Broadway

He Says: Broadway’s Revival of The Music Man Entertains Charmingly

Published

1 year ago

March 1, 2022

Ross

Well, here it is boys and girls, that crisp new revival of Meredith Willson’s corny 1957 musical, The Music Man, coming on strong and slick, just like its leading man, “The Greatest Showman,” Hugh Jackman (Broadway’s The Boy From Oz). It’s the big-ticket item of the Broadway season, with sales and seat prices flying higher than one can imagine at the Winter Garden Theatre. It’s a salesman-like dream, packaging a big movie star with a Broadway darling kicking up their heels in a good ol’ fashioned musical. It’s a guaranteed win-win for Broadway, but the question that hangs in the air is basically, like any salesman, good or bad, would know, “is it really worth the hype?”

I will admit, right off the bat, that I have never taken a full-on shine to this musical, even when I saw it so well done at the Kennedy Center in 2019 with Norm Lewis and the wondrous Jessie Mueller in the two lead roles. I have never watched the 1962 film version of Meredith Willson’s The Music Man in my life, which starred Robert Preston (“Victor Victoria“) and Shirley Jones. The show seems sweet but I never can quite recall, off the top of my head, any of the numerous songs that made it into my obsessional frontmezzjunkies orbit, except of course the iconic “76 Trombones” and I can’t say that song causes my musical mind to go all misty with adoration. I did almost have the chance to march into the town of River City, Iowa, and see the musical when it was produced a few seasons ago at the Stratford Shakespeare Festival in Canada. I heard through the theatrical grapevine that the production, starring Daren A. Herbert and Danielle Wade (and, hilariously, my namesake, Steve Ross as the Mayor of River City), was “irresistible” (NOW Magazine), reminded us all of “the joy of the Stratford Festival” (Toronto Star), but I never did, in the end, make it over to River City, via Stratford, Ontario.

I know this could be seen as blasphemy, to admit that I never found my way to be in utter rapture of this all-American musical. It just doesn’t grab hold like some of the other classic ones that find their way back to the Broadway stage, usually (and preferably) when a high-wattage actor gets an inkling to play one of these historic iconic parts and stream rolls the whole show onto the stage. I mean, I get it. Who’d say no to Jackman wanting to star in this, or any classic stage musical for that matter? The idea on its own sells tickets, but I’m not sure I was ever excited by this particular show, regardless of its star, being revived. But here it is, and standing right behind it, ready to usher them all onto that stage, is famed theatrical director Jerry Zaks, just like he did so magnificently with the divine Bette Midler in the much more overall fun revival of that other classic stage show, Hello, Dolly!

Hugh Jackman and the cast of Broadway’s The Music Man. Photo Credit: Julieta Cervantes

No surprise there, and right by his side is the outrageously good choreographer, Warren Carlyle, a craftsman who can’t help but find excitement and precision in every classic show he touches, like She Loves Me and Kiss Me, Kate. He also can find the same in the quiet (and expansive) recesses of the River City library, even when the cast is continually, and adorably shhhh’d. These two pros seem to know exactly what to do to please, particularly with this type of old-fashioned musical and the wildly talented enormous cast that have been pulled together to do their will.

The Music Man does work, just like Bette Midler’s Dolly extravaganza. It sings and struts its stuff with simple strong precision, playing complete homage to Willson’s small-town values quite perfectly while offering up some technically challenging and awe-inspiring upbeat movements guaranteed to make you smile with glee. I mean, that library number and the book tossing that fills the air is just so thrilling and robust that it dazzles. It’s a wonder to take in, just like that acrobatic waiter dance number did so perfectly in Hello, Dolly! It’s one of those theatrical ‘you gotta see it to believe it’ kinda moments that make you happy you’re sitting in your high-priced seat taking it in live and in-person. It just wouldn’t, or shouldn’t be translated for the small streaming screen we got accustomed to since March of 2020.

The production’s dancing and singing truly are a spectacle to behold, with a cast that elevates the material that I think, in general, is perfectly fine and good, but not as magnificent as many suggest. Give or take a few songs, here and there, many of the numbers feel like fun exercises in construction, but few really take advantage of the star power on stage other than the mechanics of good singing and charm. Hugh has that in spades, but beyond that, he and triple-threat Sutton Foster (Broadway’s Anything Goes) as the stern librarian Marian, are almost wasted. Almost, but not completely.

Sutton Foster, Benjamin Pajak, Hugh Jackman, and the cast of Broadway’s The Music Man. Photo Credit: Julieta Cervantes

Foster’s Balzac frown, as she sees through this salesman’s charm, is as adorable as when she flips that frown upside down and starts liking that man who found a way to make her young brother smile. Her singing is absolutely lovely, not surprisingly, and her connection to all around her is completely endearing. Also not surprisingly. Her “Goodnight, My Someone” will fill you up fully, as with her duet with Jackman near the end of the show when love conquers all and everyone sings a happy tune. “Till There Was You” is sweet and delicious, but not the greatest challenge, I imagine, for any of these high-end performers. But it is appealing to skip along with them for a little more than two hours, smiling it all in while singing, “Gary, Indiana” out the door into the streets of New York City.

