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Get Ready And Watch The New Years Eve Celebrations Here Starting at 6pm

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The confetti has been, the giant numerals of 2 0 2 4 are in place, the luminous ball, bedazzled in 2,688 crystal triangles, a fixed to the pole to make its 60-second descent at 11:59 p.m. Starting at 6 you can watch the ball drop live right here.

 

Suzanna, co-owns and publishes the newspaper Times Square Chronicles or T2C. At one point a working actress, she has performed in numerous productions in film, TV, cabaret, opera and theatre. She has performed at The New Orleans Jazz festival, The United Nations and Carnegie Hall. She has a screenplay and a TV show in the works, which she developed with her mentor and friend the late Arthur Herzog. She is a proud member of the Drama Desk and the Outer Critics Circle and was a nominator. Email: suzanna@t2conline.com

Broadway

James Monroe Iglehart At The Drama Desk and A Rap For A Wonderful World: The Louis Armstrong Musical

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T2C was at the Drama Desk Awards and talked to our friend James Monroe Iglehart. Years ago I learned that James could make up raps instantaneously, so I had him do one at the Hamilton opening night for Lin Manuel Miranda. Since James is opening up in October in A Wonderful World: The Louis Armstrong Musical, I ask him to do a rap to pug his show. This is the result.

James’s new musical is about the life and loves of Louis Armstrong and Tony Award® winner James Monroe Iglehart is the legendary American icon. A Wonderful World charts Armstrong’s incredible journey from the birth of jazz in his native New Orleans through his international stardom. It features beloved songs recorded and made popular by Armstrong, including favorites like “What a Wonderful World” and “When You’re Smiling,” among many other standard favorites.

The show is conceived by Tony Award® nominee and Drama Desk Award winner Christopher Renshaw (Broadway’s The King and I, Taboo), and novelist Andrew Delaplaine. Book by Aurin Squire (“This is Us,” “The Good Fight”). Directed by Renshaw, with choreography by Rickey Tripp (Associate Choreographer for Broadway’s Hell’s Kitchen, Once on This Island, and Choir Boy). Featuring classic songs from Armstrong’s catalogue.

We look forward to seeing James and this new musical.

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Film

Ken Fallin’s Broadway: Happy Belated Birthday Judy Garland

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Judy Garland, born Frances Ethel Gumm met the world on June 10, 1922 and passed away June 22, 1969. I wanted to do a tribute to her life and career, which was marked by extraordinary talent, incredible achievements, and an enduring influence in music and film. Judy triumphed in the face of adversity. Her ability to connect with audiences on a deeply emotional level made her an enduring presence.

Garland’s career began at a young age, performing in vaudeville as “The Gumm Sisters.” Her voice, was characterized by its rich timbre and emotional connection to the material. Her rendition of “Over the Rainbow” from the 1939 film The Wizard of Oz remains one of the most beloved songs in cinematic history. “You Made Me Love You” from “Broadway Melody of 1938 (1937), “Zing! Went the Strings of My Heart” from “Listen, Darling” (1938), “For Me and My Gal from “For Me and” My Gal” (1942), “The Trolley Song” from “Meet Me in St. Louis” (1944), “Have Yourself a Merry Little Christmas” from “Meet Me in St. Louis” (1944),    ” On the Atchison, Topeka and the Santa Fe” from “The Harvey Girls” (1946), “Easter Parade” From “Easter Parade” (1948), “Get Happy” from “Summer Stock” (1950) and “The Man That Got Away” from  “A Star is Born” (1954) are all Judy Garland hits.

Judy Garland’s film career was part of the Golden Age of Hollywood. Micky Rooney, Gene Kelly and Fred Astaire were her leading men. Her performances were not only entertaining but also deeply moving, showcasing her incredible range as an actress.

Garland’s broke barriers as a performer, becoming a symbol of resilience and determination. Despite facing numerous personal struggles, she delivered unforgettable performances.

