Broadway

He Says: Broadway Flies Proud The Sign in Sidney Brustein’s Window as a Rally Cry To Us All

Published

3 weeks ago

May 14, 2023

Ross

Many told me that they didn’t quite understand what this play was trying to say or what its main focus was. What was its point of view, and what was it attempting to unpack today? But what I found myself immersed in was some kind of parallel process connecting to but not aligning itself directly with Lorraine Hansberry’s other signature play, A Raisin in the Sun. From the first visual, it appears they don’t share too much in common. The living space looks nothing like the other as it breathes a different spacial air, which might be the point of Hansberry’s The Sign in Sidney Brustein’s Window, but somewhere there is a connection. They said, at the time, that she was moving into a different lane in her writing, but as the play moves forward into the world of Iris and Sidney Brustein, the structuring and the types of people that wander into their home seem to me to elicit some similar themes, types, and ideals, although only abstractly, and without hitting the same marks.

Rachel Brosnahan and Oscar Isaac in The Sign in Sidney Brustein’s Window from the Brooklyn, NY production at BAM Harvey Theater. February 3, 2023. Photo Credit: Julieta Cervantes.

Both are spaces that don’t exactly fit, and change is needed and required in order to thrive, saddled with dysfunction, failure, but also determination. “Dance for me,” he pleads, and she does, reluctantly, wishing to also be seen for something more, desired for her opinions especially when he reaches, most desperately, for her. The complex engagement has been set on course, as Oscar Isaac (“Inside Llewyn Davis“; Public’s Hamlet) and Rachel Brosnahan (“The Marvelous Mrs. Maisel“; NYTW’s Othello) unleash their Sidney Brustein and Iris Parodus Brustein, the two married idealists, into the world, colliding against one another with a charged chemistry. Living out their dreams, or at least trying to, in a Village apartment, Sidney’s failures fill the corners of the space, and even though the last was not a “nightclub“, the remains of its death can’t be denied or ignored.

But there is a bond that lives inside those walls, and it is just as powerful, even in its discomfort. Their connective tissue radiates with pent-up tension and friction that can and eventually will make or break a relationship apart. Sidney, filled with optimism and idealist energy, is trying to unpack his last disappointment and unroll his new, with a shrug and a shot, when Sidney enters the room, stripping down to her white stockings as if the clothes she is has on are burning her skin. Now that’s a sign of things to come. She practices a few pliés with a casual indifference that seems to stoke Sidney’s furnace, lighting a fire to his passion and his casual disrespect, that only grows with each passing minute of Hansberry’s The Sign in Sidney Brustein’s Window. It’s a tour de force, these two, folding themselves together while jabbing hard at one another as if to see who will break first. Sidney doesn’t seem to see how cruel he can be, treating his remarks with the same disrespect her treats his wife, but we feel the sharpness of the slap and know full well that he’s pushing her closer and closer to the edge. But we just don’t know what is on the other side of that cliff.

He has, unbeknownst to Iris, bought himself a local paper, and although he trumpets himself as an editor who will stay away from politics, this decree doesn’t last long, much like many of his other vows. This is a play that swirls in the world of politics and power though, and deceit, and as we side-watch a man up in the darkness above toil at a typewriter, we wonder where the writing of this play is going to take us, and why. It’s a hodge podge of ideas, crammed together in literal and emotional talk, etched in idealism and leftist reform, and as directed with a sharpness, most of the time, by a determined Anne Kauffman (ATC’s The Bedwetter), The Sign… mostly flies true, even in its overt wordiness as the winds shifts and occasionally blow weak and unclear throughout its almost three hour running time.

Julian De Niro and Miriam Silverman in *The Sign in Sidney Brustein’s Window* from the Brooklyn, NY production at BAM Harvey Theater. February 3, 2023. Photo Credit: Julieta Cervantes.

