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2018 Award Show Photos

It was a great night at the 50th Annual Los Angeles Drama Critics Circle Awards at Pasadena Playhouse on Monday, April 8th. Congratulations to all of the award recipients and to everyone whose outstanding work received a nomination. We are proud to recognize your accomplishments. Thank you to everyone who attended the show and thanks to photographer Meredith Adelaide for capturing the excitement. For additional photos, visit our Facebook page.

Yvonne Bell, our inaugural Theater Angel Award winner

Yvonne Bell, our inaugural Theater Angel Award winner

Brian Kite, Cathy Rigby, Tom McCoy and B.T. McNicholl celebrate their Joel Hirschhorn Award

Brian Kite, Cathy Rigby, Tom McCoy and B.T. McNicholl celebrate their Joel Hirschhorn Award

Jean Bruce Scott and Randy Reinholz representing Native Voices at the Autry

Jean Bruce Scott and Randy Reinholz representing Native Voices at the Autry, winner of the Gordon Davidson Award

Artists representing Celebration Theatre

Artists representing Celebration Theatre’s win for their revival of Cabaret

Jennifer Chang, winner for her direction of East West Player's VIetgone

Jennifer Chang, award winner for her direction of East West Players’ Vietgone

Daisuke Tsuji, outstanding Featured Performance

Daisuke Tsuji, outstanding Featured Performance in Cambodian Rock Band at South Coast Rep

Padraic Duffy, Aviva Pressman and Bruno Oliver celebrating Sacred Fools Theater Company's Margaret Harford Award

Padraic Duffy, Aviva Pressman and Bruno Oliver celebrating Sacred Fools Theater Company’s Margaret Harford Award

Jim Steinmeyer, winner for Illusions, Stagecraft, and Magic Carpet in  Aladdin at the Hollywood Pantages Theatre

Jim Steinmeyer, winner for Illusions, Stagecraft, and Magic Carpet in Aladdin at the Hollywood Pantages Theatre

John Iacovelli

John Iacovelli, Set Design winner for Antaeus Theatre Company’s The Little Foxes

Jeff Gardner

Jeff Gardner, Sound Design winner for Native Son at Antaeus Theatre Company

Stephen Gifford, Set Design winner for Cabaret

Stephen Gifford, Set Design winner for Cabaret at Celebration Theatre

Thomas McCurdy, Thomas Isao Morinaka and Aaron Aoki, Fight Choreography winners for Vietgone, East West Players

Thomas McCurdy, Thomas Isao Morinaka and Aaron Aoki, Fight Choreography winners for Vietgone, East West Players

Janet Roston, award winner for her choreography of Cabaret at Celebration Theatre

Janet Roston, award winner for her outstanding choreography for Cabaret at Celebration Theatre

Rob Nagle, award winner for his Featured Performance in The Little Foxes at Antaeus Theatre Company

Rob Nagle, award winner for his Featured Performance in The Little Foxes at Antaeus Theatre Company

Artists representing the winning ensemble of Antaeus Theatre Company production of The Little Foxes

Artists representing the winning ensemble of Antaeus Theatre Company’s The Little Foxes

Echo Theater Company's Chris Fields, Lindsay Allbaugh, Rachael Zambias and Molly Smith-Metzler celebrate receiving the Polly Warfield Award

Echo Theater Company’s Chris Fields, Lindsay Allbaugh, Rachael Zambias and Molly Smith Metzler celebrate receiving the Polly Warfield Award

Jessica Hird from The Shakespeare Center of Los Angeles accepts Tom Hanks' award for Lead Performance

Jessica Hird from The Shakespeare Center of Los Angeles accepts Tom Hanks’ award for Lead Performance in Henry IV

Rithy Hanh and Pita Huot accept the Ted Schmitt Award on behalf of Lauren Yee's new play Cambodian Rock Band

Rithy Hanh and Pita Huot accept the Ted Schmitt Award on behalf of Lauren Yee and her new play Cambodian Rock Band

Kasey Mahaffy, Paul David Story, Geoff Elliott and Wesley Mann celebrate their award for A Noise Within's revival of Rosencrantz and Guildenstern Are Dead

Kasey Mahaffy, Paul David Story, Geoff Elliott and Wesley Mann celebrate their award for A Noise Within’s revival of Rosencrantz and Guildenstern Are Dead

Allison Dillard, double winner for her Costume Designs for Celebration Theatre's Priscilla, Queen of the Desert and Moving Arts'  BLISS (or Emily Post is Dead!)

Allison Dillard, double winner for her Costume Designs for Celebration Theatre’s Priscilla, Queen of the Desert and Moving Arts’ BLISS (or Emily Post is Dead!)

Alex Nee, award winner for his Lead Performance in Cabaret at Celebration Theatre

Alex Nee, award winner for his Lead Performance in Cabaret at Celebration Theatre

Kaitlyn Pietras and Jason H. Thompson, CGI winners for their work in Vietgone, East West Players

Kaitlyn Pietras and Jason H. Thompson, CGI winners for their work in Vietgone at East West Players

Anthony Zediker celebrates his award for Music Direction for Celebration Theatre's Cabaret

Anthony Zediker celebrates his award for Music Direction for Celebration Theatre’s Cabaret

Molly Smith Metzler, Writing award winner for Cry It Out at Echo Theater Company

Molly Smith Metzler, Writing award winner for Cry It Out at Echo Theater Company

Kasey Mahaffy, award winner for his Featured Performance in A Noise Within's Rosencrantz and Guildenstern Are Dead

Kasey Mahaffy, award winner for his Featured Performance in A Noise Within’s Rosencrantz and Guildenstern Are Dead

 

LADCC Announces Recipients of its 50th Annual Awards

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The Los Angeles Drama Critics Circle announced the recipients of its 50th annual awards for distinguished achievement in theatre tonight at Pasadena Playhouse. Wenzel Jones presided over the festivities, and Christopher Raymond served as music director.

There were four recipients of the 2018 Production award: Cambodian Rock Band (South Coast Repertory), Come From Away (Center Theatre Group/Ahmanson Theatre), Cry It Out (Echo Theater Company), and Sell/Buy/Date (Geffen Playhouse/Los Angeles LGBT Center). Awards in 17 other categories celebrated a wide range of Los Angeles theater, with 17 different productions taking home honors. Celebration Theatre’s Cabaret took home the most awards for a single production, with six, including a nod for Revival. Antaeus Theatre Company received the most awards, with three of its productions winning a combined seven trophies. In a competitive category, Tom Hanks received a lead actor award for his performance as Falstaff in The Shakespeare Center of Los Angeles production of Henry IV.

In addition, the LADCC presented eight previously announced special awards, including the Ted Schmitt award for the world premiere of an outstanding new play to Lauren Yee for Cambodian Rock Band, the Margaret Harford award for sustained excellence in theater to Sacred Fools Theater Company, and the inaugural Theater Angel award for distinguished service to Los Angeles theater to Yvonne Bell.

