UPDATE: Our lists are published! You can read them here. Post your lists here or email them to me, and I'll compile them in one big organized post.

My colleague Rick Bentley and I are busy working on our combined Top 10 (and Worst 10!) movie list for the year, which is scheduled to run in The Bee on Dec. 31. How do two critics with sometimes varying tastes manage to come up with one list? Whoever has the greatest sheer brute strength. I train all year for it.

No, actually, we do a joint list because neither of us are full-time movie critics. We have a lot of other stuff to do year-round, and sometimes we don't get a chance to see all the potential best-and-worst movies. So rather than pretend like we've seen everything (which, ahem, I know for a fact that some critics do), we collaborate.

Anyway, in preparation for our story, we're wondering what YOUR best-and-worst movie lists are. You can post a response here or email me.

What's your favorite of the current crop of holiday movies? Is it "Sweeney Todd" or "The Kite Runner," which are my two top recommendations? Do you agree with me that Denzel Washington's "The Great Debaters" is a plodding affair or did you like it more than I did? (One woman called me a couple of days ago and declared that because I didn't like the film that I'm a "racist" and that I "don't like anything done by black people.") What's your take on "Charlie Wilson's War"? How about "Margot at the Wedding," which I haven't yet seen?

Most important, who went to see the "Alien vs. Predator" sequel that opened Christmas Day?

Breaking international news doesn't normally filter its way down to the Beehive, but the death of Pakistani prime minister Benazir Bhutto is different. It isn't every day I wake up to the radio telling me that someone I interviewed has been assassinated.

Back in 2001, I was working on a story about how the Internet thrives on word-of-mouth. (It seems like a ho-hum topic today, but back then, it was hot stuff.) I tracked down a guy named Brian Sailer, who used to work for Bhutto's political movement in the United States. He was having lunch the next day in Washington, D.C., with Bhutto, who at the time was in exile. He suggested she give me a call.

Bhutto told me her daily Internet routine usually includes 150 e-mails -- and at least a couple of hours on the computer. "Sometimes I spend so much time on it, I think I should throw my computer into the gulf," she joked.

I only spoke with her for 15 minutes or so, but during that time I could tell two things: that she could be very personable and that she was very smart.

My phone interview with Bhutto, who served as prime minister of Pakistan from 1988-90 and 1993-96, wasn't her only Fresno connection. In 1991, she spoke at Fresno State.

After 13 years on tour, those Riverdancers certainly know every step. That's the nicest thing I can think of to say about the farewell tour of "Riverdance" that opened Wednesday (and continues through Sunday) at the Saroyan Theatre. Well, that and the fact that this handsomely produced show is slick and polished: From the misty-hued, New-Age-vibe lighting design to the excellent sound (thanks to which we hear the bell-like tones of the "Riverdance" vocal score with astonishing clarity), the whole production is wonderfully competent.

But as for the dancing itself: A little goes a long way for me.

Watching a bunch of Riverdancers lined up across the stage in an Irish version of a chorus line, clomping so furiously that they must be wearing holes in their shoes, is mesmerizing for, say, 30 seconds or so. The precision with which these young, gifted athletes dance in absolutely perfect synchronicity is impressive. But then the dancing keeps going. And going.

And going!

What did you think of the "Riverdance" performance? Post a reply to this thread and let me know. Meanwhile, my impressions continue on the jump.

"It's always good to make debuts," Renee Fleming said. When it comes to one of opera's most famous divas, the audience couldn't agree more. One thundering ovation after another followed her concert Monday night at the Saroyan Theatre celebrating the 10th anniversary of Fresno Grand Opera.

Though she's graced world-famous stages all over the world, including the Metropolitan Opera, Fleming had never been to Fresno. (Can you imagine that?) Her holiday-tinged concert, backed by the Fresno Philharmonic, was a welcome introduction to her body of work. Adding to the glamour of the event was the return of Maestro Raymond Harvey, whose forced departure seven years ago almost split the orchestra apart (and who is still dearly loved by a cadre of Fresno-based fans that travels to see his concerts).

Did you go to the Fleming concert? Let us know what you thought by commenting on this thread. After the jump: More of my impressions.

