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Los Angeles Drama Critics Circle announces winners for 44th Annual Awards

“Stoneface: The Rise and Fall and Rise of Buster Keaton” – Ben Rock, director Jaime Robledo, Anthony Backman and playwright Vanessa Claire Stewart. Photo by Alyson Schultz.

The Los Angeles Drama Critics Circle has announced the winners and special awards for excellence in Los Angeles and Orange County theatre for the year 2012.  The 44th Annual Los Angeles Drama Critics Circle Awards ceremony took place Monday, March 18, 2013 at the Los Angeles Theatre Center in Downtown Los Angeles.  Home-grown productions handily held their own against touring fare at the 44th annual Los Angeles Drama Critics Circle Awards, presented at the Los Angeles Theatre Center on Monday night.

Two local world premieres were among the year’s top productions: romantic musical “Justin Love” from the Celebration Theatre, and the contemporary spin on a French classic “Cyrano,” co-produced by Deaf West Theatre and The Fountain Theatre. Both shows picked up an additional four plaques for acting, writing or both.

It was a great night for Center Theatre Group, with a total of ten competitive plaques for its various venues. Artistic director Michael Ritchie accepted a special award for an excellent season that included the Ahmanson’s “War Horse,” honored for production, lighting design and puppetry. Kirk Douglas Theatre’s “The Convert” earned a writing nod for Danai Gurira, and John Hurt in “Krapp’s Last Tape” was cited for solo performance.

CTG’s acclaimed “Waiting for Godot” at the Mark Taper Forum walked off with the McCulloh Award for Revival, triumphing in every category in which it was entered. Director Michael Arabian, set designer John Iacovelli, and lead actor Alan Mandell were all singled out.

The cast of “Godot” was also one of four cited ensembles, along with Rogue Machine’s “The New Electric Ballroom” and the Colony’s “The Savannah Disputation.” The fourth, the Fountain’s “In the Red and Brown Water,” picked up an additional plaque for Shirley Jo Finney’s direction.

Wealth was spread among numerous local playhouses in an evening themed to celebrate “Theatre Everywhere.” “Jitney,” from South Coast Rep and Pasadena Playhouse, earned acting honors for Larry Bates and Ellis E. Williams.  Celebration Theatre, now in its 30th anniversary season, was given the Margaret Harford Award for sustained excellence, and nabbed an additional plaque for Gregory Nabours’ musical direction of “The Color Purple.”

The evening’s hosts, the LATC, had produced the winner of Ted Schmitt Award for an original LA world premiere, Evelina Fernandez’s “A Mexican Trilogy.”

Pasadena Playhouse’s costumes for “Intimate Apparel” (Leah Piehl) were honored along with those from the Theatre @ Boston Court’s “The Treatment” (Ellen McCartney). “The Bungler” from A Noise Within picked up an acting plaque for Michael A. Newcomer.

Previously announced were plaques for the career achievements of musical director David O, director Elina de Santos and set designer Stephen Gifford. The Fountain Theatre won the Polly Warfield Award for an outstanding season by a small to mid-sized theatre.

Pictured – one of three Lead Performance winners, Christine Lakin, “Silence! The Musical” with her beau. The other two winners were Troy Kotsur, “Cyrano” and Alan Mandell, “Waiting for Godot.” Photo by Newton Tak.

Splashy imports were not ignored at the ceremonies hosted by theater and TV star French Stewart. “The Book of Mormon” added to its already lengthy book of kudos with plaques for production, Stephen Oremus’s musical direction and score by Trey Parker, Matt Stone and Robert Lopez. 

“Fela!” and “Silence! The Musical” won for their choreography, the latter show picking up plaques for score and lead actress Christine Lakin (pictured). “Gatz,” which toured to REDCAT, was cited for its sound design.

Entertainment was provided by musical excerpts from nominated productions. The entire nineteen-member troupe of Anaheim’s Chance Theater’s “West Side Story” recreated that show’s “The Rumble,” and the cast of “Justin Love” closed out the evening with understandable glee.

A delectable buffet was supplied by Gwen Kenneally and her partner Rafet, from “Back to the Kitchen” Catering company, that was 50% vegan fare and 100% delicious!

 

Click here for a complete list of nominees.

 

Critic Pauline Adamek (LA Weekly, ArtsBeatLA.com) and Composer David O presenting nominees for Musical Score. Photo by Jaime Robledo.

The award recipients for the 2012 Los Angeles Drama Critics Circle Awards are as follows:

 

Production:“Justin Love”; “War Horse”; “The Book of Mormon”; “Cyrano.”

McCulloh Award for Revival: “Waiting for Godot.”

Ensemble Performance: “In the Red and Brown Water”; “The New Electric Ballroom”; “The Savannah Disputation”; “Waiting for Godot.”

