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King Lear

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The Bard is back, and his king is governing the Old Globe Theatre's Festival Stage as if he owns it. With this latest production of Shakespeare's ultimate tragedy, King Lear, the Globe's 75th summer festival season takes the boards by storm with superb performances by a dedicated cast with Robert Foxworth in the title role and Adrian Noble in the titular director's chair.

Every director needs to put a mark on this play. It begs for interpretations. Assuming most of the audience members have seen it before, a director wants to do something different, personal, and unique. Adrian Noble, in his first production opening since assuming the role of Artistic Director of the 2010 Shakespeare Festival, is no different in that way. Yet, he is unique in the ways he put his several marks on William Shakespeare's most important tragedy.

Not all Noble's marks are equal. One is innovative; another is somewhat silly and overblown; and one is simply icky. But this director's way of bringing the elegant Elizabethan language to American playgoer's ears makes up for that one sickening scene and more.

This is Shakespeare sans British accents and affectation, sporting crisp rhythm, staccato enunciation, and all-inclusive intelligibility. That involvement is as it should be, Noble would say. Speaking weeks ago at a special Old Globe promotion for his book, "How to do Shakespeare," Noble traced his fascination with the playwright's work to his 17-year-old self's intoxication with the language, the sound of the words. "You put on the language like a garment," he said. "It fills you from the outside in."

Although cloaked in Shakespearean language, the story of King Lear is not a Bard original. Both Geoffrey of Monmouth and the Celts spun earlier versions of the arrogant high and mighty monarch brought down to pauper's level by his egotism and his ungrateful child heirs. It could be a dark fairy tale whose moral is "What goes around, comes around." Evil abounds amid wars and nature's chaos, but neither evil nor chaos can continue unabated forever.

Shakespeare's plot concerns a king with three daughters, and the tale begins with Lear preparing to retire, dividing his kingdom among his progeny, according to their declarations of love for him. Goneril, the eldest (a regally malevolent Emily Swallow) and Regan , the second (played by Aubrey Saverino as the compliant middle child) , profess their adoration and are amply rewarded. When Cordelia "Although the last, not least," proclaims that she loves him according to her bond, her enraged father disowns her without dowry despite the pleas of his friends, the Earls of Kent (a zany and physical Joseph Marcell) and Gloucester. His favorite daughter, now penniless, is nevertheless claimed by the King of France, who takes her off to be his queen bride.

MFA student Catherine Gowl works the difficult role of Cordelia capably, but she is outshined by her elder sisters, who push her part to a lesser significance than it could be. Robert Foxworth is faultless as Lear, as he moves through the levels of the dying, from the disbelief of an arrogant man to the full-blown rage of a conquered ruler and, ultimately, to the acceptance of an integrated person.

Meanwhile, the wicked, now wealthy, daughters conspire to eliminate the old man from their lives and their kingdoms. Eventually, the deposed monarch will learn who his true friends are. He will learn that redemption is eternally elusive and that its pursuit extracts an extremely high price.

That resolution will take time and the course of nature, after the king and his fool wander from place to place, deprived of protection and sustenance, after the dark and stormy night that is Lear's soul, as well as his environment, brews to a crescendo. To disown your children is a crime against nature, and nature will retaliate.

A parallel plotline involves Gloucester and his two sons, Edgar, the good (mindfully played by Jay Whittaker, whose Poor Tom interpretation is spellbinding) and Edmund, the evil bastard (a deliciously evil Jonno Roberts). Veteran Globe actor, Charles Janasz, captures the complex Earl of Gloucester, perceptive throughout, and, at the end, pitiable without being pathetic. Gloucester, once the king's trusted advisor, is a father who believes the lies of his evil son and banishes the son who truly loves him. In that way, his role duplicates that of Lear, who allows his two wicked daughters to capture his fortune, yet exiles his one true-hearted descendent.

Like his former king, Gloucester, too, will suffer for his ignorance, even being blinded by Edmund and his cohorts, who include Lear's two nefarious daughters.

