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The Fairy Queen

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The Court Masquewas a unique and short-lived 17th century production craze. A slender plot was used as an excuse for song, dance, and spectacular stage effects. It was very nearly a Restoration version of Cirque de Soleil. The equally short-lived composer, Henry Purcell, was a master at creating the music for these productions and, arguably, his most famous is The Fairy Queen.

 

Based very loosely on Shakespeare’s A Midsummer Night’s Dream, the text for The Fairy Queen is the work of an anonymous writer who modernized Shakespeare’s “messy” play to please the taste of his audience. So, what better way for Long Beach Opera (LBO) to find a text that speaks more directly to a modern audience than to approach Latino performance group Culture Clash to write an adaptation?

 

This new Fairy Queen takes place in a contemporary Las Vegas nightclub. Shakespeare’s Mechanicals are cut, but, in their absence, the rest of the cast and plot become more overtly comic. Puck (Marc Molomot) runs Club FQ (don’t forget to stress the plosive in the “Q”), though this Puck seems to be more a combination of Shakespeare’s Bottom and Oberon.

LBO’s Oberon is known as Ron (Cedric Berry), who arrives to enjoy a birthday getaway with his lovely wife, Tanya (Kimberly E. Jones). Unfortunately, as soon as her back is turned, he meets a very friendly Dancer (Alexandra Martinez-Turano), and they are discovered in flagrante by a furious Tanya. Puck gets the brilliant idea to use a love potion on Tanya to solve their problems. Unfortunately, Tanya drinks the potion too fast and falls for Puck.

Several other guests at the club mistakenly drink the potion and fall for the wrong person. Gay newlyweds, Lysander (Ryan Belongie) and Herman (Darryl Taylor), find themselves unaccountably in love with the uptight straight couple, Demetrius (Scott Brunscheen) and Helena (Martinez-Turano in a second role). They, too, have imbibed the potion and find themselves easily pairing off with the other couple.

Even the club’s resident drunken poet, Shakes (Roberto Perlas Gomez), quaffs a cup and falls for Puck. In fact, only Puck and Ron manage to keep their sanity by not drinking. Hijinks ensue, but eventually the love potion effects are reversed, and the chastened couples return to their proper mates. Or, do they?

Culture Clash’s libretto goes for broad humor and double-entendres throughout. The gay couple is not only played by countertenors, but they’re screaming stereotypes. Though, in fairness, the straight couple who can’t commit, are just as stereotypical. More puzzling is the choice to safely put both couples completely under the spell of the potion. Shakespeare keeps the conflict alive by having only two affected, which ups the confusion factor, and the potential laughs.

LBO’s Artistic Director, Andreas Mitisek, directs the production with, if anything, even broader comic strokes, which sometimes feels at odds with the music. But he keeps the action moving, and the characters clearly defined, even if he does have them attempt conga lines to Baroque music. He also welcomes a drone, which acts as a genuine deus ex machina,, and gets more applause than Miss Saigon’s helicopter.

The attractive cast throws itself into the plot’s shenanigans with wonderful good humor, and the singing is strong. Jones is a lovely Tanya, who impresses vocally as well as in her speaking scenes. Berry manages a commanding sound and a certain gravitas whether mounted by a nymphet or tearing into an interpolated song from Purcell’s score for Shakespeare’s Tempest. Molomot bounces around the stage in pink hair, channeling Bud Abbott’s hysteria and, miraculously, singing with style.

Martinez-Turano proves an expert comedienne with a silvery and secure soprano as both the Dancer and Helena. She also rocks her spandex. Brunscheen’s sweetly plaintive tenor was born to sing Purcell’s music, and he ably communicates all the passion and confusion in Demetrius. Belongie’s Lysander also finds a gentle sadness beneath the shtick, while Taylor’s Herman is the undisputed life of the party. LBO veteran, Gomez, neatly creates a character from thin air and delights the audience. An ensemble of four singers nicely fill out the sound and play an array of characters, though special note must be made of Zacharias Niedwiecki, who proudly displays his barihunk credentials, whether berating the conductor in a tank top, or doing handstands in gold lame short shorts and a leather harness during the second act’s brief flirtation with S & M.

Martin Haselbock conducts from the keyboard with elegance, energy, and an enviable transparency.

