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Annette O’Toole, Reed Birney

Annette O’Toole, Reed Birney Courtesy of Joan Marcus

Meet Ken Carpenter (Reed Birney): late fifties, early sixties, retired, Midwest sensibility, settled into a staid existence, not unpleasantly, just unremarkably; wakes up in the middle of the night, bolts into the bathroom, locks himself in and stuffs a cloth into his mouth to stifle sudden, wracking, uncontrollable sobs. His wife Nancy (Annette O’Toole) feels his absence, asks to be admitted into the bathroom (“You’re scaring me”) and when he does at length let her in, he tells her what’s wrong.

He has stopped believing in God.

Annette O’Toole, Reed Birney

Annette O’Toole, Reed Birney Courtesy of Joan Marcus

An existential crisis to be sure. It doesn’t change anything about his daily life, yet it changes everything about how he feels going through the motions of it. What is there left to do, then, but go on a spirit quest? Of course, that’s not what his pastor (William Ragsdale) calls it when he suggests that Ken just get away for awhile, and so he does, taking off almost randomly for London, because he served there as a young man in the US Army. Staying out of touch.

And there he meets people who will take him outside his box (Heidi Armbruster, Max Gordon Moore, Nana Mensah); while his wife stays home in Nebraska, denying that she feels ever more abandoned as the configuration of the box she stays in becomes harder to maintain, as it is encroached upon by well-meaning others.

Tracy Letts

Tracy Letts

More than this is best for you to discover. And Tracy Letts’ 2004 play, Man from Nebraska, making its NYC debut at the Second Stage, should be left to its reveals, because ideally you shouldn’t know what’s coming any more than Ken and Nancy will. Not that we’re talking about devastating plot reversals. His is not a story about a snobbish conservative falling from grace to tragedy (a la Norman Wexler’s screenplay for Joe); rather, it’s about a sweet, normal guy suffering a seemingly untriggered loss of faith and trying to find a way back to himself. The courage of Letts’s script is that, while Ken certainly gives over to unexpected exploration, the essence of his decency, though tested, is never compromised. Which is a good thing because you never want it to be; and there’s an implicit promise in the start of Letts’ text that, whatever happens to Ken, we won’t be witness to his dissolution.

The freshness of compassion unusual for this kind of character going through this kind of journey, delivered without judgment or cynicism, brings with it an odd offset, which is a familiarity of event; since the only dramatic challenge to a strait-laced existence is the introduction of opposite types, a story of existential crisis perforce brings on representatives of counter-culture, spiritual/sexual liberation or moral challenge. In none of these departments are the characters particularly surprising—which is not to say it isn’t fun and sometimes touching to watch Ken and Nancy interact with them.

All in all, if Man From Nebraska is the most modest of Tracy Letts’ plays in terms of ambition and style, it may also be his most hopeful, in terms of the long game it plays. Under the seemingly always unerring, delicate direction of David Cromer, it is very gratifyingly acted indeed, and ultimately about as touching as you hope it might be.

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Max McLean

Max McLean

Meanwhile, at Theatre Row, there’s Max McLean in his one man show about C.S. Lewis, The Most Reluctant Convert. McLean is the honcho behind Fellowship for Performing Arts (FPA), a unique company devoted to Christian theater for secular audiences. Which basically translates as, of a professional enough caliber that even a Jewish atheist such as yours truly can find their stuff worthwhile seeing, discussing and even recommending, despite not personally buying into the core philosophy.

Which is especially relevant given that The Most Reluctant Convert is openly philosophical, as McLean portrays Lewis recreating the steps of realization and revelation that led to his becoming a Christian—a significant journey to be sure, as it was that epiphany that led to Lewis’s being among the most profound and interesting English language philosophers (writing in defense and promotion of Christianity) of the 20th century.

