Ogunquit's "Ragtime": Ever the Melting Plot

The Cast of "Ragtime"
(photo: Ogunquit Playhouse)

Adapting a huge and sprawling book for the stage is always a daunting task, rife with challenges. Ragtime, the 1998 musical, winner of Tony Awards for its Book by Terrence McNally, Music by Stephen Flaherty, Lyrics by Lynn Ahrens and original Orchestrations by William David Brohn, was such an adaptation, based on the popular 1975 book by E. L. Doctorow, which had been made into an equally popular film in 1981. In this musicalized version, it's the score that primarily makes the show as wondrous as it is, including cakewalks, gospel, marches and, of course, ragtime (winning Tonys for score and orchestrations over Lion King no less). Scott Joplin would have been proud, as the music itself proudly proclaims the greatness of America as the great melting pot, covering the stories of three representative families. In this company, with Direction by Seth Skylar-Heyn and Choreography by Jesse Robb, there is much to enjoy and applaud, despite those inherent problems in adapting a novel so stuffed with characters into this overstuffed melting plot. This is a superb rendition of this deservedly acclaimed piece of theater.

As those familiar with the novel and film version will recall, those three families portrayed (beginning in 1902) have eventual interlocking stories, each with a strong central character. There is the tale of the black Harlem musician Coalhouse Walker (Darnell Abraham) and his lover Sarah (Lindsay Roberts), who gives birth to their baby. Then there is the upper class white suburban family from New Rochelle consisting of characters known only as Father (Jamie Laverdiere), Grandfather (David Studwell), Mother's Younger Brother (Julian Decker), and its central figure, Mother (Kirsten Scott), as well as The Little Boy, Edgar (Tyler Wladis, alternating with Sol Thomas). Lastly there is the Jewish immigrant Tateh (Josh Young) from Latvia, and his daughter, identified only as The Little Girl (Ella Luke-Tedeschi, alternating with Ella Riley). Also involved in their lives, somewhat peripherally, are real-life characters such as Admiral Peary (Joel Robertson), Harry Houdini (Freddie Kimmel), Evelyn Nesbit (Carly Hueston Amburn), Booker T. Washington (Rod Singleton), Emma Goldman (Klea Blackhurst), Henry Ford (Jack Doyle), Stanford White (Sam Hartley) and J. P. Morgan (Joel Robertson), as well as some fictional roles such as Sarah's friend (Galyana Castillo), the head of a local fire brigade Willie Conklin (Joey Elrose) and Kathleen (Mary Malaney).

Josh Young (Tateh) & Ella Luke-Tedeschi (Little Girl) in "Ragtime"
(photo: Ogunquit Playhouse)

Even a cursory glance at the cast's size and variety, obviously heavy with historical figures, gives a clue to its being overpopulated with so many characters to absorb or get to know, and many of them are only tangential to any of the three main stories. Nonetheless there are several songs that feature some of these minor roles, sometimes distracting and detracting from the heart of the tales. There are some rousing songs (“Wheels of a Dream”, “Till We Reach That Day” and especially the haunting “New Music”), but also some insignificant ones. As is the case with many a musical based on a novel, (for example, the original “Color Purple” before its recent transforming condensation), one's involvement with fundamental themes is diluted. There is also the issue of highly improbable coincidences that interconnect the stories which won't be divulged here. Despite these issues, the score carries the day, making for a truly memorable theatrical experience. The opening number alone, at about ten minutes, is worth the price of admission, surely one of musical theater's greatest, right up there with A Funny Thing Happened on the Way to the Forum as an introductory masterpiece of stagecraft. But there are also more than a few clever yet subtle touches, such as Father betraying his bigotry by not shaking hands with a black seaman and not singing later in the ensemble number that hails equality, or Tateh gradually losing his tallis along with his Jewish identity.

The standout performers include Roberts, whose voice makes you wish Sarah was a larger role, the powerful Abraham, whose acting is pivotal to the believability of the show, the gradual emergence of Scott and Young, and Wladis, a scene stealer if there ever was one. The creative elements, from the fluid Scenic Design by Tim Mackabee (including an amazing Model T), to the Sound Design by Kevin Heard, Lighting Design by Richard Latta, Music Direction by Jeffrey Campos, and the original Broadway Costume Design by Santo Loquasto, are all professional.