That particular scene is never easy to watch, but Noble has heightened the violence with an especially gory eye-plucking that culminates with Regan's husband, the Duke of Cornwall (an adept Michael Stewart Allen), holding an eye by its optic nerve before flinging it to the ground. The audible smack as it lands elicited an audience reaction that says it all. Ick. Note to director: Gruesome effects are not as cool on stage as in film.

Innovation, however, is always welcome. Herein lies the rubbing out of Lear's fool (played with spot on comic and tragic timing by Bruce Turk), whose disappearance in Act III has long been a subject of critical speculation. Is the fool symbolic of his master's alter ego, no longer needed when Lear begins to integrate his troubled psyche? Or, is the fool simply unnecessary after the appearance of Poor Tom, Edmund's naked persona, whose rants contain a fool's wisdom?

Usually, the director lets the fool simply slip away after he utters his last line, "And I'll go to bed at noon." In Noble's novel interpretation, Lear murders his fool, madly mistaking him for Regan, as he wonders aloud "...what breeds about her heart."

What breeds is a burgeoning English army, with Regan, Goneril and Edmund in the lead, ready to battle France, now united behind Lear and Cordelia. What is ill-conceived are the distracting Nazi-like uniforms, worn by the sisters, as well as by their armies. This costuming is overblown, reaching too far to make a point about the warring forces of good and evil.

The battle ensues, but the scene highlights the two sisters' rivalry for Edmund's affections. A manipulator to the end, Edmund refuses to commit to either, conniving instead to take one of them and his father's title, too.

The final scenes offer a typical Shakespearean turn-about. Edmund learns that his plots were foiled by his mistresses' murder-suicide. Edgar's reappearance gives him a change of heart, but Edmund's attempt at redemption comes too late.

So, too, does Lear's. His realization and the reunion with Cordelia offer him only a brief respite from the chaos wrought by his arrogance. Before he dies, he learns that all his daughters are dead, the youngest murdered in her cell. The final tableau reveals the now lowly king pitifully attempting to revive his child as he takes his last breath.

Yet, hope lives in Edgar, a symbol of the potential for good and humility to triumph, eventually, and at great cost, over evil and arrogance. Even so, what was done cannot be undone, as Edgar's last speech proclaims. The burden has been shifted, not purged. "...we that are young shall never see so much, nor live so long."

Long live "King Lear," a magnificent play, especially in this production, well-wrought and worthy of both its king and its director.

William Shakespeare's King Lear plays in repertory with The Taming of the Shrew and Alan Bennett's The Madness of George III through September 23. Most performances on the Old Globe Lowell Davies Festival outdoor stage are at 8 pm, Tues-Sun. Tickets are $29-$78. Reservations at (619) 23-GLOBE or www.TheOldGlobe.org

 

Spotlight

Hollywood Fringe Awarded 10K from National Endowment for the Arts

Hollywood, CA -- The Hollywood Fringe Festival is proud to announce that it has been awarded a National Endowment for the Arts Art Works grant of $10,000 to support the Fringe Scholarships program. This grant stems from more than $82 million approved by NEA Chairman Jane Chu to fund local arts projects and partnerships. The Art Works category supports the creation of work and presentation of both new and existing work, lifelong learning in the arts, and public engagement with the arts through 13 arts disciplines or fields.

“Hollywood Fringe began only seven years ago and has grown into a festival reaching tens of thousands of people,” says Festival Director Ben Hill. “This funding allows us to sustain that growth by supporting artists and programming that is diverse, inclusive, and relevant to the local community. We are truly honored to have been selected a recipient."

The Fringe Scholarships program strives to provide a platform for artists to exhibit the most diverse and cutting-edge points-of-view, by offering unique and underserved artists scholarships to participate in the 2016 Hollywood Fringe Festival. Scholarships will be awarded to artists whose festival participation will increase festival attendance and participation by local Hollywood residents, increase arts participation of ethnically diverse and/or low-income artists, and enrich audience experience through the presentation of unique, underrepresented themes and/or narratives.

“The arts are all around us, enhancing our lives in ways both subtle and obvious, expected and unexpected,” said NEA Chairman Jane Chu. “Supporting projects like the one from Hollywood Fringe Festival offers more opportunities to engage in the arts every day.”

