The Drama Desk Award Gets a Makeover at 65
In celebration of its 65-year legacy, the Drama Desk Awards is debuting a stunning new statuette, to be formally presented for the first time at the annual ceremony on Sunday, May 31, 2020, at The Town Hall in Manhattan.
The custom-designed award brings distinctive new life to the iconic Drama Desk quill image, which represents the theater writers, critics and journalists who make up the Drama Desk organization and vote on the awards each year. The statuettes will stand 10-and-a-half inches tall, and feature the iconic quill image, with subtle comedy and tragedy drama masks cleverly cut into the sides, standing on an inkwell base. The statuette was designed in partnership with the team at Society Awards, who have also worked with the Golden Globes, Emmy Awards, ESPYS, American Music Awards, Billboard Music Awards, MTV Movie Awards, and many more of the entertainment world’s leading awards.
“The goal was to design an iconic award statuette worthy of the Drama Desk Awards’ incredible 65-year legacy,” Matt Britten, Drama Desk Awards executive producer and Broadway Brands CEO, said. “With our friends at Society Awards, we have created a bold new award that will enhance the profile of the Drama Desks for years into the future.”
“Everyone we’ve shown it to immediately asks, ‘Can I have one?'” Britten added. “But of course, the only way to get one will be to win at the Drama Desk Awards!”
Drama Desk Awards attendees will witness the brand-new statuettes handed out to top theater-makers for the first time at the 65th annual ceremony on May 31. Tickets will be on sale soon. Visit the Drama Desk Awards website for more information: dramadeskawards.com
The custom-designed statuettes will stand 10-and-a-half inches tall, and feature the iconic quill image, with subtle comedy and tragedy drama masks cleverly cut into the sides, standing on an inkwell base.
Founded in 1955, the Drama Desk Awards honor outstanding achievement by professional theater artists on Broadway, Off-Broadway, and Off-Off-Broadway. The Drama Desk Awards are voted on and bestowed by theater critics, journalists, editors, publishers and broadcasters covering theater.
The 65th Annual Drama Desk Awards will be held on May 31 at The Town Hall in New York City. Tickets will go on sale soon.
The Drama Desk Awards will be sponsored by The John Gore Organization, Jujamcyn Theaters, The Nederlander Organization, and The Shubert Organization. Be a part of something outstanding, and join our sponsors today by firstname.lastname@example.org
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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