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OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May
Click Here for More Articles on 2017 AWARDS SEASON OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May. 7, 2017 Tweet Share The Lortel Awards were presented May 7, 2017 at NYU Skirball Center beginning at 7:00 PM EST. This year's event was hosted by actor and comedian, Taran Killam, and once again served as a benefit for The Actors Fund. Leading the nominations this year with 7 each are the new musical, Hadestown - a folk opera produced by New York Theatre Workshop - and Sweeney Todd: The Demon Barber of Fleet Street, currently at the Barrow Street Theatre, which has been converted into a pie shop for the intimate staging. In the category of plays, both Paula Vogel's Indecent and J.T. Rogers' Oslo, current Broadway transfers, earned a total of 4 nominations, including for Outstanding Play. Playwrights Horizons' A Life also earned 4 total nominations, including for star David Hyde Pierce and director Anne Kauffman, earning her 4th career Lortel Award nomination; as did MCC Theater's YEN, including one for recent Academy Award nominee Lucas Hedges for Outstanding Lead Actor. Lighting Designer Ben Stanton earned a nomination for the fifth consecutive year - and his seventh career nomination, including a win in 2011 - for his work on YEN. Check below for live updates from the ceremony. Winners will be marked: **Winner** Outstanding Play Indecent Produced by Vineyard Theatre in association with La Jolla Playhouse and Yale Repertory Theatre Written by Paula Vogel, Created by Paula Vogel & Rebecca Taichman Oslo **Winner** Produced by Lincoln Center Theater Written by J.T. -
A Strange Loop
A Strange Loop / Who we are Our vision We believe in theater as the most human and immediate medium to tell the stories of our time, and affirm the primacy and centrality of the playwright to the form. Our writers We support each playwright’s full creative development and nurture their unique voice, resulting in a heterogeneous mix of as many styles as there are artists. Our productions We share the stories of today by the writers of tomorrow. These intrepid, diverse artists develop plays and musicals that are relevant, intelligent, and boundary-pushing. Our plays reflect the world around us through stories that can only be told on stage. Our audience Much like our work, the 60,000 people who join us each year are curious and adventurous. Playwrights is committed to engaging and developing audiences to sustain the future of American theater. That’s why we offer affordably priced tickets to every performance to young people and others, and provide engaging content — both onsite and online — to delight and inspire new play lovers in NYC, around the country, and throughout the world. Our process We meet the individual needs of each writer in order to develop their work further. Our New Works Lab produces readings and workshops to cultivate our artists’ new projects. Through our robust commissioning program and open script submission policy, we identify and cultivate the most exciting American talent and help bring their unique vision to life. Our downtown programs …reflect and deepen our mission in numerous ways, including the innovative curriculum at our Theater School, mutually beneficial collaborations with our Resident Companies, and welcoming myriad arts and education not-for-profits that operate their programs in our studios. -
The Shubert Foundation 2020 Grants
The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company -
Annual Report 2012
