Between Riverside and Crazy Reviews: Stephen Adly Guirgis At His Best

StephenMcKinleyHendersoninBetweenRiversideWalter was shot by a cop ten years ago, and has lived on booze and pie and regret ever since – but it’s more complicated than that. For one thing, Walter was himself a cop. And he lives in a spacious Upper West Side apartment, although it’s crowded with his disappointing relatives and assorted ne’er-do-wells, and his landlord has sent him one eviction notice after another.

“I’m a war veteran senior citizen with a legal rent-control lease from 1978, and I never pay late. I wish they would try to fuck with me,” Walter says.

Stephen Adly Giurgis’ latest play “Between Riverside and Crazy” offers more than his street-smart dialogue and gritty comedy. It also offers up Stephen McKinley Henderson, a long time character actor — one of the foremost interpreters of August Wilson — in his first starring role.

What do the critics think?

Jason Clark, Entertainment Weekly: A- quite possibly Giurgis’s most accomplished piece to date. And compared to his other street operas, it’s almost cuddly in its intimate family-living backdrop. In this case, cuddly also entails booze, drugs, and prostitutes.

Linda Winer, Newsday: a smart, exuberantly funny urban dramedy with a spirit as shrewd and forgiving as its motor-mouth language is wild and lush.

Marilyn Stasio, Variety: Stephen Adly Guirgis is such a quintessentially New York playwright, it’s incredible how popular his plays are outside the city limits. You have to wonder what those out-of-towners will make of “Between Riverside and Crazy,” the scribe’s latest love/hate song to this impossible town and its outlandish citizenry. Some might be baffled by the rancorous real-estate battles between landlords and tenants of Gotham’s rent-controlled apartments.  But everyone’s bound to be captivated by Guirgis’s loudmouthed locals and the terrific ensemble players, led by Stephen McKinley Henderson, who bring them to roaring life in Austin Pendleton’s affectionately helmed production.

Ben Brantley, New York Times: resides in an in-between land of its own. I’d locate it somewhere south of cozy and north of dangerous, west of sitcom and due east of tragedy….as fresh and startling as “Hat,” but in a slyer, quieter vein. “Hat” was a volcanic chain of eruptions; “Riverside” creeps up on you

Matthew Murray, Talkin’ Broadway: Walter’s all about optimism and acceptance, and those two qualities that ensure that Guirgis’s deceptively brutal script stays buoyant and even funny as it gets progressively darker….Walter charmingly grandfatherly even as he’s willing to sacrifice his closest family and friends in pursuit of what he considers justice…Nothing else in the two-hour evening is quite as captivating, though nothing needs to be. All we need to see is how a lifetime of love followed by a decade of disappointment can twist a man’s spirit into something that’s at once unrecognizable and irresistible.

Robert Kahn, WNBC:  an attention-grabbing drama from the… still-blasphemous author of “The Motherf***er With the Hat.”An ultimately unnerving story about human nature, “Riverside” has so much going for it that it insists on your attention, even though it’s depressing as all get-out.

About these ads

New York Theater July 2014 Quiz

Elaine Stritch, James Garner, Laura Benanti, Peter Pan, Elmo, and John Lithgow as Lear are all featured in this month's quiz.

Elaine Stritch, James Garner, Laura Benanti, Peter Pan, Piece of My Heart (Zak Resnick), Elmo, and John Lithgow as Lear are all featured in this month’s quiz.

How well were you paying attention to the theater news in July? Answer these 10 questions to see.

The Lightning Thief Review: Percy Jackson Olympians on Stage

It isn’t easy being 12 years old and a demigod with dyslexia. Percy Jackson may be the son of Poseidon, but that hasn’t stopped him from getting expelled from school after school.   Jackson began life as the hero of a series of bedtime stories that Rick Riordan created for his son, then became the protagonist on the pages of Riordan’s bestselling novels, and graduated (or was demoted?) to screen time in a couple of blockbuster movies starring Logan Lerman. Now he is on the stage of the Lucille Lortel Theater, in a free, hour-long musical for children, alongside his best best friend Grover,  a satyr (half man, half goat), and his rival/love interest Annabeth, the “half-blood” daughter of the goddess Athena.