Drawing from several sources, McLean keeps the text pretty much strictly to the thematic point: the intermissionless 90 minutes proceeds in segments, separated and occasionally underscored by the kind of incidental music meant to evoke the awe and mystery of a higher power on the horizon, accompanied by animated projections highlighting points along the way; and while certainly the story is autobiographical in nature, we’re not watching an autobiographical evening, per se. No, this is a man showing you the way you get from materialism (defined as a belief in only the evidence of the material world) to deism and from deism to Christ. As with any spiritual philosophy, you have to buy into the core belief motivating movement, and the way it’s articulated, in order to accept the conclusion in real life, and personally, as stated, I don’t; but FPA is at least as much about storytelling as spreading the word, and as such, the narrative is compelling because Lewis’s words are so elegantly crafted, and McLean’s fairly powerful presence is a good match for replicating Lewis’s public persona. Or, let me amend that—

—a version of Lewis’s public persona. There’s nothing warm and fuzzy and welcome-to-the fold-y about this Lewis; there’s great humor but not great charm, though on aggregate, as with many fascinating curmudgeons of art and literature, the driving intensity and intelligence creates a kind of charm substitute. (This in contrast to actor-adapter David Payne’s C.S. Lewis: My Life’s Journey [aka An Evening With C.S. Lewis], which widens the scope to much fuller autobiography, and presents an equally commanding, but more soft-spoken Lewis as a paternal figure, ostensible charm included, which you can see on YouTube here.) But that’s all to the good, and in keeping with the FPA mission. Nothing proselytizes as effectively as a good show that eschews open proselytizing.

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David Spencer is an award-winning composer-lyricist, lyricist-librettist, author and musical theatre teacher. He has written music and lyrics for the Richard Rodgers Development Award-winning musical The Fabulist, which also contributed to his winning a Kleban lyrics award and several Gilman & Gonzalez-Falla Theatre Foundation grants. He is also lyricist-librettist for two musicals with composer Alan Menken: Weird Romance (WPA 1992, York 2004) and The Apprenticeship of Duddy Kravitz, which had its sold out, extended world premiere in Montreal in Summer 2015; cast album release soon. He made his professional debut in 1984 with the English Adaptation of La Bohéme at the Public Theatre; and he has since written music and lyrics for Theatreworks/USA’s all-new, award-winning Young Audience versions of The Phantom of the Opera (1996) and Les Misérables (1999) (book and direction for both by Rob Barron). Currently he is writing book, music and lyrics for a musical based on the iconic Russian novel The Golden Calf. Spencer’s published books are the Alien Nation novel Passing Fancy (Pocket, 1994), The Musical Theatre Writer’s Survival Guide (Heinemann, 2005, a regularly reprinted industry standard) and the script of Weird Romance (Samuel French, 1993). He is on faculty and teaches at the BMI-Lehman Engel Musical Theatre Workshop and has taught at HB Studio, the Workshop Studio Theater and Goldsmith’s College in London. His primary professional affiliations are BMI, The Dramatists Guild and The International Association of Media Tie-in Writers.

Broadway

And The Winners of The 2023 Drama Desk Awards Are ………

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The 2023 67th Drama Desk Awards, honoring artistic excellence on Broadway, Off-Broadway and Off-Off-Broadway, will take place on June 6 at Sardi’s Restaurant. Today the winners were announced.

Outstanding Play: “Leopoldstadt,” by Tom Stoppard

Outstanding Musical: “Some Like it Hot”

Outstanding Revival of a Play: “The Piano Lesson”

Outstanding Revival of a Musical: “Parade”

Outstanding Lead Performance in a Play: Jessica Chastain, “A Doll’s House” and Sean Hayes, “Good Night, Oscar”

Outstanding Lead Performance in a Musical: Annaleigh Ashford, “Sweeney Todd”
and J. Harrison Ghee, “Some Like it Hot”

Outstanding Featured Performance in a Play: Miriam Silverman, “The Sign in Sidney Brustein’s Window,” Brooklyn Academy of Music and Brandon Uranowitz, “Leopoldstadt”

Outstanding Featured Performance in a Musical: Kevin Del Aguila, “Some Like it Hot” and Alex Newell, “Shucked”

Outstanding Direction of a Play: Max Webster, “Life of Pi”

Outstanding Direction of a Musical: Thomas Kail, “Sweeney Todd”

Outstanding Choreography: Casey Nicholaw, “Some Like it Hot”

Outstanding Music: Brandy Clark and Shane McAnally, “Shucked”

Outstanding Lyrics: Scott Wittman and Marc Shaiman, “Some Like it Hot”

Outstanding Book of a Musical: Matthew López and Amber Ruffin, “Some Like it Hot”