The complete list of award recipients is as follows:

PRODUCTION

  • Cambodian Rock Band, produced by South Coast Repertory and Honorary Producers Carolyn and Bill Klein and Samuel and Tammy Tang, South Coast Repertory
  • Come From Away, produced by Junkyard Dog Productions, Jerry Frankel, Latitude Link, Smith & Brant Theatricals, Steve & Paula Reynolds, David Mirvish, Michael Rubinoff, Alhadeff Productions, Michael Alden & Nancy Nagel Gibbs, Sam Levy, Rodney Rigby, Spencer Ross, Richard Winkler, Yonge Street Theatricals, Sheridan College, Michael & Ellise Coit, Ronald Frankel, Sheri & Les Biller, Richard & Sherry Belkin, Marlene & Gary Cohen, Allan Detsky & Rena Mendelson, Lauren Doll, Barbara H. Freitag, Wendy Gillespie, Laura Little Theatricals, Carl & Jennifer Pasbjerg, Radio Mouse Entertainment, The Shubert Organization, Cynthia Stroum, Tulchin Bartner Productions, Gwen Arment/Molly Morris & Terry McNicholas, Maureen & Joel Benoliel/Marjorie & Ron Danz, Pamela Cooper/Corey Brunish, Demos Bizar/Square 1 Theatrics, Joshua Goodman/Lauren Stevens, Just for Laughs Theatricals/Judith Ann Abrams Productions, Bill & Linda Potter/Rosemary & Kenneth Willman and La Jolla Playhouse and Seattle Repertory Theatre, Center Theatre Group/Ahmanson Theatre
  • Cry It Out, produced by Chris Fields and Rachael Zambias/Echo Theater Company, Echo Theater Company at Atwater Village Theatre
  • Sell/Buy/Date, produced by Geffen Playhouse/Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center, Andrew Carlberg, and Foment Productions, Geffen Playhouse/Los Angeles LGBT Center

MCCULLOH AWARD FOR REVIVAL (Shows between 1920 and 1980)

  • Cabaret, produced by Michael Matthews, Michael O’Hara, Jay Marcus, Mark Giberson, Alan Wethern, David Tran, Parnell Damone Marcano, Constance Jewell Lopez, Celebration Theatre
  • Rosencrantz and Guildenstern Are Dead, A Noise Within
  • The Little Foxes, Antaeus Theatre Company

LEAD PERFORMANCE

  • MaameYaa BoafoSchool Girls; Or, the African Mean Girls Play, Center Theatre Group/Kirk Douglas Theatre
  • Tom HanksHenry IV, The Shakespeare Center of Los Angeles
  • Kasey Mahaffy, Rosencrantz and Guildenstern Are Dead, A Noise Within
  • Alex NeeCabaret, Celebration Theatre
  • Conrad RicamoraSoft Power, Center Theatre Group/Ahmanson Theatre

FEATURED PERFORMANCE

  • Rob Nagle, The Little Foxes, Antaeus Theatre Company
  • Daisuke TsujiCambodian Rock Band, South Coast Repertory

ENSEMBLE PERFORMANCE

  • Come From Away, Center Theatre Group/Ahmanson Theatre
  • The Little Foxes, Antaeus Theatre Company

SOLO PERFORMANCE

  • Sarah JonesSell/Buy/Date, Geffen Playhouse / Los Angeles LGBT Center

WRITING

  • Sarah JonesSell/Buy/Date, Geffen Playhouse / Los Angeles LGBT Center
  • Molly Smith MetzlerCry It Out, Echo Theater Company

WRITING ADAPTATION

  • Patrick MarberThree Days in the Country, Antaeus Theatre Company

MUSICAL SCORE

  • Irene Sankoff and David HeinCome From Away, Center Theatre Group/ Ahmanson Theatre

MUSICAL DIRECTION

  • Ian EisendrathCome From Away, Center Theatre Group/Ahmanson Theatre
  • Anthony ZedikerCabaret, Celebration Theatre

CHOREOGRAPHY

  • Janet RostonCabaret, Celebration Theatre

DIRECTION

  • Jennifer ChangVietgone, East West Players
  • Geoff ElliottRosencrantz and Guildenstern Are Dead, A Noise Within

SET DESIGN

  • Stephen GiffordCabaret, Celebration Theatre
  • John Iacovelli, The Little Foxes, Antaeus Theatre Company

LIGHTING DESIGN

  • Matthew Brian DenmanCabaret, Celebration Theatre
  • Andrew Schmedake, Native Son, Antaeus Theatre Company

COSTUME DESIGN

  • Allison DillardBLISS (or Emily Post is Dead!), Moving Arts at Atwater Village Theatre
  • Allison DillardPriscilla, Queen of the Desert, Celebration Theatre

SOUND DESIGN

  • Jeff GardnerNative Son, Antaeus Theatre Company
  • Joshua D. ReidA Christmas Carol, Geffen Playhouse

CGI/PROJECTION

  • Kaitlyn Pietras and Jason H. ThompsonVietgone, East West Players

SPECIALTY

  • Thomas Isao Morinaka and Aaron Aoki for Fight ChoreographyVietgone, East West Players
  • Jim Steinmeyer for Illusions, Stagecraft, and Magic CarpetAladdin, Hollywood Pantages Theatre


The following special award winners were previously announced:

The THEATER ANGEL AWARD for distinguished service to Los Angeles Theater: Yvonne Bell.

The GORDON DAVIDSON Award for distinguished contribution to the Los Angeles theatrical community: Native Voices at the Autry.

The MARGARET HARFORD Award for sustained excellence: Sacred Fools Theater Company.

The POLLY WARFIELD Award for an excellent season in a small to mid-size theatre: Echo Theater Company.

The JOEL HIRSCHHORN Award for distinguished achievement in musical theatre: McCoy Rigby Entertainment & La Mirada Theatre for the Performing Arts.

The TED SCHMITT Award for the world premiere of an outstanding new play: Lauren Yee for Cambodian Rock Band, originally produced by South Coast Repertory.

The MILTON KATSELAS Award for distinguished achievement in direction: Cameron Watson.

The KINETIC LIGHTING Award for distinguished achievement in theatrical design: Robert Oriol, Sound 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 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
Lovell Estell III, Stage Raw, Arts in LA
Shirle Gottlieb, Arts in LA, StageHappenings.com
Margaret Gray, Los Angeles Times
Hoyt Hilsman, Huffington Post
Harker Jones, Edge Media Network
Deborah Klugman, Stage Raw, LA Weekly, Capital & Main
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

 

Theater Memories from LADCC Members

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On the occasion of our 50th Anniversary, past and present LADCC members share some of their most memorable moments in LA Theater.

WIN BLEVINS
When I was new as the Herald-Examiner entertainment editor, Hair opened in town. It was that season’s sensation—I was dying to review it. My very conservative publisher, George Hearst, sent word that his newspaper would not print a word about any play with a nude scene. HELP! Soon one of our photographers—call him Photogenic—told me Hearst had asked him to get the usual publicity shots, see if it really had a nude scene, and report back.  He himself was ultra-conservative. I considered resigning in protest but didn’t. The next day I got a cackling call from Hair’s PR guy. Working from the light booth, Photogenic dropped to his knees to change rolls of film. “Down there in the dark HE MISSED THE SCENE. HE $%!&# MISSED IT.” Photo said, “Go ahead, Win, write your review.” Surely that was divine intervention.

Win is a New York Times bestselling author whose Dictionary of the American West is held in 728 libraries. Winner of the Owen Wister Award for Lifetime Achievement in writing literature of the West, he resides in Utah.

LAWRENCE CHRISTON
I came along during the period when the Showcase Code yielded to the 1972 Equity Waiver Rule, passage of which created a numerical explosion of new theaters all over the LA basin, like toadstools after rain. Some of them did lovely work, some of them were toilets. The LADCC was a strange, contentious group, some of whom looked like they only came out at night, at the center of which was a cabal of reviewers, led by Variety’s Bill Edwards, who got together to push their pets—mostly mediocre and worse performers—for awards and recognition at the annual LADCC banquet. The LA Times’ chief theater critic Dan Sullivan once called Edwards “an oaf,” which was a perfect description. But no one will ever know how much Edwards did to bring that rule into effect and thereby lead LA theater into its most vibrant period.