ABOUT HOLLYWOOD FRINGE

The Hollywood Fringe Festival is an annual, open-access, community-derived event celebrating freedom of expression and collaboration in the performing arts community. Each June during the Hollywood Fringe, the arts infiltrates the Hollywood neighborhood: Fully equipped theaters, parks, clubs, churches, restaurants and other unexpected places host hundreds of productions by local, national, and international arts companies and independent performers. The 2016 festival runs June 9th - 26th and offers over 1,400 performances in over 30 venues.

Participation in the Hollywood Fringe is completely open and uncensored. This free-for-all approach underlines the festival’s mission to be a platform for artists without the barrier of a curative body. By opening the gates to anyone with a vision, the festival is able to exhibit the most diverse and cutting-edge points-of-view the world has to offer. Additionally, by creating an environment where artists must self-produce their work, the Fringe motivates its participants to cultivate a spirit of entrepreneurialism in the arts. 

Want more information? Contact us at press@hollywoodfringe.org or by visiting the website at www.HollywoodFringe.org/press.

 
Laguna Playhouse Announces Ellen Richard as its Interim Executive Director

May 3, 2016…Laguna Beach, Calif…Laguna Playhouse Board of Directors announced today that, later this month, Ellen Richard will be joining Laguna Playhouse as its Interim Executive Director. The Playhouse announced late last year that it was undertaking a national search guided by Arts Consulting Group (ACG) for an Executive Director to succeed Karen Wood who had held this position for the past eight years.

Commenting on the appointment Joe Hanauer and Paul Singarella, Co-Chairmens of the Board of Directors, said “In the midst of our search we encountered this wonderful opportunity to engage Ellen while we continue to seek appropriate long-term leadership. To have found someone with the extraordinary qualifications that Ellen has is thrilling. She is the recipient of six Tony Awards as producer at New York’s Roundabout Theatre Company where she was Managing Director. Ellen also has strong successes in supervising the construction of theatres in New York and also in San Francisco at the American Conservatory Theater, a rare and valuable skill set considering the contemplated major remodel and expansion of the Laguna Playhouse.” Laguna Playhouse Artistic Director Ann E. Wareham adds, “We are pleased and proud to have Ellen Richard, truly a rock-star in our field, join us as our interim Executive Director who will help guide the Playhouse during this transition.” Comments Ellen Richard, “I have quickly grown fond of Laguna Beach and the Playhouse. I embrace this extraordinary opportunity to join one of the country’s top regional theatres at this time in its remarkable 95-year history. I look forward to helping the Playhouse and working with their incredible Board of Trustees and Ann E. Wareham.”

ABOUT ELLEN RICHARD

Ellen Richard served as Executive Director of the American Conservatory Theater in San Francisco from 2010 through 2015.  During her tenure, Ms. Richard negotiated a deal to buy the Strand Theater in tech corridor of Mid-Market San Francisco, helped raise the $34,000 million to renovate and operate it and steered the design and construction for the project which opened in May of 2015. The complex featured two performance spaces and has won multiple awards.  She opened the 50 seat Costume Shop Theater, a 49-seat “black box” venue used for the company’s Master of Fine Arts students and for shows by other local companies.  Ms. Richard was also credited with expanding the company’s educational efforts, coming up with programs like the San Francisco Semester, which brings undergraduate acting students to ACT from around the world, and Stage Coach, a community theater mobile unit that reaches into diverse neighborhoods

She was also Executive Director of The Second Stage Theatre in New York City. During her tenure at Second Stage, which began in 2006 (through 2009), she was responsible for the purchase contract of the Helen Hayes Theatre, growth in subscription income of 48 percent, and growth in individual giving of 75 percent, as well as conceptualization of a highly successful gala format and “Second Generation,” a giving program through which donors enable deserving New York City youth to experience live theater. Under Ms. Richard’s leadership, Second Stage provided the initial home for the Broadway productions Everyday Rapture, Next to Normal, and The Little Dog Laughed.