Outstanding Orchestrations: Charlie Rosen and Bryan Carter, “Some Like it Hot”

Outstanding Music in a Play: Suzan-Lori Parks, “Plays for the Plague Year,” The Public Theater

Outstanding Scenic Design of a Play: Tim Hatley, “Life of Pi”

Outstanding Scenic Design of a Musical: Beowulf Boritt, “New York, New York”

Outstanding Costume Design of a Play: Emilio Sosa, “Ain’t No Mo’”

Outstanding Costume Design of a Musical: Gregg Barnes, “Some Like it Hot”

Outstanding Lighting Design of a Play: Natasha Chivers and Willie Williams (video), “Prima Facie”

Outstanding Lighting Design of a Musical: Natasha Katz, “Sweeney Todd”

Outstanding Projection and Video Design: Andrzej Goulding, “Life of Pi”

Outstanding Sound Design of a Play: Ben & Max Ringham, “A Doll’s House”

Outstanding Sound Design of a Musical: Scott Lehrer and Alex Neumann, “Into the Woods”

Outstanding Wig and Hair: Mia M. Neal, “Ain’t No Mo’”

Outstanding Solo Performance: Jodie Comer, “Prima Facie”

Unique Theatrical Experience: “Peter Pan Goes Wrong”

Outstanding Fight Choreography: B.H. Barry, “Camelot”

Outstanding Adaptation: “A Doll’s House,” by Amy Herzog

Outstanding Puppetry: Nick Barnes and Finn Caldwell, “Life of Pi”

Shows with multiple wins

Some Like It Hot: 8

Life of Pi: 4

A Doll’s House: 3

Sweeney Todd: 3

Ain’t No Mo’: 2

Leopoldstadt: 2

Prima Facie: 2

Shucked: 2

Special Awards

Harold Prince Lifetime Achievement Award

Stephen McKinley Henderson has been bringing in-depth, gripping portrayals of memorable characters to the stage for over four decades. With his return to Broadway this season as Pops in “Between Riverside and Crazy,” which the Drama Desk previously nominated in 2015, this year’s Harold Prince Lifetime Achievement Award marks Henderson’s role in this powerful production as a celebration of his brilliant career.

Ensemble Award

The cast of Soho Rep’s “Public Obscenities” – Tashnuva Anan, Abrar Haque, Golam Sarwar Harun, Gargi Mukherjee, NaFis, Jakeem Dante Powell, and Debashis Roy Chowdhury – embodied the transnational world of Shayok Misha Chowdhury’s bilingual play with memorable authenticity, remarkable specificity, and extraordinary warmth.

Sam Norkin Off-Broadway Award

From his standout performance in american (tele)visions, to writing and performing the autobiographical “Dark Disabled Stories,” Ryan J. Haddad’s work this season has expanded on and interrogated what the idea of “accessibility” really means. Whether riding a shopping cart like a throne, or relating his experiences on a “gay, pink bus,” Haddad shared with audiences an unabashed queer fabulosity that was both unforgettable and deeply human.

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Broadway

The Outer Critics Circle Awards and You Are There Part 1

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The 72nd Annual Awards honoring achievements in the 2022-2023 Broadway and Off-Broadway season were presented on Thursday, May 25, 2023, at the Bruno Walter Auditorium, New York Public Library for the Performing Arts. Executive Producer Lauren Yager, did a marvelous job and the event was enjoyed by all.

Here are highlights from the show.

President of the Outer Critics Circle David Gordon and Vice President Richard Ridge welcomed everyone.

Presenter Lea Solonga presented Outstanding Director of a Musical to Michael Arden – Parade

Outstanding Lead Performer in a Broadway Play Sean Hayes – Good Night, Oscar was hysterical and the highlight of the afternoon.

Outstanding Solo Performance Jodie Comer – Prima Facie

T2C had a chance to talk to Lea beforehand

John Gassner Award for New American Play (Preferably by a New Playwright): Fat Ham by James Ijames

Outstanding Book of a Musical: Robert Horn – Shucked

We talked to Robert prior to his speech.

Outstanding Featured Performer in an Off-Broadway Play: K. Todd Freeman – Downstate

Outstanding Featured Performer in an Off-Broadway Musical:Lindsay Mendez – Merrily We Roll Along

Outstanding New Off-Broadway Musical: The Harder They Come and Outstanding Revival of a Play (Broadway or Off-Broadway):Topdog/Underdog Suzan Lori Parks

More tomorrow.

