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LADCC Award Recipients

On March 16, 2015, the Los Angeles Drama Critics Circle announced its winners and special awards for excellence in Los Angeles, Orange, and Ventura County theater in the year 2014. Announcements were made at a ceremony held at the Beyond the Stars Palace in Glendale, hosted by Dixie Longate (Dixie’s Tupperware Party) with musical direction by Corey B. Hirsch (LADCC award winner for A Man of No Importance in 2014).

 

Click here for complete list of nominees

 

The award recipients for the 2015 Los Angeles Drama Critics Circle Awards were as follows:

 

Production

Firemen, The Echo Theater

Stupid Fucking Bird, The Theatre @ Boston Court and Circle X Theatre Company at The Theatre @ Boston Court

 

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

A Delicate Balance, Odyssey Theatre Ensemble at Odyssey Theatre

 

Direction

Guillermo Cienfuegos, Henry V, Pacific Resident Theatre

Chris Fields, Firemen, The Echo Theater

Michael Michetti, Stupid Fucking Bird, The Theatre @ Boston Court and Circle X Theatre Company at The Theatre @ Boston Court

 

Writing

Aaron Posner, Stupid Fucking Bird, The Theatre @ Boston Court and Circle X Theatre Company at The Theatre @ Boston Court

Marja-Lewis Ryan, One in the Chamber, 6140 Productions in association with Theatre Planners, Racquel Lehrman, Victoria Watson, Lynne Peck, Joe Cirincione, Ed Ryan and Robin Greenspun at The Lounge Theatre.

Tommy Smith, Firemen, The Echo Theater

Music Direction

David O, Floyd Collins, La Mirada Theatre for the Performing Arts

 

Choreography

Spencer Liff, Spring Awakening, Deaf West Theatre in association with The Forest of Arden, Cody Lassen, Jarrod Musano at Inner City Arts

 

Musical Score

Matt Almos, Brendan Milburn & Burglars of Hamm (original songs), The Behavior of Broadus, Sacred Fools Theater Company and Burglars of Hamm in association with Center Theatre Group at Sacred Fools Theater

Barry Manilow (music) and Bruce Sussman (lyrics), Harmony, Center Theatre Group and Alliance Theatre, Atlanta, GA, Ahmanson Theatre

 

Lead Performance

Ian Bamberg in Firemen, The Echo Theater

Patrick Stafford in Cock, Rogue Machine Theatre at Theatre/Theater

Heidi Sulzman in One in the Chamber, 6140 Productions in association with Theatre Planners, Racquel Lehrman, Victoria Watson, Lynne Peck, Joe Cirincione, Ed Ryan and Robin Greenspun at The Lounge Theatre

Cicely Tyson in The Trip to Bountiful, Center Theatre Group in association with ArtsEmerson at Ahmanson Theatre

Featured Performance

Rebecca Gray in Firemen, The Echo Theater

Tyler Pierce in Everything You Touch, The Theatre @ Boston Court and Rattlestick Playwrights Theater at The Theatre @ Boston Court

Joel Polis in My Name Is Asher Lev, The Fountain Theatre

 

Ensemble Performance

Cock, Rogue Machine Theatre at Theatre/Theater

Stupid Fucking Bird, The Theatre @ Boston Court and Circle X Theatre Company at The Theatre @ Boston Court

 

Set Design

Jeff Cowie, The Trip to Bountiful, Center Theatre Group in association with ArtsEmerson at Ahmanson Theatre

 

Lighting Design

Jeremy Pivnick, Everything You Touch, The Theatre @ Boston Court and Rattlestick Playwrights Theater at The Theatre @ Boston Court

 

Costume Design

Jenny Foldenauer, Everything You Touch, The Theatre @ Boston Court and Rattlestick Playwrights Theater at The Theatre @ Boston Court

 

Sound Design

Doug Newell, Foxfinder, Furious Theatre Company in association with Artists Repertory Theatre of Portland, Oregon at Pasadena Playhouse Carrie Hamilton Theatre

 

Solo Performance

Annette Bening in Ruth Draper’s Monologues, Geffen Playhouse

Michael Urie in Buyer & Cellar, Center Theatre Group at Mark Taper Forum

 

CGI/Video

Jon Driscoll and Gemma Carrington, Noel Coward’s Brief Encounter, Kneehigh, Wallis Annenberg Center for the Performing Arts

 

Properties Design

John Burton, Everything You Touch, The Theatre @ Boston Court and Rattlestick Playwrights Theater at The Theatre @ Boston Court

 

Special Effects

Tony Doublin and Gabe Bartalos, Taste, Sacred Fools Theater Company, The Schramm Group LLC and Red Hen Productions at Sacred Fools Theater

 

Illusions/Magic Design

Teller, Johnny Thompson, Thom Rubino and Christopher Rose, The Tempest, South Coast Repertory

 

Special Awards

The Ted Schmitt Award for the world premiere of an outstanding new play was presented to Sheila Callaghan for Everything You Touch. The award was accompanied by an offer to publish from Samuel French, Inc.

 

The Polly Warfield Award for an excellent season in a small to mid-size theater was presented to the Theatre @ Boston Court. The award was accompanied by an honorarium funded by the Nederlander Organization.