From 1983 to 2005, Ms. Richard enjoyed a rich and varied career with Roundabout Theatre Company. The Roundabout that Ms. Richard joined was a small nonprofit theater company in bankruptcy. By the time she departed as Managing Director, Roundabout had become one of the country’s largest and most successful theater companies of its kind, with net assets in excess of $67 million dollars. Ms. Richard is the recipient of six Tony Awards as producer, for Roundabout productions of Cabaret (1998), A View from the Bridge (1998), Side Man (1999), Nine (2003), Assassins (2004), and Glengarry Glen Ross (2005). As producer of more than 125 shows at Roundabout, she had direct supervision of all management and marketing functions. She created Roundabout’s “Theatre-PLUS” programs, which include singles, teachers, family, gay and lesbian, wine tasting, and the 7 p.m. “Early Curtain” series, all of which grew to represent more than 10 percent of Roundabout’s 40,000 subscribers.

As director of design and construction at Roundabout, Ms. Richard was responsible for more than $50 million of theater construction for 11 projects. She conceptualized the three permanent Roundabout stages — The Broadway venues of Studio 54 and the American Airlines Theatre, and the Off-Broadway venue The Harold and Miriam Steinberg Center for Theatre She directed the location search for Cabaret and oversaw the creation of the production’s environmental Kit Kat Klub. Prior to her tenure at Roundabout, Ms. Richard served as business manager of Westport Country Playhouse, theater manager for Stamford Center for the Arts, and business manager for Atlas Scenic Studio. She began her career working as a stagehand, sound designer, and scenic artist assistant.

 
Los Angeles Drama Critics Announce Nominations for 2015

The Los Angeles Drama Critics Circle (LADCC) has announced its nominations and special awards for excellence in Los Angeles and Orange County theatre for the year 2015 (Dec. 1, 2014 – Nov. 30, 2015). The 47th annual LADCC awards ceremony will take place on Monday, March 14, 2016 at The Ann & Jerry Moss Theater at New Roads School, in the Capshaw-Spielberg Center for Arts and Educational Justice at the Herb Alpert Educational Village, 3131 Olympic Blvd., Santa Monica, CA. (There is some onsite parking and ample street parking.) All event tickets are $40, and can be purchased at www.brownpapertickets.com (small service fee applies) or at the door if available. (Purchased tickets will be held at Will Call.) Doors will open at 6:30 p.m. for our Silent Auction, hors d’oeuvres, and cash bar. The show will commence at 7:30 p.m. Further information will be found at www.ladramacriticscircle.com. Inquiries to: 2016criticsawards@gmail.com.

 

The awards will be hosted by Jake Broder, accomplished actor, writer, musician, and composer whose original music for Miravel, a play he also wrote and starred in at Sacred Fools Theater, has been nominated as one of the year’s outstanding scores. Broder co-wrote the acclaimed musical bio Louis & Keely Live at the Sahara, and originated the role of “Louis Prima.” Musical director Corey Hirsch, recipient of a 2014 LADCC award for A Man of No Importance and one of the busiest musical directors on the local scene, will appear for the third consecutive year.

The evening’s theme will be “OUR THEATER IS UNIQUE.” We will be mindful of the ways in which the theatrical art in general, and local theater in particular, are like no other art forms.

One or more plaques will be presented in each of 18 categories. Two of those achievements have already been voted plaques. For Writing (Adaptation), Luis Alfaro will be honored for Mojada: A Medea in Los Angeles, produced at The Getty Villa by J. Paul Getty Museum and The Theatre @ Boston Court. The McCulloh Award for Revival—for a production of a play originally written between 1920 and 1980—will be presented to Anna Christie, produced by Odyssey Theatre Ensemble at the Odyssey Theatre. In addition, six special awards will also be presented through the sponsorship of organizations to which the LADCC is most grateful.

The LADCC special award recipients are as follows:

The Margaret Harford Award for sustained excellence in theatre goes to Deaf West Theater Company. The award is accompanied by an honorarium, sponsor to be announced, and will be presented by Circle member Sharon Perlmutter.

The Ted Schmitt Award for the world premiere of an outstanding new play goes to Qui Nguyen for Vietgone, originally produced by South Coast Repertory. The award is accompanied by an offer to publish by Samuel French, Inc., and will be presented by Circle member and event producer Bob Verini.

