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MTC’s Saint Joan, No Villains, Vibrations or Victories Here



St Joan

The chimes, they are trying to sing on the Samuel J. Friedman Theatre stage for the Manhattan Theatre Club‘s revival of the classic Bernard Shaw play, Saint Joan.  They are announcing the return of Condola Rashad to the Broadway stage after her celebrated and Tony-nominated run last season in A Doll’s House, Part 2 along  side the incomparable Laurie Metcalf (also back on Broadway in the magnificent Three Tall Women).  Rashad is tackling one of the most challenging parts for a stage actress, playing the 15th century French military figure Joan of Arc, a simple peasant girl who claims to have divine interventions from Saint Margaret, Saint Catherine, and the archangel Michael. She states with a passion that borders on religious fanaticism, that the voices  were sent by God to guide her conduct, leading her to assemble an army against the English. With what seems like the wind of God behind her, she triumphs at a few battles, crowns a King, but is berated for her “sin of pride” by the Archbishop of Rheims, played by the wonderful John Glover (MTC’s Love! Valour! Compassion!). After she is caught and imprisoned, she is brought to court, charged with heresy, and burned at the cross, only to be canonized by the Roman Catholic Church hundreds of years later. Ironically, this happens just three years after Shaw’s play premieres in 1923 at the Garrick Theatre on Broadway by the Theatre Guild with Winifred Lenihan in the title role, and with that, the lure and the power of Saint Joan was reborn.

Head Over HeelsA New Musical
Condola Rashad. Photo by Joan Marcus.

For many, the role is thought to be one of the most challenging to interpret. The list of celebrated and very experienced actresses who have taken on the role is long and impressive, with most being much older than the young teenage character.  The acting guru, Uta Hagen played the part at the Cort Theatre, New York, October 1951 – February 1952, as did Joan Plowright in London, 1963, Lynn Redgrave at the Circle in the Square, New York, November 1977 – February 1978, and Imelda Staunton in London, 1979. It is Rashad’s chance to join this lustrous crew, but tragically, she finds herself in an uninspired production that drives itself into the ground. She gives a feisty but one-note characterization void of dimension and variance, much like the production as a whole, telling us the story, but never giving us a good reason to care.  There is no point of view or raison d’être to be found in these French fields, leaving Rashad blind and wandering like those other famous tragic fools, the Earl of Gloucester and his King Lear.

Head Over HeelsA New Musical
Condola Rashad, Daniel Sunjata. Photo by Joan Marcus.

As directed by Daniel Sullivan, the man behind last season’s gloriously rich The Little Foxes, he has failed with this play, following the story with too straight a purpose but no overall imaginative form or purpose.  There doesn’t seem to be a master plan for finding an internal locus of meaning that would elevate the telling of this tragic tale to something beyond the historical. The cast for Shaw’s self-characterised “Chronicle Play in 6 Scenes” and an Epilogue, is made up of an army of seasoned pros trying their best to wring out some music and passion from the piece, such as Patrick Page (NYTW’s Hadestown) as one of the first to fund Joan’s journey and believe in her divine connection, and Adam Chanler-Berat (Broadway’s Peter and the Starcatcher, Next to Normal) as the weak and vain Dauphin, the man who Joan’s voices have commanded her to help be crowned the true king by driving out the English occupiers and restore France to greatness. With this Dauphin, flattery will get you pretty much anywhere, except maybe a more positive review.

Head Over HeelsA New Musical
Jack Davenport. Photo by Joan Marcus.