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Off Broadway

New York Classical Theatre All-Female, Gender-Fluid, and Disability-Forward Shakespeare’s Richard III

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New York Classical Theatre (Stephen Burdman, Founding Artistic Director, Matthieu Chapman, Literary Director) is thrilled to announce the all-female, gender-fluid, and disability-forward cast for Shakespeare’s Richard III. The production, directed by Burdman, will play in Central Park from June 13 to June 25; in Brooklyn Commons at Metrotech from June 27 to July 2; and in Carl Schurz Park from July 4 to July 9. All performances are free and open to the public.

The production stars Delaney Feener (Single (SXSW), Oregon Shakespeare Festival)–a performer with a limb difference–as Richard, Kristen Calgaro(NYCT’s The Importance of Being Earnest, The Rivals, HBO’s “Exeunt”) as Queen Elizabeth/Richmond, Connie Castanzo (NYCT’s The Importance of Being Earnest, Romeo & Juliet) as Lady Anne/Prince Edward/Rivers/Tyrell, Briana Gibson Reeves (Off-Broadway’s Made By God, American Shakespeare Center) as King Edward/Catesby/Archbishop, Lucy Lavely (Off-Broadway’s Arthur & Esther, Self-Help In the Anthropocene, Knots) as Buckingham/Clarence, Rami Margron (La Jolla Playhouse’s As You Like It, Hulu’s “Wedding Season,” HBO’s “That Damn Michael Che”) as Hastings/Ratcliffe, and Pamela Sabaugh (Off-Broadway’s Molly Sweeney, The Healing) as Duchess of York/Stanley.

Richard III may be Shakespeare’s most evil character. See an ensemble of seven women and gender-fluid performers tackle his rise to power in a story filled with familial manipulation, egregious murder, and political deceit.

Richard III features production design by Sabrinna Fabi (NYCT’s Cymbeline, King Lear; Broadway’s Moulin Rouge!), voice and speech coaching by Nora Leonhardt (NYCT’s King Lear, “Star Trek: The Next Generation”), fight direction by Sean Michael Chin (NYCT’s Cymbeline, King Lear, Romeo & Juliet, Greek National Opera’s Medea), production stage management by Madison Lane (NYCT’s King Lear), assistant stage management by Miriam Hyfler (NYCT’s Henry V), production supervision by Yetti Steinman (New York Classical Theatre), wardrobe supervision by Zola Gray, and casting by Stephanie Klapper.

All performances run from 7:00 PM to 9:00 PM. New York Classical Theatre requests that all planning to attend make a free reservation for access to the Digital Playbill and for inclement weather updates. Walk-up participants are welcome on a first-come, first-serve basis on the day of the performance based on the size of the park lawn. Free reservations, performance details, and weather updates can be found at nyclassical.org/richardiii.Kristen Calgaro (Queen Elizabeth/Richmond)(she/her)New York Classical Theatre: Cymbeline, It Can’t Happen Here (reading), Three Sisters (reading), The Importance of Being Earnest (Two Ways), The Rivals, Malvolio’s Revenge (workshop), Playing Moliere, Much Ado About Nothing. New York: Mourning Becomes Electra (Target Margin Theater), Brigadoon (Broadway workshop). National Tour: Dr. Doolittle with Tommy Tune. Selected Regional: Dancing at Lughnasa (Barnstormers), Boeing-Boeing (Totem Pole Playhouse), The Understudy (Cape May Stage), And The Curtain Rises (Signature Theatre), Broadway: 3 Generations (The Kennedy Center), The Glass Menagerie (Bay Theatre). Film: Kumare (SXSW Audience Award), Exeunt (HBO’s NYFF). Directing: AMiOS, New York Theater Fesitval, The Tank. BA Religious Studies/Spanish, University of Virginia. Kristencalgaro.com. Connie Costanzo (Lady Anne/Prince Edward/Rivers/Tyrell)(she/her)New York Classical Theatre: King Lear (2021, 2020 Zoom workshop), Three Sisters (reading), The Importance of Being Earnest (Two Ways), Romeo & Juliet, The Rivals, As You Like It. NYC: Gigi (Storm Theatre); Diaspora (Gym at Judson); Time Stands Still (Theatre of the New City); City Girls & Desperadoes (The Secret Theatre). Regional: The Wolves (BCT); Lost Boy Found in Wholefoods (Pittsburgh REP); Miss Bennett: Christmas at Pemberley (Capital REP). Winner of “Best Actress in a Play” in BroadwayWorld 2019 Regional Awards. Connie was born and raised in Scranton, PA and she received her BFA in Acting from Point Park Conservatory of Performing Arts. Connie is also an animation voice over artist and postpartum doula. New York Classical has always been another home for her–she is so proud & honored to represent as an Artistic Associate.Delaney Feener (Richard)(she/her)New York Classical Theatre debut. Regional: Bring Down the House, Midsummer (Oregon Shakespeare Festival); Othello, Twelfth Night (Notre Dame Shakespeare Festival). TV/Film: Single (SXSW), Come as Your Are. BFA from the Theatre School at DePaul University. Current acting company member at The Mercury Store. @delaneyfeener