The impact she had on the entertainment industry paved the way for future generations of performers. She will be forever remembered

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Events

Lin Manuel and The Miranda Family Honored by The Jazz Power Initiative

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Lin-Manuel greeting Jazz Power Initiative’s Eli Yamin, Co-Founder, Managing and Creative Director at 20th anniversary celebration where The Miranda Family were honored. Photo by Ttsiana Kulesh

On a rainy New York evening it was all sunshine, joy and music at 1 Vanderbilt Avenue, where the 20th floor, location of TD Bank’s Conference Center, had been transformed for the 20th anniversary celebration of Jazz Power Initiative, an organization founded by two friends: writer/educator Clifford Carlson, and jazz musician/educator Dr. Eli Yamin.  Over the last two decades, under the leadership of Dr. Yamin who is now managing and artistic director, the organization has become an influential part of the NYC arts education community.


Through the power of Jazz and the Afro-Latin rhythms that have contributed to the growth of this truly American music genre, and the inclusion of original jazz musicals, written by Clifford Carlson and Eli Yamin for the children, the organization has transformed the lives of young people from Upper Manhattan, Washington Heights, and the Bronx.  Engaging young people in music, theatre, and dance programs, that are taught by award-winning professional artists, helping them find their creative voice, fostering positive self-expression, and building community – is what JPI does so well.

Lin-Manuel greeting Jazz Power Initiative’s Eli Yamin, Co-Founder, Managing and Creative Director at 20th anniversary celebration where The Miranda Family were honored. Photo by Ttsiana Kulesh

This year the organization was delighted to honor three unwavering supporters who have helped them achieve incredible success and growth, and who have been there continuously.  The staunch support of people and organizations over the past 20 years – including the leadership of those being honored – has helped Jazz Power Initiative to achieve its mission in Northern Manhattan.  They have been able to serve thousands of New Yorkers and visitors annually – including students, teachers, artists, families, and general audiences ages 6-80, to build more creative and inclusive communities through jazz music, arts education, and performance.

The Honorees

Tanya LeMelle, an executive with TD Bank, and a Jazz Power Initiative board member talked about the corporate giant’s investment in the communities they serve.  “TD Bank is a long-standing supporter of the Jazz Power Initiative and our community focused efforts, which closely align with the bank’s own work to support and create dialogues in arts and culture that reflect diverse voices.”

The organization was the recipient of the Corporate Social Responsibility award presented to TD Bank and accepted by Ralph Bumbaca, TD Bank’s Market President-Commercial for the New York City Market, who echoed the sentiments expressed by his colleague.

The extraordinary, award-winning founder of The Afro Latin Jazz Alliance, leader of the Afro Latin Jazz Orchestra, an educator, composer – Arturo O’Farrill took the podium to introduce his friends, The Mirandas.  His remarks began with the words, “Jazz is sacred music!” And it proved to be just that when the young Zah! group took the stage that night. He went on to list the contributions made over the past 40-years, by The Mirandas, as champions of community activism, and their support of institutions like Jazz Power Initiative that have “uplifted underserved populations in upper Manhattan, including those across New York City, across the country and in Puerto Rico.  And their continued commitment and advocacy for education in the arts and social justice.”

Dr. Luz Towns-Miranda, the matriarch of the family, flanked by members of her family, Lucecita Miranda-Crespo, Lin-Manuel and Miguel Towns were all on hand to receive the inaugural Philanthropy Award.  “Music is very important to our family,” she began. “When Luis and I met, one of our many connections was around our shared love of music.”  She spoke about the importance of music and the arts in teaching and imbuing young people with empathy.

The youngest member of the family, Miguel Towns spoke about the power of music and quoted Stevie Wonder, “Music is a world within itself, with a language we all understand.”  He went on to explain what music represents, “…it is the only art which is experienced through sound and lets us experience or convey emotions with one another, in a way unique to the human experience.”

Miguel was followed by Lin-Manuel who was exuberant about being on-hand to receive the inaugural Philanthropy Award, on behalf of his family.  “Thank you all for being here, and thank you for this tremendous honor,” he said, before reminding his friend Arturo, that one of the great moments of his life as a composer, was having Arturo do an arrangement of Piragua, from In The Heights.   He went on to reflect on “how much Eli and Jazz Power” have been a part of his life and childhood community. “I come not just as a musician, but as a product of the privilege of a wonderful public-school arts education, which underscores the importance of what Jazz Power does.”