Beverly O’Neill Theater    January 22 – 28, 2017    www.logbeachopera.org

 

 

Spotlight

50TH ANNUAL LOS ANGELES DRAMA CRITICS CIRCLE NOMINATIONS

50TH ANNUAL CELEBRATION

OF LOCAL THEATRE

BY LOS ANGELES DRAMA CRITICS CIRCLE

KICKS OFF WITH 2018 NOMINATIONS

 

February 15, 2019…Los Angeles…The Los Angeles Drama Critics Circle (LADCC), which presented its first awards for excellence in Los Angeles, Orange County, and Ventura County a half-century ago, has begun the gala celebration of its 50th anniversary by announcing its nominations for the year 2018 (Dec. 1, 2017 – Nov. 30, 2018).

The LADCC is further thrilled to announce that this historic occasion will take place on Monday, April 8, 2019 at one of the region's most historic and beautiful theatres, Pasadena Playhouse, at 39 S. El Molino Avenue in Pasadena.

Although Pasadena Playhouse is hosting the LADCC Awards for the very first time, onstage host Wenzel Jonesof IMRU, the LGBTQI Radio News Magazine on KPFK 90.7, has served in that capacity numerous times, most recently in 2018. Noted local composer-conductor Christopher Raymond will serve in the capacity of musical director for the second consecutive year. The entire production will be in the hands of stage manager Heatherlynn Gonzalez, veteran of more than a decade's worth of LADCC service.

Standard general admission tickets are $40 and can be purchased at https://2019criticsawards.brownpapertickets.com/ (a small service fee applies) or at the door if available. All purchased tickets will be held at Will Call. The event will begin at 6:30 p.m. with a pre-show reception in the courtyard. The show will commence at 7:30 p.m. Nominees will receive instructions via email regarding how to claim complimentary tickets. Inquiries to: criticsawards2019@gmail.com.

One or more plaques will be presented in each of 18 categories. Seven special awards will also be presented.

The LADCC special award recipients are as follows:

The Margaret Harford Award for sustained excellence in theatre will be awarded to Sacred Fools Theater Company.

The Polly Warfield Award for an excellent season in a small to mid-size theatre will be awarded to Echo Theater Company.

The Ted Schmitt Award for the world premiere of an outstanding new play goes to Lauren Yee for Cambodian Rock Band, originally produced by South Coast Repertory.

The Kinetic Lighting Award for distinguished achievement in theatrical design goes to sound designer Robert Oriol.

The Joel Hirschhorn Award for distinguished achievement in musical theatre goes to McCoy Rigby Entertainment

The Milton Katselas Award for distinguished achievement in direction goes to Cameron Watson.

The Gordon Davidson Award for distinguished contribution to the Los Angeles theatrical community will be presented to Native Voices at the Autry.

The nominees for the Los Angeles Drama Critics Circle Awards for theatrical excellence in 2018 are as follows:

Production

·       A Picture of Dorian Gray, A Noise Within.

·       Cambodian Rock Band, South Coast Repertory.

·       Come From Away, Center Theatre Group / Ahmanson Theatre.

·       Cry It Out, Echo Theater Company.

·       Sell/Buy/Date,Geffen Playhouse / Los Angeles LGBT Center.

·       The Flying Lovers of Vitebsk, Wallis Annenberg Center for the Performing Arts.

·       Vietgone, East West Players.

 

McCulloh Award for Revival (plays written between 1920 and 1993)

·       A Streetcar Named Desire, Boston Court Pasadena.

·       Cabaret,Celebration Theatre.

·       Cabaret,La Mirada Theatre for the Performing Arts.

·       Haiti,Will Geer’s Theatricum Botanicum.

·       Rosencrantz and Guildenstern Are Dead, A Noise Within.

·      The Hothouse, Antaeus Theatre Company.

·      The Little Foxes, Antaeus Theatre Company.

 

Lead Performance

·       MaameYaa Boafo in School Girls; Or, the African Mean Girls Play,

Center Theatre Group / Kirk Douglas Theatre.

·       Graham Hamilton in The Hothouse, Antaeus Theatre Company.

·       Tom Hanks in Henry IV, Shakespeare Center of Los Angeles.

·       Sylvia Kwan in Vietgone, East West Players.

·       Kasey Mahaffy in Rosencrantz and Guildenstern Are Dead, A Noise Within.

·       Saundra McClain in A Raisin in the Sun, A Noise Within.

·       Alex Nee in Cabaret, Celebration Theatre.

·       Joe Ngo in Cambodian Rock Band, South Coast Repertory.

·       Adam Peltier in Red Speedo, The Road Theatre Company.