Lawrence is a former LA Times staff writer, where he was the first full-time comedy critic on an American daily newspaper. He has written widely on culture and the arts for such publications and internet sites as the Orange County Register, the Los Angeles Review of Books, and CultureCrash.

SYLVIE DRAKE
My first review was of an adapted short story, long title, by Shaw, The Adventures of The Black Girl In Her Search for God at the Mark Taper. I wrote it for a weekly called The Canyon Crier, to find out if I could be a theatre critic as much as become one. My first review for the LA Times was a really good community production of Brigadoon. When I turned it in, Dan Sullivan, who’d assigned it, asked “Was it really that good?” I said yes. I don’t think he believed me. Dan urged me to join the LADCC, which I discovered was a handful of severely opinionated and argumentative people. What a surprise. I was its president twice. Over the 19 years we worked together, Dan and I took turns, with one of us threatening to resign from the group and the other saying no, no, you can’t. Neither of us did, until we each left town.

Sylvie Drake writes “on a fairly regular basis” for cultural weekly.com, and has also written recently for the Los Angeles Times and American Theatre.

RICHARD STAYTON
“If it’s important, it will come to New York.” My newspaper’s lead drama critic Jack Viertel stared incredulously. I’d asked The New York Times cultural editor which critic he’d assigned to review the ten-week Olympic Arts Festival. Nothing like it had been attempted before. Los Angeles would host over 140 productions, performed by 146 theater companies: from West Germany, Pina Bausch; from France, Ariane Mnouchkine’s Kabuki Shakespeare; from Italy, legendary maestro Giorgio Strehler’s Tempest. I assured my mentor that the NYT editor had indeed said, “No one.” But I covered that phenomenal 1984 festival for the Los Angeles Herald-Examiner. And it made me a drama critic. Extraordinary theater compelled a higher level of criticism. When Viertel was lured from journalism by Gordon Davidson to become the Mark Taper Forum’s dramaturge, I inherited Jack’s role. Privileged, I asked to review a Harold Pinter premiere. In London! My new boss said, “If it’s important, it will come to L.A.”

For 20 years Richard was editor-in-chief of Written By, the WGA West’s monthly magazine. His play After the First Death won the Goshen Peace Prize and was produced in theaters across the world.

JACK VIERTEL
I was once president of your august body, in 1983-84. My memories are mainly quite vague about the activities of that time, except for one extremely vivid one where two critics had a passionate disagreement (I forget about what) during a meeting, and then, following the meeting, one of them tried to run the other one over with her car (I am not kidding). It was a fairly wild bunch. I do remember our hosting an annual event, possibly in an auditorium at the Roosevelt Hotel, but that’s about it….As I live in New York now I won’t be able to attend, but I’m hoping for a great event for those who do.

Jack is senior V.P. of Jujamcyn Theaters and the author of The Secret Life of the American Musical. He actually presided over the 1984 dinner at Variety Arts Center, about which Sylvie Drake wrote it was “emceed with verve and dispatch by Circle president Jack Viertel (Herald-Examiner), and masterminded by David Galligan (Drama-Logue).”

DAN SULLIVAN
Los Angeles? They got theater out there?” said a NY Times pal when I jumped ship for the LA Times in the sixties. Nobody would ask that today.  Once a road town, today’s LA has become what a travel agent would call a destination city, a place with its own theatrical history, neighborhoods, legends, accents, costumes. and weird tales. What a great story to cover, and I had a front row seat — at the Taper, at the LA Theatre Center, at South Coast Repertory, at all those ratty little theaters on Melrose, at the acting troupes that went on to glory (the Company Theater,  the Actors’ Gang) and the high-minded ones that couldn’t make it work (the Inner City Cultural  Center.)  It’s all a blur now but I’ve got a closetful of scrapbooks that prove it happened. And still does, no question.

Dan has reviewed theater and music for the Los Angeles Times, the New York Times, the Minneapolis Tribune and other fine newspapers for many years. Today he writes letters to the editor and composes light verse.

SHARON PERLMUTTER
I believe I was the first member of the LADCC who wrote exclusively for the Internet. I wasn’t sure they’d admit me—wasn’t sure that writing for the Internet counted. Next thing I knew I was joining meetings in the Special Collections Room of the Glendale Public Library (we were a special collection, I was told), debating the relative artistic merits of shows, and negotiating out the most equitable way we could vote on nominations from a field of shows too numerous for anyone to possibly see them all. Most memorable LADCC moment: when I had to tell the group we couldn’t get our liquor license in time, so might have to have a dry awards. Most memorable review: Once, I was invited back to see a show a second time, because they had incorporated a couple changes I’d suggested. I always enjoyed knowing that the people who created shows I loved knew how much I loved their work; but knowing that my input made a show better warmed my icy little critic’s heart.

Sharon still occasionally writes reviews for TalkinBroadway.com, but now spends most of her free time traveling, coping with middle age gracefully, and trying to teach lawyers math.

AMY LYONS
Being part of the LADCC for three years was an amazing way to meet other critics and delve deeply into the extraordinary theatre community of Los Angeles. Co-producing an LADCC awards show with Bob Verini, hosted by the Troubies, was a highlight for me, except the part where I found out fifteen minutes before opening that the caterer had the date wrong. But the show, and the food, went on!

As a Los Angeles theater critic, Amy reviewed for LA Weekly, Backstage, The Santa Monica Mirror, Stage Raw, and The Beverly Press. These days, Amy splits her time between Los Angeles and the Washington D.C. area, where she contributes reviews to Washington City Paper. 

LES SPINDLE
Several years back, I was attending an opening night performance at the Malibu Playhouse. I arrived at the last minute, and did not initially notice that the woman seated next to me was a former child superstar and celebrated sitcom luminary. It was Rose Marie, who died in December of 2017, following the release of a fabulous documentary film about her extraordinary life and career. Clearly not a shy person, she apparently noticed my note-taking during the first act, and gently elbowed me in the ribs, saying, “Well, what do ya think?” I then noticed the tiny trademark hair bow she was wearing (Baby Rose Marie, grown up). We had a fabulous chat at intermission, as she relayed great anecdotes about Dick Van Dyke and Doris Day, and chatted up a storm. Halfway through the second act, an actress fainted onstage, and the show was interrupted for a while. Bow-haired Rosie quipped to me: “I could get up and do a dance.” Before long, we were told the actress was OK, and the show went on. I have never forgotten that funny and extraordinary encounter.

Les has worked as a journalist and critic since the 1980s for Backstage, Frontiers, LA Stage, and others. He has interviewed countless numbers of celebrities and is the author of a bio-bibliography of Julie Andrews.

BOB VERINI
When the set died during press night for 9 to 5: The Musical at the Ahmanson, the show’s composer-lyricist jumped up to jolly us into a singalong and wipe away any critical grumpiness (and we can be grumpy). 9 to 5 went on to cop LADCC awards for musical score and for choreography; who can say how much of the show’s lingering good cheer was set in motion that night by Miss Dolly Parton herself? I further recall the show’s director, the estimable Joe Mantello, taking exception to something I’d written in Variety in a fairly blistering e-mail. I wrote back politely, highly aware (without saying so) that the man was probably exhausted and may have regretted how he expressed himself. Our resulting exchange of ideas ended most pleasantly—a reminder that everyone in theater is trying to do their best, and that we’re all fallible human beings.