As the soldier and leader, Dunois, Daniel Sunjata (Tony nominated for Take Me Out) delivers the commanding goods when the inspiring winds change and help bring them to glory. And he is also the man who warns her that if she is captured on a foolhardy campaign, no one will come to her rescue. Walter Bobbie (Broadway’s Guys and Dolls, Anything Goes) sadly hangs up his directing hat (Bright Star, Venus in Fur) and portrays the Bishop of Beauvais, who comes to believe that Joan is a threat to the power of the Church, undermining its universal rule by instilling national pride within the people. Joining with the Chaplain de Stogumber (Robert Stanton) and the Earl of Warwick, played with zeal by the irresistible Jack Davenport (Almeida’s Enemies, TV’s “Smash“), they are at a loss of what to make of Joan’s success and rising power.  Warwick, the most convincing and devilishly entertaining portrayal on the stage, sees her work as an attempt to strip him and other feudal lords of their power by creating a system in which the king is only responsible to God, and within that fear, they all agree she must die. And the rest is history, as they say.

Staged with a shimmering gold backdrop, we find ourselves trapped and surrounded by the musically silent church’s organ pipes. The set, designed by Scott Pask (MTC’s The Father), with similarly crafted lighting by Justin Townsend (Broadway’s The Humans) is beautiful to look at, feeling regal, majestic, and holy, but it is as soulless as the production itself.  Boring the procedure by its flatness that does little to add dynamic energy to this Saint Joan. So much talk with so little movement or compelling drama, it drives this piece down to a painfully glacial pace, creating only static vibrations that seem to stall everyone, including the sound design by Obadiah Eaves (MTC’s The Portuguese Kid) with original music by Bill Frisell adding no luster. The costumes, by the usually inventive Jane Greenwood (Broadway’s The Parisian Woman) feel cartoonish, as if they were borrowed from the Medieval Times Dinner and Tournament Theater, creating another distraction to the stagnant tone of this well-meaning play. Rashad and company are abandoned, just like the religious icon at the center of this power battle.

Head Over HeelsA New Musical
Adam Chanler-Berat, Condola Rashad. Photo by Joan Marcus. 

Joan is the personification of the tragic heroine. Shaw studied the transcripts of the infamous trial and decided that those involved acted in good faith according to their beliefs. He wrote in his preface to the play: “There are no villains in the piece. Crime, like disease, is not interesting: it is something to be done away with by general consent, and that is all [there is] about it. It is what men do at their best, with good intentions, and what normal men and women find that they must and will do in spite of their intentions, that really concern us“.  The only villains here, I’m sad to report, may be the director and the design team, but with the same sense of solidarity, those involved, most assuredly, also acted in good faith, just sadly, not guided with a strong battle plan.  Maybe, like Joan, they thought God had their backs and would grant them a victory like they did to her (Rashad did get a Tony nomination for the performance).  It worked at the beginning of this tale, but just like the ending, Joan goes down in flames.

T. S. Eliot once wrote after its premiere in London in 1924, that Saint Joan was not the masterpiece that many claim it is. He credited Shaw with providing an “intellectual stimulant” and “dramatic delight” in its construct, but took issue with his portrayal of the heroine, turning her into a great middle-class reformer, rather than a saint. It’s a complicated history play, that dramatizes what is known of this woman’s seemingly passionate and over-zealous religious inner-life. It’s filled with dramatic purpose with smart and interesting creations, but is drawn out and bogged down in style, rhetoric, and heavy armor.  The epilogue, probably the most engaging scene in the entire 2 1/2 hours of painfully anemic pacing, finally pulls us in to the humanity of these characters, shaking away the stagnant halls of justice, and into the bed of King Charles VII. In a dream state, the cast of concerned dead man come together, perching playfully on the bed. They have gathered together, including a very funny English soldier (Stanton) to tell Joan of their trials, tribulations, thoughts, and concerns, joyfully greeting the news of her canonization, but warning her that the world is still not prepared nor will it ever be ready to receive a saint such as herself.  And I can attest to that, with the same being said about this draggy production.

Head Over HeelsA New Musical
Saint Joan (L-R) Patrick Page, Howard W. Overshown, Max Gordon Moore, Condola Rashad, Walter Bobbie. Photo by Joan Marcus. Samuel J Friedman Theatre. Written by George Bernard Shaw; Director Daniel Sullivan; Set Designer Scott Pask; Costume Designer Jane Greenwood; Lighting Designer Justin Townsend; Sound Designer Obadiah Eaves; Projection Designer Christopher Ash; Original Music Bill Frisell.