Lead Performance: Troy Kotsur, “Cyrano”; Christine Lakin, “Silence! The Musical”; Alan Mandell, “Waiting for Godot.”

Featured Performance: Larry Bates and Ellis E. Williams, “Jitney”; Michael A. Newcomer, “The Bungler.”

Solo Performance: John Hurt, “Krapp’s Last Tape.”

Direction: Michael Arabian, “Waiting for Godot”; Shirley Jo Finney, “In the Red and Brown Water”; Simon Levy, “Cyrano.”

Writing: Danai Gurira, “The Convert.”

Adaptation: Stephen Sachs, “Cyrano.”

Choreography: Christopher Gattelli, “Silence! The Musical”; Bill T. Jones, “Fela!”

Musical Score: Trey Parker, Matt Stone and Robert Lopez, “The Book of Mormon”; Lori Scarlett and David Manning, “Justin Love”’; Jon Kaplan & Al Kaplan, “Silence! The Musical.”

Musical Direction: Gregory Nabours, “The Color Purple”; Stephen Oremus, “The Book of Mormon.”

CGI/Video Design: Anthony Backman and Ben Rock, “Stoneface: The Rise and Fall and Rise of Buster Keaton.”

Set Design: John Iacovelli, “Waiting for Godot.”

Costume Design: Ellen McCartney, “The Treatment”; Leah Piehl, “Intimate Apparel.”

Lighting Design: Paule Constable and Karen Spahn, “War Horse.”

Sound Design: Ben Williams, “Gatz.”

 

Specialty Awards:

Adrian Kohler with Basil Jones and Handspring Puppet Company for “War Horse”; David McCormick and Kelly Todd for the fight choreography of “West Side Story.”

Margaret Harford Award for sustained excellence: Celebration Theatre.

Polly Warfield Award for an outstanding season in a small- to mid-sized theatre: The Fountain Theatre.

Joel Hirschhorn Award for outstanding achievement in musical theatre: David O.

Bob Z Award for career achievement in set design: Stephen Gifford.

The Ted Schmitt Award for the world premiere of an outstanding new play will be presented to Evelina Fernández for A Mexican Trilogy, whose world premiere took place at the awards venue, the Los Angeles Theatre Center.  The award is accompanied by an offer to publish from Samuel French, Inc.

Milton Katselas Award for career or special achievement in direction: Elina de Santos.

For an Excellent Season: Center Theatre Group.

 

 

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 FANTASTICKS at Segerstrom Stage, South Coast Repertory

Perry Ojeda, Addi McDaniel, Nate Dendy and Anthony Carillo in So

Photo credit: Henry DiRocco

 

THE FANTASTICKSBook and lyrics by Tom Jones, music by Harvey Schmidt.

 

David C. Nichols — L.A. Times

The delicate theatricality of “The Fantasticks” has weathered countless editions worldwide since its off-Broadway premiere in 1960. But Tom Jones and Harvey Schmidt’s adaptation of Edmond Rostand’s “Les Romanesques” has perhaps never before enjoyed the elevated insight of the daring transplant irradiating South Coast Repertory.
Read more…

 

 

THE CRUCIBLE at the Antaeus Company

CRUCIBLE ANTAEUS

Photo by Karianne Flaathen

 

 

THE CRUCIBLE by Arthur Miller.

 

Neal Weaver – LA Weekly

Arthur Miller’s play, first produced on Broadway in 1953, was Miller’s impassioned response to McCarthyism and the witch-hunts launched by the House Un-American Activities Committee. But the fact that it has become an oft-produced American classic and the basis for two films (including a French version with screenplay by Jean-Paul Sartre) reminds us that it’s not just a political screed.
Read more…

 

Hoyt Hilsman – Huffington Post

The distinguished Antaeus Company, L.A.’s classic theater ensemble of extraordinarily talented actors, presents Arthur Miller’s tale of the Salem witch trials, his parable of mass hysteria and the dangers of theocracy, or any blind ideology, for that matter. Co-directors Armin Shimerman and Geoffrey Wade guide two casts, who perform the play on various dates with skill and imagination. Read more

 

Terry Morgan – LAIST

Much has been made over the years about how Arthur Miller’s play The Crucible was paralleling the Salem witch trials to the McCarthy hearings of the 1950s, and while that is certainly true, it does the play a disservice to think that’s all it is.
Read more…

CHESS at East West Players

Photo by Michael Lamont

Photo by Michael Lamont

 

CHESS  – Book by Richard Nelson, lyrics by Tim Rice, music by Benny Andersson and Björn Ulvaeus

 

Mayank Keshaviah – LA Weekly

Like the 1980s, this revival of the Cold War-themed musical that produced the hit song “One Night in Bangkok” is kitschy, colorful and full of spectacle. Yet its return also reveals the contrived, confusing plot and threadbare characters that have perennially plagued this piece.
Read more…

 

 

DYING CITY by Christopher Shinn

Photos by John Flynn.