Cover Back Spine: (TBA) Front PMS 032U Knock out Annual Report 2012 LETTER FROM THE MAYOR 4 PART I: 2007–2012: A PERIOD OF AGENCY INNOVATION 11 PART II: AGENCY PORTFOLIO, FY12 37 PROGRAMSERVICES 39 PROGRAM SERVICES AWARD RECIPIENTS 40 CULTURAL DEVELOPMENT FUND PANELISTS 50 CULTURAL AFTER SCHOOL ADVENTURES GRANT RECIPIENTS 53 CULTURAL INSTITUTIONS GROUP 58 CAPITALPROJECTS 63 CAPITAL PROJECTS FUNDED 66 RIBBON CUTTINGS 68 GROUNDBREAKINGS 69 EQUIPMENT PURCHASES 69 COMMUNITY ARTS DEVELOPMENT PROGRAM 70 30TH ANNUAL AWARDS FOR EXCELLENCE IN DESIGN RECIPIENTS 71 PERCENT FOR ART PROGRAM 72 MATERIALS FOR THE ARTS 74 RECIPIENTS OF DONATED GOODS 76 PARTICIPATING SCHOOLS IN ARTS EDUCATION PROGRAMS 88 CULTURAL AFFAIRS ADVISORY COMMISSION 90 MAYOR’S AWARDS FOR ARTS AND CULTURE 91 DEPARTMENT OF CULTURAL AFFAIRS STAFF 92 P HO TO CREDITSPHOTO 94 ACKNOWLEDGEMENTS 95 4 Letter from The Mayor NEW YORK CITY: STRENGTHENING INVESTMENT IN THE ARTS Our City’s cultural organizations are essential arts are to New York City’s vibrancy and to improving to ensuring that New York remains one of the world’s the lives of New Yorkers and visitors from around the great cities. A magnet for talent from around the world, world. In addition, the development of new information our creative community is also a thriving small business technology systems has enabled the Department to track sector that exists in every neighborhood throughout these services and further advocate on behalf of culture’s the five boroughs. That is why our Administration has tremendous impact on our City. made supporting the arts a top priority, and why over And we continue to push boundaries in expanding our the past five years—despite challenging times—we have service to the creative sector. -
Theatrical Resume
DAVID ELLIOTT PRODUCER / DIRECTOR / GENERAL MANAGER BROADWAY / WEST END DAMES AT SEA PRODUCER HELEN HAYES THEATRE, NYC (TONY Nomination – Randy Skinner, Best Choreography) VANYA AND SONIA AND MASHA AND SPIKE PRODUCER JOHN GOLDEN THEATRE, NYC (TONY / Drama Desk Award Winner -Best Play) LEND ME A TENOR THE MUSICAL PRODUCER GIELGUD THEATRE, LONDON (Olivier Nomination – Sophie Louise Dann) TOUR / INTERNATIONAL IN THE CONTINUUM PRODUCER Harare International Festival of the Arts, Harare, Zimbabwe (OBIE Award, Outer Critics Circle Award) Baxter Theatre, Cape Town, South Africa Market Theatre, Johannesburg, South Africa Traverse Theatre, Edinburgh, Scotland U.S. Tour – 6 cities THE EXONERATED PRODUCER U.S. NATIONAL TOUR (Drama Desk, Outer Critics Circle Award, Lucille Lortel Award) AQUILA THEATRE COMPANY GENERAL MANAGER U.S. NATIONAL TOURS (2016-2020) OFF BROADWAY MSTRIAL GENERAL MANAGER NEW WORLD STAGES, STAGE 3, NYC MAVERICK DIRECTOR THE CONNELLY THEATRE, NYC THE SAINTLINESS OF MARGERY KEMPE PRODUCER/GENERAL MANAGER THE DUKE ON 42ND STREET, NYC GEORGE: MY ADVENTURES WITH GEORGE ROSE PRODUCER/GENERAL MANAGER DAVENPORT THEATRE, NYC (Drama Desk Award Winner) LITTLE ROCK GENERAL MANAGER THE SHEEN CENTER, NYC ANYTHING CAN HAPPEN IN THE THEATRE: GENERAL MANAGER THE TRIAD THEATRE, NYC AN EVENING WITH MAURY YESTON BEDLAM’S SENSE & SENSIBILITY GENERAL MANAGER GYM AT JUDSON, NYC (Off Broadway Alliance Award) BEDLAM’S NEW YORK ANIMALS GENERAL MANAGER NEW OHIO THEATRE, NYC EDISON’S ELEPHANT DIRECTOR METROPOLITAN PLAYHOUSE, NYC DEAR JANE GENERAL MANAGER -
Dna 2018 Creative Team
DNA 2018 CREATIVE TEAM Christopher Ashley (director, Weatherman and The Coast Starlight) has served as La Jolla Playhouse’s Artistic Director since October, 2007. During his tenure, he has helmed the Playhouse’s productions of Hollywood, The Darrell Hammond Project, Chasing the Song, His Girl Friday, Glengarry Glen Ross, A Dram of Drummhicit, A Midsummer Night’s Dream, Restoration and the musicals Escape to Margaritaville, Xanadu, Memphis, which won four 2010 Tony Awards including Best Musical, and Come From Away, for which he won the 2017 Tony Award for Best Director of a Musical. He also spearheaded the Playhouse’s Without Walls (WOW) series, the DNA New Work