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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 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


The  78th Annual Theatre World Awards And You Are There



The historic 78th Annual Theatre World Awards Ceremony was held on Monday evening, June 10, 2024 at the Marquis Theatre.

The event was hosted by well-known theater journalist, Peter Filichia.

Ali Louis Bourzgui

Winners of the 2024 Theatre World Awards were honored The Who’s Tommy‘s Ali Louis Bourzgui

 Oh, Mary!‘s Cole Escola

 The Outsiders‘ Brody Grant was given his award by Daphne Rubin Vega

Michael Imperioli and wife

 An Enemy of the People‘s Michael Imperioli

Phillip Johnson Richardson

The Wiz‘s Phillip Johnson Richardson

Nichelle Lewis

Nichelle Lewis, Phillip Johnson Richardson

and Nichelle Lewis

 Patriots‘ Will Keen

 Mary Jane‘s Rachel McAdams

Hell’s Kitchen‘s Maleah Joi Moon was given his award by Kristin Chenoweth

Casey Likes

Tom Pecinka

and Stereophonic‘s Tom Pecinka

Sarah Pidgeon

Sarah Pidgeon

Chris Stack.

and Chris Stack.

A.J. Shively

Also receiving honors were A.J. Shively, who has won the Dorothy Loudon Award for his work in Irish Rep’s Philadelphia, Here I Come

Len Cariou

Len Cariou, winning the John Willis Award for Lifetime Achievement

Peter Filichia

and arts writer Peter Filichia, this year’s Special Award honoree.

There to honor them were

Maria Friedman

André De Shields

A great night was had by all.

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Drama Desk Awards Backstage In The Press Room



T2C was backstage at the Drama Desk Awards last night. Here is a look at the action.

First in the room:

Kara Young

Celia Keenan-Bolger

Celia Keenan-Bolger and Jessica Lange

Jessica Lange

Sarah Paulson

The Cast of Stereophonic-Will Brill, Sarah Pidgeon, Juliana Canfield, Andrew R. Butler, Tom Pecinka, Chris Stack and Eli Gelb

Nikiya Mathis

JR Goodman, Ray Wetmore and Camille Labarre

Nikki M. James

Patrick Page

Enver Chakartash

Paul Tazewell

Cole Escola

How to Dance in Ohio cast members that includes-Liz Weber, Jeremy Wein, Ava Xiao-Lin Rigelhaupt, Nicole D’Angelo and Becky Leifman

Paul Tate dePoo

Avran Mlotek, Motl Didner, Dominick Balletta and Zalem Miotek

Jane Cox

Brian MacDevitt

Brian MacDevitt and Jane Cox

Isabella Byrd

Ryan Rumery

Walter Trarbach, Cody Spencer and Kai Harada

David Yazbek

Itamar Moses

Lady Irene Gandy

Nathan Lane and Matthew Broderick

Matthew Broderick

Nathan Lane

Will Butler

Marco Paguia

Shaina Taub

Justin Peck

Daniel Aukin

Jessica Stone

Corbin Bleu and Sarah Hyland

Andre Bishop and James Lapine

Keisha Lewis

Maleah Joi Moon, Brian d’Arcy James and Kelli O’Hara

Maleah Joi Moon

Keisha Lewis and Maleah Joi Moon

Kelli O’Hara

Brian d’Arcy James

Peter Nigrini

Carole Rothman and Branden Jacobs-Jenkins

Amy Herzog

David Adjmi

Adam Greenfield, David Adjmi

Sarah Hyland and Debra Messing


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The 2024 Winner’s Of The Drama Desk Awards The Red Carpet



The 2024 Annual Drama Desk Awards were announced last night at NYU Skirball Center. Tony Award Winners Sutton Foster and Aaron Tveit hosted the ceremony.