As the audience took their seats, they were confronted not with a curtain but with the majestic sight of the face of the Statue of Liberty, hinting at the poignancy to come, especially given today's attitudes toward immigrants and minorities. A show that treats the issues of poverty and wealth, justice and freedom, and hope and despair, and does so with such strength, is even more pertinent in these troubling days. This time around, the unabashedly patriotic piece of Americana that is Ragtime overflows with riches, summed up in the words to the title number that opens the show:

The sound of distant thunder
Suddenly starting to climb...
It was the music:
Of something beginning,
An era exploding,
A century spinning
In riches and rags,
And in rhythm and rhyme.
The people called it ragtime...Ragtime!


Goodspeed's "Oklahoma!": Fresh off the Cob

Rhett Guter (as Curly) & The Cast of "Oklahoma!"
(photo: Diane Sobolewski)

Oh, what a beautiful musical. When the ground-breaking show Oklahoma! burst onto the theatrical scene back in 1943, it easily earned its exclamation point. This was largeIy due to its evolving status as what would come to be called the “book musical” (with a nod to “Showboat”) as well as its amazing novel integration of song and dance numbers into the plot. Based on the play Green Grow the Lilacs by Lynn Riggs, it would run for 2212 performances on Broadway. Revolutionary as it was in form, the plot reflected the undeniable fact that it was a far simpler time, when the crux of a libretto could be the question of whose homemade apple jelly and gooseberry tarts for the Box Social got auctioned by whom, and so went the story in the 1955 film version. More recent theatrical productions have re-emphasized its darker elements, notably the role of Jud Fry, and restored his song Lonely Room, right after the lighter comic Poor Jud number. It was the product of its times in other respects, such as its tinges of female inferiority and even some racial undertones (the portrayal of the peddler Ali Hakim, and a reference to the ragtime dance seen being performed by “some colored fellers”, cut in this verson). Yet despite these historical negative notes, it endures, primarily due to its lovely score and unabashedly optimistic central tale. It comes as a surprise that the show has never before been produced at Goodspeed Musicals, an oversight that is currently being corrected by a superb cast and crew. It's corn, but superbly fresh off the cob.

The Cast of "Oklahoma!"
(photo by Diane Sobolewski)

Directed by Jenn Thompson, with Choreography by Katie Spelman (based on the original Agnes de Mille routines), this one is a winner. It remains the story of handsome cowhand Curly (Rhett Guter) and local lovely Laurey (Samantha Bruce), supported by her Aunt Eller (Terry Burrell), and the subplot involving farm hand Will Parker (Jake Swain) and his main squeeze, Ado Annie (Gizel Jimenez), with some humor interjected by Ali Hakim (Matthew Curiano) and menace by Jud Fry (Matt Faucher) as well as complications with Ado Annie's “Paw” Andrew Carnes (C. Mingo Long). All are wonderful, with standouts Guter, Bruce and especially Faucher. The creative elements are all up to Goodspeed's renowned level of professionalism, from the Scenic Design by Wilson Chin, to the Costume Design by Tracey Christensen, the Lighting Design by Philip S. Rosenberg, the Sound Design by Jay Hilton, the Orchestration by Dan DeLange and Music Direction by Michael O'Flaherty.

From the moment the first strains of Curly's Oh, What a Beautiful Mornin' are heard from offstage, the score continues to enchant, with such songs as People Will Say We're in Love, Out of My Dreams, Many a New Day, and the title number, exclamation point and all. Then there are the less elegiac but humorous The Surrey with the Fringe on Top, Kansas City, I Cain't Say No, The Farmer and the Cowman, and All er Nuthin', which add up to a baker's dozen of memorable hits. It's easy to see why it hasn't lost its popularity even though its plot points are less pointed than they once seemed.
Yet it speaks to the universality and endurance of the perpetually popular and prevailing cowboy-meets-farmgirl theme that this show still captures our hearts and moves our souls. Perhaps it's a testimony that, no matter how profane our politics might become, there remain some very basic and fundamental truths and aspirations that most of us continue to embrace against all odds. In the mythical world of Curly and Laurey, which one should be urged to revisit, though the corn is still as high as an elephant's eye, it's cobbled together into a true testament to how happy endings are still possible, fences are for mending and not dividing us, and the world can be less of a cynical swamp and more of a bright golden haze on a meadow.




