An Opinion Piece: Tony Predictions 2016

As we say, it’s only one person’s opinion, and a few categories are going to take each other to task, but there are still some things that we can probably say for certain.

Hamilton broke records left and right this season, including the 16 nominations it got from the award committee. I think the show will definitely dominate the majority of categories, but I’m not sure if it will go for a clean sweep like I’ve seen a lot of people say.

As far as shows with multiple nominees in the same categories, I feel Hamilton may surprise us and see Leslie Odom Jr. go home with the Best Leading Actor award, and Best Featured Actor is a toss up.

Noises Off I think will see the Best Featured Actress award go home with Megan Hilty, as Andrea Martin is still a newcomer and Hilty has been a favorite in recent years.

A View From The Bridge might pull off all tech awards it was nominated for, and The Crucible may pull in an acting nod for Sophie Okonedo, but A View will win more out of the two of them.

I predict Eclipsed getting a lot of attention as well, for both technical and acting, although I’m unsure about whether or not Liesl Tommy will come home with the Best Direction award. Both A View From The Bridge and Long Day’s Journey Into Night have been reviewed really favorably in that direction.

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I get the feeling that the opening number is going to feature riffs on James Corden shows and will most definitely poke fun at the Into The Woods movie. Host Neil Patrick Harris hadn’t starred in Hedwig by the time that he hosted, and last year saw ribbing of Kristin Chenoweth’s time in Wicked, so I think his roles are also fair game. The ceremony did the same with the Les Miserables movie a few years ago, and as someone who didn’t care for the Into The Woods movie, I’m looking forward to some laughs.

With the American Theatre Wing’s push for the recognition of diversity this season, I think onversations on the red carpet and off are going to focus heavily on diversity across all spectrums, though some conversation about “Tony can you hear me” may come up as another year passes without the sound awards.

PLAY:

Best: Eclipsed
Best Revival: Long Day’s Journey Into Night
Best Actor Leading: Mark Strong (A View From The Bridge)
Best Actor Feature: Reed Birney (The Humans)
Best Actress Leading: Jessica Lange (Long Day’s Journey Into Night)
Best Actress Feature: Pascale Armand (Eclipsed)
Best Direction: Liesl Tommy (Eclipsed)
Best Scenic Design: Jan Versweyveld (A View From The Bridge)
Best Lighting Design: Jan Versweyveld (The Crucible)
Best Costume Design: Clint Ramos (Eclipsed)

 

MUSICAL:

Best: Hamilton
Best Revival: The Color Purple
Best Actor Leading: Leslie Odom Jr.
Best Actor Feature: Daveed Diggs (Hamilton)
Best Actress Leading: Jessie Meuller (Waitress)
Best Actress Feature: Danielle Brooks (The Color Purple)
Best Direction: Michael Arden (Spring Awakening)
Best Book: Shuffle Along (George C. Wolfe)
Best Original Score: Hamilton (Lin-Manuel Miranda)
Best Scenic Design: Es Devlin and Finn Ross (American Psycho)
Best Lighting Design: Howell Binkley (Hamilton)
Best Costume Design: Ann Roth (Shuffle Along)
Best Choreography: Savion Glover (Shuffle Along)
Best Orchestrations: Alex Lacamoire (Hamilton)

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“Based On”: Broadway’s Adaptation Addiction

Some years, as with the shift between revivals and new shows, adaptations swarm the eligibility lists. Depending on the source material, adaptations can either feel contrived or give the audience something completely new and profound. Personally, I lean on the side of original work as I feel it better expands the industry and keeps it fresh.

However, adaptations are never something that should be ruled out, because how else would we have ended up with the hits of Les Miserables and the Phantom of the Opera- both of which were novels before they came to the stage? These may be poor examples however, as these two stories have seen a multitude of adaptations over the years with all kinds of media. Perhaps here, it was the passage of time that led to these specific adaptations being well received. Les Miserables was published by Victor Hugo in 1862, and the musical first debuted on the West End in 1985. Gaston Leroux published The Phantom of the Opera in 1909, and it wasn’t until 1986 that Phantom came to the stage.

The current trend seems to be to snatch plots up as soon as they premiere elsewhere and work on transferring them to the stage. It’s not only Broadway that’s fallen prey to this- The Hunger Games from page to screen, and Star Wars from screen to graphic novel are some recent examples.

It feels like a different game when producers adapt things for the stage, especially if they become musicals for one simple reason: there was no music in Victor Hugo’s novel before Schonberg and Boublil put it there. So what about this season’s adaptations? Of the 5 eligible this year, all have been nominated for awards.