·       Conrad Ricamora in Soft Power, Center Theatre Group / Ahmanson Theatre.

·       French Stewart in Finks, Rogue Machine Theatre.

·       Paul Yen in Vietgone, East West Players.

 

Featured Performance

·       JD Cullum in The Hothouse, Antaeus Theatre Company.

·       John Perrin Flynn in 100 Aprils, Rogue Machine Theatre.

·       Sarah Hollis in A Raisin in the Sun, A Noise Within.

·       Wesley Mann in Rosencrantz and Guildenstern Are Dead, A Noise Within.

·       Rob Nagle in The Little Foxes, Antaeus Theatre Company.

·       Felix Solis in Cost of Living, TheFountain Theatre.

·       Daisuke Tsuji in Cambodian Rock Band, South Coast Repertory.

 

Ensemble Performance

·      Come From Away, Center Theatre Group, Ahmanson Theatre.

·      Cult of Love, IAMA Theatre Company.

·      School Girls; Or, the African Mean Girls Play, Center Theatre Group,

Kirk Douglas Theatre.

·      The Little Foxes, Antaeus Theatre Company.

·      Vietgone,East West Players.

 

Solo Performance

·       Sarah Jones, Sell/Buy/Date, Geffen Playhouse / Los Angeles LGBT Center.

·      Jefferson Mays, A Christmas Carol, Geffen Playhouse.

 

Direction

·       Jennifer Chang, Vietgone, East West Players.

·       Nike Doukas, The Hothouse, Antaeus Theatre Company.

·       Geoff Elliott, Rosencrantz and Guildenstern Are Dead, A Noise Within.

·       Annie Tippe, Cult of Love, IAMA Theatre Company.

·       Chay Yew, Cambodian Rock Band, South Coast Repertory.

 

Writing

·       Inda Craig-Galvin, I Go Somewhere Else, Playwrights Arena.

·       Bernardo Cubría, The Giant Void in My Soul, Ammunition Theatre Company.

·       Branden Jacobs-Jenkins, Gloria, Echo Theater Company.

·       Sarah Jones, Sell/Buy/Date, Geffen Playhouse / Los Angeles LGBT Center.

·       Molly Smith Metzler, Cry It Out, Echo Theater Company.

 

Writing (Adaptation)

·       Sean Graney, The Pirates of Penzance, Pasadena Playhouse.

·       Patrick Marber, Three Days in the Country, Antaeus Theatre Company.

 

Musical Score

·       Sara Bareilles, Waitress, Hollywood Pantages Theatre.

·       Dengue Fever + others, Cambodian Rock Band, South Coast Repertory.

·       Benj Pasek and Justin Paul, Dear Evan Hansen, Center Theatre Group,

Ahmanson Theatre.

·       Irene Sankoff and David Hein, Come From Away, Center Theatre Group,

Ahmanson Theatre.

 

Music Direction

·       Ian Eisendrath, Come From Away, Center Theatre Group, Ahmanson Theatre.

·       Matthew MacNelly, Cambodian Rock Band, South Coast Repertory.

·       David O, Cabaret, La Mirada Theatre for the Performing Arts.

·       Anthony Zediker, Cabaret, Celebration Theatre.

 

Choreography

·       Janet Roston, Cabaret, Celebration Theatre.

·       Dana Solimondo, Cabaret, La Mirada Theatre for the Performing Arts.

·       Sergio Trujillo, Ain’t Too Proud, Center Theatre Group /Ahmanson Theatre.

·       Sergio Trujillo, On Your Feet, Hollywood Pantages Theatre.

 

Set Design

·       Tom Burch, The Pirates of Penzance, Pasadena Playhouse.

·       Stephen Gifford, Cabaret, Celebration Theatre.

·       John Iacovelli, The Little Foxes, Antaeus Theatre Company.

·       Stephanie Kerley Schwartz, A Raisin in the Sun, A Noise Within.

 

Lighting Design

·       Ken Booth, Henry V, A Noise Within.

·       Matthew Brian Denman, Cabaret, Celebration Theatre.

·       Andrew Schmedake, Native Son, Antaeus Theatre Company.

·       Steven Young, Cabaret, La Mirada Theatre for the Performing Arts.

 

Costume Design

·       Allison Dillard, Bliss, Or Emily Post Is Dead, Moving Arts.

·       Allison Dillard, Priscilla, Queen of the Desert, Celebration Theatre.