As if Renee Fleming's upcoming concert for Fresno Grand Opera (7 p.m. Monday, Saroyan Theatre, you can read my interview with Fleming here) isn't enough, there's another must-see event for opera fans on the same evening. And it's a lot cheaper!

Fresno favorite Audra McDonald will appear in the PBS "Great Performances" production of "The Rise and Fall of the City of Mahagonny," the sumptuous new production of the Kurt Weill opera performed by Los Angeles Opera earlier this year. It'll be shown at 9 p.m. Monday on Channel 18. I got the chance to see this production live in L.A., and Audra is incredible. (Of course.)

Speaking of opera: Don't forget the first Live at the Met high-definition broadcast of the season 10 a.m. Saturday at Edwards. The production is "Romeo et Juliette." If you haven't experienced these presentations yet on the big screen, I highly recommend it. It's the next best thing to going to New York.

Fresno State's original production of the classic Spanish tale "La Celestina" has a noble feel. From Jeff Hunter's lavishly detailed sets (even the flooring and faux tile work trumpet earth-toned sophistication) and Izzy Einsidler's nuanced lighting (think Mediterranean sun) to Brent Foland's luxuriously layered autumnal-hued costumes, the play's production design manages to blend extravagance and austerity. It's as if Pottery Barn met the Spanish Inquisition.

It is all-around a very sincere production, and director Terry Miller -- who also translated and adapted this "tragicomedy" by Fernando de Rojas -- takes both the audience and actors on an interesting journey. It is not the most vividly theatrical of journeys, alas. While there are some fiery acting moments and graceful stagecraft, the play rarely leaps to life off the page.

Did you go to ArtHop Thursday night? See anything interesting? My Beehive colleague Felicia Matlosz and I divvied up a few locations that looked promising.

Felicia writes:

There's something warmly magical that happens when children let their artistic imaginations run free. If you caught the First Annual Kid Art Show at the Chris Sorensen Studio, you would know exactly what I'm talking about. The premise for the paintings was simple: Each child got an 18"x18" canvas and used only primary colors of red, yellow and blue, plus black and white. So there, on the Sorensen walls, were squares and squares of lovely, boldly colored abstract art from the creative minds of children: strokes and swirls that evoked motion and joy.

Can you get any gosh-darn cuter than dancing salt and pepper shakers? There's a lot to awe the eyes in the solid returning production of "Beauty and the Beast" at the Fresno Memorial Auditorium, but it's hard to beat the crowd appeal of little Alex Figueroa and Ally Wettstead. In the big production number "Be Our Guest," the pair report for duty as the most adorable enchanted objects you can imagine. When Figueroa (as pepper) and Wettstead (as salt) are in the spotlight, they bob their heads with such gusto -- shaking their contents, get it? -- it's as if they're rocking out at a heavy-metal concert.

This well-staged Musical Theaterworks Fresno production is full of little moments like that: bits and pieces that add even more zip to a joyous (but by now rather familiar) story. From the tender scene between Belle (the very fine Lorraine Christensen) and the Beast (a sterling Joey Giudici) when she reads to him (and he triumphantly answers the end of the story about the sword Excalibur with a hearty "Told you so!") to the wonderful touch of antlers on Gaston's tavern chair (because, after all, he uses them in ALL of his decorating), this "Beauty and the Beast" is consistently cheery.

In Friday's 7 section I have an interview with Fresno State theater professor Terry Miller, director of the new adaptation of "La Celestina." The show opens Friday and continues through Dec. 15. Here's a continuation of the interview:

Tell us about your collaboration with Fresno State's faculty designers for the show.

Jeff Hunter, the scene designer, has done a great job in showing me, gently, that the scene in my head was bigger than any theatre in the world. He's helped greatly in finding a way to show this story onstage. He also lent me his Spanish-American dictionary, which has fallen apart in my hands. Izzy Einsidler, the lighting designer is helping greatly to define the multiple locations in the show and also to visualize the story's various strong emotions. Brent Foland, the costume designer, is new to Fresno State. He is bringing a strong sense of period and character to the show. He's also been generous in encouraging me to add characters, a costume headache which is sometimes necessary in a new play. He is supported by Dana Cooper, who's in the cast and also is designing makeup and hair.