In playwright Joe Tracz and director Stephen Brackett’s clever low-budget translation to the stage, commissioned by TheatreWorks USA, six performers play some two dozen characters (and sing Rob Rokicki’s 14 rock and roll songs) in an epic tale full of Greek gods and venerable monsters (a Minotaur, Medusa, Cyclops, a Fury) set  among a modern world of broken homes and brutal schools. (That Fury was disguised as Mrs. Dodds the substitute teacher.)    Think The Odyssey, with touches of Harry Potter and Spider-Man.

 Click on any photograph to see it enlarged

In “The Lightning Thief,” somebody has stolen Zeus’ lightning bolt, which threatens to ignite a war among his brother gods Hades and Poseidon. Percy is a major suspect, since it is only the demigods or half-bloods — those with one god parent and one mortal one — who are capable of the theft. As the musical begins, Percy is a true innocent; he has no idea who his real father is, and cannot stand his horrid stepfather. His mother Sally has been protecting Percy. But she is kidnapped and brought to the Underworld, and Percy resolves to rescue her.

There is, in short, lots of plot here, a bit more than I could easily follow. But the rest of the audience — average age about seven — seemed rapt. This was surely in part a function of the fast pace and simple, inventive stagecraft, helped along by Sam Pinkleton’s choreography,  and delivered by a talented, energetic cast. As Percy, Eric Meyers makes an impressive New York stage debut, Kristin Stokes is his formidable foil as Annabeth Graham, Jordan Stanley as the half-bleating half-goat makes the most of the comedy. Parker Drown, Graham Stevens and Zakiya Young all handle their multiple roles with zest and strong voice.

The creative team is surely being shrewd when early on in “The Lightning Thief,” after Percy and his classmates tour the classical wing of the Metropolitan Museum of Art, they have him sing:

I didn’t really get the story
At least it wasn’t boring, like I feared
But is it me, or is Greek mythology
not deeply weird?

“The Lightning Thief” is scheduled to run through Aug. 22. Performances are primarily during the daytime.

Sex With Strangers Reviews and Photographs

In “Sex With Strangers,”  Anna Gunn, who played Bryan Cranston’s wife in “Breaking Bad,” couples with Billy Magnussen, who portrayed sexy, half-naked Spike in Vanya and Sonia and Masha and Spike.  Heralded for their previous performances, do they shine together in this new play by Laura Eason directed by David Schwimmer, which tells the story of a sex blogger who seeks out a novelist he idolizes?

Read the reviews below the photographs.

Click on any photograph to see it enlarged

 

Elizabeth Vincentelli, New York Post: …polished and stylish. It also boasts superior casting…These two are so fun to watch, you don’t even mind that the writing doesn’t hit all that hard — Laura Eason’s play punches above its weight class….Smoothly directed by David Schwimmer, “Sex With Strangers” is a sometimes cutting, sometimes titillating tale with things to say about art and commerce

Charles Isherwood, New York Times:  The simmering rapport these two talented actors develop quickly lights a fire under Ms. Eason’s drama of good sex and bad faith,

Matthew Murray, Talkin’ Broadway: …when it comes to explosive chemistry, these two actors have it in blessed abundance…across a series of scenes that chronicle a relationship full of ins and outs, ups and downs, comings and goings, and betrayals and forgiveness, Magnussen and Gunn have together crafted a single entity of such intoxicating, preternatural heat that you’ll scarcely be able to rip your eyes away…If only the play itself were compelling enough to justify any of it. Underlying the throbbing passions of the stars is a story choked with dust and indifference

Jesse Green, New York Magazine: You may detect a certain amount of sitcom in the setup — and in the direction, by David Schwimmer of Friends fame…But television savvy — Eason writes for House of Cards — can no longer be hurled as an insult onstage. Indeed, Sex With Strangers has a lot more on its mind than many a downtown gut-wrencher….it’s hot — or should I say cool? In any case, it’s only a slight criticism of Sex With Strangers to say that it’s great summer entertainment.

Frank Scheck, The Hollywood Reporter: Terrific performances and snappy dialogue boost this entertaining and thoughtful dramedy.

Thom Geier, Entertainment Weekly:  B+ There is no reason that playwright Laura Eason’s frankly sitcommy premise should work. And yet it does, thanks to fluid direction by David Schwimmer (yes, that David Schwimmer) and charmingly forthright performances by the two-member cast….a muffed ending doesn’t dilute the overall success of Sex With Strangers, which boasts two lively, lusty, and fully lived-in characters.

