Novel Entertainments – Part 3

This is a three part series.

To read Part 1 of this series, which discusses the recent production of The Picture of Dorian Gray that was performed at the Pasadena Playhouse, please go to Novel Entertainments – Part 1.

To read Part 2 of this series, which discusses the recent productions Creation (Pictures for Dorian Gray) by the Gob SquadThe Woman in Black at the The Pasadena Playhouse, and The Turn of the Screw, by noted playwright-screenwriter Jeffry Hatcher, please visit Novel Entertainments - Part 2.

Intriguingly, The Actors' Gang has brought us a new production of Johnny Got His Gun, the 1938 award-winning anti-war novel from legendary screenwriter, Dalton Trumbo – Thirty Seconds Over Tokyo, Roman Holiday (1953), Spartacus (1960), and Exodus (also 1960). Trumbo directed his own film adaptation of Johnny Got His Gun in 1971, and has himself become widely known through the recent biopic starring Bryan Cranston (2016).

The novel is an excruciating tragedy, a dark, anti-war satire about a patriotic young American in WW1 (it was published two days after the declaration of war in Europe, more than two years before the United States joined World War II). It's the story of Joe Bonham, a duty-bound volunteer, who enters the war to the rousing hoopla of “Over There” which repeats and repeats the Civil War rallying cry:

“Johnny, get your gun, get your gun, get your gun.
Johnny, show the Hun, you're a son-of-a-gun.
Hoist the flag and let her fly
Yankee Doodle, do or die.
Pack your little kit, show your grit, do your bit.
Yankee to the ranks from the towns and the tanks
Make your Mother proud of you
And the old red-white-and-blue.
Johnny, get your gun, get your gun, get your gun…”

“Johnny get your gun” became a slogan encouraging enlistment in the army in 1917 as American entered the War to End all War. Most recently the lyric was used by the rock band Ladyjack, as an ironic protest. But Trumbo's past tense use of the cry says it all: Johnny got his gun and see what that got him?

Joe – the “Johnny” who got his gun in the novel was, by a horrific artillery shell attack, rendered blind, deaf, and mute, even losing his arms or legs. In the book, trapped in what's left of his now limbless body, unable to communicate with the world around him, he recalls his earlier life and attempts to overcome the tremendous obstacles that stand between him and contact with the rest of humanity. After learning he can pound out Morse code with his head against the bed rail, the outer world's indifference to his consciousness forces him, in desperation to find a way out, to end his life.

Trumbo's film version succeeds because his adaptation lets us see and hear the doctors and nurses, so we understand that they're only keeping Joe alive to study the effects of such mutilation on a mangled human body. The doctors are convinced he's a vegetable, unable to feel pain, without memory or hope. Trumbo's elegant, heart-wrenching narrative, puts the lie to that medical diagnosis. It presents the reality of Joe's situation in stark black and white and his memories in color.

The Actors' Gang production, directed by artistic director, Tim Robbins, from an adaptation by Brandley Rand Smith, is in effect a solo performance, with eight actors functioning like a Greek chorus. They echo words and voices in Joe's mind's ear. They move choreographically, sometimes in military formations, sometimes as leaves blown on the wind, generally as remembered characters, but sometimes as mere impulses in Joe's memories. But unlike the novel, The Gang's script/production is really narrative drama brought to life as agitprop theater. It mimics rather than dramatizes – at least until that magic moment when a nurse with her finger spells out “Merry Christmas” on Joe's chest. Suddenly, he has real communication, his first since his war wounds rendered him what was then insensitively called “a basket case,” and the script springs to life, beginning to achieve what the novel does so profoundly – let us experience the horror of war.

What is ultimately so devastating in the book and the film is the continued indifference to Joe's inner needs and the service to which the world around Joe puts what's left of his body – his life, even when the nurse and a soldier discover his ability to communicate. They deny his own best interest with the same arrogance as the politicians and general who sent him into their useless war.

