Mike Struna
Ellen Dostal – Broadway World
Like most solo productions, Philicia Saunders’ BREATHE comes from her own experiences. Unique to her telling however is the method by which she relates that story. Necessitated by a global pandemic that has forced audiences to view theatrical productions from behind a computer screen, Saunders has employed a variety of media to raise engagement with her personal tale.
Julie Ann Renfro
Ellen Dostal – Broadway World
Geffen Playhouse has found its own unique key to navigating the dark days of 2020 — and still maintain that art is alive and well — with its highly successful Stayhouse series of interactive performances. These virtual offerings allow for several productions to run concurrently, rather than being limited to consecutively scheduled dates on one of the Geffen’s two live stages. That may be one of the very few benefits of making art during a pandemic but hey, we’ll take it.
Erin Conley – On Stage & Screen
Off the unprecedented success of their first virtual production, The Present, the Geffen Playhouse is doubling down on magic. And it makes sense—The Present sold out 251 performances, plus an additional 6,000 tickets for the closing night alone, when the audience was greatly expanded beyond its usual intimate number to allow more to experience magician Helder Guimarães’s impressive and mystifying feats.
Now running through March 14, 2021
Jeff Lorch
Margaret Gray – LA Times
The historic Pasadena Playhouse is empty. No ticket holders gossiping and rubbing elbows in the Spanish Revival-style courtyard. No line at the bar.
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Closed
Kelly Stuart
Dana Martin– Stage Raw
LA’s LGBT Center and Playwrights’ Area have gone (COVID compliantly) rogue by staging high stakes drama in the LGBT Center parking garage. (The audience watches the action from within their cars, sound broadcast through a pre-set FM radio station.) March, conceived and directed by Jon Lawrence Rivera and written by MJ Brown, Amir Levi, Coretta Monk, Alex Budin, Chad Christopher, Matthew Clark, Brandon English, MARDOZA, Jon Lawrence Rivera, Roland Ruiz and Nick Salome, is high stakes melodrama with a lot of heart.
Read more…
Now running through November 15
David Kwong
Jonas Schwartz – Broadway World
The Geffen is hosting a game night and it’s a goofy, geeky, glorious distraction from the gloom and doom of 2020. Created and led by puzzle enthusiast David Kwong, this latest version of the Geffen Stayhouse series, Inside The Box, is a perfect way to connect with others in these isolating times.
Erin Conley – On Stage & Screen
Seven months into the COVID-19 pandemic in the United States, it has become increasingly clear that theater as we know it will not be returning for some time. On the heels of last week’s heartbreaking yet expected announcement that Broadway will remain shuttered through at least May 2021, the pressure is on for artists and theaters to innovate and adapt.
Now running through January 3
Ellen Dostal – Broadway World
“May you live in interesting times,” has taken on new meaning in 2020 amid the current world health crisis. No one could have imagined a scenario like this where theater doors would be forced to close indefinitely. And yet, they have. But you can’t dampen the heart of an artist for they will always find a way to create. That resilience is what should inspire us all as we continue to look to the future.
“There is no theater in Los Angeles.”
This line, or some variation of it, has been around for decades — sometimes spoken by real people, sometimes ascribed to fictional characters. It’s normally a snarky wisecrack, completely unrelated to the truth.
Right now, however, this line is much more accurate than usual. Like theaters in most of the rest of the world, L.A. stages — in the sense of physical spaces where actors and audiences gather — are dormant.
The Los Angeles Drama Critics Circle announced the recipients of its 51st annual awards for distinguished achievement in theatre today, Tuesday, April 28, 2020.
There were two recipients of the 2019 Production award: Witch (Geffen Playhouse) and Indecent (Center Theatre Group and Huntington Theatre Company). Awards in 17 other categories celebrated a wide range of Los Angeles theatre, with 18 different productions taking home honors. Geffen Playhouse’s Witch took home the most awards for a single production, with seven. Geffen Playhouse also received the most awards, with three of its productions winning a combined 10 trophies.
Center Theatre Group received a combined nine awards with three of its productions, including Deirdre O’Connell for Solo Performance in Dana H., Bill Sims Jr. for Musical Score for August Wilson’s Jitney and the aforementioned Indecent for Production, Ensemble, Writing and Direction.
The complete list of award recipients is as follows:
PRODUCTION
MCCULLOH REVIVAL
LEAD PERFORMANCE
FEATURED PERFORMANCE
ENSEMBLE PERFORMANCE
SOLO PERFORMANCE
WRITING
WRITING ADAPTATION
MUSICAL SCORE
MUSIC DIRECTION
CHOREOGRAPHY
DIRECTION
SET DESIGN
LIGHTING DESIGN
COSTUME DESIGN
SOUND DESIGN
CGI/PROJECTION
SPECIALTY
The following special award winners were previously announced:
The GORDON DAVIDSON Award for distinguished contribution to the Los Angeles theatrical community: Ojai Playwrights Conference.