The message that resonated most during the night, as Lin-Manuel emphasized was the importance of Jazz Power’s contributions – “it brings music to young people at the most important time in their lives; when they are connecting music to their own emotions and how they are feeling.”

Filmmaker, Phil Bertelsen, who received two extraordinary introductions, due to traffic.  Rachel Dretzin, who has worked with Bertelsen on Who Killed Malcom X (Netflix series) and author/educator, Donald Bogel who was supposed to introduce him, but arrived late due to New York traffic congestion, recalled how impressive he was as a student of his at NYU, and how later he hired him to help research a book on Dorothy Dandridge that he was in the midst of writing.

Phil received the Changemaker Award from the organization he has had the pleasure of working with for some time now.  For him, the moment was humbling, “Change is not something that comes easy and it’s not something we do alone.” He acknowledged many of the people who have had a hand in helping him along the way as he made his “avocation, his vocation.” Phil has won numerous awards, among them a Peabody and an Emmy for his work which he considers a way of paying it forward by telling interesting and important stories that make a difference.

What began as an idea in 1998, thanks to a grant from Meet the Composer/New Music for Schools, in tandem with funding from the Louis Armstrong Education Foundation awarded to acclaimed jazz musician and educator Eli Yamin, led to the first iteration of the organization.  In 2003 it incorporated as The Jazz Drama Program, and later underwent another evolutionary transition to become a nonprofit organization in 2004.  Then it rebranded in 2017 as Jazz Power Initiative the organization that has become a permanent fixture in schools and in the communities it services.

In its 20-year existence, under the leadership of a brilliant staff headed by Dr. Eli Yamin – the organization has touched the lives of over 6,000 young people; engaged the knowledge and experience of some 1,000 educators; and cultivated an inclusive audience, of over 100,000, reached through live performance attendance and virtual participation.

Eli summed up the evening and his joy at being at the helm of this important organization as follows – “As a child of the 1960s, born in 1968, I find myself often wondering about that time and how it shaped me through my parents, my mentors, and my friends.  I watched a documentary about Bobby Kennedy and when asked what drove him to do the work he was doing, he said:  ‘What I think is satisfying…what makes it worthwhile is that you feel that you can have an effect and perhaps do some good for other people…that there is the possibility that if you make the right kind of an effort that their lives are going to change and that therefore their whole existence is going to change and therefore, their children’s lives are going to change…’”. Jazz Power Initiative has been changing lives and adding a sense of joy through their various programs:

-Jazz Power Youth – provides vocal, dance and theatre training in culturally diverse environments, to build courage, curiosity, and compassion.
-Jazz Power Community – provides education in jazz music, dance, and theatre to inspire and empower.
-Jazz Power Musicals – through the creation and commission of original jazz musicals that address socially relevant issues, JPI hopes to inspire and unite audiences.
-The Power Pro – offering professional, experiential training to educators and business leaders.
The evening wrapped with a call to action to make the next 20 years of Jazz Power Initiative even better.  Felix Hernandez, WBGO Radio personality and host of Rhythm Revue on Saturdays and Sundays, turned the night into a dynamic party to remember.

If you wish to get more information about the organization, or if you would like to donate to Jazz Power Initiative, please go to www.jazzpower.org.

Jazz Power Initiative (JPI, a dba of The Jazz Drama Program), a non-profit, 501 (c) (3) organization founded in 2003, serves thousands of New Yorkers and visitors annually – students, teachers, artists, seniors, and general audiences, ages 8-80+, to promote music education, and build more creative and inclusive communities through jazz music, theater, dance education, and performance.   