13693-3School of Rock: originally a 2003 film starring Jack Black, this production incorporates music from film and adds new songs as well. Changes to have been made to characters,  names, and plot points. Critics gave generally favorable reviews, but many have asked-what does adaptation add to the plot that the movie didn’t? Personally, I view this as Andrew Lloyd Webber’s scramble to make another hit after the Love Never Dies disaster. The show seems fun with great leads in Alex Brightman and Sierra Boggess, but much like Rock of Ages before it, it doesn’t seen like anyone was clamoring for this story to be re-told, especially as the movie is still generally recent. Received 4 nominations for Best Musical, Best Book of a Musical, Best Original Score, and Best Actor in a Leading Role.

14295-3Tuck Everlasting: originally a book published in 1975 and then adapted into the 2002 film, the source material obviously contains no music. The production clearly injects musical numbers and manages to weave plot lines unique to book and film. The show had some star power in the form of Terrance Mann and Andrew Keenan-Bolger, but it’s been largely ignored by the award committee. Reviews here were favorable, but the show closed just this past week. The score is whimsical, and the injection of music gives light to the story’s fairytale aesthetic, but I believe the production as a whole wasn’t hard-hitting enough in a season full of Eclipseds and Hamiltons. I think if this would have opened alongside Mary Poppins and Once in lighter seasons it would have fared better. Received a nomination for Best Costume Design.

ap_ogAmerican Psycho: originally a book published in 1991 and then 2000 film starring Christian Bale, this production also poses as a cross between horror and black comedy. It draws heavily on book material and the 1980’s setting to influence music choices. The show opened first on the West End in 2013 and has received favorable reviews for both productions. Here’s another show largely ignored by the nomination committee, but since 2013 has already become a “cult classic”. None of the violence is toned down, so a la Sweeney Todd, many don’t have the palette for it, which is why I think it’s been largely ignored. Music and lyrics are by Duncan Sheik, who’s Spring Awakening also received few nominations for it’s revival this season. Received two nominations for Best Scenic Design and Best Lighting Design.

miseryMisery: originally a book published by Stephen King in 1987 and then 1990 film, this production is the only nominated or eligible staged adaptation that is a play, which is down from recent years. Though the film earned Kathy Bates an Academy Award, this show had mixed reviews. The star power of Bruce Willis couldn’t save this production, though perhaps some of this is due to the writing. The novel has already been adapted into two different plays, and to me, a third version feels like this was staged largely just to capitalize on the star power available. This show was also largely ignored by committee, with Laurie Metcalf garnering the only attention for her role as Annie Wilkes, same as Kathy Bates in 1990. Received a nomination for Best Actress in a Leading Role.

14665-3Waitress: originally a 2007 film, the source material is a largely cult hit, and as most of the others, has no music. The production draws heavily from source material but manages to inject and original score by Sara Bareilles, who is a Grammy-winning artist. The film was critically acclaimed, and the show received mixed to positive reviews. Here’s another show that pulled in less nominations than everyone expected, including myself. Personally, I think the opening ran too close to the eligibility cutoff to have full stock taken, however it may be the same case as Tuck Everlasting. Though containing some gritty subject matter, the show is on the lighter side of the spectrum and maybe would have benefitted in the nominations corner had it opened a few years previous. However, no plans have been made to close the show while other eligible shows this season have already had their last run. Received four nominations for Best Musical, Best Original Score, Best Actress in a Leading Role, and Best Actor in a Featured Role.

At the end of the day, this year has seen new works dominate both the eligibility rankings and the nominations themselves, but that is not always the case. Some of the longest running shows currently on Broadway are adaptations: The Lion King, Wicked, Phantom, etc. These three shows garnered heavy attention from the nomination committee when they premiered, so perhaps the attention from the Tonys give shows the boost they need to last beyond premiere season.

However, I feel that writers can’t keep making it in the business if there’s nothing fresh to write. If every story goes through the adaptation saga disregarding parodies, what’s going to constitute a success in the industry? Theatre has historically been such an outlet for original work and creatives that didn’t fit into the entertainment mold, I would hate to see it become more commercialized than it already is. While I appreciate the attention that these large-scale adaptation successes have brought to the theatre community, I never want the industry to lose the original creative spark that drew so many of us to the theatre.

MITM Musing: Of your favorite shows, are any adaptations? If you could pick literally anything to see an adaptation of, what would it be? Any predictions as far as how these adaptations will fare at the Tonys?

#TonysSoDiverse

In the wake of the 2016 Academy Awards and the #OscarsSoWhite debacle, many are looking to the Tonys this season as a potential beacon of light in the way of diversity.

Now, this isn’t to say that this season is the be-all-end-all for diverse stage works, and I know, like most other theatre fans, that the Tonys have had the same discriminatory history as the Academy Awards and the Emmys. But, when all four major acting awards in the musical camp could be won by actors of color, some credit is still due.