Briana Gibson Reeves (King Edward/Catesby/Archbishop)(she/her)New York Classical Theatre debut. Off-Broadway: Made By God (Irish Repertory Theatre). National Tours: Amazing Grace (Troika Productions). Selected Regional Theatre: Flyin’ West (Everyman Theatre); Stick Fly(Meadow Brook Theatre); As You Like It, Richard III, Emma, Man of La Mode (American Shakespeare Center); Midsummer, Coriolanus (Shakespeare Center); Don Juan (Taffety Punk); Amen Corner, Fabulation (On Q Productions); Funnyhouse (JCSU Light Factory).

Lucy Lavely (Clarence/Buckingham)(she/her)New York Classical Theatre debut. Off-Broadway: Arthur & Esther, Self-Help In the Anthropocene (New Light Theatre Project); Knots (Players Theatre). Regional: Macbeth (Orlando Shakes); Macbeth (Theater at Monmouth); Grapes of Wrath (Asolo Rep); One Man Two Guvnors (Pioneer Theatre Co.); The White Snake (Baltimore Center Stage); The Last Match (Florida Studio Theatre). BA from University of Notre Dame, MFA from FSU/Asolo Conservatory for Actor Training. Proud Member of SAG/AFTRA/AEA. Thanks to mom and dad, Vern, Stephen, cast, crew and YOU for joining us tonight!Rami Margron (Hastings/Ratcliffe)(they/them)New York Classical Theatre debut. Off-Broadway: Angry Young Man. Selected Regional Theatre: Hurricane Diane (Old Globe Theatre); Pride and Prejudice (Long Wharf); Angels in America (Actors Theatre of Louisville); Three Sisters (Two River Theatre); A Midsummer Night’s Dream, Twelfth Night, Much Ado (Cal Shakes); Macbeth, Pericles (Berkeley Rep); Moll Flanders, The Clean House (Pac Rep); Antigonick, Dog Act, Precious Little (Shotgun Players); The Lily’s Revenge (Magic Theatre); Around the World in 80 Days (Marin Theatre Co.); The Listener (Crowded Fire). TV/Film: Alberto and the Concrete Jungle, Burn Country, Messina High, Love AnyWay, “Wedding Season” (Hulu), “New Amsterdam” (NBC), “The Damn Michael Che” (HBO), “Law & Order” (NBC), “Manifest” (Netflix). Pamela Sabaugh (Duchess of York/Stanley)(she/her)New York Classical Theatre debut. Pamela has worked extensively on stage from Regional to Off-Broadway, including at The Attic Theatre (Detroit), The Court Theatre of Chicago, The Shakespeare Theatre of New Jersey, and Amaryllis Theater. She is a long time company member of the critically acclaimed Theater Breaking Through Barriers (TBTB), and has performed with them in numerous Off-Broadway productions–most recently as Portia in Shakespeare’s The Merchant of Venice at Theater Row on 42nd Street. Pamela has had recurring feature roles on the daytime dramas “One Life To Live” and “Guiding Light.” Pamela is a co-founder of WoodwardAvenue Productions which produced her first play, Woman In The Animal Kingdom, in the 2000 New York International Fringe Festival-for which she received the award for Outstanding Performance. Her solo cabaret, Immaculate Degeneration was first workshopped at the 6th International Blind In Theatre (BIT) Festival in Zagreb, Croatia. She returned to Zagreb in October 2011 to perform an expanded version. And in August 2012 WoodwardAvenue Productions premiered Immaculate Degeneration at the New York International Fringe Festival. Stephen Burdman (Director/Artistic Director). New York Classical Theatre: The Rewards of Being Frank (also at Cincinnati Shakespeare Company), Cymbeline, King Lear (2021, 2020 Zoom workshop, 2009); The Importance of Being Earnest (Two Ways), 2019 Best Show TheatreScene.net), Romeo & Juliet, Macbeth (2017, 2008, 2001), The Rivals, The Winter’s Tale (2016, 2004), Measure for Measure, As You Like It (2014, 2005), The Seagull, Malvolio’s Revenge (workshop), A {15-Min!} Christmas Carol, Twelfth Night (2012, 2002), Playing Moliere, Henry V (New York Times Critic’s Pick), The School for Husbands, Much Ado About Nothing (2010, 2003), Hamlet, Misalliance, Love’s Labour’s Lost, The Comedy of Errors, Mary Stuart, Scapin, The Feigned Courtesans, The Triumph of Love, The Taming of the Shrew, King Ubu, A Midsummer Night’s Dream. Producer: A Midsummer Night’s Dream, The Taming of the Shrew, The Tempest, The Rover, Richard III, Cymbeline, The Recruiting Officer, All’s Well That Ends Well. Selected productions: Cymbeline (NYU), The Tempest, Much Ado About Nothing, As You Like It, Waiting for Godot, Hamlet (Outstanding Production 1994 Season, Los Angeles Times), Three Sisters. MFA from the University of California, Irvine and graduate of the National Theater Institute. Member of the Stage Directors and Choreographers Society since 1994. Recipient of 2022 Sidney Berger award from the Shakespeare Theatre Association for outstanding talent and commitment to the works of William Shakespeare. All my love to Adena (my wife) and son, Zeke, who are the guiding stars of my life.