David Finkle, Huffington Post: Gunn and Magnussen are so good at what they’re doing and have the sort of chemistry together that would shatter a rack of test tubes that ticket buyers may not object too loudly the predictability. Indeed, lithe and limber Gunn…and Magnussen…so assiduously keep on keeping on that spectators will likely continue overlooking the numerous soft spots in Eason’s plot.

Adam Feldman, Time Out New York: The actors strike sexy sparks: Gunn is warily intelligent and believably vulnerable, while Magnussen pops with dynamic energy (and raises shirtlessness to an art form)….you may get the most out of Sex with Strangers by leaving midway through and calling it a satisfying one-act stand.

Zachary Stewart, Theatermania: Under the deft direction of David Schwimmer, Sex With Strangers is a probing and painfully realistic look at first impressions, modern relationships, and the trust needed to bridge the gap between point A and point B…Gunn is sophisticated, vulnerable, and skittish. Magnussen is bold, childlike, and utterly charming. Both accomplish, in just over two hours, the difficult task of creating an archetypal character and then smashing our preconceived notions of that character.

Into The Woods Film: Preview In Photographs

The film version of the Stephen Sondheim and James Lapine musical, “Into the Woods,” is set to arrive in movie theaters on December 25th. Meanwhile, Disney has released the follow still images from the movie. Click on any photograph to see it enlarged, and for captions.

Link to first trailer:

http://trailers.apple.com/trailers/disney/intothewoods/

An American In Paris Publicity Shots

When “An American in Paris” opens at the Palace Theater on Broadway in April, it won’t look exactly like these two photographs, which were taken in Paris, where the musical will debut.

But the two performers pictured, Robert Fairchild and Leanne Cope, will be in the 26-member cast (which also includes Veanne Cox and Jill Paice and Max Von Essen), all of whom will be coming from Paris: The musical, adapted from the 1951 Gershwin movie, will debut this December at the Théâtre du Châtelet in Paris.

An American in Paris will be directed and choreographed by the extraordinary modern dance choreographer Christopher Wheeldon, making his Broadway directing debut, with a book by Craig Lucas.

Click on the photographs to see them enlarged.

 

John Leguizamo’s Ghetto Klown FREE tonight Central Park

LeguizamoJohn Leguizamo is presenting his solo show Ghetto Klown tonight free at  Rumsey Playfield in Central Park starting at 8 p.m. (Get there early.) This is the same show he performed on Broadway in 2011.

Here is my review of the show when it was at the Lyceum:

