Critics' Picks

Best Bandwagon

The American Theater Wing piled on the Everyone Loves Intiman juggernaut this spring by awarding it the Tony for best regional theater. True, this is partly due to smart product placement: Artistic director Bartlett Sher has stayed in view of the New York critics by directing shows there with some regularity. But the critics wouldn't have rewarded second-rate work, and Sher's and Intiman's track record right now is unassailable. Look for more success this fall with a stage adaptation of Richard Wright's Native Son—third in the theater's five-part American Cycle dedicated to classic American literary works.—Lynn Jacobson201 Mercer St., Seattle Center, 206-269-1900, www.intiman.org.

Best Small(er) Theater Company

Theater Schmeater occupies a unique and important place in Seattle's fringe theater scene—call it a zone of upper-middlebrow artistry, or perhaps postmodern chic minus the cloying, self- conscious cuteness of so much experimental theater. Founded in 1992, the Schmee is ye olde reliable of the smaller, independent outfits, a steadfast producer of strong, smart, challenging work that consistently and cunningly touches a nerve of timeliness. Whether staging a new play like Vincent Delaney's Kuwait or reviving the old-school social paranoia of One Flew Over the Cuckoo's Nest, the folks at Theater Schmeater deftly balance a kind of apocalyptic politics with a knack for busting open old forms for a new age—witness their late-night run of staged Twilight Zone episodes or the serialized mock soap opera Crescendo Falls, a parody about a family in the backstabbing business of the music industry. Provocative, intelligent, funny, and fun, this is theater that sifts the detritus of pop culture to create for the stage reconstructed moments of talent and inspiration. Schmeater makes theater cool, and cool theater, for the television generation (anyone under 18 always get in free of charge)—and it does so with taste, panache, and flash.—Richard Morin www.schmeater.org.

Best Work Onstage and Backstage

Were Marya Sea Kaminski's résumé to stop at the line that reads "founding member of Washington Ensemble Theatre," her place in the pantheon of Seattle stage luminaries would be assured. WET—an egalitarian stage ensemble started a few years back by a handful of talented UW Drama School grads—has moved quickly to the forefront of the independent fringe theater scene, thanks in large part to Kaminski's efforts; she directed the premiere of Adam Rapp's excellent Finer Nobler Gases, and had a devastating satiric turn playing the current first lady in Laura's Bush by Jane Martin. Her achievements, however, don't stop there: She has written and performed more than 20 solo shows (including In Distress and Brimming), some of which she has busked at the Edinburgh Fringe Festival in Scotland and on subway platforms in New York. Around town, her work has appeared at Re-bar, ConWorks, and the Ethnic Cultural Theatre. Such accomplishments would be impressive in any career, but in one as young as Kaminski's they're jaw-dropping. It's only a matter of time before she's given a key to the city.—Richard Morin

Best Art-Scene Scandal

There's no sex, but there's plenty of money involved in the Seattle Symphony'srecent turmoil. If you haven't been paying attention, the central issue is whether conductor Gerard Schwarz, whose contract was recently extended to 2011—which will be his 26th season as music director—has overstayed his welcome. Related issues involve his conducting skills (phrases like "utter joke" and "untrained charlatan" pop up among his more virulent detractors), his music-world reputation, his management style (with allegations of retaliation against dissenting musicians), a hostile work environment lawsuit, the board's failure to take into account orchestra members' opinions in their contract decision (expressed in a highly critical player survey), the sudden June departure of Executive Director Paul Meecham, and whether Schwarz's fund-raising skills, drive to get Benaroya Hall built, and the general improvement of the orchestra over the last quarter- century are extenuating circumstances. We'll see what new developments the fall season brings.—Gavin Borchert www.seattlesymphony.org.

Best Classical Success Story

The fiscal-year-end report released July 3 by the Bellevue Philharmonic boasts a 99 percent increase (that's doubling, folks) in subscription sales; finishing "in the black" for the fourth consecutive year, with no deficit; an average of 93 percent to 94 percent capacity for all concerts in the Theatre at Meydenbauer; and the expansion of their main season in 2006–07 to six pairs of subscription concerts (up from five). This is all startlingly good news in a field that's been financially beleaguered in recent years—especially so for a smaller ensemble that's been on not-so-firm footing since the controversial easing-out of founding music director R. Joseph Scott, who led the group from 1967 to 1997. Executive Director Lawrence Fried attributes the upswing to their "largest, most comprehensive ad campaign ever" via direct mail and KING-FM (98.1), and a special low rate for new subscribers. "The business community is becoming more aware of us," he says, which seems to be translating into both corporate support and butts in seats. Music director Fusao Kajima, looking forward to his ninth season with the group, and their board seem to have the group well on track.—Gavin Borchert www.bellevuephil.org.