Bob covers New England theater for Variety and New York Stage Review. His Play-a-Day capsule commentaries, posted daily on Facebook, also appear in ArtsinLA.com.

DON SHIRLEY
Greater Los Angeles is one of the world’s most dramatic metropolises, thanks to the astonishing diversity of the people, their communities, even the physical topography. It’s also a magnet for people who want to act, write and direct. We have the ingredients for a great theater. But the sheer distances within LA, the domination of the Hollywood industry and the preponderance of very small venues sometimes prevent Angelenos from noticing their theater scene—and that includes many of those who now run LA’s major news organizations. Being an LA theater critic has repeatedly yanked me off my sofa, away from screens, and into face-to-face contact with the many communities where theater happens. I’d like to see those communities themselves reflected more often in their productions. But whatever is on the stage, I’m grateful that I’m able to get out there and take another look at what’s happening.

LOVELL ESTELL III
I was truly excited to see Brian Dennehy’s performance in Death of a Salesman, back in 2000 at the Mark Taper Forum. There was a buzz in the crowd, and a good hour before the show, I pampered myself with three or four glasses of wine. And, predictably, ten minutes before curtain, I had to make a stop. So, after waiting in line for a few minutes, I sauntered over to the WC, and as soon as I settled in, Kirk Douglas parks himself in the stall next to me. Hell, I was kind of surprised, and then I said “Hello, Mr. Douglas,” to which he replied, “Hello, how are you? Well, our “conversation” went on for a while, touching on the upcoming show, etc., etc. And then we parted ways. “Enjoy the show,” was the last thing he said to me. We could have just as well been talking over a cup of coffee!

MARGARET GRAY
Soon after I joined the LADCC in 2014, I attended my first awards show at the Colony Theatre, driving to Burbank with two small balloon arrangements I’d agreed to contribute. When I placed them on the tables, I saw them as they were: pathetic, sparse and wan to the point of hostility. They ripped away the tissue-thin veil of illusion that guards the human spirit from despair. I stood alone as the nominees arrived, mortified that they had dressed so nicely for such balloons. Yet during the awards presentation the winners looked thrilled and moved—some to tears—to receive their plaques. That’s when I got it: the whole value of the LADCC, theater criticism, awards shows, even balloons. The opportunity to shine a light, however dim, on people’s work in the theater. It requires witnesses, this work, audiences to seek it out, experience it, find meaning in it, and fight for it. My urge to see and write about plays didn’t have to be a weird, shameful quirk that annoyed everybody. It could lead to something valuable, sometimes. That was the first time I felt like part of this community.

MYRON MEISEL
Padua Hills’ groundbreaking work by Mednick, Fornes, Steppling, O’Keefe, Martell. Bernard Jackson’s Inner City Cultural Center: an epic Ethiopian war play, Fernando Arrabal, & Fugard’s Arrests Under Immorality Act. The King’s Road Globe’s King John & George Coulouris as Lear. Los Angeles Actors Theater, doing Richard Wesley and Miguel Piñero later at LATC with Etta Jenks. Olympic Arts Festival, especially Teatro Piccolo de Milano and Ariane Mnouchkine. Everything ever staged by Peter Brook, most daringly The Ik, performed in the corridors of UCLA’s Melnitz Hall. Richard Wilson/Lucinda Childs: I Was Sitting on my Patio… Richard Foreman Inside the Ford. Joe Stern’s heyday at the Matrix. Ron Sossi’s Brechts at the Odyssey: Poor Woman of SzechuanCaucasian Chalk Circle with Franklyn Seales, BaalAfter the Fall with Harris Yulin and Julie Cobb. Reza Abdoh. David Schweizer’s Plato and Broadway. Antaeus Classics Fests at Dakin’s original sweltering location, particularly Tony Amendola’s best Strindberg I’ve heard, reading of The Father. All Fugard premieres at the Fountain. Laura Comstock’s Bag-Punching Dog. Actor Solidarity, when they can muster it.

ROB STEVENS
I started reviewing the professional theatre scene in Los Angeles for a Southern California community theatre magazine in August, 1973, not realizing press got free tickets. I had season subscriptions for the LACLO, Ahmanson, Mark Taper and Huntington Hartford and reviewed their shows. I discovered Equity Waiver theaters on a memorable Sunday in February, 1974. I saw a matinee of The Dark at the Top of the Stairs at the MET Theatre, which was a 50-seat space on Poinsettia Place. The show was directed by co-founder Timothy Scott and starred co-founder James Gammon, Carol Vogel and Belinda Balaski. That evening at the Zephyr Theatre I saw The Onion Co.’s A View From the Bridge starring co-founders Ed Knight and Patricia Kane. Those companies are long gone as are Colony Studio Theatre Playhouse, The CAST, the Callboard, the Megaw, Theatre of Light, L.A. Actors Theatre and many more from the glorious 1970s & 1980s.

MELINDA SCHUPMANN
My Los Angeles theater experiences produce a kaleidoscope of memories. Newly arrived in town, I sat near Fred Astaire at the old Huntington Hartford, who was as delighted as I at seeing Myrna Loy in Barefoot in the Park, watched Katharine Hepburn acting from a wheelchair at the Ahmanson after fracturing her ankle, marveled at Julie Taymor’s stunning African animals in Lion King, danced in the aisles at Mamma Mia at the Shubert, and spent hundreds of hours in tiny, strip mall theaters all over the city putting on productions that made me laugh, weep, and everything in-between. The rich artistic environment that is LA theater inspires me every time I head out for a show.

JENNY LOWER
One of my earliest encounters with Los Angeles theater remains among the most arresting: Circle X’s exquisite 2006 production of Eurydice at Inside the Ford. I had found myself at the theater almost by accident, drawn only by a suspicion that the sensibility of both the material and the company would speak to mine. The Los Angeles premiere flayed me. John Langs’ direction brought Sarah Ruhl’s poetic elegy for her father gorgeously to life; within minutes, I was openly weeping. Brian Sidney Bembridge’s tiled dream-logic set, Robbin E. Broad’s otherworldly sound design, and most of all the devastating performances of the ensemble, led by John Getz, Kelly Brady and Tim Wright—all was note-perfect. At the end I poured myself out of my chair and into my car, and from there began a long relationship with the works of Sarah Ruhl and Circle X. Since then I’ve watched as the company has tackled more and more ambitious plays, but none has affected me quite like that one. I still have the postcard.

FRANCES BAUM NICHOLSON
One’s most memorable moment in the theater isn’t always the production which remains the most inspirational, or most artistically creative, though I could name several banner moments. Sadly, sometimes it’s the one which was the hardest to get through. That would be Hal Prince’s production of A Doll’s Life, which premiered at the Ahmanson before heading east in 1982. It was awful, on many levels. I was 24 years old, sitting at a typewriter, trying to figure out how to say that the hallowed Hal Prince, hot on the heels of Sweeney Todd and Evita, had laid an egg. Hardest thing I ever wrote. I was never more grateful to read the reviews of others and realize I was not alone. The invective Prince used toward LA critics is now legend, as is the New York reputation of the show as one of the most notorious flops in Broadway history.