The Polly Warfield Award for an excellent season in a small to mid-size theatre goes to International City Theatre. The award is accompanied by an honorarium funded by the Nederlander Organization, and will be presented by Circle member Shirle Gottlieb.

The Kinetic Lighting Award for outstanding achievement in theatrical design goes to projections designer Jason H. Thompson. The award is accompanied by an honorarium funded by Kinetic Lighting, and will be presented by Circle President Margaret Gray.

The Joel Hirschhorn Award for outstanding achievement in musical theatre goes to director-choreographer Janet Miller. The award is accompanied by an honorarium, sponsor to be announced, and will be presented by Circle member David C. Nichols.

The Milton Katselas Award for career or special achievement in direction goes to Michael Matthews. The award is accompanied by an honorarium funded by the Beverly Hills Playhouse, and will be presented by Circle Vice President Jonas Schwartz-Owen.

 

The nominees for the Los Angeles Drama Critics Circle Awards for theatrical excellence in 2015 are as follows:

Production

·       André & Dorine, Kulunka Teatro at Los Angeles Theatre Center.

·       Bootycandy, Celebration Theatre at The Lex.

·       Enron, The Production Company at The Lex.

·       Fences, International City Theatre.

·       Hit the Wall, The Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center and Sixth Avenue at The Los Angeles       LGBT Center.

·       Luna Gale, Goodman Theatre’s World Premiere Production, Center Theatre Group at Kirk Douglas Theatre.

·       Mojada: A Medea in Los Angeles, J. Paul Getty Museum and The Theatre @ Boston Court at Barbara and Lawrence Fleischman Theater at the Getty Villa.

·       The Gospel at Colonus, Ebony Repertory Theatre at Nate Holden Performing Arts Center.

 

McCulloh Award for Revival (plays written between 1920 and 1980)

·       Anna Christie, Odyssey Theatre Ensemble at Odyssey Theatre.

Lead Performance

·       Angela Bullock in Watching O.J., Ensemble Studio Theatre/LA at Atwater Village Theatre Complex.

·       Jason Dechert in Picnic, Antaeus Theatre Company.

·       Mary Beth Fisher in Luna Gale, Goodman Theatre’s World Premiere Production, Center Theatre Group at Kirk Douglas Theatre.

·       Matthew Hancock in Hit the Wall, The Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center and Sixth Avenue at The Los Angeles LGBT Center.

·       Ted Heyck in God’s Man in Texas, A Guest Production at The Blank Theatre’s 2nd Stage.

·       Lily Knight in A Small Fire, The Echo Theater Company @ Atwater Village Theatre.

·       Troy Kotsur in American Buffalo, Cal State L.A. Department of Music, Theatre and Dance and Deaf West Theatre at State Playhouse.

·       Emily Lopez in Carrie the Musical, Bruce Robert Harris and Jack W. Batman, The Transfer Group, Michael T. Cohen/Robin Reinach, Kraige Block and Joe Everett Michaels, in association with La Mirada Theatre for the Performing Arts at La Mirada Theatre for the Performing Arts and The Los Angeles Theatre.

·       Zoe Perry in Anna Christie, Odyssey Theatre Ensemble at Odyssey Theatre.

·       Tiffany Royale in The Best of Enemies, The Colony Theatre.

·       Michael A. Shepperd in Fences, International City Theatre.

·       Jimmi Simpson in Trevor, Circle X Theatre Co. at Atwater Village Theatre.

·       Jeff Skowron in Into the Woods, Oregon Shakespeare Festival at Wallis Annenberg Center for the Performing Arts.

·       Sabina Zuniga Varela in Mojada: A Medea in Los Angeles, J. Paul Getty Museum and The Theatre @ Boston Court at Barbara and Lawrence Fleischman Theater at the Getty Villa.

Featured Performance

·       Richard Fancy in Awake and Sing!, Odyssey Theatre Ensemble at Odyssey Theatre.

·       Charlotte Gulezian in Hit the Wall, The Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center and Sixth Avenue at The Los Angeles LGBT Center.

·       Charlie Hofheimer in Bent, Center Theatre Group at Mark Taper Forum.