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Shuffle Along

Out of all of the eligible plays and musicals this season, 9 out of 36 staged central plots involving characters of color as the protagonists, and another 6 featured actors of color in general major and supporting roles. Again, the majority of focus is still spent on white stories and actors, but when I think about what the eligibility list looked like even 10 years ago, this is a step in the right direction.

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The cast of Waitress: The Musical

Though many shows featuring diverse casts were eligible, there were some shocking nominations left by the wayside in favor of less diverse works.

Allegiance, which opened to great critical reviews and starring the likes of Lea Salonga and George Takei, received no nominations from the awards committee. Before the announcement ceremony, I was sure that the musical would at least earn some acting nominations, as well as perhaps a costume nod or best book nomination. What was nominated in it’s place was not just surprising to me, but to a lot of people.

Having listened to the soundtrack and knowing that the story was based on George Takei’s own experiences with the Japanese-American WWII internment camps, Allegiance was a story previously left untold in an industry (and country for that matter) that largely ignores the narratives of Asian-Americans. Besides Philippa Soo in Hamilton, no other Asian-American actor or creative received a nomination. I may risk repeating myself, but there is still clear work to be done when it comes to nominations as well as the stories created on Broadway.

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George Takei, Lea Salonga, and Telly Leung in Allegiance

But, one thing I have noticed is the diversity in the creative fields, as well as diversity beyond race. This season saw women of color (Danai Gurira and Liesl Tommy) nominated for directing, and writing (Eclipsed). Clint Ramos’ nomination for costume design, Sergio Trujillo’s nod for choreography, and Lin-Manuel Miranda’s recognition for book and original score shone a well deserved light on the men of the Latino community.

Across the board, women of all races have been nominated in almost every creative category, from Sara Bareilles for original score, to Ann Roth in costume design, to Natasha Katz and Peggy Eisenhauer with their respective nods for lighting design. Michael Arden, a member of the LGBTQ community, garnered a best director nomination, and though his revival of Spring Awakening received no specific acting nods, it was still nominated for best revival. This means that for the first time, an actress in a wheelchair and an ensemble of deaf actors has been recognized by the awards committee.

It’s clear to see that the trend of recognizing and awarding diversity is on the upward climb and has been placed in the spotlight. Even with just the nominations, the course is set in the right direction, and I hope that the award ceremony itself continues on this path. Here’s to hoping that the next few seasons will offer even more.

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Jennifer Hudson and Cybthia Erivo in The Color Purple

The Crucible: Re-staging a classic for the 21st century

Arguably the most prolific of Arthur Miller’s works, The Crucible has become and English class staple. I’ve both read it and seen it performed, as has a large majority of high school students across the country.

This Tony season, The Crucible is one of two Arthur Miller works produced and nominated (A View From The Bridge is the other). Both are undertaken by director Ivo Van Hove, a first time Tony nominee. The trend this awards season has seen revivals earning significantly less nominations than the original productions, but The Crucible has proved an exception to this rule. The original production only garnered 2 nominations, but this production has received 4.

With such an iconic story, how did Van Hove bring The Crucible into the 21st century? The simple answer is by keying up the metaphors and scaling down the period accuracy.

As someone who is generally skeptical of “modernized” productions, this revival of The Crucible turned the notion of watered down and palatable modernization on its head. Anyone who is familiar with the recent cinematic release of The Witch knows that the horror isn’t in the thing that jumps out at you from the shadows, it’s the thing that you can’t see at all.

Even from looking at production photos, it’s clear that Van Hove took the historical accuracy of stage and costume design in the opposite direction. The cast is clad in monochrome clothing, suggesting something between a dystopian future and the modern era. The set is much the same, the only clear difference being the wall (and “chalkboard”) used for projections.

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What I believe Van Hove aims to do in stripping down the production is to draw attention to the central conflict rather than let the audience be lost in the setting of Salem. The Crucible was built as an allegory for the McCarthyism “red scare” trials, and this production reminds us of the habit of the human mind to mold it’s own with hunts.

By giving this simple lens, I received the message that this conflict could arise anywhere, and it has. From with trials, to the red scare, to the war on terror, a human’s greatest enemy is the unknown. The determination to make an enemy where there is not one is a horror story in itself, one that is reflected in the plight of Abigail Williams and the people of Salem.

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Saoirse Ronan makes her Broadway debut as Williams here, and Ben Wishaw stars as John Proctor, the protagonist. At first glance, the softness and gentle acting of Wishaw makes for a curious choice for the strong-willed farmer, but it proves to be a strong choice. Sophie Okenedo (nominated for Best Leading Actress in a Play) stars as Elizabeth Proctor, and the difference between Okenedo’s fierce Elizabeth and Wishaw’s John sheds new light on two characters turned archetypes.