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Events

The Musical Titanic Successfully Sails onto the Stage at City Center

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Titanic The Musical proves that the music and story does not need the special effects of a sinking ship to send the audience on an emotional journey. Twenty-five years ago when Titanic opened on Broadway, after reading headlines about the  malfunctioning unsinkable set, I skeptically went to the show; but, those first 18 minutes turned out to be the greatest opening number I had ever seen. The show is currently being performed at City Center in the Encores! Series and this score can stand alone without the trappings usually required to produce a Broadway spectacle. The opening number not only introduced us to the three focal people who each in their own way contributed to the disaster of the iceberg: Captain E.J. Smith (Chuck Cooper), Thomas Andrews (Jose Llana), J. Bruce Ismay (Brandon Uranowitz); but, also the members of all three classes aboard the ship and the crewmembers. As the 32 member cast raises their voices in beautiful harmony to cheer “Sail on, great ship Titanic” the hopes of the third class passengers, the wonder of those in first class and the pride of the crew are all felt by the audience. So moving is this song that we can suspend reality and wish that the maiden voyage of this “floating city” actually successfully makes it to New York.

This is not the Rose and Jack story that fictionalized a love story between a third and first class passenger but an even more beautiful story based on real people who either survived or were left onboard as the ship broke apart.


The music and lyrics by Maury Yeston are thrilling, cheerful, romantic and haunting. The story and book by Peter Stone who had previously done justice to the telling of the signing of the Declaration of Independence in 1776 again brings history to the stage with wit and suspense despite knowing the eventual tragedy.

Over twenty songs fill this musical score with a variety of styles and themes. Each one perfectly delivered by this amazing team of actors and singers briskly directed by Anne Kauffman. There is not a bad song in the mix nor a disappointing performer; but, in addition to that opening number I must highlight a few.

Lady’s Maid sung by the 3rd class passengers brings me to tears as three Irish lasses all named Kate start by telling their fellow travelers their dreams for America. Samantha Williams, Lilli Cooper, and Ashley Blanchet play the ‘three Kates’ and are joined by the ensemble all singing their own individual ambitions – to be a constable, engineer, and governess, etc. It fills my heart with pride that America is such a land of opportunity and then it breaks when I realize that some of these dreamers will never make it to their destination.

A pairing of two male singers, Ramin Karimloo and Alex Joseph Grayson, playing coal stoker Barrett and radio operator Bride, respectively sing two love songs one to his fiancé and one about his career choice is a magical duet where each voice is given a chance to shine.

Another example of Yeston’s genius is a song where three voices combine but certainly not in love; the ship’s owner, designer, and captain Blame each other for the inevitable sinking. It is a dramatic song that is rarely seen in such a show but too often seen in human nature.

The real life owner of Macy’s department store was actually onboard the Titanic with his wife. Chip Zien and Judy Kuhn portray the elderly Isidor and Ida Straus whose love proved even stronger than the two youngsters in the James Cameron film. Ida chose not to get on a lifeboat without her life long partner and that love is beautifully sung in their duet Still.

Love, anger, hope and desire are all represented on the stage but it is second class passenger Alice Beane that gives the tension a bit of comic relief. Wonderfully sung and acted by Bonnie Milligan, Mrs Bean dances into the first class salon and in one of the few choreographed numbers brings joy to the festivities. She and her husband Edgar (Drew Gehling) sing I Have Danced – a song that depicts the struggle of a happily married couple when ambitions are not in line.

We know the ship is going to hit the iceberg but as Matthew Scott as the ship entertainment sings the rhythmic tune Autumn coupled with the Company repeating the haunting No Moon the suspense grows as the ship sails in the night.

Anne Kauffman directs the cast seamlessly from scene to scene not only allowing the songs to tell a fantastic story but to bring out the wit and passion of Peter Stone’s words.

Rob Berman, the Encores! Music Director, again conducts this 30 piece orchestra with incredible ease despite the complicated orchestrations created by Johnathn Tunick. With every violin string, trumpet note, drum roll and cymbal clash the music envelops the huge theater yet touches every individual in it.

Encores! Began 30 years ago to honor scores that are not often revived. With minimal rehearsal time for this limited run some actors are still on book but that does not diminish either the music, story or the talent on the stage. Much has been written about the cost of producing on Broadway so a production with this many cast members and musicians may never be transferred to a Broadway theater as Encores other 2024 title, Once Upon a Mattress will be doing so do not hesitate to buy a ticket. Do not be left on the dock waving goodbye to this magnificent creation.

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Broadway

Who Should/Will/Did Win a 2024 Tony Award? Predictions and Actual Winners.