John Leguizamo and I go way back, though he is unaware of this. Our theatrical careers began at the same time, the exact same moment in fact
I was on the staff of a publication that actually paid health benefits when the arts editor asked to borrow me to review Leguizamo’s Off-Broadway show, “Mambo Mouth,” his first solo show, my first review.
He was an unknown, a performer in his 20’s who had a few bit parts on TV and in the movies, when he appeared on the small stage of the American Place Theater (since taken over by the Roundabout), mimicking friends, family and neighbors, male and female, from his childhood in Queens, almost all of them Latino. Stripping down to his underwear, showing the audience an impossibly buff bod between bits, he donned the dress, the precise voice and the laugh-inducing attitude of a transvestite hooker, then his own nasty father, then a Yuppie Hispanic who wanted to be a Japanese businessman, then his own plaintive mother, then an illegal alien named Pepe.
It was an impressive theatrical debut, and it got unmitigated raves, from everyone but me. I had diligently gone back to watch his screen performances, mostly playing stereotyped Latino characters, and they prompted me to ask of the characters he created on stage: “Is he parodying stereotypes? Or is he himself largely guilty of perpetuating them?”
So few critics had anything at all negative to say about “Mambo Mouth” that a first profile of Leguizamo in People Magazine quoted the negative from my review, for balance.
It is astonishing to realize that two full decades have passed since his debut, John Leguizamo is 46 years old, and he is now on Broadway performing his fifth one-man stage show, entitled “Ghetto Klown.” In many ways, Leguizamo has not changed. He has the same electric energy (although now after he dances, he says in mock-exhaustion “Wow, I can’t do that anymore”). He has kept in shape – we again see him in his underwear, although this time his buff body is projected on the screen that accompanies his live stage act – a screen that is used to great and sometimes very funny effect. And he has the same immense talent for mimicry, a talent that has deepened and broadened over time.
He is also going over some of the same material – his Queens childhood, his difficult family, the hyperactive clowning that made him take over the conductor’s microphone to MC the subway ride, which led first to his arrest, and then to his career. (His school counselor suggested he take acting lessons.) The focus of “Ghetto Klown” is on that career. It turns out, some of those roles that had troubled me troubled him too. “I went to many, many, many auditions until I finally landed my first drug dealer,” he tells us, slyly.
He re-enacts encounters with famous acting teacher Lee Strasberg, Miami Vice star Don Johnson, Sean Penn, Kurt Russell, Steven Seagal , and, most memorably, Al Pacino, who gives this show its title. Exasperated by Leguizamo’s ad-libbing while playing a drug dealer opposite Pacino in the film “Carlito’s Way,” Pacino says (in Leguizamo’s priceless rendition of him) “Just be yourself, you clown.”
Interspersed with the narrative of his career struggles are his struggles with romantic relationships, self-esteem, depression. “I love spilling my guts out for you,” he tells us. “You’re like free therapy. I should be paying you tonight.”
There is no question that John Leguizamo has become a celebrity in the 20 years since “Mambo Mouth,” possibly in large part because of the showcase for his talents provided by that and his subsequent solo stage shows (“Spic-o-rama,” “Freak,” Sexaholic…A Love Story”). But Leguizamo’s disappointment in his career is one of the undercurrents of “Ghetto Klown,” which marks his return to the stage after an eight-year hiatus. (He tells us he had a nervous breakdown after “Sexaholic…’) He is one of those extraordinary artists – others include Anna Deavere Smith and Cherry Jones – that Hollywood and the TV networks don’t seem to know what to do with, and so largely waste. Their talent is too big for two dimensions; it needs to fill a stage. Welcome back, John Leguizamo. Sorry for the quote in People.

Summer Stages. Why The Bard is Boss. Broadway Closings. The Week in New York Theater.

PrincessBroadwayinBryantPark2014

Summer theater means festivals, many outdoors, and many presenting William Shakespeare.

But it also means lounging on the grass to listen to free music, including the music from Broadway musicals. Below are video excerpts from The Phantom of the Opera, Avenue Q,  Piece of My Heart (a new musical that I also review), Cinderella, and Bullets Over Broadway, which announced this week it will close. Nick Cordero, the only performer to escape Bullets indisputably better off,  reacts to the announcement.

The Week in New York Theater

20

Daniel Radcliffe as Cripple Billy and Sarah Green as his tormenter Helen

Daniel Radcliffe as Cripple Billy and Sarah Green as his tormenter Helen

The Cripple of Inishmaan closes

 

21

Leguizamo

As part of Summer Stage, John Leguizamo reprises his one-man show Ghetto Klown (which played on Broadway in 2011), July 28.

Pieces6TealWickandZakResnick

Piece of My Heart, The Bert Berns Story Review

Piece1Almost half a century after his death, Bronx-born songwriter and record producer Bert Berns, the subject of the new Off-Broadway musical “Piece of My Heart,” is getting the kind of buzz he never got during his lifetime:

“Bert deserves to be elevated to his rightful place in the music industry,” Paul McCartney is shown saying in a trailer to a forthcoming documentary about Berns, who co-wrote the song “Twist and Shout,” which the Beatles recorded.

“His name may be lost, but his music is everywhere,” writes Joel Selvin in his new biography, “Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm & Blues,” the first-ever book about Berns.

“The best songwriter you’ve never heard of,” Time Magazine recently declared.

All of this advance publicity sets up two expectations about “Piece of My Heart,” the musical that has now opened at Signature Theater. First, we’re promised a kind of solo “Jersey Boys” – a previously obscure and fascinating real-life tale of a regular guy revealed as a musical genius. Second, we anticipate a jukebox’s worth of golden oldies to sing and (since it’s Sixties music) to swing along to.

But, as it turns out, “Piece of My Heart” falls short of both implicit promises

Full review of Piece of My Heart

 

22

Shakespeare is King of Outdoor Summer Theater

John Lithgow profile

From his first day of rehearsal for Lear, John Lithgow has been writing a blog for the New York Times.