Fathom Events' "Angels in America": The Great Work Continues

James McArdle & Andrew Garfield in "Angels in America"
(photo: Helen Maybanks)
Difficult to believe as it is, it has been twenty-five years since playwright Tony Kushner wrote his earthshaking Angels in America, a Gay Fantasia on National Themes. With its eclectic mix of the political and the mythical, featuring some highly original characters as well as some historical figures, its impression and impact on contemporary theater then and now remains an indictment of cynicism and hypocrisy. It, sadly, not only seems as relevant to today's American scene but in fact more relevant than ever. While the original work was written as a response to the faults of Reaganism, and the scourge of HIV/AIDS is no longer an automatic death sentence, we as a nation are still far from ideal; in fact, there is much more reason to protest and resist. Thus it should come as no surprise that London's National Theater should have chosen to remount the work, with a truly stellar cast and technical crew, directed by Marianne Elliott, which turned out to be a testament to both the original productions in May 1993 and November 1993, and their subsequent television miniseries version in 2003.

Nathan Lane in "Angels in America"
(photo: Helen Maybanks)

Kushner originally planned to produce the two parts of his masterwork in repertory, but the second part was delayed by a season, enabling him to win the Tony Award for Best Play twice in successive years, for both of the parts, in addition to many other accolades, including the Pulitzer Prize. Part One: Millennium Approaches, was, in a term the author himself used frequently, a threshold of revelation. The story line (or rather story lines) for both parts centers around two men suffering from AIDS, Prior Walter (Andrew Garfield, whose prior work as the hero of Spiderman and Hacksaw Ridge gave mere glimmers of promise) and Senator Joe McCarthy's right hand man Roy Cohn (the usually droll Nathan Lane in a ferocious departure from such roles as in The Producers and the like), and the reactions to their common disease from those around them, notably Prior's lover Louis (a boyishly endearing James McArdle), nurse Belize (Nathan Stewart-Jarrett), Mormon Joe Pitt (a convincingly conflicted Russell Tovey), Joe's wife Harper (the stunning Denise Gough) and mother (the versatile Susan Brown). And, of course, the first of many angelic presences (Amanda Lawrence). It's a cosmic melting pot with fundamentally political ends, as when a cynical Justice Department flackman Martin Heller (also played by Gough) declaims the “end of liberalism, the end of the New Deal socialism, the dawning of a genuinely American political personality”. Even Kushner couldn't have anticipated how prescient his vision was. Prior, through AIDS, perceives the absurdity of the world, while Cohn, ironically an anti-Semite Jew and homophobic gay man, sees the reality as a joke. Except the joke's on him, and it isn't funny.

Part Two: Perestroika (which you will recall means a “thaw”), is longer, more verbose, more populated by celestial beings. It's also harder to follow, at least on stage, without benefit of the published play with its helpful stage directions. His characters increasingly talk over one another (a device he later perfected in his The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures). Suffice it to say that Kusher delves much more deeply into the realm of the mystical, with significantly increased roles for his supporting cast, notably Belize (who wasn't even named in the first part), Ethel Rosenberg (Brown again) and the weirdest of his cast, Harper's imaginary friend Mr. Lies (Stewart-Jarrett again), of the International Order of Travel Agents. It's a far funnier and more whimsical play than the first part, more poetic and less accessible at the same time. We are shown a Prior who is now ready to undertake his role in the Great Work that is to come. He interacts with Harper (both of them left by their loved ones) in looking into the past in order to ascertain America's answer for the future. Prior is ready for the chance for “more life” which was denied the more cynical Cohn; he has hope “to be around (for summer) to see it (Central Park's Bethesda fountain). I plan to be...This disease will be the end of many of us, but not nearly all...We are not going away. We won't die secret deaths anymore...We will be citizens. The time has come...And I bless you: More Life. The Great Work Begins.” And so it has come to pass, that declarations that Marx and God are dead were quite possibly premature. As the comic strip character Pogo once put it, “God isn't dead; he's just unemployed”.

And yet the tiniest tinge of terror persists, with the knowledge that, for a period of a decade or so, Roy Cohn was a legal advisor to one Donald J. Trump.


Andrew Garfield in "Angels in America"
(photo: Helen Maybanks)



Americana Theatre's "Lucky Stiff": Weekend at Tony's?