Standing alongside these two twinkling stars, the rest of the cast is perfection in diction, dance, and their attention to detail. The gossip ladies of the town (Linda Mugleston, Garrett Long, Jessica Sheridan, and Rema Webb) and their nonsense singing weave their way magnificently in and around one another like pro-hens. As fantastic as that barber quartet’s sublime harmonies and connection (Phillip Boykin, Nicholas Ward, Daniel Torres, and Eddie Korbich). But where is that moment when Jackman and Foster really can unpack and vocally shine, beyond exhibiting great chemistry and charm? I just don’t think this show has it inside itself to offer up anything beyond what is delivered here so reasonably.

The cast of Broadway’s The Music Man. Photo Credit: Julieta Cervantes

The glorious costumes against that pretty but somewhat flat set design, both by Santo Loquasto (Broadway’s *The Iceman Cometh*), with lighting by Brian MacDevitt (Broadway’s *Carousel*) and sound design by Scott Lehrer (Broadway’s *To Kill a Mockingbird*), deliver the goods as pretty and cute as the “*Wells Fargo Wagon*.” That number arrives into town pulled by some gallant hoofers spruced up to resemble the horses that pulled Dolly’s trolley car. All to the sighing sounds of an audience’s sweet approval. This is the epitome of vintage class act Broadway, ushered in with polish and pizazz, but it somehow feels borrowed and a bit blue. Which left me smiling but not exactly dazzled nor as gloriously uplifted as I’m thinking those producers were hoping for.

It does make perfect sense though that Jackman wanted his Broadway resume to include Harold Hill, the iconic charmer, slick salesman, and bold conman stranger. It’s effortless fun, this part, riding into town and sweeping (almost) everyone off their feet without ever breaking a sweat, including the mayor’s wife played to hilarious perfection by the always incredible Jayne Houdyshell (Broadway/Showtime’s *The Humans*). She and her fellow “*Pick-a-little*” ladies are a welcome joy to behold, but her husband, Mayor Shinn, portrayed lovingly by the very funny Jefferson Mays (Broadway’s *Oslo*), just isn’t as easily hooked, even as his bumbling buddies continually get distracted by Hill’s focused refocusing the crew on their own stellar voices.

Hugh Jackman, Sutton Foster, and the cast of Broadway’s The Music Man. Photo Credit: Julieta Cervantes

Shuler Hensley (Signature’s *Sweet Charity)* as Marcellus, Marie Mullen (Broadway’s *The Beauty Queen of Leenane*) as Mrs. Paroo, newcomer Benjamin Pajak as the young sweet and sad Winthrop Paroo, and the cute as a button Kayle Teruel making her Broadway debut as the piano-playing Amaryllis, all find their moment to shine bright, with a wink and a smile. It’s pretty much a slam dunk, given that this charmer of a book, written by Willson (*The Unsinkable Molly Brown*) who also wrote both the music and lyrics with a story co-written by Franklin Lacey (*Pagan in the Parlor*), is a class act. Or never pushes any envelope too far. Rather it is happy just putting a smile on your face throughout your time spent in Willson’s River City, Iowa.

But let’s not forget to mention all those wonderfully talented ensemble players, particularly the magnificently talented Gino Cosculluela (Netflix’s *Senior Year*) as bad-boy Tommy Djilas, who could basically sweep pretty much anyone off their feet with his finely skilled moves and charming smile. The only disappointment, in regards to casting, is that sitting idly backstage is the equally impressive, fantastically talented Max Clayton (Broadway’s *Moulin Rouge*) who is Jackman’s understudy and sadly, nothing else in the show. I had hoped he’d be on stage somewhere somehow playing some part, and not just waiting for his chance to shine as Harold Hill. But no such luck. I get it though. It’s a huge responsibility and undertaking for Clayton, one I’m sure he is taking very seriously, but it is quite the pickle to hope for an understudy’s arrival on to the stage, as it would mean Jackman had to stand down. But here’s hoping he’ll get his moment to shine in the part, maybe when Jackman wraps up his run and takes his final bow. One can hope. Now the question. “*Will I want to go back to see it?*“

Regardless, the gullible River City townsfolk con runs smoothly forward, thanks to Hugh’s wide-eyed wonderment, prancing out all those well-known “*Seventy-Six Trombones*” songs effectively and meticulously well done, thanks to the fine work of Jonathan Tunick (orchestrations) and Patrick Vaccariello (music supervisor/music director). But I can’t quite shake the idea that this salesman con is also a bit on us. “*Ya Got Trouble*”, yes, in River City, but also, maybe on Broadway, if the star-power of its cast is more high-voltage than the artistry of the show, even when all the theatrical elements, including the dancing, are first-rate. Where’s the creativity and inventiveness? I’m not sure I see it here in this revival.

Hugh Jackman, Sutton Foster, and the cast of Broadway’s The Music Man at the Winter Garden Theatre. Photo Credit: Julieta Cervantes

For more from Ross click here

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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

21 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.