That the Actors' Gang, with all reverent homage to Trumbo's novelistic efforts, fails so completely as a stage work, is unfortunately an opportunity missed. What is lost in the Brechtian approach Robbins uses in staging the piece is the real drama. When Jow, four to five years into his post-War experience is finally able to communicate with the outside world, he is thwarted at every turn. Using his Morse code technique, he tells his caregiver he wants to be displayed around the nation as an emblem of the reality of war. “It's against army policy” is the excuse, drawn on his limbless, torso. But in the Gang's production, we never really grasp the outside world's take on Joe. Where the Dorian production gives us mostly exterior, this Johnny locks us into the interior. That the essentially human tragedy of the novel is lost in the staged political message is a dramatic miscalculation!

***

Last but certainly not least, Kenneth Ludwig's adaptation of Murder On The Orient Express at the La Mirada Theatre. It's based on that most famous of Agatha Christie's novels (whose play, The Mousetrap, is the only show in London that's been running longer than The Woman In Black (since 1952, 65 years). The Hercule Poirot mystery was first published as a novel in 1934 (originally, in the US, as a serial in The Saturday Evening Post under the title Murder in the Calais Coach). The story, (one of 33 in which Hercule Poirot is a character) was inspired by the Lindbergh baby kidnapping case of 1932 – at the time considered “the biggest story since the Resurrection.”

On his way from Istanbul to London on the swanky Express in the Calais Coach and its adjoining dining car, an American gangster is found murdered in his locked compartment with nine telltale knife wounds and a broken watch. As Poirot, at the begging of the train's general manager, sets out to identify the killer, the train gets stuck in an avalanche of snow.

So he does what the detectives in Agatha Christie novels always do – interview everyone with even the slightest access to the dead man, comparing everyone's statement for inconsistencies, oddities, and lies. He follows the clues, looking for a motive. He reconsiders the clues again and again, with an open mind, and fearless in the face of truth. The script and the novel follow the tried and true Christie formula.

But perhaps unique in Christie's work is the unexpected drama of Poirot agonizing over a criminal dilemma. That he comes down on the side of the angels is, perhaps, a tragedy of ethics? Certainly, it shatters his devotion to legal absolutism, and after more than two dozen novels, it forces him to face his so easy convictions, painfully reducing his certainty about his role in life. Welcome to humanity, Hercule! The recent TV adaptation (with David Suchet) and the two films versions (one with Albert Finney – the most recent with, and by, Kenneth Brannagh) emphasize this internal issue.

The tone of the Ludwig's adaptation used in the La Mirada production is lighter, playing the story for its humor and theatricality, not for the emotional reality. It's a matter of style. Playwright, Kenneth Ludwig, is a popular American stage-crafter (Lend Me A Tenor, Crazy for You, Moon Over Buffalo, and many others), with a string of awards and successes. He created this script for a 2017 presentation at The Old Globe (reportedly, at the request of the Agatha Christie estate). It is both efficient in the telling and entertaining in performance. This Poirot is charmingly effective as the driving force, and all characters are drawn with a comic precision that is probably more what novelist Christie had in mind. The emphasis on Poirot's internal agony is the fortunate product of our culture's craving for “relevance” and “profundity.” A sort of political correctness required for art today which in this case is to the advantage of the novel.

As this survey hopes to demonstrate, a well-written novel is a compelling journey into and through a fully integrated world. It's either an extended, totally immersive read you can pick up and put down and contemplate at will, or it's a page turner you can't.

But the theater is a very different art form. Each viewing is a one-time experience in a single sitting. The dramatis personae are right there in the same room, living through the series of happenings before your eyes and sharing it with us, the patrons?

That's what makes live theater so special. You're there when and where the adventure – emotional and intellectual – takes place. It exists only, as Shakespeare tells us, “in the two hours' traffic of the stage.”

Laugh, cry, groan, leave! It's over. It's memory.