John Proctor has long been played as the steadfast man, absolute in the face on conflict, his affair with Abigail Williams the one blight on his character. I appreciate Wishaw in this role for the simple fact that he plays Proctor as more complex than that. His resolution is quiet, and in this state, we’re able to see how his slip into temptation was possible. In contrast is Elizabeth, who Okenedo allows to be strong-willed without dipping into shrill stereotypes. I find myself understanding the divide between husband and wife with this characterization, and it makes their reconciliation deeper and more believable.

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I feel that what Van Hove has managed to do with The Crucible is to breathe life into an old classic, but without all of the tradition that may have weighed it down. Arthur Miller ensured his work would be timeless simply through the power of his writing, but this production of The Crucible has taken the plot out of time to remind the audience of the limits of human rationality and the honors of conviction.


 

The Crucible is also nominated for Best Lighting Design of a Play (Jan Versweyveld) and Best Featured Actor in a Play (Bill Camp).


 

MITM Musings: If you’re familiar with The Crucible, how would you take to a non-traditional production like this one? For better or worse, the modernization of works has become a massive trend in recent years- would you rather see more of this or just stick to the way the classics were produced?

Why Eclipsed is making Tony history and breaking glass ceilings

Nominated for 6 Tony Awards this season, Eclipsed truly is one of a kind. Penned by Danai Gurira of The Walking Dead fame and starring Lupita Nyong’o, Eclipsed offers something completely unique to both the Tonys and current stage politics: and all female cast and female lead creatives.

Last year the team behind Fun Home made history as the first female writing team to win for Best Original Score. That revelation took a lot of people off-guard, including myself. However, it came as no surprise to me that Eclipsed premiered at The Public Theater, where Fun Home and Hamilton also launched. The Public, along with a good portion of Off-Broadway theatres have become hubs for diverse stage work, and have slowly been pushing that trend towards larger Broadway stages.

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In recent years, the move and trend towards diversity in stage work  has been bumpy to say the least, but Eclipsed offers yet another milestone- not only are the cast all women, but they are all women of color. This extends to the creative team too, where all members are either a person of color or female, something almost completely unheard of on Broadway either historically or currently.

The show itself is based in Liberia during the country’s still ongoing civil war. Four of the women featured are all wives of a rebel general who’s lives are turned upside down when a new wife is brought to the compound.

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Rather than focus on the war at large, Gurira chose to focus on those it still affects most: the women captives, the wives of war, and female soldiers. I discovered that Gurira wrote the script after research and a trip to Liberia, where she interviewed women who would become the basis for her characters. These women have been captured by Liberian rebel forces and forced to become soldier wives to strengthen the rebel cause. Many are raped and assaulted, all are held hostage.

Read about Danai Gurira’s trip: here

This tie to reality allowed me to become completely engrossed in the script, as the women struggle to live, hope for peace, and find comfort in each other. Often times, scripts fall prey to the “strong woman” stereotype, but the way that Gurira writes these characters and Liesl Tommy directs them never feels contrived. The conflict that the protagonists face feels real because it is literally rooted in reality.

Many critics have pointed to Eclipsed as revolutionary because the voice it gives to the unheard, and I have to agree. All female casts are rare enough, but combined with this subject matter puts the play in another league. Both Gurira and Tommy are African born, and their passion for African women and their voices is clear. They say, and I agree, that shining a light on the Liberian struggle through performance allows audiences to access the hardships in a more meaningful way.

Having only read the script and not seen a full performance, I can only comment about the writing of Danai Gurira and direction of Liesl Tommy, but the acting nominations point to a strong cast as well.

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Lupita Nyong’o already has an Academy Award for her work in 12 Years A Slave, so her nomination for Leading Actress here seems to reflect her ability. Also nominated in the acting categories are Pascale Armand and Saycon Sengbloh for Featured Actress. Clint Ramos is also nominated for Costume Design.

Out of all Tony eligible new plays, Eclipsed has the most nominations (tied with The Humans at 6 each). Movie, television, and theatre critics alike have historically pointed to the lack of female driven performances and reasoned that the gap exists because these pieces aren’t engaging or entertaining. Eclipsed has provided the next brick in the wall of female driven performances, and with 6 nominations and critical acclaim, it is a strong brick indeed.

A Deeper Look At The Special Tony Awards

Every Award season, the Tony Awards voting committee gives four “Special” Tony Awards. Often, these are the first awards to be decided, and most are granted before the actual televised ceremony.

So what are these awards, and how can someone be qualified for them?


 

Special Tony Award for Lifetime Achievement in Theatre

The longest-running non-competitive Tony, this award was established in 1947 and has been awarded consistently into the present season.