KATIE BUENNEKE
One of the best things about being in the LADCC is that I’m constantly exposed to the opinions of other LA critics, who put shows on my radar that I otherwise might not see. I remember a few years back, Margaret Gray recommended a show called Good Grief, a world premiere that had just opened at the Kirk Douglas. I don’t typically enjoy watching sad stories, so I was wary, but I trusted Margaret, and caught Good Grief in Culver. I was astounded—it was one of the best pieces of writing I’d ever seen, a beautiful, moving piece that plays with memory and time in elegant ways. I’ve held the play near and dear to my heart since, re-reading it and proclaiming its virtues to anyone who will listen. I’m quite thankful for Margaret’s recommendation, Ngozi Anwanyu’s nimble writing, and CTG’s stellar production.

HARKER JONES
One night at the theater doesn’t necessarily equal another. Some are filled with colorful music and energetic dance. Some offer powerful and insightful drama. And—rarely—some are true, transformative experiences. the theater is a blank page was one of those experiences. The immersive and innovative production, with an actor reading text from Virginia Woolf’s seminal novel To the Lighthouse, leads viewers—actually, participants—through the theater, from the balcony to backstage to center stage with visual art by Ann Hamilton and interactions with cloth and confetti and even cookies. It’s ruminative and contemplative and cathartic. When it’s over, it’s like awakening from a meditation. Like you’ve gone somewhere without leaving, and are rejuvenated. You feel rested and solid, and clearer somehow. While theater may be a blank page for directors and artists to project their dreams, it is also vibrant and alive and even spiritual.

ELLEN DOSTAL
It’s hard to believe that eight bars of silence in a musical top my list of unforgettable moments in LA theatre, but those eight bars were thrilling. It was 2002 and Deaf West’s Big River had just transferred to the Taper. I’d never seen deaf and hearing actors together on stage before and I spent the entire show transported by the exhilarating, passionate, and lyrical integration of disciplines. It was one of the most expressive performances I’d ever witnessed, and then came the reprise of “Waitin’ For The Light To Shine” in Act II. The combination of hearing actors singing full voice and deaf actors singing in American Sign Language was gloriously triumphant…and then the voices dropped out and everyone sang the next chorus in silence choreographed only with ASL. A collective gasp when through the audience and I thought my heart would burst out of my chest. Tears? You bet.

ERIN CONLEY
As a relatively new resident of Los Angeles, my theater memories here only go back about 8 years, but there are three moments that stand out so far. The first is seeing the initial production of Deaf West’s Spring Awakening in 2014. I was so moved and amazed by how many new layers this version had uncovered in a show I thought I knew inside and out, a show that was formative for me, that I went home and published my thoughts on my blog. A year later, thanks to that unofficial review, I found myself at Antaeus for their lovely production of Picnic, my first as an invited critic. Finally, I’ll never forget sitting outside on a June night last year, watching Tom Hanks entertain the crowd with improv, never breaking character, when Henry IV was paused for a medical emergency.

LADCC To Honor Yvonne Bell with New Theater Angel Award

On the occasion of its 50th anniversary, the Los Angeles Drama Critics Circle (LADCC) is delighted to announce its inaugural Theater Angel award, which will be presented to Yvonne Bell at the 2019 LADCC Awards Ceremony on April 8, 2019, at Pasadena Playhouse.

The LADCC was established in 1969 “to foster and reward merit in the American theater and encourage theater in Los Angeles,” according to an announcement in the Los Angeles Times on June 7 of that year. To commemorate its golden anniversary, the LADCC is planning a festive 50th Anniversary Awards Show.

In addition to presenting awards for the year 2018 (all nominees and Special Award winners were previously announced), the LADCC will take the opportunity to look back over the theatrical landscape of Los Angeles over the past half-century: highlights, low lights and degrees of luminosity in between.

Artists, producers and critics are essential to a flourishing theatrical ecosystem; but without sufficient funds, none of them can find a foothold. Sorting through memorabilia and re-encountering past productions has revealed to the Circle just how much the LA theater community owes to those who work behind the scenes to bring its visions to life. The LADCC’s Theater Angel award is designed to acknowledge and celebrate the generosity and advocacy of these often unsung benefactors.

In a long career devoted to fostering theater in Los Angeles, Yvonne Bell has led successful fundraising campaigns and helped open several cultural institutions, including The Museum of Contemporary Art and the California Science Center.

For the past 20 years, she has served as the Director of Development for Center Theatre Group and was promoted to Director of Institutional Advancement in 2017. Under her leadership, Center Theatre Group has almost tripled its annual fund from $4.4 million in 2000 to $12.5 million, opened the Kirk Douglas Theatre in 2004 and successfully navigated the transition to a new artistic director.

Some of the theaters she has advised, directed contributions to or otherwise supported include Couerage Theatre Company, Echo Theater Company, the Fountain Theatre, Playwrights’ Arena, Critical Mass Performance Group, Celebration Theatre, IAMA Theatre Company, The Robey Theatre Company, Pasadena Playhouse, The Blank Theatre, The Road Theatre Company and Antaeus Theatre Company.

It is the LADCC’s great honor to name Yvonne Bell its first Theater Angel. The award will be presented at the ceremony. A VIP pre-show reception will be held before the ceremony, at 6:30 p.m. in The Library, Pasadena Playhouse’s Member Lounge. VIP tickets, which include wine, champagne and appetizers at the reception, and VIP seating for the subsequent ceremony, cost $125 per person and can be purchased HERE.

Standard general admission tickets for the event are $40 and can be purchased HERE (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.

Click Here for a list of the 2019 LADCC award nominees

Click Here for a list of Special Award winners

AN APOLOGY

Beverly Hills Playhouse.

 

AN APOLOGY FROM BOB VERINI, PRODUCER OF THE LADCC AWARDS SHOW

3/19/13

Dear Friends of the LADCC:

Thank you so much for your support of our efforts at last night’s awards show. We are so pleased at the reactions to the event and the delighted reactions so many of the nominees, recipients, presenters, sponsors, and audience members have expressed to us.

I do, however, need to make a deep apology to Mr. Allen Barton and the Beverly Hills Playhouse, sponsors of the Milton Katselas Award for career achievement in direction. Mr. Barton was in attendance at the event, and was fully prepared and ready to be called on stage and present the award to this year’s recipient, Ms. Elina de Santos. Through a combination of crossed wires and missteps, all of the checks I had put in place for bringing up all of the VIPs failed, and so the presentation came and went without Mr. Barton’s participation.

We hate it when anything goes wrong, but particularly when it comes to our sponsors, whose names I read aloud in my thanks. At that time I expressed my feelings, and those of the Circle, in citing how much they do, and how far they go above and beyond, in support of the LA theatrical community. We have always sought to go above and beyond in our treatment of them at the awards event. Clearly we failed last night.

As the producer I take total responsibility for the oversight. I apologize profoundly to Mr. Barton and the Beverly Hills Playhouse, to whom no slight was intended. I also apologize to Elina de Santos, whose career and accomplishments deserved better at my hands. Finally, I apologize to my fellow LADCC members, whose commitment always to make our sponsors the highest priority I let down as well.

Bob Verini.