The analysis of Iris, and the carefully constructed abstractionism of herself, are a complicated mess of tireless action and desperation, with both putting so much energy into creating connection at all costs. It’s an uncomfortable dance to watch, especially when Sidney reverts to sharp slices of cruelty that are pointed directly at the softest most vulnerable parts of his wife. It’s a game that doesn’t sit well with any of us, especially these days, and with the cornucopia of characters that fly in and out of that apartment, designed meticulously by dots (RTC’s *You Will Get Sick*), with exacting lighting by John Torres (Public’s *A Bright Room Called Day*) and a precise sound design by Bray Poor (Broadway’s *Take Me Out*), the sharpness of the time and the frame feels problematic and disconcerting, but less dangerous as I’m sure it did when the play first appeared on stage in 1964.

The chemistry of the two leads is palpable and unique, pushing the piece into the frame most powerfully, but it is magnified beyond compare when the uniquely different sister of Iris, the uptown rich Mavis, deftly portrayed by Miriam Silverman (LCT’s JUNK), makes her entrance with a dress and an attitude that at first seems at odds with the room. Silverman is electrifying as a presence, definitely deserving the Tony nomination she received for peeling off layers when required, before reapplying her facade to perfection. “*How smug it is here in Bohemia*“, she states, before we start to see and hear the lines of connection to what’s underneath her sister, even if Iris doesn’t want to see it herself. The dress does fit, eventually, but not to Sidney’s liking. I’m not sure he really wants to see his wife clearly to begin with. He just wants their creation of ideas played out to a soundtrack and dance for his personal enjoyment.

Rachel Brosnahan in *The Sign in Sidney Brustein’s Window* from the Brooklyn, NY production at BAM Harvey Theater. February 3, 2023. Photo Credit: Julieta Cervantes

Brosnahan delivers a character that is almost overflowing with an interior life that is epic and deeply felt. When she noticed that something has come in or gone out of their fighting, it fills in the asides with darkness and discomfort. She plunges deeper and harder into everything, and is sadly mostly absent as the play rolls towards its difficult end. It’s a strongly formed formula though, matched mostly by Isaac’s impulsive Sidney who just can’t help but attack her most vulnerable parts all too frequently and with such precision. The rest of the cast fills out the intellectually aligned space with due diligence that registers. As the gay playwright, David Ragin, played solidly by Glenn Fitzgerald (TNG’s The True), writing abstractionisms upstairs to a beat all on his own, the actor fills out David’s role as a reflective surface with a sure-footedness that slowly unravels as he gains more success than maybe he can handle.

Inside Sidney’s circle, there is the combustible Alton Scales, played true by Julian De Niro (Showtime’s “*The First Lady*“), where a more complicated ideological argument unravels around the idea of love and companionship with Iris’s other more wayward sister, Gloria Parodus. Portrayed by Gus Birney (59E59’s *Connected*), she shows up late to the party but manages to rachet up the drunken drama suddenly and spontaneously. It’s a devastating turn, and even though the two loverbirds never actually connect on that stage, their involvement pushes forth complex observations about America that leave you struggling to understand and process our deep emotional response to it all, on numerous levels of complications and assumptions.

But let’s not forget who and what *The Sign*… is promoting, all around the buying and the selling of America’s soul as personified by Wally O’Hara, wisely portrayed by Andy Grotelueschen (Broadway’s *Tootsie*), as the politician that asks Sidney for much more than he initially is willing to give. Yet somewhere in the play, it is given almost wholeheartedly to a sold man who doesn’t stand for what he first says. It’s a hard pill to swallow, causing the world to crack down the middle and crash in a way that everyone saw coming, except for Sidney. The chorus is always watching though, not changing anything, but laying it all out for us to see and digest, if willing.

Oscar Isaac and Glenn Fitzgerald in *The Sign in Sidney Brustein’s Window* from the Brooklyn, NY production at BAM Harvey Theater. February 3, 2023. Photo Credit: Julieta Cervantes.