And each time, a very novel experience.


Now Registered This Week on the Better Lemons Calendar - October 14 through October 28, 2018

NEW! Theatrical shows, Musical Concerts, and Film Festivals registered on the Better Lemons calendar!
For more shows visit our Calendar. For shows with a LemonMeter rating, visit our LemonMeter page.

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Now registered this week on the Better Lemons Calendar August 20 to September 2, 2018

NEW! Shows and film festivals that have registered on the Better Lemons calendar. For more shows visit our Calendar. For shows with a LemonMeter rating, visit our LemonMeter page.
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Stage Raw Announces its 2018 Theater Awards Nominees

The 2018 Stage Raw Theater Awards celebrate excellence on the Los Angeles stages in venues of 99-seats or under. This fourth annual edition includes productions that opened between January 1, 2017 and May 31, 2018.
Stage Raw is a community funded professional journalism website that was created in response to the decline of arts coverage in local mainstream and alternative media.
A catered nominees reception and Stage Raw fundraiser party is being held at the The Skylight Theatre in Los Feliz, on Tuesday, July 24, 7 – 10 p.m. Tickets are $100 (which includes complimentary admission to the Theater Awards ceremony), in support of Stage Raw. All nominees are invited as complimentary guests of Stage Raw.
(Nominees include everybody whose name appears on the list below; all actors and understudies named in the program for all ensemble categories; all actors, understudies, directors, playwrights, stage managers, choreographers, designers and producers in the categories of Best Revival, Best Musical and Best Production; and in the category of Production Design: all producers, directors, and designers.)
The evening will include live music and performances by Burglars of Hamm; Cheray O'Neal; Padua Playwrights; and Kristina Wong.
At the nominees reception, there will also be a silent auction of drawings created for this event by Alan Mandell, Ken Sawyer, French Stewart, Vanessa Stewart, Richard Fancy, Jon Mullich, Jon Lawrence Rivera, Stephen Sachs, Simon Levy, Gary Grossman, Kristina Wong, Michael A. Shepperd, Ken Werther, David Elzer, Jaime Robledo, Leo Marks, Nike Doukas, Tom Jacobson, Kirsten Vansgness, David Melville, Jessica Hanna, Steven Stanley, Philip Littell, Mark Seldis, Katharine Noone, Tony Abatemarco, Ann Closs-Farley, Herbert Siguenza, Jules Aaron, and more.
The Awards ceremony is slated for Monday night, August 20, at Los Angeles Theatre Center, 514 S. Spring Street in downtown Los Angeles, hosted by Coeurage Theatre Company, directed by Jer Adrianne Lelliott, and celebrating the theme of “community.” Tickets are $30.
Tickets for both events can be found at Eventbrite.com/e/stage-raw-theater-awards-tickets-46961390784#tickets, or visit StageRaw.com and press the “2018 Theater Awards” tab.
The 2018 Nominees are:
FIGHT CHOREOGRAPHY
Guillermo Cienfuegos, Rhinoceros, Pacific Resident Theater
Bjørn Johnson, King Hedley II, The Matrix Theatre
