Thursday we listed the Post-Gazette's Top 10 Pittsburgh shows of 2005, and this week we will name the Performer of the Year and other individual achievements. So today, I turn my column over to the readers, to give them a say about the theatrical bests of 2005.

Specifically, this is those readers who responded before Dec. 22 to my requests for input. Public and City mingle unselfconsciously with Open Stage and South Park, proving, to me at least, that we all adjust our level of expectation to the venue. And there were no obviously orchestrated campaigns on behalf of one actor or show.

In preparing my own list, I consulted with Richard E. Rauh, who sees about as much theater as anyone. This is his Top 10:

Another semipro theatergoer is Ron Necheff, though his viewing was spotty this year. His top picks are "Measure for Measure," "Kimberly Akimbo" ("best comedy"), "Yellowman" (Public; "best drama") and "Enchanted April" (Little Lake). "All well-done ensemble productions with fine acting, superior directing and high-quality production values, without camels or high-kicking chorus girls, just good high-kicking acting!"

Loretta and Bob Barone identify themselves as having seen 60 live performances last year (including music and dance). Their theater favorites were "Measure for Measure," "Heartbreak House" (PICT), "Candide" (CMU), "Lobby Hero" (Public), Patti LuPone (Broadway Series), "The Nina Variations" and "Yellowman."

Zachary P. Harris says that "Lobby Hero" was "one of the best plays I have ever seen, period," and Andrew Benator "turned in the single best performance I have ever seen in Pittsburgh theater."

Griffin O'Brien puts in a strong word for Ted Hoover's "A Dry Season" (Open Stage): "Mr. Hoover truly is our own Oscar Wilde." He also lavishes praise on actors Leighann Niles and Brian Czarniecki.

Fred and Ann Werner say the best was "Yellowman," which was beautifully written, on an important subject, with superb acting: "We were very moved."

Michael Houston describes himself as an "avid fan of Pittsburgh theater" and says "2005 was a great year in production and performance." His top three are "Measure for Measure," "Table Manners" (South Park) and "The Glass Menagerie" (Little Lake). Of Mark Rylance, he says, "Maybe he can buy some real estate so we can hold onto him longer?" And of "Table Manners": "The only crime it committed was not having Equity cards and pay for its talented actors and gifted director Christopher Scott."

That praise was amplified by Joseph Welles, who says the show of the year was Ayckbourn's "Table Manners": "brilliantly conceived, cast and directed. ... Christopher Scott's direction was flawless and inspired . ... [He] actually elevated the comedy to a state of grace." He looks forward to South Park's plan to do the other parts of the trilogy with the same cast.

There were several nominations for Performer of the Year. (The PG limits this to performances in shows produced here, which eliminates Rylance and such others as Kimberly Richards of "Late Nite Catechism.")

Actor Elena Passarello makes a compelling case for Sheila McKenna, who "may not have scored any chewy frontman roles this year, but wowed us in seven straight months of comedic brilliance. ... Plus, she's a true Pittsburgher, literally and figuratively -- talented, witty, self-effacing and down-home."

Point Park student Kelly Marie McKenna speaks up for her instructor Robin Walsh, whose year included "Nina Variations," "The False Servant," "Henry" (PICT) and "The Visit" (Playhouse REP). And Lucy Fitzgerald and Anita Urich praise Jaime Slavinsky for her role in "Recent Tragic Events" at River's Edge Productions.

The Werners create a category of "best performance under near-impossible conditions" to honor Eileen Morris, who stepped in, script in hand, in a Festival in Black and White emergency "and put on an incredible performance. It was an evening to remember and one of the reasons we love live theater."

Kelly Logan seconded the praise for "Table Manners" and listed these other bests: "The Cay" (Primestage): "Garbie Dukes is a great actor"; "The Sabbatical" (New Works Festival/Sunday Night Live): "Megan Mitchell is an enormously gifted comic actress and what a terrific freshman debut by director Melanie Beth Scott"; "Henry IV": "What more can I say? They're PICT"; Episodic Theatre (Sunday Night Live): "the boldest concept yet for Pittsburgh theater; and "Enchanted April": "great turns by Juliette Mariani and Rachel Downie."

Few see more of Pittsburgh theater than Ruth Ann and Bill Molloy, who filed a very comprehensive report. Here are a few excerpts.

Best productions: "Measure for Measure," "Lobby Hero," "Henry," "Old Times" and "Frozen" (barebones).

Best actors: Benator, Rylance, Czarniecki, Rick McMillan ("Henry), Joe Martinez (in Bob Gorczycz's "Other Side," Pittsburgh Playwrights) and Doug Mertz ("Old Times").

Best Actresses: Helena Ruoti ("Frozen"), Claire Fraley ("Twigs," Little Lake) and Robin Beruh ("Fever," Dogs in the Night).

Best new long play: Corey Rieger, "Stain" (Pittsburgh Playwrights); short play: Robert Isenberg, "Jetlag"; shorter: Gail Pazerski, "Penned" and Lissa Brennan, "The One That Got Away" (both Future Tenant).