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Here’s my list of who I think will win, who I think should win, and who ended up winning on June 11th, Tony night, as I like to call it. There are a number of obvious choices, but a few races that are difficult to call. Like the Jessica Vs Sarah American Horror alumn battle, or the emotional contest of Best New Musical. Here are mine.

Below is the full list of winners (🏆), my predictions (⭐️), who I think should win (👍), and all of the nominations:

Here goes nothing.

⭐️= Who I think Will Win

👍= Who I Think Should Win

🏆= Who Did in the End Win (stay tuned Sunday, June 11th, 2023 from the United Palace Theatre in NYC)

Best Book of a Musical

Hell’s Kitchen – Kristoffer Diaz

The Notebook – Bekah Brunstetter

The Outsiders– Adam Rapp and Justin Levine

👍 ⭐️ Suffs – Shaina Taub

Water for Elephants – Rick Elice

Best Original Score (Music and/or Lyrics) Written for the Theatre

Days of Wine and Roses – Music & Lyrics: Adam Guettel

Here Lies Love – Music: David Byrne and Fatboy Slim – Lyrics: David Byrne

👍 The Outsiders – Music & Lyrics: Jamestown Revival (Jonathan Clay and Zach Chance) and Justin Levine

Stereophonic – Music & Lyrics: Will Butler

⭐️ Suffs – Music & Lyrics: Shaina Taub

Jeremy Strong in An Enemy of the People – Photo by Emilio Madrid.

Best Performance by an Actor in a Leading Role in a Play

William Jackson Harper, Uncle Vanya
Leslie Odom, Jr., Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
Liev Schreiber, Doubt: A Parable
👍 ⭐️ Jeremy Strong, An Enemy of the People
Michael Stuhlbarg, Patriots

This is a hard one, but I’m leaning on the overall effect of the riveting An Enemy of the People leading Strong to a Tony victory. Stuhlbarg was excellent in the lesser excellent Patriots. Odom and Harper are two good actors who I believe underperformed, and I’m hoping their star-power doesn’t push them over the winning line.

Best Performance by an Actress in a Leading Role in a Play

Betsy Aidem, Prayer for the French Republic
Jessica Lange, Mother Play
Rachel McAdams, Mary Jane
👍 ⭐️ Sarah Paulson, Appropriate
Amy Ryan, Doubt: A Parable

Although everyone here excelled, particularly Aidem and Ryan, I do believe Paulson delivered something more profound and detailed than Lange, probably because the play gave her so many more complex opportunities which she gobbled up fantastically for our pleasure.

Sarah Paulson and Elle Fanning in 2ST’s Appropriate. Photo by Joan Marcus.

Best Performance by an Actor in a Leading Role in a Musical

Brody Grant, The Outsiders
👍 ⭐️ Jonathan Groff, Merrily We Roll Along
Dorian Harewood, The Notebook
Brian d’Arcy James, Days of Wine and Roses
Eddie Redmayne, Cabaret at the Kit Kat Club

No shocker here. This is Groff’s moment, even though I loved Grant and Redmayne in their lesser received shows. James was also good, vocally, in a musical that I just didn’t connect to, so I wasn’t as connected to him or his performance. The same can be said of O’Hara. I just didn’t care, even within the dramatic ending.

Best Performance by an Actress in a Leading Role in a Musical

👍 Eden Espinosa, Lempicka
⭐️ Maleah Joi Moon, Hell’s Kitchen
Kelli O’Hara, Days of Wine and Roses
👍 Maryann Plunkett, The Notebook
Gayle Rankin, Cabaret at the Kit Kat Club

I think the new kid on the block might take home the prize, although I would not be disappointed if either Espinosa or Plunkett jumped to the front of the Hell’s Kitchen train.

Eden Espinosa in Lempicka. Photo: MATTHEW MURPHY AND EVAN ZIMMERMAN

Best Performance by an Actor in a Featured Role in a Play

👍 Will Brill, Stereophonic
⭐️ Eli Gelb, Stereophonic
Jim Parsons, Mother Play
Tom Pecinka, Stereophonic
Corey Stoll, Appropriate

Such a hard call, but I fully believe that, as in many categories including this one, it will be a winning Stereophonic night. Some say Stoll might snatch it up, but I’d be very surprised.