Bjørn Johnson, Red Speedo, Road Theatre Company
Bjørn Johnson, Stupid Kid, Road Theatre Company
Edgar Landa, One Flew Over the Cuckoo's Nest, After Hours Theatre Company
Doug Oliphant, Br'er Cotton, Zephyr Theatre
Jones (Welsh) Talmadge, Paradise Lost: Reclaiming Destiny, Greenway Court Theatre
VIDEO/PROJECTION DESIGN
Omolara Abode, Lyrics From Lockdown, The Actors' Gang
Nicholas Acciani, 33 Variations, Actors Co-op
J. Walt Adamcyk and Hannah Beavers, Paradise Lost: Reclaiming Destiny, Greenway Court Theatre
Benjamin Durham, This Land, Company of Angels
Corwin Evans, The Art Couple, Sacred Fools Theater Company
Hana Sooyeon Kim, Collective Rage: A Play in 5 Boops, Boston Court Performing Arts Center
Hana Sooyeon Kim, With Love and a Major Organ, Boston Court Performing Arts Center
Yee Eun Nam, Br'er Cotton, Zephyr Theatre
Tom Ontiveros, The House in Scarsdale: A Memoir for the Stage, Boston Court Performing Arts Center
SOUND DESIGN
Joseph V. Calarco, The Secret in the Wings, Coeurage Theatre Company
Jeff Gardner, Cat on a Hot Tin Roof, Antaeus Theatre Company
Jeff Gardner, The Hothouse, Antaeus Theatre Company
Jeff Gardner, Les Blancs, Rogue Machine Theatre
Jeff Gardner, Native Son, Antaeus Theatre Company
Christopher Moscatiello, The Devil's Wife, The Skylight Theatre
Christopher Moscatiello, Rhinoceros, Pacific Resident Theater
John Nobori, With Love and a Major Organ, Boston Court Performing Arts Center
Robert A. Ramirez, Master Class, The Garry Marshall Theatre
John Zalewski, I Carry Your Heart, Bootleg Theatre
LIGHTING DESIGN
Brandon Baruch, The Secret in the Wings, Coeurage Theatre Company
John E.D. Bass, Paradise Lost: Reclaiming Destiny, Greenway Court Theatre
Elizabeth Harper, The House In Scarsdale: A Memoir for the Stage, Boston Court Performing Arts Center
Elizabeth Harper and Rose Malone, With Love and a Major Organ, Boston Court Performing Arts Center
Matt Richter, I'm Not A Comedian... I'm Lenny Bruce, Theatre 68
Pablo Santiago-Brandwein, Time Alone, Belle Reve Theatre Company
Andrew Schmedake, 33 Variations, Actors Co-op
Andrew Schmedake, Native Son, Antaeus Theatre Company
Andrew Schmedake, One Flew Over the Cuckoo's Nest, After Hours Theatre Company
COSTUME DESIGN
Wendell C. Carmichael, Les Blancs, Rogue Machine Theatre
Allison Dillard, Priscilla, Queen of the Desert, Celebration Theatre
Christine Cover Ferro, Rhinoceros, Pacific Resident Theater
Ashphord Jackoway, Paradise Lost: Reclaiming Destiny, Greenway Court Theatre
Terri A. Lewis, Cat on a Hot Tin Roof, Antaeus Theatre Company
Linda Muggeridge, Mr. Burns, A Post-Electric Play, Sacred Fools Theater
Michael Mullen, Fixed, Echo Theater Company
Lena Sands, One Flew Over the Cuckoo's Nest, After Hours Theatre Company
ORIGINAL MUSIC
Jeff Gardner, Les Blancs, Rogue Machine Theatre
Kangaroo Rat (Tim Desrosiers and Anna Bell), Rhinoceros, Pacific Resident Theater
Bernie Sirelson, Alysia Michelle James, and Elisa Rosin, Paradise Lost: Reclaiming Destiny, Greenway Court Theatre
Surrija, The Secret in the Wings, Coeurage Theatre Company
CHOREOGRAPHY
Joel Daavid, Mr. Burns, A Post-Electric Play, Sacred Fools Theater
