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As Queen Elizabeth might say, 2008 has been an annus horribilis. The economy, war, hunger. Horrible year, indeed. • Thank goodness for theater. • Shows on Tucson stages managed to make us laugh, sing, dream, groan, think and escape for a few hours from everyday life. • It is those shows that did that particularly well that we present with our 2008 Mac Awards, named after the late Mary MacMurtrie, who spent much of the last century turning Tucson children into actors, directors, stage technicians and audiences who appreciate heart, honesty and intent as well as excellence.

"Cat on a Hot Tin Roof," Arizona Repertory Theatre's production, was skillfully directed by Brent Gibbs and gave us a chance to see a well-performed production of one of Tennessee Williams' masterpieces.

Arizona Theatre Company's world premiere of Jeffrey Hatcher's adaptation of "Dr. Jekyll and Mr. Hyde" was a chilling, effective rendition of the dark tale. David Ira Goldstein directed the play so that its humor made the story even more disturbing.

Independent Productions' "Doubt, A Parable" did justice to John Patrick Shanley's powerful Tony-winning play about a nun who accuses a priest of molestation without any evidence other than her certainty. Amy Almquist directed with a sure, knowing hand.

The Mac goes to The Rogue Theatre's production of Edward Albee's "The Goat, or Who is Sylvia?" Directed by David Morden, the production was a fierce one, full of the passion and anger and love that Albee intended. Rogue continues its brave choice to bring us plays that provoke us, perhaps offend us, and often move us.

Live Theatre Workshop's production of Ken Ludwig's "Moon Over Buffalo," a farce about about a mediocre acting company that mixes up the characters and scripts while performing "Private Lives" and "Cyrano de Bergerac" in repertory, was a complete over-the-top hoot directed by Stephen Frankenfield.

LTW also scored big with the Ray Cooney farce "Funny Money." Directed by Sabian Trout, the very silly story had a strong cast, fast moves and impeccable timing.

ATC's "Enchanted April," the story of four women who flee husbands, fame and/or dreary London for a quiet April in a home in Italy's countryside in 1922, was full of unbridled joy. It was directed by Timothy Near.

Invisible Theatre opened its 2008-09 season with "Dixie's Tupperware Party," an actual Tupperware party with creator Kris Andersson in drag playing the only character. Directed by Patrick Richwood, it was bawdy, big-hearted and quite funny.

"The Bible Belt . . . and Other Accessories," Arizona Onstage Productions' one-man play about a gay teenager working at a Dairy Queen in a small Texas town, takes the Mac. Kevin Johnson directed with a sense of humor strongly laced with pathos. So the play fed the audience some real meat with the fluff.

J. Andrew McGrath in Rogue's "The Goat, or Who Is Sylvia?" was particularly effective as Martin, a married architect who falls for a goat.

R. Hamilton Wright as Jekyll in ATC's "Dr. Jekyll and Mr. Hyde" made the good doctor's internal fight palpable and real.

Michael Woodson's aging actor in Live Theatre's "Moon Over Buffalo" showed pristine delivery and a keen, keen sense of timing in his role as an aging, arrogant actor.

Stephen Frankenfield's take on the dweebish man who finds he has picked up a suitcase full of more than a million dollars in "Funny Money" was priceless.

Art Almquist's priest in Independent Productions' "Doubt, A Parable" was full of sincerity in the character's desire to change the church, even as you weren't quite sure if he was guilty of what he had been accused.

But it is brave, talented Ryan DeLuca, who played Johnny in Arizona Onstage Productions' "The Bible Belt . . . And Other Accessories," who wins the Mac. He gave his character in the solo show energy, innocence and a big, big heart.

Carlisle Ellis clearly loved playing Charlotte in Live Theatre Workshop's "Moon Over Buffalo." She gave the character of the too-old-for-the-roles-she-plays actress such a strong sense of too-much-drama that it was hard to stop laughing.

Cynthia Meier's berated and pitiful Big Momma in Arizona Repertory Theatre's production of Tennessee Williams' "Cat on a Hot Tin Roof" was heartbreaking.

Holli Henderson captivated us with her wisecracking, fun-loving Maggie in Live Theatre Workshop's production of Brian Friel's "Dancing at Lughnasa," and with her character Betty, who spoke with a ridiculous squeak of a voice in LTW's "Funny Money."