Photos by John Flynn.

 

DYING CITY by Christopher Shinn.

 

Pauline Adamek – LA Weekly

When Peter (Burt Grinstead) unexpectedly shows up at Kelly’s (Laurie Okin) Lower Manhattan apartment, the mood is prickly and awkward. It’s understandable; Peter is the identical twin of her husband Craig, a hard as nails soldier who recently died in a military accident in the Gulf. But during their uncomfortable conversation, many questions tug at this pair, threatening to tear them down into an emotional undertow. Did Craig really die in an accident? Why is Kelly’s phone number unlisted and why is she obscuring evidence she may be moving out? Read more…

 

 

DULCE ROSA at the Broad Stage

Photo by Robert Millard

Photo by Robert Millard

 

DULCE ROSA - co-written by composer Lee Holdridge and librettist Richard Sparks, based on the short story by Isabel Allende.

 

Pauline Adamek – ArtsBeatLA

A gorgeous new opera made its world premier last Friday at The Broad Stage, in a co-production with LA Opera, conducted by LA Opera’s general director Plácido Domingo. Performed in English with projected English supertitles, Dulce Rosa, was co-written by composer Lee Holdridge and librettist Richard Sparks, and is based on the short story by Chilean novelist Isabel Allende entitled “Una Venganza” (“An Act of Vengeance”). Uruguayan soprano María Eugenia Antúnez shines in the title role of a young woman who plans her revenge against a merciless attacker following the aftermath of a violent political uprising in her (unspecified) South American country.
Read more…

 

 

THE BALD SOPRANO and THE CHAIRS at the Garage Theatre

Chairs-1

 

THE BALD SOPRANO and THE CHAIRS by Eugene Ionesco.

 

Shirle Gottlieb – The Gazette Newspapers

Written in 1948 shortly after World War II, “The Bald Soprano” was Eugene Ionesco’s first play. As the transplanted Romanian struggled to write in French (the language of his adopted country), he realized how banal everyday communication had become. He had to wonder–after all the tragedy Europe had gone through, how could conversation have become so superficial?
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JOE TURNER’S COME AND GONE at the Mark Taper Forum

Photo by Craig Schwartz

Photo by Craig Schwartz

 

JOE TURNER’S COME AND GONE by August Wilson.

 

Deborah Klugman – LA Weekly

For this critic August Wilson has always been eloquent on the page, a bit wordy on the stage. This second in his 10-play chronicle of the African-American experience takes place in 1911, a bare 46 years after the Civil War ended. Wilson’s vibrant characters are searching — for love, money, personal freedom or healing and spiritual salvation. Read more…

 

Pauline Adamek – ArtsBeatLA       May 24, 2013

The earthy reality of poverty and magic realism collide in Joe Turner’s Come and Gone by American playwright, August Wilson, now playing at Center Theatre Group’s Mark Taper Forum through June 9, 2013. Unfortunately, director Phylicia Rashad (renowned for a recent and brilliant staging at ERT and CTG of another American classic, Raisin in the Sun) fails to permit Wilson’s magic to take flight.
Read more…

 

 

FALLING FOR MAKE BELIEVE at the Colony Theatre

Photo by Michael Lamont

Photo by Michael Lamont

 

FALLING FOR MAKE BELIEVE by Mark Saltzman

 

David Nichols – LA Times

Though the late Lorenz Hart stands near-peerless among Broadway lyricists, his tortured private life remains largely untitled. That is, until “Falling for Make Believe” at the Colony Theatre, wherein a grand cast and 21 classic songs propel Mark Saltzman’s musical study of Hart and his struggles with composer Richard Rodgers, the bottle and the closet.
Read more…

 

 

COPS AND FRIENDS OF COPS at VS. Theatre Company

Photo by Kate Compton

Photo by Kate Compton

COPS AND FRIENDS OF COPS by Ron Klier.

 

Dany Margolies – ArtsInLA

Paul stands by the light of a jukebox. The audience is intrigued, wondering who he is and why he’s there.
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PARADE at Plummer Auditorium in Fullerton

Parade

 

PARADE – Libretto by Alfred Uhry, Music and Lyrics by Jason Robert Brown.

 

Les Spindle – Edge on the Net

As daily news flashes are dominated by reports of crippling political divisiveness, accusations of governmental manipulation and heinous acts of violence and bigotry, the masterful 1998 musical “Parade” has never felt more pertinent.
Read more…