·      Terri A. Lewis, The Little Foxes, Antaeus Theatre Company.

·       David Kay Mickelsen, Cabaret, La Mirada Theatre for the Performing Arts.

 

Sound Design

·       Josh Bessom, Cabaret, La Mirada Theatre for the Performing Arts.

·       Mikhail Fiksel, Cambodian Rock Band, South Coast Repertory.

·       Jeff Gardner, Native Son, Antaeus Theatre Company.

·       Joshua D. Reid, A Christmas Carol, Geffen Playhouse.

 

CGI/Video

·       Lucy Mackinnon, A Christmas Carol, Geffen Playhouse.

·       Kaitlyn Pietras and Jason H. Thompson, Vietgone, East West Players.

·       Nicholas E. Santiago, Arrival & Departure, The Fountain Theatre.

 

Specialty

·       Klint Flowers for Wigs and Makeup, Rosencrantz & Guildenstern Are Dead,

A Noise Within.

·       Thomas Isao Morinaka and Aaron Aoki for Fight Choreography, Vietgone,

East West Players.

·       Dane Oliver for Fight Choreography, Haiti, Will Geer’s Theatricum Botanicum.

·       Jim Steinmeyer for Illusions, Stagecraft, and Magic Carpet, Aladdin,

Hollywood Pantages Theatre.

 

 

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 award 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 2018 membership consisted of:

Frances Baum Nicholson, Southern California News Group, Stage Struck Review

Paul Birchall, Stage Raw, Stage & Cinema

Katie Buenneke, LA Weekly, Stage Raw

Erin Conley, On Stage & Screen

Ellen Dostal, BroadwayWorld LA, Musicals in LA, The Three Tomatoes

Lovell Estell III, Stage Raw, Arts in LA

Shirle Gottlieb, Arts in LA, StageHappenings.com

Margaret Gray, Los Angeles Times

Hoyt Hilsman, Huffington Post

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

Harker Jones, Edge Media Network

Jenny Lower, Stage Raw

Dany Margolies, ArtsInLA.com, Southern California News Group

Myron Meisel, Stage Raw

Terry Morgan, Stage Raw, TalkinBroadway.com

Steven Leigh Morris, LA Stage Alliance

Melinda Schupmann, ShowMag.com, ArtsinLA.com

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

Don Shirley, LA Observed

Les Spindle, EDGE LA

Rob Stevens, haineshisway

Neal Weaver, Stage Raw, ArtsinLA.com

 

Citations by production:

 