Sutton Foster and Aaron Tveit

Aaron Tveit

Sutton Foster

T2C was on the red carpet.

Andrew Durand

Jeff Kuperman and Rick Kuperman

William Jackson Harper

Shaina Taub

Peter Nigrini

Kecia Lewis

Celia Keenan-Bolger

Jocelyn Bioh

Laura Benanti

Jesse Robb and Shana Carroll

Jessica Lange

Camille Labarre, Ray Wetmore and JR Goodman

Michael Starobin, Andrea Grody and Shaina Taub

Will Brill

Sarah Paulson

Richard Ridge

Sarah Hyland

Maleah Joi Moon

Patrick Paige

Brooke Shields

Brooke Shields, Maleah Joi Moon

Brian D’Arcy James

Will Keen

Michael Stuhlbarg, Will Keen

Mary Louise Burke

Isabella Byrd

Justin Peck

Kara Young

Marco Paguia

Miss New York Rachelle diStasio

Josh Breckenridge

Lorin Latarro

Ricky Ubeda

Glauco Araujo

Dorian Harewood and Nancy Harewood

Mark Williams

Brody Grant

The Cast of Stereophonic-Andrew R. Butler, Will Brill, Tom Pecinka, Juliana Canfield, Eli Gelb, Chris Stack and Sarah Pidgeon

Paige Davis and Patrick Page

James Monroe Iglehart

Sarah Pidgeon

Nikiya Mathis

Montego Glover

Cole Escola

Tom Pecinka

Chris Stack

Leslie Kritzer

Miriam Silverman

Andrew R. Butler

Pat Swinney Commissioner of the Mayor’s Office of Media and Entertainment with Juliana Canfield

Juliana Canfield

Enver Chakartash

Robert Pickens and Katie Geil

Will Butler

David Adjmi

Daisy Prince

Debra Messing

Lena Hall

Debra Messing

Nikki M. James

Michael Stuhlbarg

Paul Tazewell

Camille A. Brown

Marin Ireland

How To Dance in Ohio-Liz Weber, Jeremy Wein, Ava Xiao-Lin Rigelhaupt, Nicole D’Angelo and Becky Leifman

Jacob Karr

Dylis Croman and Robert Montano

Eli Gelb

Walter Trarbach

Steven Valentine

Peter Charney and Brendan George

Rebecca Frecknall

Lady Irene Gandy

Timo Andres


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Broadway Celebrates Juneteenth



The Broadway League’s Black to Broadway initiative announces the performers for this year’s Broadway Celebrates Juneteenth concert taking place in Times Square on Wednesday, June 19th from 11:00am – 12:30pm (rain or shine).

Michael James Scott

Michael James Scott will host. Flagstar Bank will be this year’s presenting sponsor.

Phylicia Rashad

The 2024 Juneteenth Legacy Award will be presented to two-time Tony Award winner Phylicia Rashad, a versatile performer, director, educator, and humanitarian who has delighted generations of audiences through her work in beloved roles both in theatre and on screen. As an actress, Ms. Rashad has won two Tony Awards, for A Raisin in the Sun (2004 Best Actress in a Play) and Skeleton Crew (2022 Best Performance by an Actress in a Featured Role in a Play). She was also a 2005 Best Actress in a Play nominee for Gem of the Ocean. As a producer, Ms. Rashad recently received a Best Revival of a Play nomination for Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch.

The fourth annual Broadway Celebrates Juneteenth concert features more than 35 performers from the following 17 Broadway shows: Aladdin; & Juliet; Back to the Future: The Musical; Cabaret at the Kit Kat Club; Chicago; Harry Potter and the Cursed Child; The Heart of Rock and Roll; Hell’s Kitchen; Illinoise; The Lion King; MJ; Moulin Rouge! The Musical;The Notebook; Suffs; Water for Elephants; The Who’s Tommy; The Wiz; and the return of the kids of Young Gifted and Broadway. All performances will be accompanied by live music thanks to The Music Performance Trust Fund and the Film Funds. American Sign Language interpretation will be provided.