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Broadway

Roundabout Theatre Company, Mayor’s Office of Media and Entertainment Create The Theatrical Workforce Development Program

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Roundabout Theatre Company (Todd Haimes, President/CEO, in memoriam; Scott Ellis, Acting Artistic Director) and Education at Roundabout (Jennifer DiBella, Director of Education) are proud to announce a Mayoral Citation honoring the Theatrical Workforce Development Program (TWDP), the theatre industry’s first workforce development program to train and place young adults in professional technical theatre careers.

Following a recent “Final Share Out,” showcasing what TWDP’s fifth cohort has learned during training this past year, Mayor Eric Adams praised the program: “I applaud everyone associated with TWDP for their efforts to connect young New Yorkers to long term careers, build a more diverse talent pipeline, and strengthen the technical workforce that powers our theater community. I look forward to the many ways Roundabout and TWDP will continue to make a positive difference as we take bold steps to #GetStuffDone, revitalize our cultural and economic vibrancy, and forge a brighter, fairer, more prosperous future for all.”

“Culture is the heart of New York City, and we know that nothing happens in New York City without art and culture. As the Commissioner of Cultural Affairs, I know that our cultural institutions have the experience and deep community relationships to continue to create a workforce that is more reflective of the City of New York. I really want to celebrate Roundabout, and I want to thank all of the TWDP fellows. You persevered and now you are here today making it all happen backstage,” added NYC Cultural Affairs Commissioner Laurie Cumbo.

“As a founding partner of the Theatrical Workforce Development Program, the Mayor’s Office of Media and Entertainment is proud to join the Roundabout Theatre Company in celebrating the success of the program,” said Commissioner of the Mayor’s Office of Media and Entertainment, Anne del Castillo. “The ‘Made in NY’ Stagecraft Bootcamp is one of our signature training initiatives which works to diversify NYC’s theatre workforce and develop a strong local talent pipeline to support the industry’s present and future.”

As we celebrate the 100% retention rate of Cohort 5, with all 20 fellows advancing from training onto summer internships across the City, we also acknowledge the six TWDP alumni that have successfully joined the International Alliance of Theatrical Stage Employees (IATSE) union and the 60 more maintaining their careers backstage on and off Broadway.