 

 

LADCC Annual Awards – Monday March 18th – Host and Presenters announced

French Stewart, TV star (“3rd Rock From the Sun”) and local theatre mainstay (“Stoneface”: “Voice Lessons”) will host the 44th Annual Los Angeles Drama Critics Circle (LADCC) Awards on Monday, March 18, 2013 at the Los Angeles Theatre Center, 514 S. Spring St. Downtown. Tickets for the show and opening reception, which will start at 6:30 pm, can be reserved by e-mailing crixawards2013@gmail.com. All seats are $30.00

Stewart will preside over this year’s theme “Theatre Everywhere,” focusing on the wide geographical range within which LADCC members travel in the course of a year to see and celebrate the best of live performance. Top representatives of local institutions – including Michael Ritchie of CTG; Sheldon Epps of The Pasadena Playhouse; Barbara Beckley of The Colony Theatre; and Zombie Joe of Zombie Joe’s Underground Theatre – will assist Circle members in presenting awards in 17 competitive categories as well as a host of special award plaques.

Entertainment, too, will come from all over the region. Almost two dozen performers from Orange County will reunite to perform “The Rumble” from the Chance Theatre’s acclaimed and nominated revival of “West Side Story.” The cast of “Justin Love,” the smash musical that originated at Celebration Theatre – winner of this year’s Margaret Harford Award for distinguished achievement – will appear, alongside performers from “The Color Purple” (Cesili Williams); “The New Electric Ballroom” (Tim Cummings); and “Bad Apples” (Kate Morgan Chadwick, accompanied by the show’s composer/lyricists Beth Thornley and Rob Cairns.)

Ryan Johnson, nominated for his score for “Stoneface” which starred Stewart as the legendary Buster Keaton, serves as musical director for the evening, which will be produced by Daily Variety and ArtsinLA.com critic Bob Verini. Production stage manager is Heatherlynn Gonzalez. Award-winning sound designer Cricket S. Myers lends her skills to the event, whose associate producer is Peter Finlayson of Footlights Publishing.

A cash bar with great food and a silent auction (cash and checks only, please) will occupy the 6:30-7:30 hour, until doors open and the annual celebration of great L.A. area theatre begins.

ALL INFORMATION:

The Los Angeles Drama Critics Circle (LADCC) has announced its nominations and special awards for excellence in Los Angeles and Orange County theatre in 2012.

All tickets have been reduced to $30.00. Tickets can be arranged through crixawards2013@gmail.com, and PayPal will be accepted prior to March 18. Credit cards will be accepted at the door.

Nominees are entitled to a single complimentary ticket. Nominees please click here for important information regarding ticketing etc.

Doors will open at 6:30 p.m. on March 18 for drinks, music, hors d’oeuvres (no full dinner) and conversation, while at a Silent Auction attendees can bid on theater and film-related items. Only cash or checks will be accepted at the auction, please. The show will commence at 7:30 p.m.

Scheduled host French Stewart is a 25-year mainstay of the Los Angeles theatre scene and a notable star of TV and film. Best known for his six seasons co-starring on NBC’s 3rd Rock From the Sun, he is a member of Sacred Fools and played the title role in that company’s 2012 production of Stoneface, The Rise and Fall and Rise of Buster Keaton, which has received two LADCC nominations.

In recognition of this year’s theme, “Theatre Everywhere,” representatives of theatre companies based within the geographic beat covered by members of the Circle will join Stewart and Circle members to present awards in 17 competitive categories.

# # # # #

NOMINEES:

The 2012 nominees are…

SPECIAL AWARDS:

Six special awards will be presented under the sponsorship of organizations and individuals to whom the LADCC is most grateful. Honors have been announced for local institutions Celebration Theatre (for sustained excellence); and The Fountain Theatre and Center Theatre Group (for their excellent seasons). The Circle also recognizes prominent individuals: David O; Elina de Santos; Stephen Gifford; as well as Evelina Fernandez for her A Mexican Trilogy, an outstanding L.A. world premiere play.

The 2012 special awards winners are…

ALREADY-VOTED AWARDS:

Three already-voted awards will be presented on awards night.

Plaques will be presented on March 18 to the following recipients:

Adrian Kohler with Basil Jones for Handspring Puppet Theatre, in recognition of the design, fabrication, and direction of the puppets of War Horse at the Ahmanson Theatre

David McCormick and Kelly Todd for their fight direction of West Side Story at the Chance Theatre in Anaheim.

In addition, a special plaque will be awarded to Center Theatre Group for an excellent season.

# # # # #

MEMBERSHIP:

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 2012 membership consisted of:

Pauline Adamek, LA Weekly; ArtsBeatLA.com

F. Kathleen Foley, Los Angeles Times

Shirle Gottlieb, Gazette Newspapers; stagehappenings.com

Hoyt Hilsman, Back Stage, The Huffington Post

Mayank Keshaviah, LA Weekly

Amy Lyons, Back Stage, LA Weekly

Dany Margolies, ArtsinLA.com

Terry Morgan, LAist.com; Daily Variety

Steven Leigh Morris. LA Weekly

David C. Nichols, Los Angeles Times, Back Stage

Sharon Perlmutter, TalkinBroadway.com

Melinda Schupmann, Back Stage; ShowMag.com; ArtsinLA.com

Madeleine Shaner, Park La Brea News/Beverly Press; Back Stage

Les Spindle, Frontiers; Theatremania; EDGE LA

Bob Verini, Daily Variety; ArtsinLA.com

Neal Weaver, LA Weekly; Back Stage

 

The LADCC is pleased to welcome FootLights Publishing, Inc. as consultants on this year’s awards events. The mission of FootLights is to illuminate the theatre community, providing greater access to a more diverse public while at the same time offering insight into the production and process of theatre.

The LADCC expresses its gratitude to Los Angeles Theatre Center and Latino Theatre Company for their warm welcome and many courtesies.

 

 

Los Angeles Drama Critics Circle announces Nominations for Achievements during 2012

 

The Los Angeles Drama Critics Circle (LADCC) has announced its nominations and special awards for excellence in Los Angeles and Orange County theatre in 2012. The 44th annual LADCC Awards ceremony will take place on Monday, March 18, 2013 at historic, heralded Los Angeles Theatre Center, 514 S. Spring Street in downtown L.A.

All tickets have been reduced to $30.00. Tickets can be arranged through crixawards2013@gmail.com, and PayPal will be accepted prior to March 18. Credit cards will be accepted at the door.

Nominees are entitled to a single complimentary ticket.  Nominees please click here for important information regarding ticketing etc.

Doors will open at 6:30 p.m. on March 18 for drinks, music, hors d’oeuvres (no full dinner) and conversation, while at a Silent Auction attendees can bid on theatre and film-related items. Only cash or checks will be accepted at the auction, please. The show will commence at 7:30 p.m.

Scheduled host French Stewart is a 25-year mainstay of the Los Angeles theatre scene and a notable star of TV and film. Best known for his six seasons co-starring on NBC’s  3rd Rock From the Sun, he is a member of Sacred Fools and played the title role in that company’s 2012 production of Stoneface, The Rise and Fall and Rise of Buster Keaton, which has received two LADCC nominations.

In recognition of this year’s theme, “Theatre Everywhere,” representatives of theatre companies based within the geographic beat covered by members of the Circle will join Stewart and Circle members to present awards in 17 competitive categories.

# # # # #

NOMINEES:

The 2012 nominees are…

SPECIAL AWARDS:

Six special awards will be presented under the sponsorship of organizations and individuals to whom the LADCC is most grateful. Honors have been announced for local institutions Celebration Theatre (for sustained excellence); and The Fountain Theatre and Center Theatre Group (for their excellent seasons). The Circle also recognizes prominent individuals: David O; Elina de Santos; Stephen Gifford; as well as Evelina Fernandez for her A Mexican Trilogy, an outstanding L.A. world premiere play.