·       Tracie Lockwood in A Permanent Image, Rogue Machine Theatre at Theatre/Theater.

·       Elyse Mirto in Figaro, A Noise Within.

·       Martin Rayner in Oedipus Machina, Odyssey Theatre Ensemble and KOAN at Odyssey Theatre.

·       Bryce Ryness in Matilda the Musical, Royal Shakespeare Company and the Dodgers, Center Theatre Group at Ahmanson Theatre.

·       Michael A. Shepperd in Bootycandy, Celebration Theatre at The Lex.

Ensemble Performance

·       André & Dorine, Kulunka Teatro at Los Angeles Theatre Center.

·       Bootycandy, Celebration Theatre at The Lex.

·       Hit the Wall, The Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center and Sixth Avenue at The Los Angeles LGBT Center.

·       Luna Gale, Goodman Theatre’s World Premiere Production, Center Theatre Group at Kirk Douglas Theatre.

·       Mojada: A Medea in Los Angeles, J. Paul Getty Museum and The Theatre @ Boston Court at Barbara and Lawrence Fleischman Theater at the Getty Villa.

Solo Performance

 

·       Orson Bean in Safe at Home: An Evening With Orson Bean, Pacific Resident Theatre.

·       Monica Piper in Not That Jewish, Jewish Women’s Theatre at The Braid.

·       John Douglas Thompson in Satchmo at the Waldorf, The Long Wharf Theatre and Shakespeare & Company Production at Wallis Annenberg Center for the Performing Arts.

 

Direction

·       Jessica Kubzansky, Mojada: A Medea in Los Angeles, J. Paul Getty Museum and The Theatre @ Boston Court at Barbara and Lawrence Fleischman Theater at the Getty Villa.

·       Jaime Robledo, Astro Boy and the God of Comics, Sacred Fools Theatre Company at Sacred Fools Theatre.

·       Kim Rubinstein, Anna Christie, Odyssey Theatre Ensemble at Odyssey Theatre.

·       Ken Sawyer, Hit the Wall, The Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center and Sixth Avenue at The Los Angeles LGBT Center.

·       August Viverito, Enron, The Production Company at The Lex.

Writing

·       Rebecca Gilman, Luna Gale, Goodman Theatre’s World Premiere Production, Center Theatre Group at Kirk Douglas Theatre.

·       Nick Jones, Trevor, Circle X Theatre Co. at Atwater Village Theatre.

·       Robert O’Hara, Bootycandy, Celebration Theatre at The Lex.

·       Lucy Prebble, Enron, The Production Company at The Lex.

·       Micah Schraft, A Dog’s House, IAMA Theatre Company at Elephant Theatre.

Writing (Adaptation)

·       Luis Alfaro, Mojada: A Medea in Los Angeles, J. Paul Getty Museum and The Theatre @ Boston Court at Barbara and Lawrence Fleischman Theater at the Getty Villa.

Musical Score

·       Stu Barker, Tristan & Yseult, Kneehigh at South Coast Repertory.

·       Jake Broder, Miravel, Sacred Fools Theater Company at Sacred Fools Theater.

·       Tim Minchin, Matilda the Musical, Royal Shakespeare Company and the Dodgers, Center Theatre Group at Ahmanson Theatre.

·       Anna Waronker and Charlotte Coffey, Hit the Wall, The Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center and Sixth Avenue at The Los Angeles LGBT Center.

 

Music Direction

·       Stu Barker, Tristan & Yseult, Kneehigh at South Coast Repertory.

·       Brian P. Kennedy, Carrie the Musical, Bruce Robert Harris and Jack W. Batman, The Transfer Group, Michael T. Cohen/Robin Reinach, Kraige Block and Joe Everett Michaels, in association with La Mirada Theatre for the Performing Arts at La Mirada Theatre for the Performing Arts and The Los Angeles Theatre.

·       Abdul Hamid Royal, The Gospel at Colonus, Ebony Repertory Theatre at Nate Holden Performing Arts Center.

·       Julie Wolf, Girlfriend, The Actors Theatre of Louisville Production, Center Theatre Group at Kirk Douglas Theatre.

