It's been another banner year for Coral Gables' theatrical powerhouse, GableStage, with Joseph Adler and company mounting superlative regional productions of some of Broadway's best and brightest plays of the past five years. It was a period that included a caustic David Mamet legal drama about a taboo subject (Race); an unforgettable foray into a Congolese brothel (Ruined); a dynamic study of S&M, literature, and gender relations (Venus in Fur); a tender and hilarious buddy comedy about a grieving bicyclist and his Marxist grandmother (4,000 Miles); and, most recently, a provocatively titled play about an unpredictable love triangle (Cock). All of that plus Hamlet, in a version of the antique masterpiece that felt as fresh and vital as the rest of the recent works. Casting-wise, Adler never rested on his laurels; rather than employ actors familiar with the Biltmore floodlights, he went with a number of breakthrough discoveries and risky decisions that paid off, fostering a new generation of talent while enriching audiences with hot-button plays they wouldn't see anywhere else.