Jeff Awards announced for 2008-2009 season

PRODUCTION — PLAY – LARGE
Ruined Goodman Theatre and Manhattan Theatre Club
The SeafarerSteppenwolf Theatre 

PRODUCTION — PLAY – MIDSIZE
The History Boys TimeLine Theatre 

PRODUCTION — MUSICAL – LARGE
Caroline, or Change Court Theatre

PRODUCTION — MUSICAL – MIDSIZE
Tomorrow Morning – Hilary A. Williams, LLC

PRODUCTION — REVUE
Studs Terkel’s Not Working The Second City e.t.c.

ENSEMBLE
The History BoysTimeLine Theatre 

NEW WORK — PLAY
Lynn NottageRuined Goodman Theatre and Manhattan Theatre Club

NEW ADAPTATION — PLAY
Seth BockleyJonCollaboraction

NEW WORK OR ADAPTATION – MUSICAL
Josh Schmidt, Jan Tranen & Austin PendletonA Minister’s Wife Writers’ Theatre 

DIRECTOR – PLAY
Nick BowlingThe History BoysTimeLine Theatre

DIRECTOR – MUSICAL
Charles NewellCaroline, or Change Court Theatre

DIRECTOR — REVUE
Matt HovdeStuds Terkel’s Not WorkingThe Second City e.t.c.

ACTOR IN A PRINCIPAL ROLE — PLAY
Larry Neumann, Jr. – A Moon for the MisbegottenFirst Folio Theatre
William L. PetersenBlackbirdVictory Gardens Theatre 

ACTOR IN A PRINCIPAL ROLE — MUSICAL
Joseph Anthony ForondaMiss Saigon Drury Lane Oakbrook

ACTRESS IN A PRINCIPAL ROLE – PLAY
Saidah Arrika EkulonaRuinedGoodman Theatre and Manhattan Theatre Club

ACTRESS IN A PRINCIPAL ROLE — MUSICAL
E. Faye ButlerCaroline, or Change Court Theatre

SOLO PERFORMANCE
Max McLeanMark’s GospelFellowship for the Performing Arts

ACTOR IN A SUPPORTING ROLE — PLAY
Alex WeismanThe History Boys TimeLine Theatre

ACTOR IN A SUPPORTING ROLE — MUSICAL
Max Quinlan – The Light in the PiazzaMarriott Theatre

ACTRESS IN A SUPPORTING ROLE — PLAY
Spencer KaydenDon’t Dress for Dinner – The British Stage Company

ACTRESS IN A SUPPORTING ROLE – MUSICAL
Liz Baltes – A Minister’s WifeWriters’ Theatre
Summer SmartThe Light in the Piazza Marriott Theatre

ACTOR IN A REVUE
Mark David KaplanForbidden Broadway: Dances with the StarsJohn Freedson, Harriet Yellin and Margaret Cotter

ACTRESS IN A REVUE
Amanda Blake DavisStuds Terkel’s Not WorkingThe Second City e.t.c.

SCENIC DESIGN – LARGE
Lucy OsborneTwelfth NightChicago Shakespeare Theater

SCENIC DESIGN – MIDSIZE
Brian Sidney BembridgeThe History Boys TimeLine Theatre

COSTUME DESIGN – LARGE
Mara BlumenfeldThe Arabian NightsLookingglass Theatre

COSTUME DESIGN — MIDSIZE
Rachel LaritzThe Voysey Inheritance Remy Bumppo Theatre

SOUND DESIGN – MIDSIZE
Lindsay JonesThe K of D: An Urban LegendRoute 66 Theatre

LIGHTING DESIGN — LARGE
Christopher AkerlindRock ‘n’ Roll Goodman Theatre

LIGHTING DESIGN — MIDSIZE
Jesse Klug – Hedwig and the Angry InchAmerican Theater Company

CHOREOGRAPHY
David H. BellThe Boys from Syracuse Drury Lane Oakbrook

ORIGINAL INCIDENTAL MUSIC
Dominic KanzaRuinedGoodman Theatre and Manhattan Theatre Club

MUSIC DIRECTION
Doug PeckCaroline, or Change Court Theatre

OUTSTANDING ACHIEVEMENT IN SPECIAL EFFECTS
Steve Tolin – Special Effects – The Lieutenant of Inishmore Northlight Theatre

OUTSTANDING ACHIEVEMENT IN VIDEO DESIGN
Mike Tutaj – Film & Video Design – Tomorrow Morning – Hillary A. Williams

David Cromer’s "Our Town" coming to NYC

Cromer_inOurTown

As reported on Playbill.com and the Chicago Tribune’s blog “The Theater Loop” by Chris Jones, David Cromer’s acclaimed Chicago production of Our Town, by Thorton Wilder, will make a reappearance in Spring 2009 at an Off-Broadway theatre.  This is becoming something of a trend for David Cromer, as his production of The Adding Machine recently finished an award-winning run at Off-Broadway’s Minetta Lane Theatre.