Series and the Resident Theatre program. Prior to joining the Playhouse, he directed the Broadway productions of Xanadu (Drama Desk nomination), All Shook Up and The Rocky Horror Show (Tony, Drama Desk and Outer Critics Circle Award nominations), as well as the Kennedy Center Sondheim Celebration productions of Sweeney Todd and Merrily We Roll Along. Other New York credits include: Blown Sideways Through Life, Jeffrey (Lucille Lortel and Obie Awards), The Most Fabulous Story Ever Told, Valhalla, Regrets Only, Wonder of the World, Communicating Doors, Bunny Bunny, The Night Hank Williams Died and Fires in the Mirror (Lucille Lortel Award), among others. Mr. Ashley also directed the feature films Jeffrey and Lucky Stiff, as well as the American Playhouse production of Blown Sideways Through Life for PBS. Mr. Ashley is the recipient of the Princess Grace Award, the Drama League Director Fellowship and an NEA/TCG Director Fellowship. Rob Bailey (music, Weatherman) is a Manhattan-based guitarist, producer and composer, and founding member of the New York City rock bands Mule Kick and SlickTires with Guns N’ Roses drummer Frank Ferrer. -
Sharp Theater Bulletin
SHARP THEATER BULLETIN IN THIS ISSUE PAGE 3 PAGE 4 PAGE 5 PLAYWRIGHT’S PERSPECTIVE THE X-FACTOR NOT-KNOWING Kirk Lynn on fatherhood and how it impacted Let's talk about sex. “If nothing was true, everything was possible.” the writing of the play. Adam Greenfield on the work of Kirk Lynn. FROM THE ARTISTIC DIRECTOR DEAR FRIENDS, How honest are we about sex? The Kama Sutra of Vtsyyana is a sacred Hindu text composed about eighteen hundred years ago. It was first published privately in English by an erotophile named Sir Richard Burton in 1883 and began to appear in pirated publications around the same time that Freud published The Interpretation of Dreams. When Burton died, his wife reportedly burned most of his private erotic literature collection. As the most recent translator of The Kama Sutra, Aditya N. D. Haksarhas, points out, most English-speakers only know this ancient text via marketed “Illustrated” publications that highlight the notori- ous descriptions of copulatory positions that actually comprise only about one twentieth of the original work. A fairer summary would characterize it as a broad survey of sexual and social relationships between men and women. I lay out this bit of world literary history for you to come clean about my own way into Kirk Lynn’s fascinating, insightful, and moving story of a man’s messy journey from marriage to fatherhood. I didn’t know much about Kirk’s play when we did a Superlab reading of it last year. Frankly, I didn’t know much about the ac- tual Kama Sutra either, not that this ancient text has anything to do with the play, really, other than to orient us. -
Nonprofit Real Estate Insights Make a Change Without Compromising Mission December 2020 Mission Leads; Real Estate Follows
Nonprofit Real Estate Insights Make a Change Without Compromising Mission December 2020 mission leads; real estate follows Real estate should, enhance, never compromise or jeopardize mission. In today’s climate, it is understandably tempting to reevaluate this commitment. Many New York City nonprofits face an overwhelming financial landscape and are investigating ways of minimizing real expenses or monetizing their real estate assets. Rigorously defining your wants and needs before implementing a major real estate change is energy-intensive but essential. It is also important to clearly unpack the value of your real estate and to determine if others share your opinion of its value. Before you reopen, renovate, reconfigure, or relocate your facilities, and especially before you dispose of real estate, make sure you understand the impact of that real estate change on your programming—and, ultimately, on