Ahrens & Flaherty's premiere musical "Lucky Stiff"
(photo: Americana Theatre Company)

From the creative team that brought you A Man of No Importance, Once on this Island, Anastasia and perhaps especially Ragtime, comes the farce musical by the witty name of Lucky Stiff, which happens to be the first musical collaboration ever by the since-successful team of Lynn Ahrens (Book and Lyrics) and Stephen Flaherty (Music). Based on the 1983 novel The Man Who Broke the Bank at Monte Carlo by Michael Butterworth, it was produced off-Broadway in 1988 by Playwrights Horizon, where it lasted fifteen performances, subsequently produced in London's West End and revised as a film. Critics at the time remarked at how promising the fledgling work was, expecting great things from the duo in the future, which indeed came to pass. With a score that includes almost two dozen numbers (including reprises), it has come to be embraced by theater companies throughout the country. This latest Americana Theatre production at the Spire Center for the Performing Arts in Plymouth (through July 22) finally brings the opportunity for local theatergoers to experience this seminal work, which takes place in the present in England, Atlantic City and Monte Carlo.

Think of it as “Weekend at Bernie's, the Musical”, if you like. (That film opened a year later than this musical, in case you were wondering who had the idea first). The story concerns the plight of one shy English shoe salesman, Henry Witherspoon by name (Jessie M. Sullivan), living in an East Grinsted boarding house bursting with colorful characters and a herd of dogs. (Henry hates dogs). The landlady (Erin Friday) and her other boarders intercept a telegram meant for Henry which informs him he's about to inherit six million dollars from his recently deceased Uncle Tony (Brigdon York), a casino croupier, with a catch. Henry learns from his solicitor (Brian Kenerson) that in order to collect, he must (successfully) take his Uncle Tony's corpse to his dream destination, Monte Carlo, for a week, or the fortune will revert to the Universal Dog Home of Brooklyn, represented by Annabel Glick (Katie Johangten). His landlady and fellow boarders have other ideas, from the deceased's nearsighted girlfriend Rita La Porta (Hannah Jo Weisberg) to her mild-mannered henpecked brother Vinnie Di Ruzzio (Derek G. Martin), an optometrist, as well as a seductive nightclub chanteuse named Dominique du Monaco (Jennifer Martin), a would-be guide, Luigi Gaudi (David Friday) and Nick Hancock in multiple roles. Plot twists ensue.

Fortunately for you the reader, space considerations rule out a more comprehensive synopsis of the plot twists and turns, which would be stultifying, and best seen in person. As in all such complicated capers, all's well and ends well, more or less. As Directed by Brance Cornelius, the company performs at breakneck pace, accompanied by pianist Nicole Sjolin (the Music Director is Nancy Sparklin), with suave yet simple work by Choreographer Derek G. Martin, clever and versatile Set Design by David Friday, colorful and creative Costume Design by Brian Kenerson, and some really brilliant props (Props Master is Erin Friday) including an umbrella roulette wheel (which you'll have to see to appreciate).

The work by Ahrens and Flaherty is fundamentally a one joke premise, with often cute, if too predictable, lyrics and a score that is mostly musical recitative rather than a series of melodies though two songs, “Times Like This” and “Nice”, stand out. There's an inside joke about a Mr. Butterworth (the author of the source novel), and timing that clearly shows this cast was extraordinarily well rehearsed, and one might question whether these talented artists need miking in such a relatively compact venue. While they're uniformly memorable, one should note the chemistry between Sullivan and Johangten, the smooth movement by Kenerson and the sultry singing by Jennifer Martin. All made for a fun summer evening with some a-Spiring future stars.


Ogunquit's "Bullets over Broadway": Don't Speak!

Vincent Pastore, Reed Campbell & The Ensemble of "Bullets over Broadway"
(photo: Julia Russell)

There is more talent on display on the stage of the Ogunquit Playhouse in its current production of Bullets over Broadway the Musical, a work written by Woody Allen, than on any ten stages anywhere today. Based on the 1994 film written by Allen and Douglas McGrath, it's a shame all that talented energy isn't being put to more use than this virtually empty play. Produced on Broadway in 2014, it ran only156 performances. The musical follows the original screenplay fairly faithfully, focusing on the first play by novice David Shayne (John Rochette), to be premiered on Broadway by Julian Marx (Kenny Morris), financed by wealthy gangster Nick Valenti (Vincent Pastore, recreating his role from the New York production) who requires that it feature his girlfriend Olive Neal (Jemma Jane). Valenti appoints his henchman Cheech (Reed Campbell) to monitor the goings-on, but Cheech ends up making some important changes in the play, while leading man Warner Purcell (John Paul Almon) ogles Olive. Aging diva Helen Sinclair (Michele Ragusa) makes a play for the young playwright, who already has a girlfriend of his own, Ellen (Bridget Elise Yingling). Also on hand are the imposing character of Eden Brent (Ogunquit favorite Sally Struthers) and her dog Mr. Woofles.