This award is largely presented to individuals in recognition of their “body of lifetime work”, although some partners and groups have also won the award. Most recipients are still living upon receiving this award, but many are given posthumously, as was the case with Brock Pemberton in 1950 (as the co-founder of the American Theatre Wing).

2016 recipients:

Sheldon Harnick (Songwriter, librettist, composer)

Marshall W. Mason (Founding Artistic Director: Circle Repertory Company, director)

 

Past recipients:

1970: Barbara Streisand (Star Of The Decade)

1999: Arthur Miller (Lifetime Achievement)

2008: Stephen Sondheim (Lifetime Achievement in Theatre)

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Mandy Patankin accepting on behalf of Sondheim at the 62nd Tony Awards


 

Regional Theatre Tony Award

Initially given in 1948, this Tony became an established award in 1976 and is given to regional theatres that display “outstanding productions and promotion of theatrical arts.” This award is the only to include a monetary prize, which amounts to a $25,000 grant.

The established goal of this award is to promote the creation of new theatre, and no theatre has ever won the award twice. The most common theatre types to win the award are repertory theatres and Shakespeare companies.

2016 Recipient:

Paper Mill Playhouse (Millburn, New Jersey)

 

Past recipients:

1997: Berkeley Repertory Theatre

2008: Chicago Shakespeare Theater

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Winner at the 62nd Tony Awards


 

Isabelle Stevenson Tony Award

This award is named for the late president of the American Theatre Wing, Isabelle Stevenson, and is the youngest of the Special Tonys, first being awarded in 2009.

The Isabelle Stevenson Tony is given to “an individual from the theatre community who has made a substantial contribution of volunteered time and effort on behalf of one or more humanitarian, social service or charitable organizations, regardless of whether such organizations relate to the theatre.”

2016 Recipient:

Brian Stokes Mitchell (for his work with The Actors Fund)

 

Past recipients:

2013: Larry Kramer for his work as one of the founders of the Gay Men’s Health Crisis.

2014: Rosie O’Donnell for her work and commitment to arts education in New York City Public Schools

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Rosie O’Donnell accepting her award at the 68th Tony Awards


 

Tony Honors for Excellence in Theatre

Created in 1990, this award  was designed to recognize “institutions, individuals, or organizations that have demonstrated extraordinary achievement in theatre” but who are not eligible to compete in any of the current competitive Tony Award categories.

2016 Recipients:

Seth Gelblum (Theatre and Entertainment Lawyer)

Joan Lader (Vocal Coach)

Sally Ann Parsons (Costume Design/Tech)

 

Past recipients:

1993: Broadway Cares/Equity Fights Aids

1995: National Endowment For The Arts

2013: Sophia Gennusa, Oona Laurence, Bailey Ryon and Milly Shapiro, the four actresses who share the lead in Matilda: the Musical (awarded jointly to all four girls)

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“The Four Matildas” after their Matilda: The Musical medley at the 67th Tony Awards

 

Meet The Staff Behind The Tony Broadcast

Everyone’s familiar with the face of the Tony Awards: the performers, the hosts, and the presenters. But what about the brains behind the operation? While the technical crew makes sure that the awards ceremony stays on track, runs smoothly, and gets broadcast to the world, what about those who get it up and running?


 

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The Tony Awards Management Committee is the governing body behind the Tony Awards-the head of the table. Made up of representatives of the Broadway League and the American Theatre Wing, the committee oversees the Tonys and the broadcast.

 

The Management Committee:

Mark Abrahams                    Kristin Caskey                   Dale Cendali                    Ted Chapin

Sondra Gilman                      Heather Hitchens            William Ivey Long          Jordan Roth
Charlotte St. Martin            Scott Sanders                    Nick Scandalios              Howard Stringer
Tom Viertel                            Bob Wankel                        Barry Weissler                Pamela Zilly

 

The Tony Awards Administration Committee is made up of 24 members: 10 picked by “the Wing”, 10 by “the League”, and one each from the Dramatists Guild, the Actors’ Equity Association, United Scenic Artists, and the Society Directors and Choreographers.

This committee determines eligibility for nominations in all awards categories and reviews the rules governing the awards (which will be the subject of MITM’s next post). They also hold the authority to designate the non-competitive Tony Awards. These non-competitive awards are considered the Special Tony Awards. Currently there are three Special Tony Awards: the Regional Theatre Tony Award, the Isabelle Stevenson Award, and the Tony Honors for Excellence in the Theatre.