Cambodian Rock Band (South Coast Repertory)…………………………………8

Vietgone (East West Players)………………………………………………………7

Cabaret (Celebration Theatre)……………………………………………………  6

Cabaret (La Mirada Theatre for the Performing Arts)…………………………  6

The Little Foxes (Antaeus Theatre Company)…………………………………….5

Rosencrantz and Guildenstern Are Dead (A Noise Within)……………………… 5

Come From Away (Center Theatre Group / Ahmanson Theatre)………………..4

The Hothouse (Antaeus Theatre Company)……………………………………….4

A Christmas Carol (Geffen Playhouse)……………………………………………. 3

A Raisin in the Sun (A Noise Within)………………………………………………3

Sell/Buy/Date (Geffen Playhouse / Los Angeles LGBT Center)………………… 3

Cry It Out (Echo Theater Company)……………………………………………….2

Cult of Love (IAMA Theatre Company)…………………………………………   2

Haiti (Will Geer’s Theatricum Botanicum)………………………………………  2

Native Son (Antaeus Theatre Company)………………………………………….. 2

The Pirates of Penzance (Pasadena Playhouse)…………………………………     2

School Girls; Or, The African Mean Girls Play (Center Theatre Group /

Kirk Douglas Theatre)………………………………………………………………2

100 Aprils (Rogue Machine Theatre)………………………………………………..1

Ain’t Too Proud (Center Theatre Group / Ahmanson Theatre) ………………….1

Aladdin (Hollywood Pantages Theatre)…………………………………………….1

Arrival and Departure (The Fountain Theatre)…………………………………     1

Bliss, Or Emily Post is Dead (Moving Arts) ………………………………………   1

Cost of Living (The Fountain Theatre) …………………………………………     1

Dear Evan Hansen (Center Theatre Group / Ahmanson Theatre) ……………….1

Finks (Rogue Machine Theatre)……………………………………………………  1

The Flying Lovers of Vitebsk (Wallis Annenberg Center for the Performing Arts) 1

The Giant Void in My Soul (Ammunition Theatre Company)……………………   1

Gloria (Echo Theater Company)……………………………………………………  1

I Go Somewhere Else (Playwrights Arena)……….………………………………….1

Henry IV (The Shakespeare Center of Los Angeles)………………………………. 1

Henry V (A Noise Within)…………………………………………………………… 1

On Your Feet (Hollywood Pantages Theatre)……………………………………….1

A Picture of Dorian Gray (A Noise Within)………………………………………… 1

Priscilla, Queen of the Desert (Celebration Theatre)………………………………..1

Red Speedo (The Road Theatre Company)……….…………………………………1

Soft Power (Center Theatre Group / Ahmanson Theatre)…………………………1

A Streetcar Named Desire (Boston Court Pasadena)………………………………. 1

Three Days in the Country (Antaeus Theatre Company)…………………………   1

Waitress (Hollywood Pantages Theatre)……………………………………………  1

 

 

Citations by company:

Antaeus Theatre Company…………………………………………………………….12

A Noise Within………………………………………………….………………………10

Center Theatre Group……………………………………….…………………………..9

South Coast Repertory…………………………………………………………………..8

East West Players………………………………………………………………..……… 7

Celebration Theatre………………………………………………………….…………  6

Geffen Playhouse………………………………………………………………….……   6

La Mirada Theatre for the Performing Arts…………………………………………   6

Echo Theater Company…………………………………………………………..……  4

Hollywood Pantages Theatre.....................................................................................        3

The Fountain Theatre………………………………………………………..…………  2

IAMA Theatre Company………………………………………………………………   2

Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center……… 2

Pasadena Playhouse…………………………………………………………………….…2

Rogue Machine Theatre……………………….……..…………………………………   2

Will Geer’s Theatricum Botanicum………………………………………………………2

Ammunition Theatre Company…………………………………………………………   1

Boston Court Pasadena…………………………………………………………………… 1

Moving Arts…………………………………………………………………………………1

Native Voices at the Autry…………………………………………………………………1

Playwright’s Arena…………………………………………………………………………1

The Road Theatre Company……………………………………………………………….1

Sacred Fools Theater Company……………………………………………………………1

The Shakespeare Center of Los Angeles..............................................................................1

Wallis Annenberg Center for the Performing Arts.............................................................1

 

 

 
Robby Awards 2018

The 33rd Annual Robby Awards for Excellence in Los Angeles Area Theatre were presented by long time theatre critic Rob Stevens at a laugh and song-filled evening at Sterling’s Upstairs at the Federal in North Hollywood on Monday, February 4. Linda Hart and Bruce Kimmel co-hosted the show which featured performances by nominated actors Eileen Barnett, Erica Hanrahan-Ball, Ashley Fox Linton, Cassandra Marie Murphy, Jeffrey Scott Parsons, Jenna Lea Rosen, Shaunte Tabb Massard and Robert Yacko from their shows. Former Robby Award winner Jane A. Johnston also delivered a dramatic rendition of “The Ladies Who Lunch”. Other previous Robby Award winners Belinda Balaski, Carole Cook, Richard Doyle, John Iacovelli, Michael Kearns and Tom Troupe also presented awards. Cook had the audience roaring with laughter at her take down of Stevens and her reactions to her husband Troupe’s comments.

 

Hollywood’s Celebration Theatre was the big winner of the night, taking home nine awards—five for PRISCILLA QUEEN OF THE DESERT and four for CABARET. CABARET tied for Best Musical of the year with Me + You Productions’s SPRING AWAKENING. Hollywood’s The Fountain Theatre’s production of THE CHOSEN won Best Drama as well as two other awards while Pasadena’s A Noise Within’s production of NOISES OFF was named Best Comedy. Twenty-two productions at sixteen different Los Angeles venues won awards.