NOW ACCEPTING APPLICATIONS

Founded in 2016, the Theatrical Workforce Development Program aims to break down the barriers that prevent young adults from joining the industry and empower a diverse new generation of theatre professionals. Roundabout’s Theatrical Workforce Development Program is the first collaboration between a theatrical employer and the union that represents backstage workers to train and place young adults in professional careers as Stagehands, Electricians, Sound Engineers, Carpenters, and Wardrobe Workers.

Recruitment is now open for the next group of participants, Cohort 6, who will begin their training in September 2023. Application is contingent on attending either of the remaining information sessions at The Harold and Miriam Steinberg Center (111 West 46th Street) on Friday, May 26 or Thursday, June 8. Additional information is available at roundabouttheatre.org/twdp.

TWDP includes three years of training, job placement, and one-on-one mentorship with top industry professionals to ensure a smooth and successful transition to professional theatre work. Each year, the program will provide a group of up to 20 fellows with hourly wages, relevant skills and industry knowledge, work experience, access to world-class venues, and resources and support services to navigate this environment.

Roundabout employs more than 400 technical theatre professionals annually and its education programs reach more than 30,000 people each year. For more than twenty years, Roundabout has trained teachers, teaching artists, and high school students in technical theatre skills. In addition to lead partners The International Alliance of Theatrical Stage Employees (IATSE), The Door, and National Black Theatre, additional partners include: Atlantic Theatre Company, New Victory Theater, New 42 Studios, The Public Theater, Dixon Place, Abrons Arts Center, Irish Arts Center, Idaho Shakespeare Festival, Lake Tahoe Shakespeare Festival, City Lyric Opera, Signature Theatre, Gala Productions, Peterborough Players, and Emursive Productions.

Recruitment

The Theatrical Workforce Development Program accepts applications from young adults from New York City who have a high school diploma or HSE. This includes alumni from the existing Roundabout partner schools and on-site after school programs.

Training

In the first year, fellows kick off their training at Roundabout Theatre Company with an intensive six-week “Made in NY” Stagecraft Bootcamp, presented by the Mayor’s Office of Media and Entertainment and the NYC Dept. of Small Business Services. For the following six months, fellows are engaging in progressive, hands-on skills and theory training for 29 hours a week in Roundabout’s education spaces and theatre venues, in addition to observing theatre professionals on the job at Roundabout and National Black Theatre, all in preparation for full-time internship placements at a participating theatre or studio in the late spring and summer. Throughout the training program, fellows will receive a living wage, reimbursed travel, one-on-one mentorship with an IATSE professional, access to additional IATSE industry professionals and retention support services.

The second year includes placement in an entry-level job at a not-for-profit theatre, production, or shop in their chosen trade. Fellows will continue to receive one-on-one mentorship with IATSE professionals, Roundabout-led wrap-around career programming, and retention support services from The Door. At the end of this phase, in the third year of the program, fellows will continue to be supported while they pursue contract work from their new professional networks and our cultivated network of theatres and performance, sports, cruise line, and conference venues.

Roundabout’s Theatrical Workforce Development Program (TWDP) is made possible through the generosity of Denise Littlefield Sobel, the Mellon Foundation, The Pinkerton Foundation, the Solon E. Summerfield Foundation, the Altman Foundation, the Kaplen Foundation, Capitol One, and the Herbert M. Citrin Foundation.

Major funding to establish the “Made in NY” Stagecraft Bootcamp is provided by the Mayor’s Office of Media and Entertainment and NYC Department of Small Business Services.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, NYC’s Human Resources Administration and Center for Economic Opportunity’s joint support through the Work Progress Program, the New York State Council on the Arts, and the National Endowment for the Arts.

TWDP is made possible by the Champions for Inclusive Theatre and Roundabout’s Forward Fund. We acknowledge the generous friends who support our many efforts to increase representation and inclusion in all aspects of theatre: Elizabeth Armstrong, Bank of America, Eugene and Joann Bissell and the Lillian Lincoln Foundation, Kevin Brown, Barbara and Peter Bye, Ginger McKnight Chavers, Ford Foundation, Jill and Barry Lafer, Gina Maria Leonetti, Iva Mills, Beryl Snyder, and Denise Littlefield Sobel.