your mission. courtesy of studios architecture, photography by tom minieri market insight Organizations of all kinds are seeking new space that reflects the needs of revamped operations. There is an increased opportunity to purchase commercial condominiums, buildings, and development sites at discounted prices. physical considerations • amount of space Similarly, current leasing opportunities may offer • configuration of space favorable terms and flexibility. • location • aesthetics Evaluating your physical, financial, and organizational strengths and needs will empower financial considerations your organizations to pursue the right real estate • capital requirements project at the right time. • operating expenses • income targets • cash flow needs organizational considerations • governance • decision-making • culture • staffing © albert vecerka / esto purchase vs. lease A leasing strategy offerslower initial costs, shorter transaction time frames, reduced risk, and flexibility. -
Cambridge Marriage: Mamet at the A.R.T
far left: William H. Macy and David Mamet in rehearsal for Mamet’s Oleanna, photo: Brigitte Cambridge Marriage: Lacombe; bottom left: Felicity Huffman and Shelton Dane in the A.R.T.’s production of The Crytogram, photo: Henry Horenstein; left: Felicity Huffman and Rebecca Pidgeon in the Mamet at the A.R.T. A.R.T.’s production of Boston Marriage, photo: Richard Feldman; below: Brooke Adams and Tony Shalhoub in the A.R.T.’s production of The By Sean Bartley Old Neighborhood, photo: Richard Feldman Times and engaged academics in heated of the most fascinating women on the debate. No other Mamet play has inspired contemporary American stage. As Felicity critics to spill so much ink. Huffman, who played the mother, told the After a performance, a female student Boston Herald: asked the playwright whose side he was on, the strutting macho professor’s or “He writes difficult, challenging roles the guerilla feminist’s. “I’m an artist,” for women, but he also writes difficult, Mamet replied. “I write plays, not political challenging roles for men. No one’s the propaganda. If you want easy solutions, hero. There wasn’t a hero in The Cryp- turn on the boob tube. Social and political togram, but it has a brilliant part for a issues on TV are cartoons; the good guy woman. No one’s the hero in Speed-the- wears a white hat, the bad guy a black hat. Plow. He gives his women, along with Cartoons don’t interest me.” the men, really difficult jobs to do, and DAVID MAMET’S MARRIAGE with the “I write plays, not political propaganda. -
The Resistible Rise of Arturo Ui
Classic Stage Company JOHN DOYLE, Artistic Director TONI MARIE DAVIS, Chief Operating Officer/GM presents THE RESISTIBLE RISE OF ARTURO UI BY BERTOLT BRECHT TRANSLATED BY GEORGE TABORI with GEORGE ABUD, EDDIE COOPER, ELIZABETH A. DAVIS, RAÚL ESPARZA, CHRISTOPHER GURR, OMOZÉ IDEHENRE, MAHIRA KAKKAR, THOM SESMA Costume Design Lighting Design Sound Design ANN HOULD-WARD JANE COX MATT STINE TESS JAMES Associate Scenic Design Associate Costume Design Associate Sound Design DAVID L. ARSENAULT AMY PRICE AJ SURASKY-YSASI Casting Press Representative Production Stage Manager TELSEY + COMPANY BLAKE ZIDELL AND ASSOCIATES BERNITA ROBINSON ADAM CALDWELL, CSA WILLIAM CANTLER, CSA Assistant Stage Manager KARYN CASL, CSA JESSICA FLEISCHMAN DIRECTED AND DESIGNED BY JOHN DOYLE Cast in alphabetical order Clark / Ragg.............................................................................GEORGE ABUD Roma..........................................................................................EDDIE COOPER Giri......................................................................................ELIZABETH A. DAVIS Arturo Ui....................................................................................RAÚL ESPARZA Dogsborough / Dullfeet..........................................CHRISTOPHER GURR O’Casey / Betty Dullfeet.............................................OMOZÉ IDEHENRE Flake / Dockdaisy...............................................................MAHIRA KAKKAR Givola............................................................................................THOM -