The MARGARET HARFORD Award for sustained excellence in theatre:
The Fountain Theatre.
The POLLY WARFIELD Award for an excellent season in a small to mid-size theatre: A Noise Within.
The JOEL HIRSCHHORN Award for distinguished achievement in musical theatre: Celebration Theatre.
The TED SCHMITT Award for the world premiere of an outstanding new play:
The Mother of Henry, written by Evelina Fernández, produced by the Latino Theater Company.
The MILTON KATSELAS Award for distinguished achievement in direction:
Michael Michetti.
The KINETIC LIGHTING Award for distinguished achievement in theatrical design: Hana S. Kim, Projection and Set Designer.
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 2019 membership consisted of:
Frances Baum Nicholson, Southern California News Group, Stage Struck Review
Katie Buenneke, Stage Raw, Theater Diges
Erin Conley, On Stage & Screen
Ellen Dostal, BroadwayWorld, Musicals in LA
Lovell Estell III, Stage Raw, ArtsInLA.com
Margaret Gray, Los Angeles Times
Hoyt Hilsman, Huffington Post
Deborah Klugman, Stage Raw
Harker Jones, BroadwayWorld, ArtsInLA.com
Jenny Lower Beckman, Stage Raw
Dany Margolies, ArtsInLA.com, Southern California News Group
Myron Meisel, Stage Raw
Terry Morgan, Stage Raw, TalkinBroadway.com
Steven Leigh Morris, Stage Raw
Melinda Schupmann, Showmag.com, ArtsInLA.com
Jonas Schwartz-Owen, Theatermania.com, BroadwayWorld, ArtsInLA.com
Don Shirley, LA Observed
Les Spindle, EDGE LA
Rob Stevens, haineshisway.com
Greetings, members of the Los Angeles theatre community! The Los Angeles Drama Critics Circle is proud to announce the nominees for theatrical excellence for the year 2019. This year, for obvious reasons, we are forgoing our annual event ceremony and will instead post the award recipients online in the upcoming weeks. Congratulations to all of the nominees!
The recipients of our annual special awards are listed following the nominees. In addition, we dedicate this year’s awards to the memory of Orson Bean, whose recent tragic passing has affected us all.
We would like to take this opportunity to relay our best hopes that you are all well and staying safe.
In the meantime, the worthy nominees for 2019 are as follows:
Production:
McCulloh Award for Revival
Lead Performance
Featured Performance
Ensemble Performance
Solo Performance
Writing
Writing, Adaptation
Musical Score
Music Direction
Choreography
Direction
Set Design
Lighting Design
Costume Design
Sound Design
CGI/Video
Specialty
One or more awards will be named in each category. Seven special award honorees are also being named.
The LADCC special award recipients for 2019 are:
The Margaret Harford Award for sustained excellence in theatre will be awarded to The Fountain Theatre.
The Polly Warfield Award for an excellent season in a small to mid-size theatre will be awarded to A Noise Within.
The Ted Schmitt Award for the world premiere of an outstanding new play goes to The Mother of Henry, written by Evelina Fernández, produced by the Latino Theater Company.
The Kinetic Lighting Award for distinguished achievement in theatrical design goes to projection and set designer Hana S. Kim.
The Joel Hirschhorn Award for distinguished achievement in musical theatre goes to Celebration Theatre.
The Milton Katselas Award for distinguished achievement in direction goes to Michael Michetti.
The Gordon Davidson Award for distinguished contribution to the Los Angeles theatrical community will be presented to the Ojai Playwrights Conference.
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 here and (when applicable) on a recipient’s award certificate.