In a fantastic historical Playbill insert, a testament to the theatrical movement that this play represented is reprinted. It’s a rallying cry, written by Mel Brooks and Anne Bancroft, originally printed in The New York Times on November 24, 1964, to the theatrical community begging them to see this show now. It praises the play full stop: “*We laughed, we cried, we thought*.” Such powerful words for this fascinatingly timely play after being called “*a sprawling contrast*” to *A Raisin in the Sun*. When it first played on Broadway, *The Sign in Sidney Brustein’s Window* had an extraordinary run of 101 performances. Yet, the play, without its knowing, was performed for the last time on Sunday, January 10th, 1965. Two days later, Lorraine Hansberry died of pancreatic cancer and “*in respect to the artist, the theater remained dark that night, never again to resume performances*.”

It’s a stunningly well formed revival, drenched in grand performances with a true purpose. *The Sign in Sidney Brustein’s Window* flies proud over the James Earl Jones Theatre marquee, bringing us together to hear the rally cry for change and connection. But I wonder if the cast of politically charged characters, costumed most brilliantly by Brenda Abbandandolo (Signature’s *Octet*), brings forth a current formula that fully resonates. It definitely unpacks an idea that needs restoring, demanding more from all in regard to power, politics, and morality. It might not be as illuminating as what Brooks and Bancroft were talking about back in 1964, but this revival finds its mark and sticks to it. Mainly because of a handful of excellent performances, delivering on some principled ideology that maybe needs some reminding.

Oscar Isaac in *The Sign in Sidney Brustein’s Window* from the Brooklyn, NY production at BAM Harvey Theater. February 3, 2023. Photo Credit: Julieta Cervantes.

For more go to frontmezzjunkies.com

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She Says: Lorraine Hansberry, The Sign in Sidney Brustein’s Window Reflects on The Past and Illuminates The Present

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Ross

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to frontmezzjunkies.com

Broadway

Join Broadway Dreams Summer Intensive Tour “Immerse Yourself”