Best Performance by an Actress in a Featured Role in a Play

Quincy Tyler Bernstine, Doubt: A Parable
👍 Juliana Canfield, Stereophonic
Celia Keenan-Bolger, Mother Play
👍 Sarah Pidgeon, Stereophonic
⭐️ Kara Young, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

Gosh. Young was, for me, by far the best thing in this revival elevating it spectacularly leaving everyone, including the bland Odem, Jr. At the bottom of the hill.

Leslie Odom, Jr. and Kara Young in PURLIE VICTORIOUS – Photo by Marc J. Franklin.

Best Performance by an Actor in a Featured Role in a Musical

Roger Bart, Back To The Future: The Musical
👍 Joshua Boone, The Outsiders
Brandon Victor Dixon, Hell’s Kitchen
Sky Lakota-Lynch, The Outsiders
👍 ⭐️ Daniel Radcliffe, Merrily We Roll Along
Steven Skybell, Cabaret at the Kit Kat Club

I’ll be cheering for Radcliffe when he wins the Tony for his performance in this stellar production, but I did love The Outsiders maybe more than most, and Boone really gave the new musical its solid emotional heart.

Best Performance by an Actress in a Featured Role in a Musical

Shoshana Bean, Hell’s Kitchen
Amber Iman, Lempicka
Nikki M. James, Suffs
Leslie Rodriguez Kritzer, Monty Python’s Spamalot
👍 ⭐️ Kecia Lewis, Hell’s Kitchen
Lindsay Mendez, Merrily We Roll Along
👍 Bebe Neuwirth, Cabaret at the Kit Kat Club

What an amazing group, and I’d really be happy anyway this one went, but Neuwirth feels so damn perfect in the part, and Lewis made me cry, so there’s that….

Steven Skybell and Bebe Neuwirth in CABARET at the Kit Kat Club at the August Wilson Theatre. Photo by Marc Brenner.

Best Scenic Design of a Play

dots, Appropriate
dots, An Enemy of the People
Derek McLane, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
David Zinn, Jaja’s African Hair Braiding
👍 ⭐️ David Zinn, Stereophonic

Conrad Ricamora (Ninoy Aquino – left), Arielle Jacobs (Imelda Marcos – right), and the cast of Here Lies Love in the Broadway Theatre.
Photo Credit: Billy Bustamante, Matthew Murphy and Evan Zimmerman (2023)

Best Scenic Design of a Musical

AMP featuring Tatiana Kahvegian, The Outsiders
Robert Brill and Peter Nigrini, Hell’s Kitchen
Takeshi Kata, Water for Elephants
David Korins, Here Lies Love
Riccardo Hernández and Peter Nigrini, Lempicka
Tim Hatley and Finn Ross, Back To The Future: The Musical
👍 ⭐️ Tom Scutt, Cabaret at the Kit Kat Club

Best Costume Design of a Play

Dede Ayite, Appropriate
⭐️ Dede Ayite, Jaja’s African Hair Braiding
👍 Enver Chakartash, Stereophonic
Emilio Sosa, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
David Zinn, An Enemy of the People


Eddie Redmayne (center) and the cast of CABARET at the Kit Kat Club at the August Wilson Theatre. Photo by Marc Brenner.

Best Costume Design of a Musical

Dede Ayite, Hell’s Kitchen
Linda Cho, The Great Gatsby
David Israel Reynoso, Water for Elephants
👍 Tom Scutt, Cabaret at the Kit Kat Club
⭐️ Paul Tazewell, Suffs

Best Lighting Design of a Play

Isabella Byrd, An Enemy of the People
Amith Chandrashaker, Prayer for the French Republic
👍 ⭐️ Jiyoun Chang, Stereophonic
Jane Cox, Appropriate
👍 Natasha Katz, Grey House

The cast of The Outsiders. Photo by Matthew Murphy.