Joyce Guy, Les Blancs, Rogue Machine Theatre
Carolyn Katz, Daedalus' Daughter, Bootleg Theater
Michael Marchak, Pacific Overtures, Chromolume Theatre
Jen Oundjian, One Flew Over the Cuckoo's Nest, After Hours Theatre Company
Roman Pantoja, Priscilla, Queen of the Desert, Celebration Theatre
Anne-Marie Talmadge, Alina Bolshakova, Leslie Charles Roy Jr., and the NMA Ensemble, Paradise Lost: Reclaiming Destiny, Greenway Court Theatre
MUSICAL DIRECTION
Jake Anthony, The View Upstairs, Celebration Theatre
Gina Belafonte, Lyrics From Lockdown, The Actors' Gang
Jennifer Lin, Priscilla, Queen of the Desert, Celebration Theatre
Dylan Price, 33 Variations, Actors Co-op
Lyndon Pugeda, Honky Tonk Laundry, Hudson Mainstage Theatre
Dimitri Toscas, Master Class, The Gary Marshall Theatre
SET DESIGN
Nicholas Acciani, 33 Variations, Actors Co-op
Joel Daavid, Mr. Burns, A Post-Electric Play, Sacred Fools Theater
Justin Huen, This Land, Company of Angels
John Iacovelli, Bled For The Household Truth, Rogue Machine Theatre
John Iacovelli, El Niño, Rogue Machine Theatre
John Iacovelli, King Hedley II, The Matrix Theatre
David Mauer, Rhinoceros, Pacific Resident Theater
Jeff McLaughlin, Stupid Kid, Road Theatre Company
Stephanie Kerley Schwartz, Les Blancs, Rogue Machine Theatre
Victoria Tam, One Flew Over the Cuckoo's Nest, After Hours Theatre Company
SOLO PERFORMANCE
Giovanni Adams, Love Is A Dirty Word, VS Theatre
Alex Alpharaoh, WET: A DACAmented Journey, Ensemble Studio Theatre L.A.
Bryonn Bain, Lyrics From Lockdown, The Actors' Gang
Keight Leighn, (A)partment 8, The ABC Project
Ronnie Marmo, I'm Not a Comedian, I'm Lenny Bruce, Theatre 68
Tina Preston, Don't You Ever Call My Anything But Mother, Open Fist Theatre Company
TWO PERSON PERFORMANCE
Martin Rayner & Martyn Stanbridge, Freud's Last Session, Odyssey Theatre Ensemble
Misty Cotton & Bets Malone, Honky Tonk Laundry, Hudson Mainstage Theatre
Tim Cummings & Brian Henderson, The House In Scarsdale: A Memoir for the Stage, Boston Court Performing Arts Center
Gary Patent & Dan Via, Plunge, Son of Semele Theater
James Eckhouse & Graham Sibley, Redline, IAMA Theatre Company
Alex Hernandez & Tonya Pinkins, Time Alone, Belle Reve Theatre Company
SUPPORTING MALE PERFORMANCE
Noel Arthur, Native Son, Antaeus Theatre Company
Ryan Brophy, Rotterdam, The Skylight Theatre
Eduardo Fernandez-Baumann, One Flew Over the Cuckoo's Nest, After Hours Theatre Company
Harry Groener, Cat on a Hot Tin Roof, Antaeus Theatre Company
Rob Nagle, Stupid Kid, Road Theatre Company
Jeris Poindexter, Runaway Home, The Fountain Theatre
Gabriel Romero, The Madres, The Skylight Theatre
Montae Russell, King Hedley II, The Matrix Theatre
Desean Kevin Terry, A Streetcar Named Desire, Boston Court Performing Arts Center
Adolphus Ward, King Hedley II, The Matrix Theatre
MALE COMEDY PERFORMANCE
Josh Clark, The Hothouse, Antaeus Theatre Company
Drew Droege, Die, Mommie, Die!, Celebration Theatre
Alex Elliott-Funk, Supper, Theatre of NOTE
Alex Fernandez, Rhinoceros, Pacific Resident Theater
Leo Marks, The Hothouse, Antaeus Theatre Company
Roman Pantoja, Priscilla, Queen of the Desert, Celebration Theatre