The Administration Committee:

 

Emanuel Azenberg                    Ted Chapin                    Michael David
Cecilia Friederichs                     Sue Frost                        Heather Hitchens
David Henry Hwang                  Natasha Katz                Paul Libin
William Ivey Long                      John Lyons                   Mary McColl
Kevin McCollum                         James Nederlander    Enid Nemy
Laura Penn                                  Michael Price                Judith O. Rubin
Charlotte St. Martin                 Peter Schneider           Thomas Schumacher
Ralph Sevush                              Philip Smith                 David Stone

2015-2016 TONY AWARDS® NOMINATING COMMITTEE

 

Douglas Aibel: Artistic Director, The Vineyard Theatre

Adrian Bailey: Actor

Victoria Bailey: Executive Director, Theatre Development Fund

Ira Bernstein: Former producer/general manager/stage manager/casting director

Hope Clarke: Choreographer

Veronica Claypool: Arts Management Consultant, Full Circle Management Group/former GM

Paul Cremo: Dramaturg/Director of Opera Commissioning Program, The Metropolitan Opera

Trip Cullman: Director

Harvey Evans: Actor

Sean Patrick Flahaven: Writer/composer/orchestrator/conductor/producer

Paul Gallo: Lighting designer

Kent Gash: Director/Founding Director, NYU Tisch School of the Arts’ New Studio on Broadway

Jenny Gersten: Former Executive Director, Friends of the High Line

Daniel Goldfarb: Playwright/bookwriter

Sam Gonzalez: Director of Operations, Pfizer Medical/Board of Trustees, Playwrights Horizons

Adam Gwon: Composer/lyricist

Roy Harris: Production stage manager

Jack Hofsiss: Theatre/film/television director

Julie Hughes: Former casting director

Lou Jacob: Director/Chair of the MFA Directing Program, New School for Drama

Tom Kitt: Composer

Corby Kummer: Senior Editor, The Atlantic Magazine

Fran Kumin: Consultant – performing arts organizations/foundations/university theatre programs

Dick Latessa: Actor

Kate Levin: Cultural Assets Management Principal, Bloomberg Associates

Reynold Levy: Former President of Lincoln Center for the Performing Arts

Sara Lukinson: Documentary film producer/television writer

Patricia Marx: American humorist and writer/former television writer

Marsha Mason: Actor/director

Jim McLaughlin: Former producer, CBS News/TV feature and documentary producer

Debra Monk: Actor

Roger Morgan: Lighting designer/theatre designer

Laurence O’Keefe: Composer/lyricist/bookwriter

Katherine Oliver: Media and Technology Principal, Bloomberg Associates

Christian Parker: Chair, Graduate Theatre Program, Columbia University

Paige Price: Actor/1st Vice President of AEA/Executive Artistic Director, Theatre Aspen

Ravi S. Rajan: Dean, School of the Arts, SUNY Purchase

Nigel Redden: General Director, Spoleto Festival USA/Director, Lincoln Center Festival

Susan H. Schulman: Director/President, Stage Directors and Choreographers

Scott Schwartz: Director

Linda Shelton: Executive Director, Joyce Theater Foundation

Warner Shook: Director

Arlene Shuler: President & CEO, New York City Center

Edward Strong: Producer

Wynn Thomas: Production designer

Jennifer von Mayrhauser: Costume designer

Robin Wagner: Scenic designer

Tom Watson: Retired television advertising executive

Preston Whiteway: Executive Director, The Eugene O’Neill Theater Center


For more information on the Broadway League: “About the Broadway League”
For more information on the Tony Awards Staff: “Administration”

Meet the Eligible Shows (Part 4)

The final category in our eligible shows round-up are the shows potentially up for Best Revival of a Musical. These shows have graced the Broadway stage in previous years, but have been given a new lease on life for the 2015-2016 season.

Able to be entered for Best Revival of a Musical

The Color Purple colorpurple240

Based on the Pulitzer Prize-winning novel by Alice Walker, The Color Purple was originally produced in 2005. Following the life of Celie as she struggles living as a black woman in the 1930’s South, the musical showcases the bonds of sisterhood, hope, and how having strength in the face of adversity is one of the most powerful weapons one can wield.

Where: Bernard B. Jacobs Theatre
Run: December 10 2015-

 

 

Dames at Sea dames-at-sea-logo

While the show originally debuted Off-Broadway in 1968, the 2016 production of Dames at Sea is the first to make it to Broadway. Set in the style of the large and flashy movie-musicals of the 1930’s, the plot parodies the genre as a “tap happy gem”, which centers on a play within a play: the titular Dames at Sea.

Where: Helen Hayes Theatre
Run: October 22 2015- January 3 2016

 

 

Fiddler on the Roof 13908_show_portrait_large

Originally produced in 1964 and following a movie-musical of great success, Fiddler on the Roof follows the little town of Anatevka in 1905 Imperial Russia. The protagonist, Tevye deals with marrying off his daughters on the eve of the Russian pogroms against the country’s Jewish population.

