Hadestown Takes Home 6 Outer Critic Awards
The Outer Critics Circle Awards have been announced and Hadestown is the winner, taking home 6 awards, including Outstanding New Broadway Musical, Outstanding New Score, André De Shields and Amber Gray for Outstanding Featured Actors!
Outer Critics Circle, is the organization of writers and commentators for media covering New York theatre. Celebrating its 69th season of bestowing awards of excellence in the field of theatre, Outer Critics Circle, is an association with members affiliated with more than ninety newspapers, magazines, web sites, radio and television stations, and theatre publications in America and abroad.
Other shows with multiple awards included All My Sons, The Cher Show, The Ferryman, King Kong, and Tootsie. King Kong also took home a special achievement award for its puppetry team.
Jenn Colella, Tina Fey, Hamish Linklater, Lindsay Mendez, and Lily Rabe will serve as gala award presenters at the upcoming 69th Annual Outer Critics Circle Awards ceremony on Thursday, May 23rd at 3:00 PM at the legendary Sardi’s Restaurant.
OUTSTANDING NEW BROADWAY PLAY: The Ferryman
OUTSTANDING NEW BROADWAY MUSICAL: Hadestown
OUTSTANDING NEW OFF-BROADWAY PLAY: White Noise
OUTSTANDING NEW OFF-BROADWAY MUSICAL: Girl from the North Country
OUTSTANDING BOOK OF A MUSICAL (Broadway or Off-Broadway)
Robert Horn – Tootsie
OUTSTANDING NEW SCORE (THE MARJORIE GUNNER AWARD) (Broadway or Off-Broadway): Anaïs Mitchell – Hadestown
OUTSTANDING REVIVAL OF A MUSICAL (Broadway or Off-Broadway)
Fiddler on the Roof (in Yiddish)
OUTSTANDING REVIVAL OF A PLAY (Broadway or Off-Broadway)
All My Sons
OUTSTANDING DIRECTOR OF A PLAY (THE Lucille Lortel AWARD)
Sam Mendes – The Ferryman
OUTSTANDING DIRECTOR OF A MUSICAL
Rachel Chavkin – Hadestown
Warren Carlyle – Kiss Me, Kate
OUTSTANDING SCENIC DESIGN (Play or Musical)
David Korins – Beetlejuice
OUTSTANDING COSTUME DESIGN (Play or Musical)
Bob Mackie – The Cher Show
OUTSTANDING LIGHTING DESIGN (Play or Musical)
Bradley King – Hadestown
OUTSTANDING PROJECTION DESIGN (Play or Musical)
Peter England – King Kong
OUTSTANDING SOUND DESIGN (Play or Musical)
Peter Hylenski – King Kong
Daniel Kluger – Oklahoma!
OUTSTANDING ACTOR IN A PLAY: Bryan Cranston – Network
OUTSTANDING ACTRESS IN A PLAY: Elaine May – The Waverly Gallery
OUTSTANDING ACTOR IN A MUSICAL: Santino Fontana – Tootsie
OUTSTANDING ACTRESS IN A MUSICAL: Stephanie J. Block – The Cher Show
OUTSTANDING FEATURED ACTOR IN A PLAY: Benjamin Walker – All My Sons
OUTSTANDING FEATURED ACTRESS IN A PLAY: Celia Keenan-Bolger – To Kill a Mockingbird
OUTSTANDING FEATURED ACTOR IN A MUSICAL: André De Shields – Hadestown
OUTSTANDING FEATURED ACTRESS IN A MUSICAL: Amber Gray – Hadestown
OUTSTANDING SOLO PERFORMANCE: Mike Birbiglia – The New One
John Gassner PLAYWRITING AWARD (Presented for an American play, preferably by a new playwright):Jeremy Kareken & David Murrell, and Gordon Farrell – The Lifespan of a Fact
SPECIAL ACHIEVEMENT AWARDS
The Executive Committee voted and decided upon the presentation of Special Achievement Awards to:
The Puppetry Team That Created and Operates King Kong
This award recognizes the artistry and technical achievement that brings a 2,000-pound gorilla to life:
- Puppet designer and builder Sonny Tilders and the Creature Technology Company
- Scenic designer Peter England, who collaborated on the aesthetics of the puppet
- Aerial and movement director Gavin Robins
- The members of the King’s Company, who move Kong on stage: Mike Baerga, Rhaamell Burke-Missouri, J?van Dansberry, Casey Garvin, Gabriel Hyman, Marty Lawson, Roberto Olvera, Khadija Tariyan, Lauren Yalango-Grant, David Yijae, Christopher Hampton Grant, Jena VanEslander, Scott Webber, Warren Yang, James Retter Duncan, Jonathan MacMillan, and Leigh-Ann Vizer.
- Kong’s Voodoo Operators, who control his facial expressions: Jon Hoche, Danny Miller, and Jacob Williams.