 

Shakespeare is being done outdoors all over the US this summer (as every summer) Here’s a map of it 

But WHY is Shakespeare king of outdoor summer theater? Rhona Silverbush  offers some answers, e.g.

1. Many of his plays are set outdoors

2. Theaters don’t have to pay him royalties.

What playwright after Shakespeare is done the most often during the summer? Is there an obvious runner-up?

 

Garry Marshall (Happy Days) to direct Billy & Ray, comedy about Billy Wilder & Raymond Chandler, at the Vineyard Theatre Opens Oct 20

LittleShopofHorrors

Best Alan Menken songs on his 65th birthday

An Appeal To The Woman of the House, one of the nominees for the 2014 NYIT Awards

An Appeal To The Woman of the House, one of the nominees for the 2014 NYIT Awards

2014 NYIT Awards (Off-Off Broadway) Nominees

BulletsOverBroadway10

Bullets Over Broadway will close Aug 24, having played 156 regular and 33 preview performances.

23

ConstantineMaroulisinRockofAges

Constantine Maroulis is returning to Rock Of Ages, August 4 through October 26.

 Lisa McNulty, artistic line producer of the Manhattan Theatre Club, has been named artistic director of Womens Theater Project, replacing Julie Crosby, whose June departure was abrupt and acrimonious. Five new board members have been added as well.

Ofmicenandmen3O'Dowd, Franco-Photo by Richard Phibbs

During its last week, NTLive will be taping Of Mice and Men, starring James Franco  HD-cast it in movie theaters, marking the first Broadway show that’s been broadcast by National Theater.

A phenomenal-sounding season coming up at New Victory, including Taylor Mac, Civilians, Dead Puppet Society

TheatreforANewAudiencemural

Kudos to Theatre for a New Audience for $136,000 National Endowment for the Humanities grant to teach 25 school teachers about politics and persuasion in Shakespeare’s plays. That grant was one of $34 million worth of grants by the @NEHgov for 177 humanities projects throughout the U.S.

Bill T. Jones, the Brooklyn Academy of Music and John Kander are among the 11 winners of the National Medal of Arts this year.

Holler If Ya Hear Me Ensemble

Playwright/hip-hop artist Idris Goodwin responds to the closing of Holler If Ya Hear Me (and I respond to him,in the comments)

 

24

"The Lightning Thief" IMG 0283

Opening tonight “The Lightning Thief,” musical FREE from Theatreworks USA about a 12-yr-old who battles monsters and dyslexia. How Rick Riordan’s ‘The Lightning Thief’ became a stage musical

NYC mayor asks cultural groups to include arts benefits and discounts for holders of id card meant to help the undocumented.

 

Broadway in Bryant Park

Piece of My Heart cast sings ‘Piece of My Heart”

Jeremy Stolle sings Music of the Night from The Phantom of the Opera

Paige Faure sings from “A Lovely Night” from Rodgers + Hammerstein’s Cinderella

Veronica Kuehn and Kate Monster sing A Fine, Fine Line from Avenue Q

BraffandCordero

Nick Cordero, Zach Braff and the cast sing Ain’t Nobody’s Business If I Do from Bullets Over BroadwayIn an interview, Cordero talks about the closing of Bullets, how he prepared for his star-making role, and what’s in his future.

Actor Wallace Shawn arrives to attend a screening of the film "Capitalism: A Love Story" in New York

Wallace Shawn: I wish people knew me as a radical playwright instead for “The Princess Bride” Q and A.

25

Patrice Miller rails against the Actors Equity Showcase Code

 

Isaac Butler  This piece blames the showcase code for things that are entirely not its fault:

A huge discussion about this article and the showcase code on Facebook

 

“Tis cool beneath thy willow trees” is the last line of which play?

The Iceman Cometh.

The Amen Corner.

Death of a Salesman.

That’s one of 10 questions from The Guardian quiz: Can you identify these last lines of plays?