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 2019 membership consisted of:
Frances Baum Nicholson, Southern California News Group, Stage Struck Review
Katie Buenneke, Stage Raw, Theater Digest
Erin Conley, On Stage & Screen
Ellen Dostal, BroadwayWorld, Musicals in LA
Lovell Estell III, Stage Raw, ArtsInLA.com
Margaret Gray, Los Angeles Times
Hoyt Hilsman, Huffington Post
Deborah Klugman, Stage Raw
Harker Jones, BroadwayWorld, ArtsInLA.com
Jenny Lower Beckman, Stage Raw
Dany Margolies, ArtsInLA.com, Southern California News Group
Myron Meisel, Stage Raw
Terry Morgan, Stage Raw, TalkinBroadway.com
Steven Leigh Morris, Stage Raw
Melinda Schupmann, Showmag.com, ArtsInLA.com
Jonas Schwartz-Owen, Theatermania.com, BroadwayWorld, ArtsInLA.com
Don Shirley, LA Observed
Les Spindle, EDGE LA
Rob Stevens, haineshisway.com
Citations by production:
Witch (Geffen Playhouse): 7 Nominations
Argonautika (A Noise Within): 7 Nominations
The Caucasian Chalk Circle (Antaeus Theatre Company): 5 Nominations
Scraps (Matrix Theatre Company): 5 Nominations
Two Trains Running (Matrix Theatre): 5 Nominations
Indecent (Center Theatre Group / Ahmanson Theatre): 4 Nominations
Dana H. (Center Theatre Group / Kirk Douglas Theatre): 4 Nominations
The Glass Menagerie (A Noise Within): 2 Nominations
Uncle Vanya (The New American Theatre): 2 Nominations
Happy Days (Center Theatre Group / Mark Taper Forum): 2 Nominations
Salvage (Lounge Theatre): 2 Nominations
Bronco Billy – The Musical (Skylight Theatre): 2 Nominations
The Wolves (Echo Theater Company): 2 Nominations
The Mother of Henry (Latino Theater Company): 2 Nominations and the Schmitt Award
The Skin of Our Teeth (Will Geer’s Theatricum Botanicum): 2 Nominations
Key Largo (Geffen Playhouse): 2 Nominations
Lights Out: Nat “King” Cole (Geffen Playhouse): 2 Nominations
Anastasia (Pantages Theatre): 2 Nominations
Friends With Guns (The Road Theatre Company): 2 Nominations
Gem of the Ocean (A Noise Within): 1 Nomination
Frankenstein (A Noise Within): 1 Nomination
The Judas Kiss (Boston Court Pasadena): 1 Nomination
Falsettos (Center Theatre Group / Ahmanson Theatre): 1 Nomination
August Wilson’s Jitney (Center Theatre Group / Mark Taper Forum): 1 Nomination
How We’re Different From Animals (ÉLAN Ensemble): 1 Nomination
Mysterious Circumstances (Geffen Playhouse): 1 Nomination
Little Shop of Horrors (Pasadena Playhouse): 1 Nomination
Ragtime (Pasadena Playhouse): 1 Nomination
The Great Leap (Pasadena Playhouse): 1 Nomination
Poor Yella Rednecks (South Coast Repertory): 1 Nomination
Sweeney Todd (South Coast Repertory): 1 Nomination
Citations by company:
Geffen Playhouse: 12 Nominations
A Noise Within: 11 Nominations and the Warfield Award
The Matrix Theatre Company/Matrix Theatre: 10 Nominations
Antaeus Theatre Company: 5 Nominations
Center Theatre Group / Ahmanson Theatre: 5 Nominations
Center Theatre Group / Kirk Douglas Theatre: 4 Nominations
Pasadena Playhouse: 4 Nominations
Center Theatre Group / Mark Taper Forum: 3 Nominations
Latino Theater Company: 2 Nominations and the Schmitt Award
Pantages Theatre: 2 Nominations
The Road Theatre Company: 2 Nominations
Lounge Theatre: 2 Nominations
Skylight Theatre: 2 Nominations
South Coast Repertory: 2 Nominations
Will Geer’s Theatricum Botanicum: 2 Nominations
The New American Theatre: 2 Nominations
Echo Theater Company: 2 Nominations
Boston Court Pasadena: 1 Nomination
ÉLAN Ensemble: 1 Nomination
The Fountain Theatre: Harford Award
Celebration Theatre: Hirschhorn Award
Darrett Sanders
Deborah Klugman – Stage Raw
In a Rorschach test, an individual is presented with a series of abstract images and asked what they see. Their answers are used by the administering psychiatrist or psychologist to gain insight into that person’s state of mind.
Open Fist Theater Company’s current production is titled Rorschach Fest. Presented as three separate programs, it’s a series of short plays by John O’Keefe, Harold Pinter, Daniel MacIvor and Caryl Churchill — four playwrights widely recognized for the distinctive style and/or content of their work.
Read more…
Now running through April 5
Jeff Lorch
Erin Conley – On Stage & Screen
It all begins with a note on a car and a case of mistaken identity. Found, a musical based on the books and magazines of the same name by Davy Rothbart, opened this past weekend in its west coast premiere at IAMA Theatre Company in Los Angeles.
Read more…
Katie Buenneke – Stage Raw
If you’ve ever wondered if a talented musical theater composer could take literally anything and turn it into music, Found, now playing at the Los Angeles Theatre Center, is proof that that’s possible. Composer Eli Bolin, who wrote a number of winning songs for the Netflix special John Mulaney and the Sack Lunch Bunch, works with book writers Hunter Bell and Lee Overtree to take the notes that people misplace and turn them into a musical.
Read more…
Now running through March 23
Julieta Cervantes
Jonas Schwartz – Broadway World
After two successful runs in Los Angeles in 2012 and 2014 at the Pantages, that smut-mouthed, but endearing musical comedy The Book Of Mormon has squatted downtown at the Ahmanson, and third time around, it has lost none of its luster, or its smut.
Read more…
Now running through March 29