The York Theatre Company
James Morgan, Producing Artistic Director
Evans Haile, Executive Director
This award is in recognition of 50 years of producing new musicals, as well as classics from the past.
Ken Fallin’s Broadway: Sondheim
Stephen Sondheim birthday was March 22nd and somehow I missed it. His masterpiece Sweeney Todd opened on Broadway originally March 1, 1979, at the Uris Theatre (now the Gershwin). His newest revival opened Sunday, March 26th at the Lunt-Fontanne Theatre. So here’s to you Steve.
Broadway’s Parade, a Masterpiece and Master Class, Not to be Missed.
With a blast of bright white light, the Broadway revival of Parade marches itself forcibly onto the stage, surging from the sidelines once the love-making center stage comes to an end. It’s a compelling beginning, one that, as it turns out, doesn’t really add a whole lot to the proceedings. But the show finds its strong footing soon after. No doubt about it. I didn’t really understand the full need for the sexual interaction between the young soldier (Charlie Webb) and his pretty young companion (Ashlyn Maddox) that takes place in those first few moments, as well as the consistent reappearing of that same soldier, 50 years later, as an old man (Howard McGillin) throughout, other than to remind us that the old Confederate way of thinking still flies its flag strong and true. Even if the flags they are waving in this production of Parade make us feel uneasy and unsure.
Overall, the compounding effect is captivating and intense, as this musical, with a book by Alfred Uhry (Driving Miss Daisy), music and lyrics by Jason Robert Brown (Songs for a New World; The Last Five Years), and originally co-conceived by Harold Prince (West Side Story), stands strong, taking on race, antisemitism, and prejudice in “The Old Red Hills of Home” South. It dutifully dramatizes the disturbing but true story of a 1913 trial of a Jewish factory manager who was wrongly accused and convicted of raping and murdering a thirteen-year-old young girl and employee of the factory. The musical revival is as timely as can be, and as surefooted as one could hope for. And as directed carefully and artistically by Michael Arden (Broadway/Deaf West’s Spring Awakening), Parade delivers on all fronts.
After a well-received short run as part of New York City Center’s Encores! series, this tense and sharp musical finally has made its way back. I didn’t really know much about this musical, but I was surprised to hear that it first premiered on Broadway in December 1998 starring Brent Carver and Carolee Carmello in the two lead roles. It won Tony Awards for Best Book and Best Original Score (out of nine nominations), not surprisingly, and six Drama Desk Awards. And I’m guessing the accolades will come pouring in once again when the Tony Award nominations are announced.
Portraying that doomed factory manager, Leo Frank, Ben Platt (Broadway’s Dear Evan Hansen) once again finds power and passion in abundance, striding back onto the Broadway stage both sheepishly and strongly. He grabs hold of the part, demanding justice and the truth for the man who tried his imperfect best to live a dutiful life. Married to his loving wife, Lucille, played spectacularly by Micaela Diamond (Broadway’s The Cher Show), the pair seems well-matched, both in their characterizations and their vocal expertise. Their singing and emotionality soar, especially in Lucille’s “You Don’t Know This Man” and Leo’s captivating Statement, “It’s Hard to Speak my Heart“, as the piece gets darker and darker, breaking apart our collective hearts as it marches to the end. We all know this is not going to end well for this innocent man, but we are drawn in completely as the two begin, quite quietly, finding a simple and tender, yet complicated connection in their marriage.
We feel their bond as Leo gets ready and makes his way to the office on this odd day of celebration in Atlanta. He sidesteps the parade, which is oddly celebrating the confederacy and a war lost, leaving his wife to picnic alone. We collectively wish he’d stay home, giving in to the gentle pleas of his wife. Things might have turned out so differently if he had. But this is the tale that must be told, to be witness to, as we are simultaneously given a glimpse into the soon-to-be shortened life of Mary Phagan (Erin Rose Doyle), being flirted with by a young boy (Jake Pedersen) about “The Picture Show“, as she rides a trolley car on her way to the factory to collect her wages, at ten cents an hour. The white balloon floats above her head, just like her spirit, simple and buoyant, until it escapes her hand, and floats away from her into the heavens above.
Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof
For a revival to find its footing, it has to have a point of view or a sense of purpose far beyond an actor’s desire to perform a part, whether it suits them or not. It needs to radiate an idea that will make us want to sit up and pay attention. To feel its need to exist. And on one particular day in March, I was blessed with the opportunity to see not just one grande revival, but two. One was a detailed pulled-apart revolutionary revival of Henrik Ibsen’s A Doll’s House that astounded. The other, unfortunately, was a clumsy revival of Tennessee Williams’ Cat on a Hot Tin Roof that fell lazily from that high-wired peak – not for a lack of trying, but from a formulation that never found its purpose.
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