The 2012 special awards winners are…

ALREADY-VOTED AWARDS:

Three already-voted awards will be presented on awards night.

Plaques will be presented on March 18 to the following recipients:

Adrian Kohler with Basil Jones for Handspring Puppet Theatre, in recognition of the design, fabrication, and direction of the puppets of War Horse at the Ahmanson Theatre

David McCormick and Kelly Todd for their fight direction of West Side Story at the Chance Theatre in Anaheim.

In addition, a special plaque will be awarded to Center Theatre Group for an excellent season.

#  #  #  #  #

MEMBERSHIP:

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 2012 membership consisted of:

Pauline Adamek, LA Weekly; ArtsBeatLA.com

F. Kathleen Foley, Los Angeles Times

Shirle Gottlieb, Gazette Newspapers; stagehappenings.com

Hoyt Hilsman, Back Stage, The Huffington Post

Mayank Keshaviah, LA Weekly

Amy Lyons, Back Stage, LA Weekly

Dany Margolies, ArtsinLA.com

Terry Morgan, LAist.com; Daily Variety

Steven Leigh Morris. LA Weekly

David C. Nichols, Los Angeles Times, Back Stage

Sharon Perlmutter, TalkinBroadway.com

Melinda Schupmann, Back Stage; ShowMag.com; ArtsinLA.com

Madeleine Shaner, Park La Brea News/Beverly Press; Back Stage

Les Spindle, Frontiers; Theatremania; EDGE LA

Bob Verini, Daily Variety; ArtsinLA.com

Neal Weaver, LA Weekly; Back Stage

 

The LADCC is pleased to welcome FootLights Publishing, Inc. as consultants on this year’s awards events. The mission of FootLights is to illuminate the theatre community, providing greater access to a more diverse public while at the same time offering insight into the production and process of theatre.

The LADCC expresses its gratitude to Los Angeles Theatre Center and Latino Theatre Company for their warm welcome and many courtesies.

 

 

SO YOU’VE BEEN NOMINATED!

… (or your show has been) –

 

HERE’S WHAT YOU NEED TO KNOW.

Congratulations! First thing, we of the LADCC will be hosting our fourth annual Nominees Reception two weeks prior to the Awards Show. Please watch this website (and your e-mail; and heck, watch your SPAM filter too) for more particulars really soon. If you’re a nominee, you’re invited. We hope you’ll keep this in mind: It will really help if you RSVP. We’re a small (if fierce) organization with limited resources. RSVPs help us order enough beverages and hors d’oeuvres to go around, and reduce the worry that we under-ordered. More about that anon.

What about Awards Night, Monday, March 18, 2013 you ask?

All nominations and purchases will be handled through this e-mail address: crixawards2013@gmail.com.  You may ask questions there, reserve tickets, ask for a PayPal invoice (we love those), and make changes (we hate those but we know they happen).

Here’s what you need to know, and please keep reading to the end:

One (1) complimentary ticket is allotted to each individual nominee and Special Award recipient.

In other words, if you are a person named as a nominee, or have been told that you’re getting a Special Award, you’re entitled to a single comp ticket. We need you to claim it, by e-mailing crixawards2013@gmail.com. Make the reservation; it’s easy. If you don’t reserve, we regret we cannot guarantee admission.

An individual comp is allotted to each of the 8 Production nominees and 3 McCulloh nominated revivals, but the producers of those shows will pick who is to claim them. (Probably themselves.) Anyway, please don’t call or e-mail saying “I get the comp for West Side Story” or whatever, because that’s not the way that works. You’re welcome to go to your producer and wheedle to be the person who gets it, and s/he will confirm with us.

If you wish to invite one or more guests, it helps us enormously if you book both the comp and the paid tickets at the same time, in the same e-mail.

You’ll be sent a PayPal invoice within 48 hours of your reservation; it’s quick, safe, and easy to pay that way. We will endeavor to hold reservations up until 6:00 pm on show night, but the best way to ensure a seat is to pay right away.

All tickets will be held at the door. None will be mailed.

Cash, checks, and credit cards will be accepted at the door.

All seating is general seating.
We want to emphasize that we lowered this year’s price by 25%, to $30. We listened last year when you told us that the $40 ticket price was steep, and we hope that the lowered price will enable more folks to come to the Awards Show, whether or not they have a “dog in the hunt” as it were.

The nominated Ensembles work a little differently.

According to LADCC bylaws, a limited number of tickets are to be allotted to nominees in our Ensemble Performance category. This year, the casts of Waiting for Godot, The New Electric Ballroom, and The Savannah Disputation were so small that we have been able to set aside comps for all their actors by name; feel free to book yours at the gmail address. (Remember, you have to confirm; we can’t just hold them without any word from you.)

We wish we could invite everyone in the other nominated Ensembles – those for 42nd Street, In the Red and Brown Water, The Color Purple, and The Treatment – but those total 72 and we just can’t do it. Four (4) comps will be allotted to each ensemble, and the producers and publicists will assign them. If you were one of the cast members of those shows, kindly contact the producer or publicist to be considered for these comps. We regret we cannot allot those seats directly.

All nominees receive a nice certificate, suitable for framing.

Yep, all 85 actors in the nominated Ensembles, too. We’ll have the certificates on hand at the Nominees Reception; those not picked up will be available after March 18 through the LADCC or your show’s producers or publicist.

We will have some need of volunteers.

If you’d like to be considered as a volunteer usher or runner or some such for March 18, please contact – you guessed it – crixawards2013@gmail.com.

Dinner will NOT be served.

Lowering our ticket price is a gamble in terms of our reaching breakeven. We’re willing to take it but something had to give, and it was the dinner served at past years’ events. There will be tasty hors d’oeuvres and a cash bar, but you are advised to consider consuming a full dinner prior to arriving at the LATC.

Speaking of which, the LATC’s address is 514 S. Spring Street, Downtown Los Angeles.

The historic, beautiful Los Angeles Theatre Center will be hosting us, and here, for neither the first nor the last time, we want to express our deep appreciation to them and to the Latino Theatre Company. Click here to be directed to the LATC website, where you can learn about parking and whatnot. If you don’t know them or their work, you should, so a visit to their website will pay off doubly.

Dress is….well, call it “business casual” or “whatever you’d feel comfortable wearing to an L.A. opening night.” It’s a rare necktie or evening gown that decides to attend our event, though people do tend to make an effort to look nice.

Doors will open at 6:30, and the show is scheduled to begin at 7:30.

There’s going to be a Silent Auction that night.

Lots of really cool theatre stuff and film stuff. Cash or checks only, please. Bidding will end when intermission ends, on March 18.

Any other questions?

You know the e-mail address by now. Seriously, we are privileged and thrilled to honor the LA theatre community this way every year, and we hope you’ll join us.

Bob Verini

Awards Event Chair

 

Two-time winner (2011) Anne Gee Byrd.
Photo by Ed Krieger.

 

 

 

 

 

Program Ad and Silent Auction Info – LADCC Awards

Tip!  Scroll down to see the latest additions to the silent auction!

Program Advertisements

Sorry!  The program already went to press, so it’s too late to purchase program ads.  We will, however, accept silent auction donations right up until … heck, we’ll add stuff the day of the show, if you’re so motivated.

Silent Auction

Prefer to support the Circle with a donation to our Silent Auction?  (Think:  tickets to your upcoming show or season; show memorabilia; a master class.  Get creative!  We can help with ideas.)  Donors are thanked in the program and right here on this website — and we’ll display your promotional materials next to your auction donation.  Did we mention we’re a 501(c)(3) non-profit?  Contact LADCCAuction@aol.com to discuss your donation.