 

 

26

Broadway closings:

Or Mice and Men – tomorrow

Violet – August 10

Rocky – August 17

Bullets Over Broadway – August 24

Newsies - August 24

Nick Cordero on The Closing of Bullets Over Broadway and His Future

NickCorderoatBryantParkWhen the producers of Bullets Over Broadway announced this week that the Woody Allen musical would close on August 24th, having played 156 regular and 33 preview performances, Nick Cordero was surprised. “I’m absolutely surprised; people are on their feet and laughing the whole time,” Cordero says in the video below, shot after he and much of the cast performed at a lunchtime concert in Bryant Park.

Critics were generally not in love with the stage adaptation of Allen’s 1994 film, but nearly all of them agreed that Nick Cordero was far more than just a stand-out in the cast. He may well have become a star. At the very least, he may well be the only person involved in Bullets who not only escapes unwounded, but actually emerges better off than he was before. This was only his second show on Broadway (he performed for a few months as a replacement cast member in Rock of Ages, and was best-known up to now as the original star of Off-Broadway’s Toxic Avenger.)

Cordero won an Outer Critics Circle and Theater World Award, and was nominated for  Drama Desk and a Tony for his role as Cheech, the unschooled mobster who knows about playwriting than any of the snooty thespians putting on a play on Broadway. His number, T’Aint Nobody’s Business If I Do, is the indisputable highlight of the show, and brings down the house. It’s no coincidence that it was the number featured both during the Tony broadcast, and at the Broadway in Bryant Park lunchtime concert.

2014 NYIT Awards (Off-Off Broadway) Nominees

 

An Appeal To The Woman of the House, one of the nominees for the 2014 NYIT Awards

An Appeal To The Woman of the House, one of the nominees for a 2014 NYIT Award

The nominees listed below for the 10th annual New York Innovative Theater Awards, honoring theaters and theater artists working Off-Off Broadway, include 130 individual artists, 58 different productions and 57 Off-Off-Broadway theater companies. The awards ceremony will be held September 22, 2014 at Baruch Performing Arts Center. 


Outstanding Ensemble

As You Like It, Happy Few Theatre Company
Ellen Adair, Nat Cassidy, Eric Gilde, Patrick Mulryan, Anna O’Donoghue,Christopher Seiler, Alexander Sovronsky

At First Sight (and Other Stories), Broken Box Mime Company
Rebecca Baumwoll, Dinah Berkeley, Seikai Ishizuka, David Jenkins, Meera Kumbhani, Tasha Milkman, Marissa Molnar, Dan Reckart, Joe Tuttle, Leah Wagner

The Complete and Condensed Stage Directions of Eugene O’Neill Vol 2, New York Neo-Futurists
Cecil Baldwin, Christopher Borg, Roberta Colindrez, Cara Francis, Dylan Marron,Martina Potratz

Magic Bullets, Buran Theatre Company
Caitlin Bebb, Abigail Blueher, Donna Jewell, Jud Knudsen, Catrin Lloyd-Bollard, Erin Mallon, Michael McKim Karp, Kate Schroeder, Mari Yamamoto

Old Familiar Faces, Tin Drum Productions
Tandy Cronyn, Marianne Miller, James Patrick Nelson, Sam Tsoutsouvas

Pirira, Theatre 167
Adrian Baidoo, J.Stephen Brantley, Todd Flaherty, Flor De Liz Perez


Outstanding Solo Performance

Adam Boncz
Fatelessness, SceneHouse Productions and Gia Forakis & Company

J.Stephen Brantley
Chicken-Fried Ciccone: A Twangy True Tale Of Transformation, Hard Sparks

Aizzah Fatima
Dirty Paki Lingerie, Aizzah Fatima

Kim Katzberg
Darkling, Eat a Radish Productions in association with IRT Theater

Sandy Moore
The Simple Stories, WorkShop Theater Company

Nora Woolley
Hip, Nora Woolley


Outstanding Actor in a Featured Role

Noel Joseph Allain
Luft Gangster, Nylon Fusion Collective

Joshua Levine
Wild, Sanguine Theatre Company

Brendan McDonough
Beckett in Benghazi, Less Than Rent Theatre in association with Horse Trade Theater Group

Tony Naumovski
Sawbones & the Diamond Eater, Days of the Giants LLC

Lyonel Reneau
Wild, Sanguine Theatre Company

Dwayne Washington
Rent, The Gallery Players

Outstanding Actress in a Featured Role

Milee Bang
My Father’s Ashes, Original Binding Productions

Manna Nichols
Allegro, Astoria Performing Arts Center

Diana Oh
Frankenstein Upstairs, Gideon Productions

Jenny Seastone
The Gin Baby, Kid Brooklyn Productions and Mermaid Sands Productions