 

The Kinetic Lighting Award for outstanding achievement in theatrical design was presented to Cricket S. Myers. The award was accompanied by an honorarium funded by Kinetic Lighting, Inc.

 

The Margaret Harford Award for sustained excellence in theater was presented to Independent Shakespeare Company. The award was accompanied by an honorarium funded by an anonymous donor.

 

The Joel Hirschhorn Award for outstanding achievement in musical theatre was presented to 3D Theatricals. The award was accompanied by an honorarium funded by contributions from the theatrical community.

 

The Milton Katselas Award for career or special achievement in direction was presented to Robin Larsen. The award was accompanied by an honorarium funded by Beverly Hills Playhouse.

 

 

LADCC AWARDS CEREMONY 2015

BTS

This year’s LADCC AWARDS CEREMONY honoring the best of theater in Los Angeles in 2014 will be held on MARCH 16, 2015 at BEYOND THE STARS PALACE, 417 N. Brand Boulevard, Glendale, California 91203.  The event will begin at 6:30 pm and run to midnight.

PLEASE JOIN US.  Tickets are available at  brownpapertickets.com or at crixawards2015@gmail.com.

We hope to see you there.

A STATEMENT CONCERNING THE PROPOSED EQUITY CHANGES TO LOS ANGELES THEATER

The Los Angeles Drama Critics Circle views the impending changes of policy concerning the small theaters of the greater Los Angeles area with alarm. We are concerned that the inevitable result of such changes will be a drastic reduction in the amount and quality of local theater. Indeed, we foresee what could be the virtual demise of Los Angeles as a leading incubator of plays and theater of innovation and diversity.

As critics, we are the front lines of the audience. Thus, we are keenly aware of the importance of small theaters and the actors who perform at them to the cultural ecosystem of Los Angeles as a major metropolitan center for the arts. Our institutional theaters and touring roadshows provide a valuable and popular service, but they alone do not and cannot provide the vast spectrum of forms of expression which a great city requires. Within that spectrum, live theater plays an essential role.

Under current proposals, nearly all of the winners of our Margaret Harford Award for sustained excellence over the past dozen years – our highest honor – would be threatened with closure or, at best, severely curtailed activities. A majority of the shows recognized in our annual nominations and awards would likely have never been produced. Worse, the future would promise a vastly constricted, less diverse, less venturesome, less exciting theater scene.

The cultural loss would be incalculable, affecting the hundreds of productions staged annually in Los Angeles. The economic loss of all the businesses interdependent on that production output is calculable, but even without the numbers being run, we believe the net impact on the city could be catastrophic. If not of the order of magnitude of the recent threatened port closure, it is analogous in import and effect.

The inner workings of an artists’ association, like the management of a corporation, are not the public’s business unless or until the impact of those actions has a material adverse effect on civic life, the general welfare, the region’s economic well-being, or a city’s core identity. At that point, an association’s practices become an appropriate matter for intense public concern. In the current situation, it is of critical importance that discussion and debate concerning these developments take place openly and extensively in the public sphere by all affected stakeholders. The goal is a healthier, more diverse society that provides greater opportunity for all, including the freedom of artists to develop their talents as they believe themselves to be best served.

The current situation is urgent and dire. When an historic piece of eminent architecture is destroyed, a natural resource despoiled, or a species goes extinct, the loss is irreplaceable. Once the infrastructure that undergirds the best of Los Angeles small theater is destroyed, it cannot, realistically, be resurrected. By the time the pain is finally felt and the general outcry heard, the possibility of effective action will have already been long foreclosed.

The Los Angeles Drama Critics Circle urges all stakeholders in the cultural, civic and economic health of the region to involve themselves in learning about the issues and consequences of the proposals currently on the table. The Mayor, the City Council and the Board of Supervisors need to consider the economic ramifications. Foundations and opinion leaders must consider the changes’ potential impact on their missions. Major media must contribute to the disciplined and thoughtful public discourse, even as social media air opinions on all sides. All of these stakeholders have a role to play in a civic crisis, and make no mistake, a crisis is what we are facing. Moreover, it is a crisis whose quiet and parochial buildup has served to sidestep public attention and debate. Very soon, it may be too late.

I SEE YOU MADE AN EFFORT at the Skylight Theatre

Photo by Ed Krieger

Photo by Ed Krieger

Deborah Klugman – Stage Raw

One way to tackle your demons is to write a book about them. Another way is to condense your recollections into a solo performance piece that resembles a standup comedy routine. Annabelle Gurwitch has done both. Read more…

Now running through June 7.

ALMOST PERFECT at the Santa Monica Playhouse

Photo by Cynde Moore

Photo by Cynde Moore

Paul Birchall  – Stage Raw

Director Chris DeCarlo’s staging of the 29th anniversary production of playwright Jerry Mayer’s play about marriage and temptation inevitably shows its age — and not just because the work’s sitcom structure and conveniently pat situations lack the ambiguity of turn of Millennial modern romcoms.  Read more…

Now running through June 28.

