Haig's performance in Someone Who'll Watch Over Me (at the Mosaic Theatre in Plantation) was little seen but indelible. An insular literature professor imprisoned in war-torn Beirut, chained in place for the entire play, Haig could barely move, not even stand, but still managed to conjure a moving, nuanced portrait of a limited, conflicted man who discovers a well of strength he never knew existed. As a medieval scholar, Haig's character initially seems the frail one, a man living through his ancient texts in an ivory tower into which harsh reality never makes its way. But Haig reveals a man capable of something more and shows us a strength derived from words, not force. Haig has always chosen intelligent roles, so it's worth your while to choose his performances whenever they pop up.

Haig's performance in Someone Who'll Watch Over Me (at the Mosaic Theatre in Plantation) was little seen but indelible. An insular literature professor imprisoned in war-torn Beirut, chained in place for the entire play, Haig could barely move, not even stand, but still managed to conjure a moving, nuanced portrait of a limited, conflicted man who discovers a well of strength he never knew existed. As a medieval scholar, Haig's character initially seems the frail one, a man living through his ancient texts in an ivory tower into which harsh reality never makes its way. But Haig reveals a man capable of something more and shows us a strength derived from words, not force. Haig has always chosen intelligent roles, so it's worth your while to choose his performances whenever they pop up.

As Max, a spoiled rich kid turned film critic, Tei turned in an over-the-top performance that stole the show, no small feat in a strong cast and strong play. But Tei's done it before, in the fabulous Popcorn last year at GableStage and other productions around town. It was time, however, for Tei to break mold, and this year he did, pushing into new emotional territory in his own Mad Cat Company's dark tale Portrait and as the tortured, sarcastic, vodka-swilling Sergio in New Theatre's Smithereens. Yet Tei's ability to wring humor out of twisted situations is one of his best assets, and as the terminally juvenile Max, he did just that, giving South Florida a genuine treat.

As Max, a spoiled rich kid turned film critic, Tei turned in an over-the-top performance that stole the show, no small feat in a strong cast and strong play. But Tei's done it before, in the fabulous Popcorn last year at GableStage and other productions around town. It was time, however, for Tei to break mold, and this year he did, pushing into new emotional territory in his own Mad Cat Company's dark tale Portrait and as the tortured, sarcastic, vodka-swilling Sergio in New Theatre's Smithereens. Yet Tei's ability to wring humor out of twisted situations is one of his best assets, and as the terminally juvenile Max, he did just that, giving South Florida a genuine treat.

Roza was memorable as a tightly wound professional woman in Manhattan being stalked by a would-be suitor. Her emotional range and willingness to explore the character's ugly sides helped turn Rebecca Gilman's issue-driven potboiler into a dark, troubling character study. We've seen Roza before in other psychological dramas, such as Extremities, where she played a rape victim who turns the tables on the perpetrator, literally and emotionally trapping her tormentor; and in her disturbing performance in Medea Redux (the title tells you something), one of three plays in Bash by Neil Labute, where she revealed a simultaneous vulnerability and hardness that made us remember why watching live performances by talented actors is a riveting experience.

Roza was memorable as a tightly wound professional woman in Manhattan being stalked by a would-be suitor. Her emotional range and willingness to explore the character's ugly sides helped turn Rebecca Gilman's issue-driven potboiler into a dark, troubling character study. We've seen Roza before in other psychological dramas, such as Extremities, where she played a rape victim who turns the tables on the perpetrator, literally and emotionally trapping her tormentor; and in her disturbing performance in Medea Redux (the title tells you something), one of three plays in Bash by Neil Labute, where she revealed a simultaneous vulnerability and hardness that made us remember why watching live performances by talented actors is a riveting experience.

You don't see Bill Cruz around very much anymore. In fact, the last time we spotted him (November 2001), he opened a Little Havana concert for difficult ingénue Cat Power, who suffered an on-stage breakdown that created a most uncomfortable evening for performer and audience alike. But her rather unglamorous self-implosion served to illuminate Cruz's polish and effortlessness. His 1998 release, Three Shades, still stands among South Florida's best indie-folk albums of all time; it's studded with Cruz's poignant, pin-prick guitar work and introspective but never self-obsessive lyrics. The guy can make himself sound like Mark Eitzel or Jeff Buckley, but he's best when he just sounds like himself. If only the cheerfully obscure Cruz would come out of hiding more often.

You don't see Bill Cruz around very much anymore. In fact, the last time we spotted him (November 2001), he opened a Little Havana concert for difficult ingénue Cat Power, who suffered an on-stage breakdown that created a most uncomfortable evening for performer and audience alike. But her rather unglamorous self-implosion served to illuminate Cruz's polish and effortlessness. His 1998 release, Three Shades, still stands among South Florida's best indie-folk albums of all time; it's studded with Cruz's poignant, pin-prick guitar work and introspective but never self-obsessive lyrics. The guy can make himself sound like Mark Eitzel or Jeff Buckley, but he's best when he just sounds like himself. If only the cheerfully obscure Cruz would come out of hiding more often.

Thomas was outstanding as Libby Price, a world-weary black woman adrift in the Southern racial struggles of the 1960s in this interesting production. ("Bee-luther-hatchee" is early 20th-century African-American slang for a faraway, damnable place, the next station after the stop for hell.) This was the New York City-based actress's first stop in South Florida, and her emotionally compelling work was a model of simplicity and clarity and left an indelible mark on the memory. With more such roles, maybe we'll be fortunate enough to see more of Thomas on our stages.

Thomas was outstanding as Libby Price, a world-weary black woman adrift in the Southern racial struggles of the 1960s in this interesting production. ("Bee-luther-hatchee" is early 20th-century African-American slang for a faraway, damnable place, the next station after the stop for hell.) This was the New York City-based actress's first stop in South Florida, and her emotionally compelling work was a model of simplicity and clarity and left an indelible mark on the memory. With more such roles, maybe we'll be fortunate enough to see more of Thomas on our stages.