Published

19 hours ago

June 2, 2023

Suzanna Bowling

Broadway Dreams (Annette Tanner, Founder & President), a leading non-profit performing arts training program, is kicking off its 2023 Summer Intensive Tour “Immerse Yourself” this week in Nashville, TN. The organization is known for its unique brand of intensive musical theater training and master classes taught by the theater industry’s biggest stars and most influential creatives. The tour will offer intensives in twelve U.S. cities as well as London and Europa Park in Rust, Germany. Throughout the weeklong intensives, rising stars in each city will participate in masterclasses focusing on acting, vocal performance, and dance. The program will culminate in public performances – dynamic Broadway-style cabarets held in both large and intimate venues, allowing students to perform alongside their Broadway idols. In addition to the performance opportunities, each student will have a private audition before a panel of Broadway directors, choreographers, music directors, and leading casting directors who will provide valuable feedback throughout the process. Registration is still open in most cities, offering aspiring performers the chance to learn from the best in the industry and take their skills to the next level. For more information, or to register, click here. “We are ecstatic to be back on the road this summer with our biggest Summer Intensive tour yet,” said Annette Tanner, Broadway Dreams Founder and President. “At Broadway Dreams, we are passionate about discovering, fostering, and propelling the next generation of musical theater stars. Our programs offer young artists unparalleled opportunities to connect with top industry professionals and decision-makers, which has resulted in numerous breakthroughs for our students. With Dreamers in 19 of the 32 currently running shows on Broadway, Broadway Dreams takes immense pride in shaping the future of musical theater.” “Our 2023 Broadway Dreams season theme is Immerse Yourself,” said Nicholas Rodriguez, Broadway Dreams Artistic Director. “After spending nearly 2 years at a distance and on Zoom, we want to dive head first into the collaborative experience. We’re inspired by immersive theater, big bold ideas, thinking outside of the box, and creating in unique spaces. We are thrilled to bring a diverse group of talented, innovative, creative and cutting edge artists to collaborate with students across the country and abroad.”The 2023 Summer Intensive Tour will launch at Belmont University in Nashville, TN (through June 3) before continuing on to School of the Arts at Central Gwinnett High School in Atlanta, GA (June 4 – 10), Salt Lake School for the Performing Arts in Salt Lake City, UT (June 19 – 24), Gallo Center for the Arts in Modesto, CA (June 25 – 27), Enlightened Theatrics in Salem, OR (July 3 – 9), Playhouse Square in Cleveland, OH(July 16 – 21), The Black Academy of Arts and Letters in Dallas, TX (July 17 – 21), Ebony Repertory Theatre in Los Angeles, CA (July 23 – 28), Delaware Theatre Company in Wilmington, DE (July 30 – August 5), Blumenthal Performing Arts Center and Central Piedmont Community College in Charlotte, NC (July 29 – August 5), Florida Children’s Theatre in Fort Lauderdale, FL (August 6 – 12), RWS Studios in New York City (August 19 – 24), RWS Studios in London, England (August 21 – 25), and Europa Park in Rust, Germany (August 27 – September 2).Joining Broadway Dreams’ Founder and President, Annette Tanner; Artistic Director, Nicholas Rodriguez (Company); and Director of Engagement and Opportunity, Rachel Hoffman, CSA (The Telsey Office), is an impressive roster of Broadway Dreams faculty, including directors, choreographers, and performers such as Emmy Award nominated choreographer Spencer Liff (“So You Think You Can Dance”), Tony Award nominees Kristin Hanggi (Rock of Ages), Laura Osnes (Cinderella), and Sidney DuPont (Paradise Square), along with Connor Gallagher (Beetlejuice: The Musical), Quentin Earl Darrington(MJ: The Musical), Hailee Kaleem Wright (Paradise Square), writer and composer, Douglas Tappin (I Dream), Melody Mills (Bring it On: The Musical), Jason Goldston(Jagged Little Pill), musical director Charlie Alterman (Pippin), David Eggers (In Transit), Eric Sciotto (Something Rotten!), Tyler Hanes (Cats), Mariah Lyttle (Bad Cinderella), Samantha Sturm (My Fair Lady), Telly Leung (Aladdin), Max Reed (Spider-Man Turn Off The Dark), Otis Sallid (The Piano Lesson), Alysha Umphress (On the Town), Christopher Hanke (How to Succeed…), Nick Adams (Fire Island, Priscilla Queen of the Desert), Gordon Greenberg (Holiday Inn), Matthew Lee Robinson (Atlantis), Alexa Green(Wicked), Greg Haney (Hamilton), The Telsey Office casting director, Rashad Naylor, and more. In addition to Broadway Dreams’ traditional workshops and master classes, participants in the Atlanta intensive will have the unique opportunity to work on material from a new musical entitled 1994 with book, music and lyrics by Sidney Dupont, who also serves as the director for the piece, additional lyrics by Hailee Kaleem Wright, associate direction by Amy Marie Seidel, and choreography by Chloe O. Davis. Students in Atlanta, Charlotte, and Dallas will work on a second new work entitled, Diva with book, music and lyrics by Douglas Tappin.Founded in 2006, Broadway Dreams offers mentorship-driven performing arts training programs throughout the year, drawing on a wide network of teaching artists from the Broadway community, inspiring students to awaken their highest potential. Now in its 17th year, Broadway Dreams has inspired more than 20,000 students in more than 8 countries, including a record 3,200 in-person students in 2022 alone. Broadway Dreams has to-date awarded more than $1.5M in scholarships, with more than 150 students booking professional breakthrough jobs since 2018. The 2022 Showcase featured 52 students from cities across the United States, Kenya, Germany, Ireland, New Zealand, and Brazil.Established by casting executive Annette Tanner, Broadway Dreams Foundation (“Broadway Dreams”) empowers aspiring young artists through performing arts training, with a focus on the acting, voice, and dance disciplines. Program intensives are offered nationally and internationally throughout the year and are led by an exceptional faculty of respected entertainment professionals who: assess where all students are in their development process and where they need to be; teach student practical skills that can be applied immediately to elevate their performance levels; guide students to achieve physical, emotional, and artistic self-awareness that can be channeled effectively in their work. The Broadway Dreams Board of Directors includes Dr. Elizabeth Faulkner (Chair), Marjorie Wynn (Marketing Chair), Adam C. Sansiveri, Margaret Busch, Michael Cox, Bruce Daitch, Alice Farquhar, Martha Gorjanc, Bernie Jackson, Nanci Lewis, Dannyand Georgina Louchiey, Victoria Morris, Alex Newell, Suzanne Rehl, Chris Roberts, Jerry Schiano, Ryan Stana, Lynne Latham Slear and Ivan Williams.The Broadway Dreams staff includes General Manager, RRR Creative / Ryan Ratelle; Artistic Director, Nicholas Rodriguez; Director of Engagement and Opportunity, Rachel Hoffman; Director of Development, Joe Finocchario; Director of Advancement, Hannah-Kathleen Hawkshaw; Creative & Marketing Director, Drew Padrutt; Company Manager,Yuvin Lee; and Executive Assistant, Mackenzie Messick. For more information on Broadway Dreams and its programs, please visit BroadwayDreams.org.