Where: Broadway Theatre
Run: December 20 2015-

 

 

She Loves Me she_loves_me_key_art_with_billing

Produced on Broadway in 1963, She Loves me goes in line with this season’s 1960’s revival trend. Inspired by Miklos Laszlo’s play Parfumerie, the show revolves around two shop employees in Budapest, who in spite of constantly butting heads, are unaware that each is the other’s secret pen pal who they’ve met through “lonely heart ads”.

Where: Studio 54
Run: March 17 2016-

 

 

Spring Awakening spring-awakening-large-643x441

Though the original Broadway production of Spring Awakening only opened in 2006, the 2016 revival has brought a Broadway first to the stage: a company full of deaf and hearing-impaired actors. Produced by California theatre company Deaf West, Spring Awakening takes the trials of 19th century German teens with the music of Duncan Sheik and translates it for a whole new audience.

Where: Brooks Atkinson Theatre
Run: September 27 2015- January 24 2016

 

 

MITM Musing: Are you familiar with any of the musical and play revivals this season? With so many already earning critical acclaim, what’s your personal favorite?

Meet the Eligible Shows (Part 3)

As is the case with Broadway plays, Best Musical and Best Revival of a Musical also earn their own categories. While some years are full of revivals that bring audiences back to a familiar show, this year the original musicals far outweigh the eligible revivals. Let’s jump in and meet the new shows that have stepped onto the Broadway stage!

Able to be entered for Best Musical:

Allegiance tour_img-370570-90

Inspired by George Takei’s childhood experience of living as a Japanese-American duing WWII America, Allegiance chronicles the Kimura family in their struggles following Pearl Harbor. Forced to leave their homes for internment camps along with 120,000 other families, stars Lea Salonga, George Takei, and Telly Leung fight “between duty and defiance, custom and change, family bonds and forbidden love.”

Where: Longacre Theatre
Run: November 8 2015- February 14 2016

 

Amazing Grace  14014-3

The story behind the “world’s most beloved” song written by John Newton, Amazing Grace follows the young English composer as he comes of age in a Britain that makes its fortune through slavery. The son of a slave trader, while at sea he finds himself in his darkest hour, and the moment leads to an “anthem of hope” that guides him home.

Where: Nederlander Theatre
Run: July 16 2015- October 25 2015

 

 

 

American Psycho ap_og

Direct from the West End and inspired by the film starring Christian Bale, American Psycho is set in the “excess of 1980s Manhattan”, and tells the story of Patrick Bateman, a young and handsome Wall Street banker who pursues his “darkest American dreams.” A rich businessman by day, Bateman takes part in some darker hobbies by night, and his mask of sanity has begun to slip in between the two.

Where: Gerald Schoenfeld Theatre
Run: April 21 2016-

 

Bright Star 14296-3

Inspired by a true event and set in the Blue Ridge Mountains of North Carolina, Bright Star finds its protagonist in Alice Murphy, a successful Southern literary editor. As she mentors aspiring writer Billy Cane, a young soldier just returned home from World War II, she begins to confront a haunted past that may completely alter her life once more.

Where: Cort Theatre
Run: March 24 2016-

 

 

 

Disaster! dvdfd

This homage to disco and 1970’s horror flicks takes place in 1979 Manhattan, at the opening of Barracuda, the world’s first floating casino and discotheque. Unaware of impending natural disasters, the cast of characters roll through their opening night in plots reminiscent of cult classics such as The Poseidon Adventure and Airport 1975.

Where: Nederlander Theatre
Run: March 8 2016-

 

 

Hamilton 13717-3

Set in Revolutionary era American, Hamilton chronicles the life of Alexander Hamilton, founding father “without a father” who would come to be the first Secretary of the Treasury. Written by Lin-Manuel Miranda, Hamilton is a hip-hop fusion that brings personal connections back to history and politics.

Where: Richard Rodgers Theatre
Run: August 6 2015-

 

 

On Your Feet! The Story of Emilio & Gloria Estefan onyourfeetposter

Based on the life story of superstar Gloria Estefan and her husband, producer Emilio Estefan, On Your Feet! features heavily the music of their career. The musical showcases the early struggles of the couple as they fought with record labels and executives alike to bring their Cuban-fusion genre to the American public, as well as their eventual success and legacy.

Where: Marquis Theatre
Run: November 5 2015-

 

 

School of Rock: The Musical 13693-3

Following in the footsteps of the 2003 film of the same name, School of Rock once again features the class of pseudo-teacher Dewey Finn and the formation of his class band to settle his personal old scores. Featuring new original music as well as music from the film, the show tells the story about the power of hidden talent, and that sometimes its okay to “stick it to the man.”