As Helen Sinclair declares in the famous oft-repeated line in the film, “Don't speak!”. So they don't very much, leaving a lot of exposition to the choreography originally devised by Susan Stroman and recreated here by Director Jeff Whiting, as well as to the score. The dancing is clever and contributive, which is more than one can say about the musical numbers borrowed from many sources, with such songs as “(Up a) Lazy River”, “I'm Sitting on Top of the World”, and “There'll Be Some Changes Made”, many of which have little to do with any significant context to the plot. There are some twenty such old timers (and five reprises). With some additional lyrics by Glen Kelly, they run the gamut of jazz and pop standards from World War I to the 1930's. But no one seems to care about them in the end, preferring to wallow happily in the nostalgia of it all. Reviews for the Broadway production, especially concerning the “jukebox” musical style, were decidedly mixed. Here, the musical direction by Robbie Cowan, Sound Design by Ken Goodwin, Lighting Design by Richard Latta (an IRNE winner for last season's Hunchback of Notre Dame), and Costume Design by William Ivey Long (from the Broadway version) are all superior work.

The performances are also memorable, from Ragusa (a powerhouse), Jane (hysterically dumb) and Campbell (menacing), not to mention Struthers, who's unfortunately given little chance to share her estimable theatrical chops, relegated to speaking ig-pay atin-Lay and sing one number as a dog. Really. The gangsters dance wonderfully if weirdly as they mimic various crimes. But it's the fundamental crudity and crassness that one remembers, not even at the level of vaudeville but burlesque, offensive and dumb, veering from the amoral to the immoral, which may sound prudish, but there you are. Add to this several severely underdeveloped characters and some wildly inappropriate (considering their original contexts) versions of songs, such as “Taint Nobody's Biz-ness If I Do”, and the work approaches what one character declares as “new heights of vacuousness”. It's a hodgepodge that reminds one of building Frankenstein from spare body parts. At one point Ragusa declares “don't sing”, but they do. The show left some of the audience nearly orgasmic with joy, while some left early, an option, alas, not available to critics.


MSMT's "Guys and Dolls": What the Fugue?

The Cast of "Guys and Dolls" in the number "Luck Be a Lady Tonight"
(photo: Roger S. Duncan)

As this site has noted in the past, you know you're not in Kansas anymore when the opening number of a musical is entitled “Fugue for Tinhorns”, and it's still true, as Maine State Music Theater in Brunswick presents the much-beloved 1950 musical “Guys and Dolls, A Musical Fable of Broadway”. With Music and Lyrics by Frank Loesser and Book by Abe Burrows (who rewrote the first draft by Jo Swerling) based on the popular underworld stories of Damon Runyon, its original Broadway incarnation won five Tony Awards including Best Musical, and ran for an incredible 1200 performances. It also was about to be chosen to receive the Pulitzer Prize, until the Pulitzer board learned of Burrows' contretemps with the House Un-American Activities Committee. It has seen several successful revivals since, and was made into a largely forgettable 1955 film that miscast Marlon Brando, Jean Simmons and Frank Sinatra. The play, praised for its faithfulness to the source material in style, characterizations and above all Runyon's depiction of the patois of the world of really-off-track-betting, it has endured in large part due to its unbelievably melodic and topical score. Besides its title song, there are a dozen and a half wonderful hits, such as “Luck Be a Lady”, “I've Never Been in Love Before”, “I'll Know (When My Love Comes Along)”, and “If I Were a Bell.” Then there are the comic songs such as “Sit Down You're Rockin' the Boat”, “Sue Me”, “The Oldest Established (Permanent Floating Crap Game)” and, perhaps the ultimate show-stopper, “Adelaide's Lament”. It's no wonder most experts include it as one of the handful of all-time best Broadway musicals.