Broadway

The New Dramatists’ 71st Annual Benefit Luncheon and You are There

Published

2 days ago

June 1, 2023

Suzanna Bowling

On Tuesday the New Dramatists’ 71st Annual Benefit Luncheon was held at the New York Marriott Marquis, 1535 Broadway, Broadway ballroom 6^th floor.

Suzan-Lori-Parks photo by Michael Hull

Tony® Honor recipient and the nation’s premier playwright development laboratory, was honored with its 2023 Distinguished Achievement Award at their 71st Annual Spring Luncheon Tribute

Kenny Leon photo by Michael Hull

Tony Award winner, Kenny Leon, director of Parks’ recent revival of Topdog/Underdog lead the tributes.

photo by Michael Hull

In Attendance were:

Ben Platt (Parade) photo by Michael Hull

Annaleigh Ashford (Sweeney Todd) photo by Michael Hull

Brandon Uranowitz (Leopoldstadt) photo by Michael Hull

J. Harrison Ghee (Some Like It Hot) photo by Michael Hull

Kevin Cahoon (Shucked) photo by Michael Hull

Natasha Yvette Williams (Some Like It Hot) photo by Michael Hull

Wayne Cilento (Dancin’) photo by Michael Hull

Betsy Wolfe (& Juliet) and Linedy Genao (Bad Cinderella) photo by Michael Hull

Justin Cooley (Kimberly Akimbo), Ben Platt (Parade) and Colton Ryan (New York, New York) photo by Michael Hull

Justin Cooley (Kimberly Akimbo), Brian Stokes Mitchell, Suzan-Lori Parks, Victoria Clark (Kimberly Akimbo) and Bonnie Milligan (Kimberly Akimbo) at The New Dramatists Spring Luncheon. photo by Michael Hull

Also Artistic Director Emily Morse and Executive Director Joel Ruark,

Executive Director Joel Ruark photo by Michael Hull

Jeannie Tessori photo by Michael Hull

Hiran Abeysekera (Life of Pi), Betsy Aidem (Leopoldstadt), Steven Boyer (Kimberly Akimbo), Faye Castelow (Leopoldstadt), Rashad Chambers (Topdog/Underdog), Ben Davis (New York, New York), Eisa Davis (New York, New York), Micaela Diamond (Parade), Delia Ephron (Love Loss & What I Wore), Corey Hawkins (Topdog/Underdog), Jessica Hecht (Summer, 1976), Amy Herzog (A Doll’s House), Robert Horn (Shucked), Mark Jacoby (A Beautiful Noise, The Neil Diamond Musical), LaChanze (Here Lies Love, Kimberly Akimbo), event co-chair Caissie Levy (Leopoldstadt), Judith Light (Other Desert Cities), David Lindsay-Abaire (Kimberly Akimbo), Neil Meron (Some Like It Hot), Alli Mauzey (Kimberly Akimbo), Lauren Mitchell (A Bronx Tale), Arian Moayed (A Doll’s House), Casey Nicholaw (Some Like It Hot), Linda Powell (A Beautiful Noise, The Neil Diamond Musical), Daryl Roth (Kinky Boots), Sarah Ruhl (in The Next Room), Stark Sands (& Juliet), Miriam Silverman (The Sign in Sidney Brustein’s Window), Marcel Spears (Fat Ham), Katy Sullivan (Cost of Living), David Stone (Wicked), Jeanine Tesori (Kimberly Akimbo), Paula Vogel (How I Learned To Drive), Sharon Washington (New York, New York), Scott WIttman (Some Like It Hot), Kara Young (Cost of Living), David Zayas (Cost of Living).