Just Added to the Auction

JUST ADDED:  Some really cool stuff you’ll have to wait and see at the auction — including movie memorabilia. DVDs, and other cool stuff Circle members have raided their closets to find.

JUST ADDED:  Two tickets to the March 30 performance of Tracie Bennett in End of the Rainbow at the Center Theatre Group Ahmanson Theatre!  The Ahmanson hosted nominees Fela! and War Horse (2 nominations and one award) this year.  CTG has 8 nominees from its other theatres, and is the recipient of a special award for its outstanding season.

JUST ADDED:  Eight books from the Cahiers du Cinema – Masters of Cinema set, ranging from Charlie Chaplin to Martin Scorsese!

JUST ADDED:  A Disney-themed lot, including The Art of Cars 2!

JUST ADDED:  Several lots of books, including Harold (the Hal Holbrook memoir); the journals of spalding grayThe Story of Hollywood; A Must See! (a book of Broadway artwork); and The Noel Coward Reader!

JUST ADDED:  Two pieces of original jewelry from artist Camille Sharon!

JUST ADDED:  Four tickets to Master Class at International City Theatre!  ICT hosted nominee Ghost-Writer this year.

RECENTLY ADDED:  Two tickets to Mrs. Warren’s Profession at Antaeus!  Antaeus hosted nominee Macbeth this year.

RECENTLY ADDED:  Two tickets for any subscription season production at Pacific Resident Theatre!

RECENTLY ADDED:  Two tickets to Having It All at the Laguna Playhouse!

RECENTLY ADDED:  A huge basket o’ goodies from Rise of the Guardians, including toys, books, an “Art of…” book, an XBox game, and all sorts of other cool stuff (total value $300) courtesy of DreamWorks Animation!

RECENTLY ADDED:  Two gift certificates for two tickets each to We are Proud to Present … at The Matrix Theatre!

RECENTLY ADDED:  Two tickets to Trainspotting at the Elephant Theatre!

RECENTLY ADDED:  Two gift certificates for two tickets each to Walking the Tightrope at 24th Street Theatre!

RECENTLY ADDED:  Two tickets to Songs of Bilitis by Rogue Artists Ensemble at Bootleg Theater!

RECENTLY ADDED:  Two gift certificates for two tickets each to Forget My Name, a world premiere play at Son of Semele!

RECENTLY ADDED:  Two VIP tickets (including free drink and free parking) to DOMA‘s production of Dreamgirls at the MET Theatre!

RECENTLY ADDED:  Two gift certificates for two tickets each to The Agony and the Ecstasy of Steve Jobs at Theatre Asylum!  Theatre Asylum hosted nominee Tape this year.

RECENTLY ADDED:  Two tickets to a performance at The Colony Theatre!  The Colony Theatre presented nominee The Savannah Disputation this year.

RECENTLY ADDED:  Two tickets to a preview performance at the Pasadena Playhouse!   The Pasadena Playhouse hosted multiple-nominee Jitney, and nominee Intimate Apparel, this year

RECENTLY ADDED:  A 27 x 40 (movie-sized) poster of Val Kilmer as Mark Twain in Citizen Twain, signed by Val Kilmer.

RECENTLY ADDED:  The script from Freud’s Last Session, signed by playwright Mark St. Germain.

RECENTLY ADDED:  A playbill from the Broadway production of Superior Donuts, signed by members of the cast.

RECENTLY ADDED:  Are You Anybody?  An Actor’s Life, autographed by the author, Bradford Dillman.

RECENTLY ADDED:  The Great Movies II, autographed by the author, Roger Ebert

RECENTLY ADDED:  Taschen‘s Stanley Kubrick’s “Napoleon”:  The Greatest Movie Never Made

RECENTLY ADDED:  Taschen‘s Billy Wilder’s “Some Like It Hot”

RECENTLY ADDED:  A 14 x 22 lobby card from multiple-nominee Waiting for Godot at the Mark Taper Forum, signed by members of the nominated ensemble!  (In lucite frame, ready for your wall.)

RECENTLY ADDED:  Two tickets to Neverwhere at Sacred Fools!  Neverwhere is an adaptation of the Neil Gaiman novel.  Sacred Fools gave us Stoneface, The Rise and Fall and Rise of Buster Keaton, a double nominee this year.

RECENTLY ADDED:  A 14 x 22 lobby card from Priscilla – Queen of the Desert, autographed by Nick Adams, Tony Sheldon, Will Swenson, and the Broadway company!  (In lucite frame, ready for your wall.)  Courtesy of an anonymous donor.

RECENTLY ADDED:  Two gift certificates for two tickets each to any performance at A Noise Within!  A Noise Within is the only Southern California company working in the repertory tradition and dedicated solely to producing classical dramatic literature — and has earned two nominations this year.

RECENTLY ADDED:  Two gift certificates for two tickets each to any performance at the Fountain Theatre!  The Fountain is the recipient of this year’s Polly Warfield Award for an excellent season in a small to mid-size theatre, and has earned six nominations this year.

RECENTLY ADDED:  A “Spa Sampler” gift certificate for Amadeus Spa in Pasadena!  (Amadeus is the winner of “Best Day Spa/Massage” and “Best Skin Care/Facial” in the LA Times 2012 Reader Poll.)

LADCC is grateful to all of its silent auction donors.  Watch this space for more of the exciting items we’ll have for auction at the LADCC Awards this year.

 

Remember to:  (1) buy your tickets to the Awards Show; and (2) bring cash or a checkbook – we can’t take credit cards at the auction.

Stay tuned!

 

 

 

Photo Essay — 43rd Annual Los Angeles Drama Critics Circle Awards evening

Members of the ensemble of Ebony Repertory Company, A Raisin in the Sun. (From L to R) Jason Dirden, Kenya Alexander and Deidrie Henry.

A grand time was had by all who attended the 43rd Annual Los Angeles Drama Critics Circle Awards event. This group of professional theater critics, the Los Angeles Drama Critics Circle (LADCC), annually gives awards for excellence in theater.

The ceremony took place Monday, March 19, 2012 at A Noise Within’s glamorous theater in Pasadena, and was co-produced by LADCC members David C. Nichols and Sharon Perlmutter.

The fun-filled show featured lively banter and comedic performances from hosts Jason Graae (recipient of the 2007 Joel Hirschhorn Award for outstanding achievement in musical theater) and Lesli Margherita (nominee for Kiss Me, Kate).

In addition to handing out the numerous prizes for excellence in theater, the Awards event featured the Los Angeles premiere performance of My Husband, by Paul Rudnick, a short play added to the New York production of Standing on Ceremony: The Gay Marriage Plays. The play was charmingly performed by Wendie Malick (Hot in Cleveland) and Christopher Gorham (Covert Affairs).

Yvette Tucker and Salvatore Vasallo also performed a sizzling excerpt from “Slaughter on Tenth Avenue,” a dance duet from On Your Toes, choreographed by this year’s Hirschhorn Award recipient, Lee Martino.

You can now follow the Los Angeles Drama Critics Circle on twitter via @LADramaCC.

For a full list of the nominees, go here.

Please enjoy this photo essay that highlights the attendees, the presenters, the performers, the members, the nominees and — of course — the winners.

All photos were taken by Ed Krieger.

The evening’s co-hosts, Lesli Margherita and Jason Graae, raise a toast to all nominees.

Read More→