The Mac goes to Cynthia Meier, as an emotionally tortured wife married to a man who falls in love with a goat in Rogue's "The Goat, or Who Is Sylvia?" She was powerful and smart and so wounded by the deep betrayal that it was impossible not to be moved by her.

Director David Ira Goldstein infused enough humor among the horror in Arizona Theatre Company's "Dr. Jekyll and Mr. Hyde" that the audience was kept constantly on edge.

Amy Almquist directed Independent Productions' "Doubt, A Parable" with an in-depth sense of the turmoil and passion that rule the characters. The one-act was finely drawn, clean and fast moving.

Kevin Johnson's direction was sensitive and insightful in Arizona Onstage Productions' "The Bible Belt . . . And Other Accessories."

Sabian Trout showed a love of the material and an understanding of the characters in Live Theatre's "Dancing at Lughnasa."

Director Stephen Frankenfield took his sharp sense of pace and timing and put them to good use in Live Theatre's "Moon Over Buffalo."

David Morden's direction in Rogue Theatre's "The Goat, or Who is Sylvia?" showed a deep understanding of the material, and he used a deft hand in order to give the audience that same insight. He takes the Mac.

Joey Calveri's Berger in ATC's "Hair" was raunchy and graceful, and he infused the character with surprising shadings.

Kit Runge's Georges-Pierre Seurat gave a strong portrayal of the tormented artist in "Sunday in the Park With George."

Kyle Taylor Parker's Hud in "Hair" had just the right amount of attitude and humor.

In Arizona Repertory Theatre's production of "Urinetown," Kyle Harris' earnest innocence of his character Billy gave him an honesty, and Christopher Violett's Cladwell was so out there that you couldn't help but love the greedy ol' guy.

But it's Kyle Harris' portrayal of Claude in "Hair" that wins the Mac. The character's internal conflicts, joy of life, and fear of the future are always with Harris, but never overplayed and always deeply rooted. Plus, he has a singing voice that's impossible not to love.

Jacinda Rose Swinehart from Arizona Onstage's "Songs for a New World" has a grabs-you voice and a great comedic sense.

Betsy Kruse Craig showed her well-honed acting skills along with her beautiful voice in Invisible Theatre's "Gunmetal Blues."

Morgan James' bluesy voice and innocent seductiveness made for a strong Sheila in ATC's "Hair."

Kristé Belt, who showed an amazing vocal range and high-powered acting skills in Arizona Onstage's "Sunday in the Park With George," impressed us most with her heart and talent. She takes the Mac.

Director Gail Fitzhugh in Invisible Theatre's "Gunmetal Blues" struck just the right note with the play; she trusted the audience to get it. We wish that were more common than it is.

Kevin Johnson directed one of the most difficult musicals for the stage, "Sunday in the Park With George," and gave it the same expansiveness of the Georges-Pierre Seurat painting that inspired the musical without forsaking the details.

Richard Hanson's "Urinetown" at Arizona Repertory Theatre was sassy and fun, and Samantha K. Wyer's direction of Stephen Sondheim's "Company," also at Arizona Repertory Theatre, was well-shaped and often insightful.

In the hands of director David Ira Goldstein, "Hair" showed the heartbreak of war and the huge burden that faces young people who must decide what to do with their lives. He gave fresh insight to the 1968 musical, and he takes the Mac for it.

Arizona Repertory Theatre Company's production of "Urinetown," directed by Richard T. Hanson, was crowded with a cast that clearly loved telling this outrageous tale of a world so short on water that relieving oneself was regulated.

Arizona Onstage Productions scored two big hits. One with Jason Robert Brown's "Songs for a New World," a song cycle with a too-loose story line and a strong, strong cast; and Stephen Sondheim's moving, difficult "Sunday in the Park With George." Kevin Johnson directed both of those.

Invisible Theatre's very funny "Gunmetal Blues" was a delicious sendup of 1940s detective flicks with direction by Gail Fitzhugh.

The Mac goes to Arizona Theatre Company's "Hair," directed by David Ira Goldstein. It's a 40-year-old musical with a very thin story, but it was performed by a hugely talented cast that made it relevant and moving.