Performing were:

Suzan-Lori-Parks photo by Michael Hull

Daniel Fulton, Orville Mendoza, Suzan-Lori-Parks, Lauren Molina and Leland Fowler photo by Michael Hull

Brandon and Jason Dirden photo by Michael Hull

New Dramatists resident playwrights at The New Dramatists Spring Luncheon. photo by Michael Hull

Suzan-Lori-Parks and New Dramatists resident playwrights at The New Dramatists Spring Luncheon. photo by Michael Hull

Suzan-Lori-Parks New Dramatists resident playwrights at The New Dramatists Spring Luncheon. photo by Michael Hull

Suzan-Lori-Parks photo by Michael Hull

Tony Kushner photo by Michael Hull

NYC Public Advocate Jumaane D. Williams, Suzan-Lori-Parks photo by Michael Hull

Stay tuned for our interviews.

Broadway

The New Dramatists’ 71st Annual Benefit Luncheon and You Are There

Published

2 days ago

May 31, 2023

Suzanna Bowling

On Tuesday the New Dramatists’ 71st Annual Benefit Luncheon was held at the New York Marriott Marquis, 1535 Broadway, Broadway ballroom 6^th floor.

Suzan-Lori-Parks photo by Michael Hull

Tony® Honor recipient and the nation’s premier playwright development laboratory, was honored with its 2023 Distinguished Achievement Award at their 71st Annual Spring Luncheon Tribute

Kenny Leon photo by Michael Hull

Tony Award winner, Kenny Leon, director of Parks’ recent revival of Topdog/Underdog lead the tributes.

photo by Michael Hull

In Attendance were:

Ben Platt (Parade) photo by Michael Hull

Annaleigh Ashford (Sweeney Todd) photo by Michael Hull

Brandon Uranowitz (Leopoldstadt) photo by Michael Hull

J. Harrison Ghee (Some Like It Hot) photo by Michael Hull

Kevin Cahoon (Shucked) photo by Michael Hull

Natasha Yvette Williams (Some Like It Hot) photo by Michael Hull

Wayne Cilento (Dancin’) photo by Michael Hull

Betsy Wolfe (& Juliet) and Linedy Genao (Bad Cinderella) photo by Michael Hull

Justin Cooley (Kimberly Akimbo), Ben Platt (Parade) and Colton Ryan (New York, New York) photo by Michael Hull

Also Artistic Director Emily Morse and Executive Director Joel Ruark,

Executive Director Joel Ruark photo by Michael Hull

Jeannie Tessori photo by Michael Hull

Performing were:

Suzan-Lori-Parks photo by Michael Hull

Daniel Fulton, Orville Mendoza, Suzan-Lori-Parks, Lauren Molina and Leland Fowler photo by Michael Hull

Brandon and Jason Dirden photo by Michael Hull

New Dramatists resident playwrights at The New Dramatists Spring Luncheon. photo by Michael Hull

Suzan-Lori-Parks and New Dramatists resident playwrights at The New Dramatists Spring Luncheon. photo by Michael Hull

Suzan-Lori-Parks New Dramatists resident playwrights at The New Dramatists Spring Luncheon. photo by Michael Hull

Suzan-Lori-Parks photo by Michael Hull

Tony Kushner photo by Michael Hull

NYC Public Advocate Jumaane D. Williams, Suzan-Lori-Parks photo by Michael Hull

Stay tuned for our interviews.

Broadway

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

Published

2 days ago

May 31, 2023

Suzanna Bowling

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.