Best Lighting Design of a Musical

Brandon Stirling Baker, Illinoise
⭐️ Isabella Byrd, Cabaret at the Kit Kat Club
Natasha Katz, Hell’s Kitchen
Bradley King and David Bengali, Water for Elephants
👍 Brian MacDevitt and Hana S. Kim, The Outsiders

Best Sound Design of a Play

Justin Ellington and Stefania Bulbarella, Jaja’s African Hair Braiding
Leah Gelpe, Mary Jane
Tom Gibbons, Grey House
Bray Poor and Will Pickens, Appropriate
👍 ⭐️ Ryan Rumery, Stereophonic

The cast of Stereophonic on Broadway. Photo by Julieta Cervantes.

Best Sound Design of a Musical

M.L. Dogg and Cody Spencer, Here Lies Love
👍 Kai Harada, Merrily We Roll Along
Nick Lidster for Autograph, Cabaret at the Kit Kat Club
⭐️ Gareth Owen, Hell’s Kitchen
Cody Spencer, The Outsiders

Best Direction of a Play

👍 ⭐️ Daniel Aukin, Stereophonic
Anne Kauffman, Mary Jane
Kenny Leon, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
Lila Neugebauer, Appropriate
Whitney White, Jaja’s African Hair Braiding

Gabriel Olivera de Paula Costa and Wade McCollum in WATER FOR ELEPHANTS – Photo by Matthew Murphy.

Best Direction of a Musical

👍 ⭐️ Maria Friedman, Merrily We Roll Along
Michael Greif, Hell’s Kitchen
Leigh Silverman, Suffs
👍 Jessica Stone, Water for Elephants
Danya Taymor, The Outsiders

Friedman, in a way, did the impossible with this formerly problematic musical so her win is well deserved. But Stone also delivered a spectacular worthy of the Water for Elephants story it told.

Best Choreography

Annie-B Parson, Here Lies Love
Camille A. Brown, Hell’s Kitchen
👍 Rick Kuperman and Jeff Kuperman, The Outsiders
⭐️ Justin Peck, Illinoise
Jesse Robb and Shana Carroll, Water for Elephants

Ricky Ubeda and Ben Cook of Broadway’s Illinoise. Photo by Liz Lauren.

Best Orchestrations

Timo Andres, Illinoise
👍 Will Butler and Justin Craig, Stereophonic
Justin Levine, Matt Hinkley and Jamestown Revival (Jonathan Clay and Zach Chance), The Outsiders
Tom Kitt and Adam Blackstone, Hell’s Kitchen
⭐️ Jonathan Tunick, Merrily We Roll Along

Best Play

Jaja’s African Hair Braiding – Author: Jocelyn Bioh

Mary Jane – Author: Amy Herzog

Mother Play – Author: Paula Vogel

Prayer for the French Republic – Author: Joshua Harmon

👍 ⭐️ Stereophonic – Author: David Adjmi

No contest. Really. And that’s no slight to the other wonderfully written plays in this group.

Kecia Lewis and Maleah Joi Moon in Hell’s Kitchen on Broadway. Photo by Marc J. Franklin.

Best Musical

⭐️ Hell’s Kitchen

Illinoise

👍 The Outsiders

Suffs

👍 Water for Elephants

This is a hard call cause none of them are perfect yet all deliver something pretty special. And unique. I loved The Outsiders, more than I imagined I would. Its heart beats the strongest for me, but I think Keys will triumph for expanding the genre and the audience up so many floors.

Natalie Gold, Alyssa Emily Marvin, Michael Esper, Sarah Paulson, and Corey Stoll in 2ST’s Appropriate. Photo by Joan Marcus.

Best Revival of a Play

⭐️ Appropriate – Author: Branden Jacobs-Jenkins

👍 An Enemy of the People – Author: Amy Herzog

Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

An Enemy of the People is solid and as strong as its Strong star, but Appropriatedelivers in so many unexpected ways it’s impossible not to be taken in completely, laughing in its uncomfortableness and its tense emotional turmoil.

Best Revival of a Musical

Cabaret at the Kit Kat Club

Gutenberg! The Musical!

👍 ⭐️ Merrily We Roll Along

The Who’s Tommy

Another no-contest win. But I also loved Cabaret far more than your average critic. And I’m still a little surprised by that.

Daniel Radcliffe, Jonathan Groff, and Natalie Wachen in Merrily We Roll Along. Photo by Mathew Murphy.

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