Alyssa Simon
Within Arm’s Reach, Going to Tahiti Productions

Jenne Vath
Sawbones & the Diamond Eater, Days of the Giants LLC

Outstanding Actor in a Lead Role

Goran Ivanovski
The Lonesome West, Mark Forlenza Productions

James Patrick Nelson
Old Familiar Faces, Tin Drum Productions

Jason O’Connell
Don Juan In Hell, Phoenix Theatre Ensemble

Tom Pavey
The Lonesome West, Mark Forlenza Productions

Brian Silliman
Dark Water, Manhattan Theatre Works (MTWorks)

J.Stephen Brantley
Pirira, Theatre 167

Outstanding Actress in a Lead Role

Debra Ann Byrd
The Importance of Being Earnest, Take Wing And Soar Productions, Inc.

Tandy Cronyn
Old Familiar Faces, Tin Drum Productions

Heather E. Cunningham
An Appeal to the Woman of the House, Retro Productions

Christina Pumariega
Sousepaw: ‘A Baseball Story’, Shelby Company

Lesley Shires
The Gin Baby, Kid Brooklyn Productions

Hannah Sloat
The Glory of Living, Revolve Productions

Outstanding Choreography/Movement

Jim Cooney & Greg Zane
Nothing But Trash, Theater For The New City

Thiago Felix
Infinite While it Lasts, Group .BR

Grasshopper Mitch
David’s RedHaired Death, One Old Crow Productions

Carlos Neto
Gymnos: A Geek’s Tragedy, Ticket 2 Eternity Productions

David Norwood & Rajendra Ramoon Maharaj
Salome: Da Voodoo Princess of Nawlins, Rebel Theater

Christine O’Grady
Allegro, Astoria Performing Arts Center

Outstanding Director

Kevin Augustine & Edward Einhorn
The God Projekt, La MaMa in association with Lone Wolf Tribe

Karen Case Cook
Don Juan In Hell, Phoenix Theatre Ensemble

Tyrus Holden
The Pregnancy of Angela Freak, AqUa MeRcUrY Creations

Kelly O’Donnell
Jane the Plain, Flux Theatre Ensemble

DeLisa M. White
Lights Narrow, Teatro Oscuro

Tazewell Thompson
Sawbones & the Diamond Eater, Days of the Giants LLC

Outstanding Lighting Design

Joshua Benghiat
Pirira, Theatre 167

Joan Racho-Jansen
The Lonesome West, Mark Forlenza Productions

Evan Roby
The Cottage, Astoria Performing Arts Center

Kia Rogers
Jane the Plain, Flux Theatre Ensemble

Kia Rogers
The Gin Baby, Kid Brooklyn Productions and Mermaid Sands Productions

Alexandra Mannix
Within Arm’s Reach, Going to Tahiti Productions

Outstanding Costume Design

Gail Cooper-Hecht
The Importance of Being Earnest, Take Wing And Soar Productions, Inc.

Sidney Fortner
A Man’s World, Metropolitan Playhouse

Amanda Jenks
Rubber Ducks and Sunsets, Ground Up Productions

Thomas Kleinert
The Pregnancy of Angela Freak, AqUa MeRcUrY Creations

Ryan Moller
The Cottage, Astoria Performing Arts Center

Carrie Robbins
Sawbones & the Diamond Eater, Days of the Giants LLC

Outstanding Set Design

Stephen Karoly Dobay
The Cottage, Astoria Performing Arts Center

Donald Eastman
The Chairs, La MaMa in association with Skysaver Productions

Travis McHale
Rubber Ducks and Sunsets, Ground Up Productions

Brandon McNeel
Sawbones & the Diamond Eater, Days of the Giants LLC

Jacques Roy
And to the Republic, The Guerrilla Shakespeare Project

Tsubasa Kamaei & Jennifer Stimple Kamei
Don Juan In Hell, Phoenix Theatre Ensemble

Outstanding Sound Design

Janie Bullard
The Gin Baby, Kid Brooklyn Productions and Mermaid Sands Productions