Other info:

  • Auditions are currently under way
  • Ont The Town will be produced by Scott Morfee (who also financially-backed Adding Machine)
  • Begins in February at the Barrow Street Theatre in Greenwich Village.
  • The cast is expected to be a mix of Chicago and New York actors.
  • Cromer directed and played the Stage Manager in the Windy City run, but it is not yet known whether Cromer will reprise the Stage Manager role.
  • In regards to the set, the Barrow Street stage will be stripped bare to echo Cromer’s earlier concept.

As for The Adding Machine, which premiered at Evanston’s Next Theatre (see my review here), Playbill relays:

Cromer’s intensely visual staging of the musical Adding Machine was one of the best-reviewed productions of the 2007-08 season in New York City. The musical by composer and co-librettist Josh Schmidt and co-librettist Jason Loewith played the Minetta Lane Theatre Feb. 8-July 20.

For its New York run Adding Machine was awarded two Outer Critics Circle Awards (Outstanding New Off-Broadway Musical, Outstanding New Score), four Lucille Lortel Awards (Outstanding Musical, Outstanding Director, Outstanding Lead Actor, Outstanding Lighting Design) and four Obie Awards as well as nominations from the Drama Desk and Drama League awards.

More links of interest:

Writers’ Theatre announces 2008/09 season

Writer’s Theatre 2008/09 Season

Nixon’s Nixon

By Russell Lees

Directed by Michael Halberstam

Featuring William Brown and Larry Yando

Just in time for the elections, we bring back our critically acclaimed, award-winning production of Nixon’s Nixon. This box office record-breaking production returns to our most intimate theatre for a limited engagement. Artistic Director Michael Halberstam will once again direct William Brown and Larry Yando as they reprise their tour-de-force performances as Kissinger and Nixon in this thrilling, hilarious and brilliantly imagined story of what might have happened in the Lincoln sitting room the night before Nixon resigned.

September 16 – November 16, 2008

 

 

Picnic

By William Inge

Directed by David Cromer

When a charismatic young drifter arrives in a small Kansas town on the eve of a Labor Day picnic, the simmering repressions of its residents come rapidly to a boil. Frequently hilarious and profoundly mo ing, Inge’s masterpiece chronicles the hopes and despairs that lie between the realization of adulthood and the eternal optimism of youth. This American classic is staged by Chicago’s own David Cromer, whose previous work for Writers’ Theatre includes The Price and Booth, and whose highly acclaimed production of The Adding Machine is enjoying a successful run in New York.

September 16 – November 16, 2008

 

 

The Maids

By Jean Genet

Translated by Martin Crimp

Directed by Jimmy McDermott

When the mistress is away, the maids will play. Two women in service to a younger socialite pass the moments of their day in play-acting and fantasy. As the line between fantasy and reality begins to disintegrate, their games take a deadly turn. Jealousy, resentment, sexual tension and murder converge in this 1947 classic French thriller. Jimmy McDermott, one of the city’s most exciting young directors, brings his trademark edginess to this seminally rebellious play.

November 18 , 2008 – April 5, 2009

 

 

A Christmas Carol

By Charles Dickens

Adapted & Performed by Michael Halberstam

Artistic Director Michael Halberstam masterfully recreates the greatest ghost story ever written with his tour-de-force solo performance of Ebenzer Scrooge’s journey over the course of one magical Christmas Eve. Now in its 13th season, this holiday tradition has been extended to nine performances after last year’s sold-out run.

December 13 – 23, 2008

 

 

 

 

World Premiere!!

Old Glory

By Brett Neveu

Directed by William Brown

William Brown, director of last season’s triumphant As You Like It, turns his attention from the old to the new. One of the country’s hottest young playwrights, Brett Neveu, brings us the world premiere of Old Glory.This gripping drama in which a family confronts loss as a conseqwuence of war is brought intensely to life through Neveu’s direct yet poetic language. No government, no politics, just people. Razor sharp wit and fiercely emotional confrontation combine as this viscerally powerful mystery unfolds.

February 3 – March 29, 2009

 

 

 

 

World Premiere Musical!!

A Minister’s Wife

Music by Josh Schmidt, Lyrics by Jan Tranen

Adapted by Austin Pendleton

Conceived & Directed by Michael Halberstam

After his unanimously acclaimed New York debut, The Adding Machine, Writers’ Theatre Associate Artist Josh Schmidt has become the most eagerly anticipated young musical theatre composer in the country. Schmidt’s second creation, in collaboration with artistic director Michael Halberstam, playwright Austin Pendleton and lyricist Jan Tranen, receives its world premiere in Glencoe. A poet, a preacher and his wife enter into a delicious conflict when a fantastical assumption turns an ordinary day topsy-turvy.

