the Witch in the original Broadway run. She brought her own pair. Skinner’s elegance, humor and vigor only blossomed when she sang “Children Will Listen” in the most potent musical showcase of the year.

JOEL SANDEL AS ROBERT KENNEDY IN “RFK”

Sandel’s portrayal of RFK gave this one-man show a sense of gravitas and charm fit for America’s best-known family. Rather than caricature of a political figure, Sandel turned the play into an examination of grief, self-doubt and the clash between idealism and pragmatism.

BREE WELCH AS MARIE ANTOINETTE IN “THE REVOLUTIONISTS”

Welch took a broad approach to farce and turned Lauren Gunderson’s play about feminist French revolutionists into a rip-roaring affair. Welch’s big hair and bigger voice made Main Street Theater’s production a triumph.

LUIS GALINDO AS JACKIE IN “THE MOTHER****** WITH THE HAT”

What a challenge it must have been to play a broken man who tries, fails and tries again to be a good man. Galindo leapt from mournful quietude to explosive rage in his raw portrayal of an alcoholic.

JOEL GROTHE AS THOMAS CROMWELL IN “WOLF HALL” AND “BRING UP THE BODIES”

It takes an actor of unusual stamina and dedication to star in a six-hour play. Grothe anchored Hilary Mantel’s lush drama about royal intrigue with a steady yet kinetic presence.

CANDICE D’MEZA AS SHELLY IN “BURIED CHILD”

D’Meza’s ferocity as an outsider thrown into a troubled family was tempered by a looming sense of fear. Her presence made the play relatable and modern, as well as highlighting the true violence of “Buried Child.”