Where: Winter Garden Theatre
Run: December 6 2015-

 

 

Tuck Everlasting 14295-3

Adapted from Natalie Babbitt’s novel, Tuck Everlasting spins the tale of the Tuck family, who have unwittingly gained immortality through a mystic spring, and Winnie Foster, the young girl who falls accidentally into their secluded life. Romance, compassion, and loss frame a show that endeavors to ask what the true meaning of life becomes when you no longer have an end in sight.

Where: Broadhurst Theatre
Run: April 26 2016-

 

 

Waitress 14665-3

With a book by Jessie Nelson, and music & lyrics by Grammy-nominated Sara Bareilles, Waitress tells the story of Jenna Hunterson, a waitress in an unhappy marriage to her husband. When Jenna unexpectedly discovers she is pregnant and begins to fall for her gynecologist, she looks for an unusual way out: a pie contest with a grand prize that may change her life.

Where: Brooks Atkinson Theatre
Run: April 24 2016-

Meet the Eligible Shows (Part 2)

While new material keeps the Broadway season fresh, revivals that breathe new life into classics earn their own award category. Here are the eligible shows that made their return to Broadway in the 2015-2016 season.

Able to be entered for Best Revival of a Play:

Blackbird blackbird-broadway-logo-e1456797702195

Written by David Harrower and originally produced in Edinburgh in 2005. Blackbird depicts a “harrowing” look at the relationship of Una and Ray, who meet again 15 years after their illegal relationship when the former was just 12 years old.

Where: Belasco Theatre
Run: March 10 2016-

 

The Crucible 14095-3

Now considered a staple of American theatre, this incarnation of Arthur Miller’s play star Saoirse Ronan and Ben Wishaw. The Crucible centers on the Salem Witch trials and the implications of lost trust, superstition, and the need to humanize evil.

Where: Walter Kerr Theatre
Run: March 31 2016-

 

 

Fool for Love foolforlove

Sam Shepard’s “landmark myth of the new Wild West”, Fool for Love follows two former lovers  stuck in a motel on the edge of the Mojave Desert. They unpack their deepest secrets and struggle with the question of whether they can survive without each other.

Where: Samuel J. Friedman Theatre
Run: October 8 2015- December 13 2015

 

 

The Gin Game 13941-3

Written by D.L Coburn, this production of The Gin Game is the first to come back to a Broadway stage in almost 50 years. Starring James Earl Jones and Cicely Tyson as two retirement home residents, the show stages a battle of wits and passions for both characters, but only one can win the titular game.

Where: John Golden Theatre
Run: October 14 2015- January 10 2016

 

 

 

Hughie thrtrhr

Eugene O’Neill’s classic set on the Great White Way, this production of Hughie stars Forrest Whitaker in the title role. As a “small-time gambler and big-time drinker”, Hughie aspires to hid own American Dream in 1928 New York City.

Where: Booth Theatre
Run: February 25 2016- March 27 2016

 

 

 

Long Day’s Journey Into Night caoneeswyaavx3e

The second Eugene O’Neill play revived this season, Long Day’s Journey Into Night chronicles one family’s escapades over the course of a seemingly ordinary summer day. The production stars Jessica Lange and John Gallagher Jr. as members of the Tyrone family who battle to unearth a lifetime of secrets.

Where: American Airlines Theatre
Run: April 27 2016-

 

Noises Off noisesoff

Originally produced in 1982, this Michael Frayn comedy is a play-within-a-play. The show follows the dress rehearsal and performance of the fictional Nothing On, of which the real audience only gets to view the disastrous Act One as things both on and off stage continue to unravel.

Where: American Airlines Theatre
Run: January 14 2016- March 13 2016

 

 

Old Times oldtimes

Written by Harold Pinter and starring Clive Owen, Old Times tells the tale of the consequences of nostalgia. When an old friend visits couple Deeley and Kate, what “begins as a trip down memory lane” turns into a tension-filled battle for passion and power.

Where: American Airlines Theatre
Run: October 6 2015- November 29 2015

 

Sylvia sylvia

Matthew Broderick stars in this production of A.R. Gurney’s 1995 dramedy. Though played by a human actress, Sylvia is a dog who is adopted by couple Greg and Kate. The show depicts what happens when humans give in to the habit of projecting human motives and characteristics onto our non-human companions.

Where: Cort Theatre
Run: October 27 2015- January 3 2016

 

A View From The Bridge 13824-3

The second Arthur Miller work to spark a revival this season, A View From The Bridge follows Eddie Carbone, a Brooklyn laborer, played in this production by Mark Strong. Though he holds family and honor above all else, his possessive love of a niece he and his wife have raised as their own, drives him to actions that betray his family and his ideals.

Where: Lyceum Theatre
Run: November 12 2015- February 21 2016

 

All images and quotes courtesy of: http://www.tonyawards.com

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