You have to admire theatre artists. Theatre's creation is always an ambitious task, fraught with peril. Success rests on so many elements: script, cast, directors, technical crew. And yet, when it works well, the power of theatre bows to no other art form.

Although 2009 wasn't a particularly knockout year for theatre in Victoria, there were wonderful shows. Here's a sampling of what impressed me in one way or another. These were not necessarily the best in critical terms, but they are the ones most vividly remembered.

Death of a Salesman, Blue Bridge Theatre, July: This, for me, was the best piece of theatre staged in Victoria over the past 12 months. Arthur Miller's classic drama, a gut-wrenching critique of the American dream, is a masterpiece. And David Ferry, playing Willy Loman, offered a tour de force performance remarkable for its energy and intensity. The play was well directed by Brian Richmond, who dug deep into the play's great heart while skilfully navigating its complex structure -- almost orchestral in sweep.

It was heartening, too, to see Blue Bridge Theatre offer such quality theatre, especially as a new company. I hope Blue Bridge survives and thrives, despite the provincial government's ill-conceived arts funding cuts.

The Real Thing, Belfry Theatre, January/February: The Belfry Theatre did justice to Tom Stoppard's brilliantly witty and cerebral drama. Director Michael Shamata (like Richmond with Death of a Salesman) offered the sort of clear-headed direction that's so welcome in a complex, potentially difficult play.

I wasn't 100 per cent convinced that Vincent Gale fully conveyed the profound transformation that occurs in Henry, an emotionally detached playwright forced to accept the pain and messiness of life. Still, I love Gale as an actor and appreciated the nasty intensity he brought to the role.

The Year of Magical Thinking, Belfry Theatre, November/December: Some may be surprised to see this on the list. I had decidedly mixed reactions to this stage adaptation of Joan Didion's non-fiction book, which explores her efforts to cope with the deaths of her husband and daughter.

I saw the show on opening -- an off-night due to a fidgety audience and technical glitches with lighting. I had found Didion's book enjoyable, but the stage version seemed to me dry and overly cerebral. This may be a matter of taste -- Didion's self-contained personality and her highly privileged position in society made me less empathetic.

And yet the play lingers with me. I love that it investigates death and how we cope -- subjects not often addressed in polite society. And Seana McKenna, who starred in this one-woman show, is a fine actress and a pleasure to watch.

Some readers disliked my critique, which frankly expressed my reservations. One limitation of reviewing is that theatre writers assess a single performance. In hindsight, I think I was too critical in my write-up, focusing too much on scolding the restless (and to my mind, rude) audience.

Macbeth, Kaleidoscope Theatre, May: Overly bold adaptations of Shakespeare can be annoying. Often it's more about the director arbitrarily imposing his or her stamp, regardless of whether it makes sense for the script.

Such was not the case with director Leslie Bland's interpretation of Macbeth. His clever notion was to recast the three witches as aggressive journalists predicting Macbeth's future -- reminiscent of today's poll-obsessed political reporting. Staged by Victoria's professional children's theatre, this romp was stylish, fast-paced and oodles of fun.

Pack of Lies, Langham Court Theatre, April/May: Community theatre can be very rewarding, indeed, sometimes more so than professional efforts. I greatly enjoyed the Victoria Theatre Guild's production of High Whitemore's Pack of Lies.

The play is based on the true case of a husband and wife who operated as spies for the Soviet Union in the 1960s. They become pals with another couple in the English neighbourhood, who ultimately find themselves torn between betraying the friendship and showing loyalty to their country.

The steady directorial hand of Keith Digby (former artistic director of the Bastion Theatre) and co-director Cynthia Pronick worked well. So did the notable acting of Naomi Simpson and Paul Terry.

Also of note in 2009: Theatre Inconnu's Who's Afraid of Virginia Woolf?, Jayson McDonald's Fall Fair, The Road to Canterbury by Itsazoo Productions, and the University of Victoria's La Ronde.