Janie Bullard
Jane the Plain, Flux Theatre Ensemble

Janie Bullard
Pirira, Theatre 167

Christopher Loar
Mute, New York Neo-Futurists

Tim Schellenbaum & Alice Tolan-Mee
The Chairs, La MaMa in association with Skysaver Productions

Christian Frederickson
The Awake, kef theatrical productions

Outstanding Innovative Design

Gyda Arber, Brian Fountain, David Gochfeld, and Allen Hahn
For Phone & Text Design
FutureMate, Brick Theater

Laia Cabrera, Isabelle Duverger, and Ildiko Nemeth
For Video Design
Cosmicomics, The New Stage Theatre Comapny

Nicole Hill
For Puppet Design
Mute, New York Neo-Futurists

Kaitlyn Pietras
For Projection Design
The Gin Baby, Kid Brooklyn Productions and Mermaid Sands Productions

Matt Reeves
For Projection Design
And to the Republic, The Guerrilla Shakespeare Project

Jane Catherine Shaw & Theodora Skipitares
For Puppet Design
The Chairs, La MaMa in association with Skysaver Productions

Outstanding Original Music

Scott Allen Klopfenstein
Rubber Ducks and Sunsets, Ground Up Productions

Jennifer Makholm & Ian Wehrle
Relent, an Indie Musical, WorkShop Theater Company

Ellen Mandel
Don Juan In Hell, Phoenix Theatre Ensemble

Scott Munson
Sawbones & the Diamond Eater, Days of the Giants LLC

Alexander Sovronsky
As You Like It, Happy Few Theatre Company

Alla Zagaykevych
Fire Water Night, La MaMa in association with Yara Arts Group

Outstanding Original Short Script

J.Stephen Brantley
Chicken-Fried Ciccone: A Twangy True Tale Of Transformation, Hard Sparks

Kate Gersten
First Love from The Spring Fling, F*It Club

Kate Kertez
Dumbo from Brooklyn Labyrinth, Oracle Theatre Inc

Mark Loewenstern
One is the Road fromSuper Shorts 2013, WorkShop Theater Company

Lenore Wolf
April March, Fragments from an Unintegrated Life from East Side Stories: Movers, Metropolitan Playhouse

Nora Woolley
Hip, Nora Woolley

Outstanding Original Full-length Script

Nat Cassidy
Old Familiar Faces, Tin Drum Productions

Vincent Marano
Lights Narrow, Teatro Oscuro

Christie Perfetti Williams
An Appeal to the Woman of the House, Retro Productions

Sarah Shaefer
The Gin Baby, Kid Brooklyn Productions and Mermaid Sands Productions

David Stallings
Dark Water, Manhattan Theatre Works (MTWorks)

J.Stephen Brantley
Pirira, Theatre 167

Outstanding Performance Art Production

At First Sight (and Other Stories), Broken Box Mime Company

FutureMate, Brick Theater

Magic Bullets, Buran Theatre Company

The Chairs, La MaMa in association with Skysaver Productions

The God Projekt, La MaMa in association with Lone Wolf Tribe

The Maiden, The Nerve Tank

Outstanding Production of a Musical

A Little Night Music, The Gallery Players

Allegro, Astoria Performing Arts Center

Candide – The Musical, Theater 2020

Fire Water Night, La MaMa in association with Yara Arts Group

Life on the Mississippi: A New Musical Play, WorkShop Theater Company

The Pregnancy of Angela Freak, AqUa MeRcUrY Creations

Outstanding Premiere Production of A Play

An Appeal to the Woman of the House, Retro Productions

Dark Water, Manhattan Theatre Works (MTWorks)

Frankenstein Upstairs, Gideon Productions

Lights Narrow, Teatro Oscuro

Pirira, Theatre 167

The Complete and Condensed Stage Directions of Eugene O’Neill Vol 2, New York Neo-Futurists

Outstanding Revival of A Play

A Man’s World, Metropolitan Playhouse

As You Like It, Happy Few Theatre Company

Don Juan In Hell, Phoenix Theatre Ensemble

Julius Caesar, Smith Street Stage

R+J: Star-Cross’d Death Match, Three Day Hangover

Wild, Sanguine Theatre Company

Follow

Get every new post delivered to your Inbox.

Join 13,159 other followers