Education at Roundabout, including TWDP, is made possible by the leadership and generosity of Roundabout’s Board Education Committee, helmed by Co-Chairs Gess LeBlanc and Jennie Thomas.

Established in 1996, Education at Roundabout annually serves over 30,000 people throughout New York City’s five boroughs and beyond. Roundabout offers nationally recognized programs that use the power of theatre to inspire, engage, and promote social equity through three core areas: Career Training, Community Partnerships, and Teaching and Learning.  The deep impact and breadth of our work is a result of programs and curricula curated specifically to build lasting relationships with students, teachers, early-career professionals, audiences, and our local communities. roundabouttheatre.org/education

Roundabout Theatre Company has been working to prioritize and actively incorporate anti-racism, equity, diversity, inclusion and accountability throughout the institution. Read more about the company’s social justice progress and timeline at roundabouttheatre.org/socialjustic

Roundabout Theatre Company celebrates the power of theatre by spotlighting classics from the past, cultivating new works of the present, and educating minds for the future. A not-for-profit company, Roundabout fulfills that mission by producing familiar and lesser-known plays and musicals; discovering and supporting talented playwrights; reducing the barriers that can inhibit theatergoing; collaborating with a diverse team of artists; building educational experiences; and archiving over five decades of production history.

Roundabout Theatre Company presents a variety of plays and musicals on its five stages: Broadway’s American Airlines Theatre, Studio 54 and Stephen Sondheim Theatre, and Off-Broadway’s Harold and Miriam Steinberg Center for Theatre, which houses the Laura Pels Theatre and Black Box Theatre.

American Airlines is the official airline of Roundabout Theatre Company. Roundabout productions are supported, in part, with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of Governor Hochul and the New York State Legislature.

Roundabout’s current and upcoming productions include: Primary Trust by Eboni Booth, directed by Knud Adams; The Refuge Plays by Nathan Alan Davis, directed by Patricia McGregor; Covenant by York Walker, directed by Tiffany Nichole Greene; I Need That by Theresa Rebeck, directed by Moritz von Stuelpnagel; Home by Samm-Art Williams, directed by Kenny Leon; and Jonah by Rachel Bonds.

www.roundabouttheatre.org

Follow Roundabout Theatre Company on Twitter, Instagram and on Facebook.

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Broadway

The 2023 Chita Rivera Awards: The Red Carpet

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The 2023 Chita Rivera Awards were presented at the NYU Skirball Center for the Performing Arts.

The winners were announced and in keeping with the mission of the Chita Rivera Awards, nominators considered outstanding choreography, featured dancers, and ensembles in shows on Broadway and Off Broadway, as well as outstanding choreography in film that opened during the 2022-2023 season.

The mission of the Chita Rivera Awards is to celebrate dance and choreographic excellence, preserve notable dance history, recognize past, present and future talents, while promoting high standards in dance education and investing in the next generation.

To see the winners and the interviews click here.

John Kander, Chita Rivera, Brian Stokes Mitchell

John Kander, Chita Rivera

Derek Hough, Jared Grimes

Derek Hough, Jared Grimes

Joe Lanteri, Riki Kane Larimer

Riki Kane Larimer

Joe Lanteri, Bonnie Comley, Stewart F. Lane

Tony Yazbeck

Tony Yazbeck

Bebe Neuwirth

Bebe Neuwirth

Clyde Alves, Robyn Hurder

Rob Ashford

Kolton Krouse

Kolton Krouse

Kolton Krouse

Peter John Chursin

Cast members of NEW YORK, NEW YORK

The cast of “New York, New York”

Cast of Bob Fosse’s Dancin

Alyssa Sarnoff, Charlotte d’Amboise

Mattie Love

Joe Lanteri, Andy Blankenbuehler

Andy Blankenbuehler

Jerry Mitchell

Cast of “Gimme Love”

Jeffrey L. Page

Cast members of SOME LIKE IT HOT

J. Harrison Ghee

J. Harrison Ghee

Jordan Roth

Lee Roy Reams

Jennifer Weber

Leo Moctezuma

Davide Torchio, Desmond Richardson

Jacob Guzman

Cast members of A BEAUTIFUL NOISE

Chloe Arnold

 

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