 

Choreography

·       Christopher Gattelli, Newsies, Disney Theatrical Productions under the direction of Thomas Schumacher at Hollywood Pantages Theatre.

·       Josh Rhodes, Rodgers + Hammerstein’s Cinderella, Robyn Goodman, Jill Furman, Stephen Koos, Edward Walson, Venetian Glass Productions, The Araca Group, Carola Productions, Roy Furman, Peter May/Sanford Robertson, James Spry, Eric Schmidt, and Blanket Fort Productions, Center Theatre Group at Ahmanson Theatre.

·       Dana Solimando, Billy Elliot, La Mirada Theatre for the Performing Arts & McCoy Rigby Entertainment at La Mirada Theatre for the Performing Arts.

·       Angela Todaro, American Idiot, DOMA Theatre Company at The MET Theatre.

 

Set Design

·       Tom Buderwitz, The Whipping Man, South Coast Repertory and The Pasadena Playhouse.

·       Mimi Lien, Appropriate, Center Theatre Group at Mark Taper Forum.

·       Don Llewellyn, Fences, International City Theatre.

·       Bill Mitchell, Tristan & Yseult, Kneehigh at South Coast Repertory.

Lighting Design

·       Martin Labrecque, Kurios—Cabinet of Curiosities, Cirque du Soleil at Dodger Stadium.

·       Tom Ontiveros, My Barking Dog, The Theatre @ Boston Court.

·       Matt Richter, Hit the Wall, The Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center and Sixth Avenue at The Los Angeles LGBT Center.

·       Malcolm Rippeth, Tristan & Yseult, Kneehigh at South Coast Repertory.

Costume Design

·       Angela Balogh Calin, Figaro, A Noise Within.

·       Jessica Ford, These Paper Bullets!, Geffen Playhouse in association with Atlantic Theater Company presents the Yale Repertory Theatre Production at Geffen Playhouse.

·       Philippe Guillotel, Kurios—Cabinet of Curiosities, Cirque du Soleil at Dodger Stadium.

·       Wade Laboissonniere, Waterfall, The Pasadena Playhouse in association with The 5th Avenue Theatre at The Pasadena Playhouse.

·       William Ivey Long, Rodgers + Hammerstein’s Cinderella, Robyn Goodman, Jill Furman, Stephen Koos, Edward Walson, Venetian Glass Productions, The Araca Group, Carola Productions, Roy Furman, Peter May/Sanford Robertson, James Spry, Eric Schmidt, and Blanket Fort Productions, Center Theatre Group at Ahmanson Theatre.

Sound Design

·       Gregory Clarke, Tristan & Yseult, Kneehigh at South Coast Repertory.

·       Bruno Louchouarn, Mojada: A Medea in Los Angeles, J. Paul Getty Museum and The Theatre @ Boston Court at Barbara and Lawrence Fleischman Theater at the Getty Villa.

·       Jaime Robledo, Astro Boy and the God of Comics, Sacred Fools Theatre Company at Sacred Fools Theatre.

·       John Zalewski, My Barking Dog, The Theatre @ Boston Court.

 

CGI/Video

·       Anthony Backman and Jim Pierce, Astro Boy and the God of Comics, Sacred Fools Theatre Company at Sacred Fools Theatre.

·       Nicholas Santiago, A Permanent Image, Rogue Machine Theatre at Theatre/Theater.

 

Specialty

·       Gieselle Blair, Figaro, A Noise Within. (Hair, wigs, and makeup)

·       Garbiñe Insausti, André & Dorine, Kulunka Teatro at The Los Angeles Theatre Center. (Masks)

·       Aviva Pressman, Astro Boy and the God of Comics, Sacred Fools Theatre Company at Sacred Fools Theatre. (Live art direction)

·       Jim Steinmeyer, Carrie the Musical, Bruce Robert Harris and Jack W. Batman, The Transfer Group, Michael T. Cohen/Robin Reinach, Kraige Block and Joe Everett Michaels, in association with La Mirada Theatre for the Performing Arts at La Mirada Theatre for the Performing Arts and The Los Angeles Theatre. (Illusion design)

 

 

Every effort has been made to ascertain proper credits for our nominees. We regret any errors or omissions. Any that come to our attention will be corrected on our LADCC website, in the event program, and (when applicable) on a recipient’s awards plaque.