The exciting line-up of Broadway stars set to perform includes: Blu Allen, Donovan Louis Bazemore, Jace Bentley, Ronnie S. Bowman Jr., Maya Boyd, Tsilala Brock, Max Chambers, Taylor Colleton, Jay Copeland, Lorna Courtney, Charity Angél Dawson, Mariama Diop, Desmond Sean Ellington, Will Ervin Jr., Jerome Hermann-Hardeman, Dorian Harewood, Jackson Hayes, Najah Hetsberger, Afra Hines, Manny Houston, Jaylen Lyndon Hunter, Bre Jackson, Polanco Jones Jr., John-Michael Lyles, Mehret Marsh, Deja McNair, Alex Newell, Veronica Otim, Cristina Rae, Jelani Remy, William Rhem Jr., Albert Rhodes Jr., Walter Russell III, Antoine L. Smith, Nia Thompson, Lamont Walker II, Rachel Webb, NaTasha Yvette Williams, and Hailee Kaleem Wright.

Joining The Broadway League in partnership for Broadway Celebrates Juneteenth are Black Theatre United (BTU), Black Theatre Coalition (BTC), The New York Times, and the Times Square Alliance. Black Theatre United has curated a selection of Black-owned restaurants to take part in the celebration by selling food and treats to attendees. Kokomo, LaMode BK, and Brooklyn Sweet Spot will be on-site with a selection of delicious options to add to the festivity.

Flagstar Bank is the 2024 presenting sponsor of Broadway Celebrates Juneteenth. Other sponsors include: The Music Performance Trust Fund and Film Funds; the NYC Mayor’s Office of Media and Entertainment; Audience Rewards; Broadway Cares/Equity Fights AIDS;; M·A·C Cosmetics; TodayTix; Playbill; The Araca Group; and Open Jar Studios.

The creative and production teams of Broadway Celebrates Juneteenth include Director and Writer Steve H. Broadnax III, Music Director Rashad McPherson, Executive Producers Brian Anthony Moreland and Aaliytha Stevens, Stage Manager Monet Thibou, and General Manager Devon Miller of Foresight Theatrical.

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The 2024 Winner’s Of The Drama Desk Awards With Interviews



Photo Aaron Tveit and Sutton Foster Photo by Genevieve Rafter Keddy

The 2024 Drama Desk Awards were a star-studded ceremony at NYU Skirball Center co-hosted by Sutton Foster and Aaron Tveit. This is the only major NYC theater awards for which Broadway, Off-Broadway, and Off-Off-Broadway productions are considered in the same categories. Two recipients in each of the gender-free performance categories were announced and in some categories not only were their ties but three winners selected.

The winners are:

Outstanding Play: Stereophonic, by David Adjmi, Playwrights Horizons

Outstanding Musical: Dead Outlaw

Outstanding Revival of a Play: Appropriate, Second Stage Theater

Outstanding Revival of a Musical: I Can Get It for You Wholesale, Classic Stage Company

Outstanding Lead Performance in a Play:
Jessica Lange, Mother Play, Second Stage Theater

and Sarah Paulson, Appropriate, Second Stage Theater

Outstanding Lead Performance in a Musical: Brian d’Arcy James, Days of Wine and Roses, Atlantic Theater Company, Maleah Joi Moon, Hell’s Kitchen and Kelli O’Hara, Days of Wine and Roses, Atlantic Theater Company

Outstanding Featured Performance in a Play:
Celia Keenan-Bolger, Mother Play, Second Stage Theater and Kara Young, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

Outstanding Featured Performance in a Musical: Kecia Lewis, Hell’s Kitchen and Bebe Neuwirth, Cabaret at the Kit Kat Club

Outstanding Direction of a Play:
Daniel Aukin, Stereophonic, Playwrights Horizons