Stacy Johnson-Klein was awarded nearly $20 million just a few minutes ago in her civil case alleging sexual harassment and gender inequity against Fresno State. What do you think?

And more important, what could Fresno State buy with a cool $19.1 million?

Our picks:

• Let's waive tuition for a year.
• A copy of "In Search of Excellence" for every adminstrator at FSU.
• Complimentary car wash passes for every FSU alumni.

It's hard to perform a good "Evita" when your Eva Peron sings like she's in the road show of "42nd Street" and acts like she's playing Miss Hannigan from "Annie." Cameron Leigh Wade is so egregiously miscast as the title character in the national tour of "Evita" (playing at the Saroyan Theatre through Wednesday night) that the show can't recover.

Wade's Eva is sullen and harsh. She offers but a whisper of the celebrated charisma that launched this lower-class Argentinian woman to a cult of personality. And her singing voice -- a brassy belt as brightly colored as an episode of "Spongebob Squarepants" -- is totally at odds with the character. I'm sure that she could do a rousing job in a comic role, but carrying the dramatic weight of "Evita" on her shoulders is too heavy a burden.

The rest of this touring production is adequate but uninspiring. It feels like a very young and green cast. Over the years, the quality of professional shows coming through the Saroyan has improved, but this production is an unwelcome throwback to a stretch of a few years a decade or so ago in which some shows (which appeared to be done on the cheap) simply didn't measure up.

I spend a lot of time in theaters, so I consider myself pretty much an expert on all the annoyances that a poor, hapless audience member can encounter while trying to enjoy a performance: the jarring ring of an interrupting cell phone; the rude interjection of a fellow patron blabbing to a neighbor; the latecomer who climbs all over you to get to his seat and then makes a bathroom run 10 minutes later. Heck, I've experienced the ultimate in inconsiderate audience behavior: I was in a movie theater once when a family brought in an entire Kentucky Fried Chicken dinner and proceeded to eat it during a Woody Allen flick. And it was in the buckets! ("Hey, Ma, could you pass the mashed potatoes?")

But last Friday night, at a live theater performance at Fresno City College, I experienced something remarkable for me: a brand new annoyance.

Sitting in front of me in the small studio theater was a guy with one of those Bluetooth earpieces to his cellular phone in his ear. And he blinked the whole time. The moment the lights went down, the incessant blue flashing immediately became noticeable. It was like I was sitting behind a cyborg. If only Shakespeare could come back and see that audience members in the 21st Century sit there with blinking lights on their heads. I was sitting just far enough away from him that to lean forward and ask him to turn him off would have caused more disruption than it was worth, so I tried to ignore it. But it was hard.

He didn't get any calls, mind you, so it wasn't an auditory infringement. But when there was a blackout on stage, it was like being confronted by a flashing VCR in a darkened room. Don't people realize how silly they look blinking?

Just a reminder that in the midst of the holiday crush, the theater scene is busier than ever. Some highlights to consider this week:

The national tour of "Evita" comes to the Saroyan Theatre 7:30 p.m. Tuesday and Wednesday. Sure, it's been here before. And if you're a Madonna fan, you've already watched the movie. But I'm looking forward to watching the stage musical for the fourth or fifth time -- honest -- because "Evita" has some wonderful songs and a crisp story line. (The fact that Argentina recently elected a woman president adds to the effect.) And though it might seem overdone, there's no denying that the moment when Eva Peron sings "Don't Cry For Me, Argentina" has become one of those iconic balcony scenes that never fails to move an audience. Tickets cost $27.50-$49.50. Details at ticketmaster.com.

Well, at least you can give Fresno City College points for not playing it safe.

The problem with "The Altruists," which wants to be a razor-sharp satire of political correctness, is that it's a dull piece of theater -- more like a butter knife in its effectiveness than a chef's-quality cutting implement.

Nicky Silver's play (which continues through Dec. 8) has a cloying, insider feel. You might -- and this is a pretty big "might" -- think it's hysterical if you live in a certain 30-block radius of Manhattan, go to parties that start at 2 a.m. and hang out with a "professional protester" crowd that somehow manages to scrape together enough money for $15 martinis but lives in roach-infested 10th-floor walk-ups.

That's a pretty specialized audience, alas. For the rest of us, the laughs -- and social insights -- in "The Altruists" are strained.