THEATER REVIEW; Decades of Songs from William Finn, and Not Just in Falsetto - New York Times 01/09/2008 09:06 AM
THEATER REVIEW; Decades of Songs From William Finn, and Not Just in Falsetto - New York Times 01/09/2008 09:06 AM August 27, 2006 THEATER REVIEW; Decades of Songs From William Finn, and Not Just in Falsetto By ANITA GATES The first time I heard of William Finn was in the spring of 1981, when he had written the book, music and lyrics for a daring musical called ''March of the Falsettos.'' It was playing in a tiny space at Playwrights Horizons in New York, and critics were talking about the discovery of a major talent. I rushed out to see the show, which was about a man who left his wife to make a life with another man. I thought it was quite good, with flashes of brilliance. Last Tuesday night I saw ''Make Me a Song,'' an evening of Mr. Finn's music, at Theaterworks. It was really good, with long stretches of brilliance. Actually, this highly entertaining production, conceived and directed by Rob Ruggiero with musical direction by Michael Morris, is two shows in one. In Act I, the four-person cast -- Sandy Binion, Joe Cassidy, Adam Heller (who did ''March of the Falsettos'' and ''Falsettoland'' at Hartford Stage) and Sally Wilfert -- perform mostly humorous numbers. In Act II, they turn to Mr. Finn's more serious songs. By the time they get to the heartbreaking ''Anytime (I Am There),'' a dead mother's message to the child she has left behind, sung by Ms. Wilfert, virtually anyone who has ever cried in a theater would be at least a little teary. -
Teacher Resource Guide Falsettos.Titlepage.09272016 Title Page As of 091516.Qxd 9/27/16 1:51 PM Page 1
Teacher Resource Guide Falsettos.TitlePage.09272016_Title Page as of 091516.qxd 9/27/16 1:51 PM Page 1 Falsettos Teacher Resource Guide by Nicole Kempskie MJODPMO!DFOUFS!UIFBUFS André Bishop Producing Artistic Director Adam Siegel Hattie K. Jutagir Managing Director Executive Director of Development & Planning in association with Jujamcyn Theaters presents Music and Lyrics by William Finn Book by William Finn and James Lapine with (in alphabetical order) Stephanie J. Block Christian Borle Andrew Rannells Anthony Rosenthal Tracie Thoms Brandon Uranowitz Betsy Wolfe Sets Costumes Lighting Sound David Rockwell Jennifer Caprio Jeff Croiter Dan Moses Schreier Music Direction Orchestrations Vadim Feichtner Michael Starobin Casting Mindich Chair Tara Rubin, CSA Production Stage Manager Musical Theater Associate Producer Eric Woodall, CSA Scott Taylor Rollison Ira Weitzman General Manager Production Manager Director of Marketing General Press Agent Jessica Niebanck Paul Smithyman Linda Mason Ross Philip Rinaldi Choreography Spencer Liff Directed by James Lapine Lincoln Center Theater is grateful to the Stacey and Eric Mindich Fund for Musical Theater at LCT for their leading support of this production. LCT also thanks these generous contributors to FALSETTOS: The SHS Foundation l The Blanche and Irving Laurie Foundation The Kors Le Pere Foundation l Ted Snowdon The Ted and Mary Jo Shen Charitable Gift Fund American Airlines is the Official Airline of Lincoln Center Theater. Playwrights Horizons, Inc., New York City, produced MARCH OF THE FALSETTOS Off-Broadway in 1981 and FALSETTOLAND Off-Broadway in 1990. TABLE OF CONTENTS INTRODUCTION . 1 THE MUSICAL . 2 The Story . 2 The Characters . 4 The Writers . 5 Classroom Activities .