THE GLASS MENAGERIE at Greenway Court

Photo by Alfred Collar

Photo by Alfred Collar

Neal Weaver  – Stage Raw

This play, which provided Tennessee Williams with the first great success in his spectacular but ultimately blighted career, is astonishingly rich, simple, and forthright. That it requires only four actors and a single set has deluded many actors and directors to think it is an easy play to do. But it requires a delicate touch, and a particularly gifted director and cast to release its magic.  Read more…

Now running through June 14.

ENRON at the Lex Theatre

Photo by Joanna Strapp

Photo by Joanna Strapp

 Bob Verini – Stage Raw

Most people’s command of international finance and investment, I think it’s fair to say, probably cuts not much deeper than the “Money makes the world go around” lyrics from Cabaret. Yet in telling the sorry true-life saga of the titular Houston energy giant and its catastrophic demise, Lucy Prebble’s Enron coolly takes for granted our ability to take in, not just the gist of what went down in October 2001, but its intricate details as well.  Read more…

Steven Leigh Morris  – LA Weekly

Near the conclusion of Lucy Prebble’s Enron, a docudrama animated with puppets and choreography about the fabled demise of the $111 billion Houston energy trading company (trumpeted by Forbes for six consecutive years as a model of corporate ingenuity), the firm’s now-convicted president, Jeffrey Skilling (Skip Pipo), defiantly rationalizes his actions. Read more…

Les Spindle –  Frontiers L.A.

Life is somewhat of a cabaret as well as a smoking cauldron of corporate greed and fiscal catastrophe in Lucy Prebble’s sardonic 2010 British play, now in its L.A. premiere.

Read more…

Now running through June 28.

THE HOUSE OF YES at the Zephyr Theatre

Photo by Ed Krieger

Photo by Ed Krieger

David C. Nichols – LA Times

Family dysfunction, that age-old staple of the dramatic canon, permeates the walking wounded that populate “The House of Yes” in a respectable, albeit still-gelling 25th anniversary revival at the Zephyr. Read more…

Now running through June 14.

Fixing Words That Go Clunk in the Night

master-master675Bob Verini – Stage Raw

John Logan’s Red has been one of the most produced plays of the last few years, with over 40 mountings at major theaters coast to coast, usually reviewed in deserved superlatives. Yet in all the column inches devoted to the incisive two-hander, few if any of my critical colleagues have made reference to Henrik Ibsen’s The Master Builder, though they certainly could and maybe should have done. Read more…

ANDRE AND DORINE at the Los Angeles Theatre Center

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Deborah Klugman – LA Weekly

It’s hard to imagine a more tender, more lyrical or more captivating work than this three-person piece from Kulunka Teatro, a company originating from Spain’s Basque Country. Read more…

Now running through June 7.

SAMSARA – Chance Theater at the Bette Aitken Theater Arts Center

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Doug Catiller / True Image Studio)

Margaret Gray – LA Times

When women have babies, expectations are born at the same time –  dream children, made up of assumptions and hopes, that grow up alongside the real ones. Read more…

Now running through May 31.

BIG SHOT: a.k.a. This is Not The Godfather at the Bootleg Theatre

BIG_SHOT_-_Paula_Rebelo-Mark_Doerr-Jesse_Myers-David_Guerra-Caitlyn_Conlin-Mark_Skeens_photo_by_Shanon_Rodriguez

Deborah Klugman – Stage Raw

Despite its subtitle, The Godfather is the inspiration for Theatre Movement Bazaar’s latest creation. Their show is billed as a theatrical collage, an appropriate description for a somewhat scattershot piece that features chunks of perceptive writing by Richard Alger and several highly watchable performances but doesn’t quite come together with the vision or inventiveness of some of their prior work. Read more…

Now running through June 6.

NOT THAT JEWISH at The Braid

Photo by Patrick Conde

Photo by Patrick Conde

Bob Verini -   Arts In LA

In Not That Jewish we encounter something distinctly unexpected: a first-person memoir by a former standup comic that actually feels like a real play. Read more…

Paul Birchall  – Stage Raw

If you like your humor with a Kosher sensibility, Monica Piper’s delightful, if lightweight solo show is far more glatt than trafe – though the performer’s monologue may possibly be more palatable if you arrive at the start with a predilection for gags of the Catskills-and-Borscht Belt variety. Read more…

Now running through May 31.

ROW AFTER ROW at the Atwater Village Theatre

Photo by Darrett Sanders

Photo by Darrett Sanders

Neal Weaver  – Stage Raw

Playwright Jessica Dickey sets her comedy in the odd and largely unfamiliar world of Civil War Re-enactors, who have spent their day staging a recreation of Pickett’s Charge, which shifted the tides of war during the Battle of Gettysburg. em>Read more…

Now running through

VIOLET at the Monroe Forum Theatre

Violet

Photo Courtesy Kelrik Productions

Deborah Klugman – Stage Raw

Violet, which premiered on Broadway in 1997, is the kind of musical play that should speak powerfully to anyone who’s ever been scapegoated, or been on the outside looking in.  But for a number of reasons it isn’t nearly as emotionally compelling as one might expect. em>Read more…

Now running through May 30.