The Cast of "Guys & Dolls" in the "Crapshooters' Dance"
(photo: Roger S. Duncan)
The musical magic begins, as noted above, with that groundbreaking opener, “Fugue for Tinhorns”, a very complex (for Broadway, anyway) contrapuntal composition that perfectly sets up the story to follow. In a mythical New York, having been thrown out of the local Save-a-Soul Mission for conducting an illegal crap game there, Nicely-Nicely Johnson (Steve Gagliastro), Rusty Charlie (Raymond Marc Dumont) and Benny Southstreet (Brad Bradley) and their boss Nathan Detroit (James Beaman) need money to relocate, so Nathan makes a bet with inveterate gambler Sky Masterson (Stephen Mark Lucas) about taking a “doll” to dinner in Havana (how topical as well as tropical), with Sergeant Sarah Brown (Kristen Hahn) of the mission as the target of the bet. Nathan leaves to attend the night club act of his “doll”, Adelaide (Charis Leos), to whom he's been engaged for fourteen years, while Sky makes a very unsuccessful play for Sarah, even though promising to send the mission a dozen sinners. Sarah relents under pressure from her boss, General Cartwright (Cathy Newman) to produce genuine sinners, and flies off to Cuba with Sky, realizing once there (in Bacardi veritas) that she's in love with him. On their return, she realizes just where the floating game drifted, namely her beloved mission, and assumes that's why Sky got her out of town. She complains to her mission co-worker, Arvide (Glenn Anderson), but he urges her to follow her heart. Meanwhile in the sewers of the city, Sky falsely states that he failed to take Sarah to Cuba and makes a bet to all present, including Chicago gangster Big Julie (Danny Rutigliano), of $1000 each against their attendance at the mission. Sky wins, the gamblers attend a mission service, the local cops led by Lt. Brannigan (Joe Gately) are satisfied, and everyone ends up a winner, Sarah with Sky, Adelaide with Nathan.

Simple, yes? Deceptively so, as the show calls for a secure grasp of what the Runyonland folk are really like, especially with respect to the lower-level New York accents. (Many are those amateur versions that “rock the boat” in the wrong way). It also calls for respectful hands that can balance the seemly with the seedy, the lyricism with the lowlifes. In this production, the Direction and Choreography by DJ Salisbury are superb, with many fine touches. The cast is up to the challenge, from the first note delivered by the outstanding Bradley with memorable performances by all, most notably the hilarious Beaman (an IRNE winner for Nice Work If You Can Get It at Ogonquit Playhouse) and Leos (the latter unforgettable in her rendition of “Adelaide's Lament”). The technical aspects, from the tongue-in-cheek Costume Design by Ryan Moller, inventive Scenic Design by Robert Andrew Kovach, Lighting Design by Annemarie Duggan, Sound Design by Shannon Slaton, and the Music Direction by Brian Cimmet are all terrific. Fair warning: there's little subtlety in the telling, but it's prime rubber chicken comedy nonetheless, right down to Nicely-Nicely Johnson's trombone turn. The chemistry between Lukas and Hahn is palpable. It's a glorious night at the theater, playing through July 15, far above and beyond all the other floating crap games around.

And need one be gently reminded that, for Boston residents, MSMT is a mere hour and a half or so away by car (or, more relaxing, Amtrak's NorEaster)? You've got the house right here.


2017 Crabbies for Outstanding Theater

Play: “Fingersmith” ART
Musical: “The Scottsboro Boys” SpeakEasy Stage

Lead Actress, Play: Paula Plum “Who's Afraid of Virginia Woolf?”, Lyric Stage

Lead Actor, Play: Tony Travostino & Nick Bucchianeri “Lines in the Sand”, Cotuit Center for the Arts

Lead Actress, Musical: Jennifer Ellis “Bridges of Madison County”, SpeakEasy Stage

Lead Actor, Musical: De'Lon Grant “Scottsboro Boys”, SpeakEasy Stage

Ensemble Acting, Play: “Mrs. Packard” Bridge Rep

Ensemble Acting, Musical: “The Scottsboro Boys” SpeakEasy Stage

Supporting Actress, Play: Erica Spyres “Who's Afraid of Virginia Woolf?” , Lyric Stage

Supporting Actor, Play: Matthew Zahnzinger “Mrs. Packard”, Bridge Rep

Supporting Actress, Musical: Bobbie Steinbach “Sunday in the Park”, Huntington Theatre

Supporting Actor, Musical: Bransen Gates “Barnum”, Moonbox Productions

Musical Direction: Matthew Stern “Bridges of Madison County” , SpeakEasy Stage

Choreography: Rachel Bertone “Barnum”, Moonbox Productions

Scenic Design: Derek McLane “Sunday in the Park” , Huntington Theatre

Costume Design: Marianne Bertone “Barnum” , Moonbox Productions

Lighting Design: John Malinowski “Barnum” , Moonbox Productions

Sound Design: Rene Talbot “Machine de Cirque”, ArtsEmerson

Career Achievements: Nancy E. Carroll