Darrett Sanders, Supper, Theatre of NOTE
Joel Scher, Supper, Theatre of NOTE
LEADING MALE PERFORMANCE
Daniel Bess, Cat on a Hot Tin Roof, Antaeus Theatre Company
Benjamin Burdick, Bled For The Household Truth, Rogue Machine Theatre
Joe Hart, Stupid Kid, Road Theatre Company
Bruce Ladd, 33 Variations, Actors Co-op
Ben Martin, Walking To Buchenwald, Open Fist Theatre
Esau Pritchett, King Hedley II, The Matrix Theatre
Graham Sibley, Redline, IAMA Theatre Company
Adam Silver, Exit Strategy, The Los Angeles LGBT Center's Davidson/Valentini Theatre
Desean Kevin Terry, Les Blancs, Rogue Machine Theatre
SUPPORTING FEMALE PERFORMANCE
Dawn Didawick, Cat on a Hot Tin Roof, Antaeus Theatre Company
Emily Goss, Forever Bound, Atwater Village Theatre
Ella Joyce, King Hedley II, The Matrix Theatre
Ciera Payton, King Hedley II, The Matrix Theatre
Maya Lynne Robinson, Runaway Home, The Fountain Theatre
Maya Lynne Robinson, A Streetcar Named Desire, Boston Court Performing Arts Center
Michaela Slezak,Lord of the Underworld's Home for Unwed Mothers, The Skylight Theatre
Cheryl Umaña, This Land, Company of Angels
Karen Malina White, Runaway Home, The Fountain Theatre
Christine Woods, Cult of Love, IAMA Theatre Company
FEMALE COMEDY PERFORMANCE
Anna Lamadrid, Collective Rage: A Play in 5 Boops, Boston Court Performing Arts Center
Debra Jo Rupp, The Cake, Echo Theater Company
Paige Lindsey White, With Love and a Major Organ, Boston Court Performing Arts Center
LEADING FEMALE PERFORMANCE
Corryn Cummins, Lord of the Underworld's Home for Unwed Mothers, The Skylight Theatre
Carolyn Hennesy, Master Class, The Garry Marshall Theatre
Margarita Lamas, The Madres, The Skylight Theatre
Nan McNamara,33 Variations, Actors Co-op
Jaimi Paige, A Streetcar Named Desire, Boston Court Performing Arts Center
Ashley Romans, Rotterdam, The Skylight Theatre
Camille Spirlin, Runaway Home, The Fountain Theatre
Heidi Sulzman, Bugaboo and The Silent One, The Lounge Theatre
Miranda Wynne, Rotterdam, The Skylight Theatre
ADAPTATION
Nambi E. Kelley, Native Son, Antaeus Theatre Company
Jones (Welsh) Talmadge, Paradise Lost: Reclaiming Destiny, Greenway Court Theatre
Mary Zimmerman, The Secret in the Wings, Coeurage Theatre Company
PLAYWRITING
Giovanni Adams, Love Is A Dirty Word, VS. Theatre
Alex Alpharaoh, WET: A DACAmented Journey, Ensemble Studio Theatre L.A.
Bekah Brunstetter, The Cake, Echo Theater Company
Alessandro Camon, Time Alone, Belle Reve Theatre Company
Bernardo Cubría, The Giant Void In My Soul, Ammunition Theatre Company
Leslye Headland, Cult of Love, IAMA Theatre Company
Jeremy J. Kamps, Runaway Home, The Fountain Theatre
Dan O'Brien, The House in Scarsdale: A Memoir for the Stage, Boston Court Performing Arts Center
Evangeline Ordaz, This Land, Company of Angels
Marja-Lewis Ryan, Bugaboo and the Silent One, The Lounge Theatre
PRODUCTION DESIGN
Caught, Think Tank Gallery
Daedalus' Daughter, Bootleg Theater
King Hedley II, The Matrix Theatre
Mr. Burns, A Post-Electric Play, Sacred Fools Theater
Native Son, Antaeus Theatre Company
One Flew Over the Cuckoo's Nest, After Hours Theatre Company