May 19 – July 19, 2009

For more information on Writers’ Theatre, call 847-242-6000, or go to www.writerstheatre.org.

Review – Next Theatre’s "The Adding Machine"

AddingMachine---06-web-733116 The Adding Machine: A Chamber Musical is an intriguing, hard-to-pigeonhole piece of musical theatre. With music by Josh Schmidt and a libretto by Schmidt and Jason Loewith, The Adding Machine is a through-sung work with glimpses of Sondheim’s Passion, Guettel’s A Light in the Piazza and LaChuisa’s Wild Party. Nonetheless, it is set apart from these examples through its use of comprehensible melodies on top of layered dissonances; changing time signatures juxtaposed with sharply-syncopated choral chants. In its world-premier, Evanston’s Next Theatre Company has taken a noteworthy risk by commissioning and presenting this piece. Based on a rarely-produced 1923 play of the same name by expressionist playwright Elmer Rice, the show mostly works. But there are some caveats, all in the second half of the show, that keep The Adding Machine from realizing its full potential.

Though there is no intermission, the play is comprised of two distinct acts, delineated by the death of the main character, Mr. Zero (artfully played by the talented Joel Hatch). In the first section of The Adding Machine, the world is engulfed in numbers. The main character, Mr. Zero, works as an accountant. Mrs. Zero (wonderfully sung by Cyrilla Baer) is continually unhappy, contemplating the clichéd conclusion that Mr. Zero really is a zero, and she never should have married him.

AddingMachine---01-727264 Undoubtedly the work’s most mesmerizing section takes place in the second scene of the well-delineated first act. Mr. Zero is at work, sitting at the first of three tables, methodically and laboriously writing down numbers fed to him by his assistant Miss Devore (Amy Warren). As the chorus, sitting at tables behind him, hauntingly chants number after number (infusing clever asides, their brains wandering away from numbers and instead to thoughts of beer and girls), Zero relays that today is his 25th anniversary at the company, and he’s sure he will get a promotion. The boss, the stoic Mr. Charles (Michael Vieau) shows up. But instead of promoting him, Zero is canned, being told that with the advent of the adding machine, his job can now be done by high school girls at a sliver of his salary. (Echoing the present day’s outsourcing of jobs to other countries, where they are paid a fraction of our salaries). That evening, at a dinner party thrown by Mrs. Zero, with Mr. and Mrs. One (Rosalind Hurwitz and Steve Welsh) and the Two’s (Toni Inzeo and Kevin Mayes) in attendance, her husband is arrested for murdering his boss. What follows is a clever scene in prison on death row, where Zero meets the disturbing Shrdlu (Ian Westerfer), who has killed his mother by cutting her throat instead of the lamb that his mother has made for her son’s dinner. (i.e., mom turns into the sacrificial lamb?)

The second section, occurring after Zero has been put to death, falls flat, the storyline veering away from any kind of worthy conflicts and – as my father told me when trying in vain to teach me how to swing a baseball bat – no follow-through. We are supposedly in heaven, Shrudlu, the mom-killer, is there. Zero, too, is present. And Zero’s assistant, Mrs. Devore, just happens to also be there. Zero and Devore soon realize that they are in love. All this unexplained oddness abets an unfortunately dissatisfying ending.

The singing is mostly excellent. The characters have lovely, adaptable voices, and the music director, Jeremy Ramey, has done a great job blending the cast’s instruments, successfully honing the difficult syncopations of the choir. But a few of the main characters, specifically Zero and Shrdlu, do not have the chops to sing this discordant and often operatic score. In the beginning this is okay, as their wavering voices match their character’s woes. But this vocal crudeness becomes a problem near the end when these same characters are no longer suffering.

The design team has done a notable job, with the highest honor given to Keith Parham, the lighting designer. His design is dead-on, thoroughly matching and enhancing the dynamics of the story – dark and ominous in the first half and utopian in the second. In one remarkable scene, as Zero is entering heaven, the lights are cast in such a way that projects Zero as having wings. As the lighting changes, though, it is revealed that these “wings” are in fact just a coat thrown over his shoulder. This is some of the best lighting work seen in recent years.

Overall, if you’re an avid fan of new musical works, works that push the boundaries of stereotypical musical theatre, The Adding Machine is worth seeing – even when taking into consideration the aforementioned problems. Indeed, the accounting scene alone is worth the price of the ticket. The score and orchestrations are exemplary, matching much of what you’d hear on Broadway. If only the show was just about the first act, it would be highly recommended. Unfortunately this is not the case.

Rating: «««