 

The Los Angeles Drama Critics Circle was founded in 1969.  It is dedicated to excellence in theatrical criticism, and to the encouragement and improvement of theatre in Greater Los Angeles. The 2015 membership consisted of:

Pauline Adamek, ArtsBeatLA.com, Stage Raw

Paul Birchall, Stage Raw, Stage and Cinema

Shirle Gottlieb, Gazette Newspapers, StageHappenings.com

Margaret Gray, Los Angeles Times

Hoyt Hilsman, The Huffington Post

Deborah Klugman, LA Weekly, ArtsBeatLA.com, Stage Raw

Jenny Lower, Stage Raw, LA Weekly

Jon Magaril, CurtainUp.com

Dany Margolies, ArtsInLA.com, LANG (Los Angeles News Group)

Myron Meisel, Stage Raw

Terry Morgan, TalkinBroadway.com

Steven Leigh Morris, LA Weekly, Stage Raw

David C. Nichols, Los Angeles Times

Sharon Perlmutter, TalkinBroadway.com

Melinda Schupmann, ShowMag.com, ArtsinLA.com

Jonas Schwartz-Owen, Theatermania.com, ArtsinLA.com

Madeleine Shaner, Park La Brea News & Beverly Press

Don Shirley, LA Observed

Les Spindle, Frontiers, EDGE LA

Bob Verini, Variety, ArtsinLA.com, Stage Raw

Neal Weaver, Stage Raw, ArtsinLA.com

 

Citations by production:

Hit the Wall (Los Angeles LGBT Center) 7

Mojada: A Medea in Los Angeles (Getty Villa) 6

Tristan & Yseult (South Coast Repertory) 5

Astro Boy and the God of Comics (Sacred Fools) 4

Bootycandy (Celebration Theatre) 4

Luna Gale (Kirk Douglas Theatre) 4

André & Dorine (Los Angeles Theatre Center) 3

Anna Christie (Odyssey Theatre) 3

Carrie the Musical (La Mirada Center for the Performing Arts and Los Angeles Theatre) 3

Enron (The MET Theatre) 3

Fences (International City Theatre) 3

Figaro (A Noise Within) 3

A Permanent Image (Rogue Machine) 2

Kurios—Cabinet of Curiosities (Dodger Stadium) 2

Matilda the Musical (Ahmanson Theatre) 2

My Barking Dog (The Theatre @ Boston Court) 2

Rodgers + Hammerstein’s Cinderella (Ahmanson Theatre) 2

The Gospel at Colonus (Nate Holden Performing Arts Center) 2

Trevor (Atwater Village Theatre) 2

A Dog’s House (Elephant Theatre) 1

American Buffalo (Cal State L.A.) 1

American Idiot (MET Theatre) 1

A Small Fire (Echo Theatre) 1

Appropriate (Mark Taper Forum) 1

Awake and Sing! (Odyssey Theatre) 1

Bent (Mark Taper Forum) 1

Billy Elliot (La Mirada Center for the Performing Arts) 1

Girlfriend (Kirk Douglas Theatre) 1

God’s Man in Texas (Blank Theatre) 1

Into the Woods (Wallis Annenberg Center) 1

Miravel (Sacred Fools Theatre) 1

Newsies (Hollywood Pantages) 1

Not That Jewish (The Braid) 1

Oedipus Machina (Odyssey Theatre) 1

Picnic (Antaeus) 1

Safe at Home: An Evening With Orson Bean (Pacific Resident Theatre) 1

Satchmo at the Waldorf (Wallis Annenberg Center) 1

The Best Of Enemies (Colony Theatre) 1

These Paper Bullets! (Geffen Playhouse) 1

The Whipping Man (South Coast Repertory/Pasadena Playhouse) 1

Vietgone (South Coast Repertory) 1—The Ted Schmitt Award

Watching O.J. (Atwater Village Theatre) 1

Waterfall (Pasadena Playhouse) 1