Paradise Lost: Reclaiming Destiny, Greenway Court Theatre
A Streetcar Named Desire, Boston Court Performing Arts Center
This Land, Company of Angels
Time Alone, Belle Reve Theatre Company
With Love and a Major Organ, Boston Court Performing Arts Center
COMEDY ENSEMBLE
Bad Jews, Odyssey Theatre Ensemble
The Cake, Echo Theater Company
Collective Rage: A Play in 5 Boops, Boston Court Performing Arts Center
El Niño, Rogue Machine Theatre
The Giant Void In My Soul, Ammunition Theatre Company
The Hothouse, Antaeus Theatre Company
Rhinoceros, Pacific Resident Theater
Supper, Theatre of NOTE
With Love and a Major Organ, Boston Court Performing Arts Center
ENSEMBLE
33 Variations, Actors Co-op
Exit Strategy, The Los Angeles LGBT Center's Davidson/Valentini Theatre
King Hedley II, The Matrix Theatre
Les Blancs, Rogue Machine Theatre
Mr. Burns, A Post-Electric Play, Sacred Fools Theater
One Flew Over the Cuckoo's Nest, After Hours Theatre Company
Pacific Overtures, Chromolume Theatre
Paradise Lost: Reclaiming Destiny, Greenway Court Theatre
Runaway Home, The Fountain Theatre
The Secret in the Wings, Coeurage Theatre Company
COMEDY DIRECTION
Lindsay Allbaugh, Collective Rage: A Play in 5 Boops, Boston Court Performing Arts Center
Jennifer Chambers, The Cake, Echo Theater Company
Guillermo Cienfuegos, Rhinoceros, Pacific Resident Theater
Lisa James, El Niño, Rogue Machine Theatre
Jessica Kubzansky, With Love and a Major Organ, Boston Court Performing Arts Center
Dana Resnick, Bad Jews, Odyssey Theatre Ensemble
Felix Solís, The Giant Void In My Soul, Ammunition Theatre Company
DIRECTION
Andi Chapman, Native Son, Antaeus Theatre Company
Gregg T. Daniel, Les Blancs, Rogue Machine Theatre
Ed Sylvanus Iskandar, Caught, Think Tank Gallery
Carol Katz, Daedalus' Daughter, Bootleg Theater
Thomas James O'Leary, 33 Variations, Actors Co-op
Robert Mandel, Freud's Last Session, Odyssey Theatre Ensemble
Michael Michetti, A Streetcar Named Desire, Boston Court Performing Arts Center
Jonathan Muñoz-Proulx, One Flew Over the Cuckoo's Nest, After Hours Theatre Company
Jaime Robledo, Mr. Burns, A Post-Electric Play, Sacred Fools Theater
Michael A. Shepperd,Rotterdam, The Skylight Theatre
Annie Tippe, Cult of Love, IAMA Theatre Company
MUSICAL OF THE YEAR
Dessa Rose, Chromolume Theatre
Pacific Overtures, Chromolume Theatre
Priscilla, Queen of the Desert, Celebration Theatre
REVIVAL OF THE YEAR
Cat on a Hot Tin Roof, Antaeus Theatre Company
King Hedley II, The Matrix Theatre
Les Blancs, Rogue Machine Theatre
One Flew Over the Cuckoo's Nest, After Hours Theatre Company
Rhinoceros, Pacific Resident Theater
A Streetcar Named Desire, Boston Court Performing Arts Center
PRODUCTION OF THE YEAR
Caught, Think Tank Gallery
The House in Scarsdale: A Memoir for the Stage, Boston Court Performing Arts Center
Mr. Burns, A Post-Electric Play, Sacred Fools Theater
Native Son, Antaeus Theatre Company
Rotterdam, The Skylight Theatre
Runaway Home, The Fountain Theatre
The Secret in the Wings, Coeurage Theatre Company
This Land, Company of Angels
Time Alone, Belle Reve Theatre Company
QUEEN OF THE ANGELS
Dolores Chavez
LIFETIME ACHIEVEMENT
Norman Lloyd