 

MUSICALS

TERI RALSTON AWARD FOR PRODUCTION (TIE)

Cabaret, Celebration Theatre

Spring Awakening, Me + You Productions

VIRGINIA CAPERS AWARD FOR DIRECTOR (TIE)

Jessica Hanna, Priscilla Queen of the Desert, Celebration Theatre

Michael Matthews, Cabaret, Celebration Theatre

MICHAEL G. HAWKINS AWARD FOR ACTOR

Alex Nee, Cabaret, Celebration Theatre

MICHELLE NICASTRO AWARD FOR ACTRESS

Kelly Lester, Cabaret, McCoy Rigby Entertainment

GARY BEACH AWARD FOR SUPPORTING ACTOR

Jason Graae, Nice Work If You Can Get It, Musical Theatre West

LISA ROBINSON AWARD FOR SUPPORTING ACTRESS

Stephanie Fredricks, High Society, Musical Theatre Guild

DOM SALINARO AWARD FOR CHOREOGRAPHY

Peggy Hickey, Nice Work If You Can Get It, Musical Theatre West

ELAN MCMAHAN AWARD FOR MUSICAL DIRECTION

Jennifer Lin, Priscilla Queen of the Desert, Celebration Theatre

JOHN RAITT AWARD FOR MUSIC & LYRICS

Irene Sankoff and David Hein, Come From Away, Ahmanson Theatre

LIES AND LEGENDS AWARD FOR ENSEMBLE PERFORMANCE

Kevin Carolan, Harter Clingman, Nick Duckart, Chamblee Ferguson, Becky Gulsvig, Julie Johnson, Christine Toy Johnson, James Earl Jones II, Megan McGinnis, Andrew Samonsky, Danielle K. Thomas, Emily Walton, Come From Away, Ahmanson Theatre

BILLY BARNES AWARD FOR BEST CABARET PERFORMANCE

Jeffrey Scott Parsons, Comfy, Sterling's Upstairs at The Federal

 

DRAMA

NAN MARTIN AWARD FOR PRODUCTION

The Chosen, The Fountain Theatre

MARTIN BENSON AWARD FOR DIRECTOR

Emma Rice, The Flying Lovers of Vitebsk, The Wallis

RAY STRICKLYN AWARD FOR ACTOR

Dor Gvirtsman, The Chosen, The Fountain Theatre

SALLY KEMP AWARD FOR ACTRESS

Lesley Manville, Long Day's Journey Into Night, The Wallis

RICHARD DOYLE AWARD FOR SUPPORTING ACTOR

Alan Blumenfeld, The Chosen, The Fountain Theatre

BELINDA BALASKI AWARD FOR SUPPORTING ACTRESS

Anna Stromberg, Dr. Jekyll & Mr. Hyde, Blanket Fort Entertainment

MICHAEL DEVEREAUX AWARD FOR PLAYWRITING

Maureen Huskey, The Woman Who Went To Space As A Man, Son of Semele

 

COMEDY

CAROLE COOK AWARD FOR PRODUCTION

Noises Off, A Noise Within

RON LINK AWARD FOR DIRECTOR

Geoff Elliott, Rosenkrantz and Guildenstern Are Dead, A Noise Within

TOM TROUPE AWARD FOR ACTOR

Paul Rodriguez, Steambath, Odyssey Theatre Ensemble

LU LEONARD AWARD FOR ACTRESS

Nike Doukas, Three Days in the Country, Antaeus Theatre Company

ALBERT LORD AWARD FOR SUPPORTING ACTOR

Armin Shimerman, Three Days in the Country, Antaeus Theatre Company

DEE CROXTON AWARD FOR SUPPORTING ACTRESS

Lila Hood, Bad Jews, Odyssey Theatre Ensemble

 

TECHNICAL

JOHN IACOVELLI AWARD FOR SCENIC DESIGN (TIE)

Pete Hickok, Priscilla Queen of the Desert, Celebration Theatre

John Iacovelli, The Little Foxes, Antaeus Theatre Company

PROJECTION DESIGN AWARD

Aaron Rhyne, Love Actually Live, The Wallis

PAULIE JENKINS AWARD FOR LIGHTING DESIGN

Matthew Brian Denman, Cabaret, Celebration Theatre

GARLAND RIDDLE AWARD FOR COSTUME DESIGN

Allison Dillard, Priscilla Queen of the Desert, Celebration Theatre

STEVE "CANYON" KENNEDY AWARD FOR SOUND DESIGN

Martin Carillo, The Woman Who Went To Space As A Man, Son of Semele

 

SPECIAL AWARD FOR WIG DESIGN

Byron Batista, Priscilla Queen of the Desert, Celebration Theatre

SPECIAL AWARD FOR FIGHT CHOREOGRAPHY

Dane Oliver, Haiti, Theatricum Botanicum

SPECIAL AWARD FOR THE RETURN OF GOOD POLITICAL SATIRE

Joe Keenan, Everybody Rise! A Resistance Cabaret, Rockwell Table & Stage

 

 
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.