Outstanding Direction of a Musical:
Jessica Stone, Water for Elephants

Outstanding Choreography: Justin Peck, Illinoise, Park Avenue Armory

Outstanding Music:
Shaina Taub, Suffs

Outstanding Lyrics: David Yazbek and Erik Della Penna, Dead Outlaw

Outstanding Book of a Musical: Itamar Moses, Dead Outlaw

Outstanding Orchestrations: Marco Paguia, Buena Vista Social Club, Atlantic Theater Company

Outstanding Music in a Play:
Will Butler, Stereophonic, Playwrights Horizons

Outstanding Revue: Amid Falling Walls, National Yiddish Theatre Folksbiene

Outstanding Scenic Design of a Play: David Zinn, Stereophonic, Playwrights Horizons

Outstanding Scenic Design of a Musical: Paul Tate DePoo III, The Great Gatsby (includes projections)

Outstanding Costume Design of a Play:
Enver Chakartash, Stereophonic, Playwrights Horizons

Outstanding Costume Design of a Musical:
Paul Tazewell, Suffs

Outstanding Lighting Design of a Play: Jane Cox, Appropriate, Second Stage Theater

Outstanding Lighting Design of a Musical:
Brian MacDevitt and Hana S. Kim (projections), The Outsiders

Outstanding Projection and Video Design: Peter Nigrini,Hell’s Kitc

Outstanding Sound Design of a Play: Ryan Rumery, Stereophonic, Playwrights Horizons

Outstanding Sound Design of a Musical:
Nick Lidster for Autograph, Cabaret at the Kit Kat Club, Cody Spencer, The Outsiders and Walter Trarbach, Water for Elephants

Outstanding Wig and Hair:
Nikiya Mathis, Jaja’s African Hair Braiding, Manhattan Theatre Club

Outstanding Solo Performance:
Patrick Page, All the Devils Are Here: How Shakespeare Invented the Villain

Unique Theatrical Experience: Grenfell: in the words of survivors, St. Ann’s Warehouse, National Theatre, and KPPL Productions

Outstanding Fight Choreography: Cha Ramos, Water for Elephants

Outstanding Adaptation: An Enemy of the People, by Amy Herzog

Outstanding Puppetry:
Ray Wetmore, JR Goodman, and Camille Labarre, Water for Elephants


Ensemble Award

The cast of Stereophonic – Will Brill, Andrew R. Butler, Juliana Canfield, Eli Gelb, Tom Pecinka, Sarah Pidgeon, and Chris Stack – who execute David Adjmi’s hypernaturalistic text with extraordinary care and precision, while also performing Will Butler’s music with the freshness and life that makes us believe we are witnessing, first-hand, the creation of a new American classic.

‘Sam Norkin Off-Broadway Award

Cole Escola, who both wrote and stars in one of this season’s biggest hits Off Broadway, Oh, Mary! Following in the long legacy of queer artists who write themselves into American history, Escola’s new “gay fantasia on national themes” is a hilarious reminder of why we must continue to interrogate our past.


How to Dance in Ohio Authentic Autistic Representation Team – Sammi Cannold, Nicole D’Angelo, Becky Leifman, Ava Xiao-Lin Rigelhaupt, Liz Weber, and Jeremy Wein  – for their steadfast support of autistic theatermakers, and their strides toward true accessibility for neurodiverse individuals both on and offstage.

Lighting designer Isabella Byrd, whose self-described technique as a “darkness designer” has earned her a cache of nominations and awards in the United States and abroad. During this season, Byrd illuminated two Broadway shows done in the round, An Enemy of the People and Cabaret at the Kit Kat Club. Off Broadway, her spotlight on quiet, small-scale stories both enchanted us in Primary Trust and mesmerized us in Infinite Life, with a parking-lot sky that marked the passage of time.

Lady Irene Gandy, for career achievement. A press agent extraordinaire for over five decades, Lady Irene has always demonstrated her passion, dedication, and love for theater. A Broadway producer and Sardi’s honoree, she is a zealous advocate for inclusion, diversity, and equity in the arts.


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