Given the indefinite postponement of the Tony Awards, we recently looked back on a Broadway season that ended prematurely and decided to distribute our own set of prizes. It seems only fair that we extend our discussion to Off Broadway — which, before its houses were also shuttered, provided some of the most original, powerful and prescient theater of the past year.

BEN BRANTLEY So much of what we saw Off Broadway from last spring onward has stayed in my mind, Jesse — or, perhaps, I should say, it haunted me. In many of these productions, time seemed to be torn off its hinges, and the solid floor of what we think of as “normal life” to have cracked open. Who knew how apt a preface such works would provide for the rudderless world we now inhabit?

JESSE GREEN “Rudderless” is exactly how a lot of these terrific plays (and a handful of musicals) wanted us to feel politically, existentially and even spiritually — I mean with actual ghosts. Above all, I’m thinking of Yaël Farber’s production of “Hamlet,” starring Ruth Negga, at St. Ann’s Warehouse in Brooklyn. Its treatment of the supernatural was as simple and successful as any I’ve encountered.