Winners of 2012 Lucille Lortel Awards

Outstanding Play 
Blood and Gifts – Produced by Lincoln Center Theater; Written by J. T. Rogers 
Milk Like Sugar – Produced by Playwrights Horizons and Women’s Project Theater; Written by Kirsten Greenidge 
WINNER – Sons of the Prophet – Produced by Roundabout Theatre Company; Written by Stephen Karam  
The Big Meal – Produced by Playwrights Horizons; Written by Dan LeFranc 
The School For Lies – Produced by Classic Stage Company; Written by David Ives 

Outstanding Musical
WINNER – Once – Produced by New York Theatre Workshop; Book by Enda Walsh, Music and Lyrics by Glen Hansard and Markéta Irglová 

Queen of the Mist – Produced by Transport Group; Words and Music by Michael John LaChiusa 
SILENCE! The Musical – Produced by Victoria Lang, Rich Affannato, Donna Trinkoff in association with Scott Kirschenbaum, Theater Mogul, Kitefliers Studio, Terry Schnuck and John Arthur Pinckard; Music and Lyrics by Jon Kaplan and Al Kaplan, Book by Hunter Bell, Adapted from the screenplay Silence! The Musical by Jon and Al Kaplan
The Blue Flower – Produced by Second Stage Theatre ; By Jim Bauer and Ruth Bauer  
The Shaggs: Philosophy of the World – Produced by Playwrights Horizons and New York Theatre Workshop; Book by Joy Gregory, Music by Gunnar Madsen, Lyrics by Joy Gregory and Gunnar Madsen, Story by Joy Gregory, Gunnar Madsen, and John Langs  Continue reading “Winners of 2012 Lucille Lortel Awards”

Nominations for the 2012 Drama Desk Awards

Outstanding Play
David Henry Hwang, Chinglish
Dan LeFranc, The Big Meal
Members of the Plastic Theatre, Unnatural Acts
Itamar Moses, Completeness
Lynn Nottage, By the Way, Meet Vera Stark
Nina Raine, Tribes
Nicky Silver, The Lyons

Outstanding Musical
Bonnie & Clyde
Death Takes a Holiday
Leap of Faith
Newsies The Musical
Nice Work If You Can Get It
Once
Queen of the Mist Continue reading “Nominations for the 2012 Drama Desk Awards”

Nominations for 2012 Lucille Lortel Awards

Outstanding Play 
Blood and Gifts – Produced by Lincoln Center Theater; Written by J. T. Rogers 
Milk Like Sugar – Produced by Playwrights Horizons and Women’s Project Theater; Written by Kirsten Greenidge 
Sons of the Prophet – Produced by Roundabout Theatre Company; Written by Stephen Karam  
The Big Meal – Produced by Playwrights Horizons; Written by Dan LeFranc 
The School For Lies – Produced by Classic Stage Company; Written by David Ives 

Outstanding Musical
Once – Produced by New York Theatre Workshop; Book by Enda Walsh, Music and Lyrics by Glen Hansard and Markéta Irglová 
Queen of the Mist – Produced by Transport Group; Words and Music by Michael John LaChiusa 
SILENCE! The Musical – Produced by Victoria Lang, Rich Affannato, Donna Trinkoff in association with Scott Kirschenbaum, Theater Mogul, Kitefliers Studio, Terry Schnuck and John Arthur Pinckard; Music and Lyrics by Jon Kaplan and Al Kaplan, Book by Hunter Bell, Adapted from the screenplay Silence! The Musical by Jon and Al Kaplan
The Blue Flower – Produced by Second Stage Theatre ; By Jim Bauer and Ruth Bauer  
The Shaggs: Philosophy of the World – Produced by Playwrights Horizons and New York Theatre Workshop; Book by Joy Gregory, Music by Gunnar Madsen, Lyrics by Joy Gregory and Gunnar Madsen, Story by Joy Gregory, Gunnar Madsen, and John Langs  Continue reading “Nominations for 2012 Lucille Lortel Awards”

Review: Cat On A Hot Tin Roof, Novello

Seeing a deal on lastminute for restricted view tickets for a tenner, I thought I’d squeeze this revival of Tennessee Williams’ Cat on a Hot Tin Roof in for a Saturday matinee, but was almost jeopardised by the seats we were allocated: seats AA1&2 in the Grand Circle don’t actually have a restricted view of the stage, because you are actually facing the audience! The seats are about 120 degrees to the stage so you’re basically facing most of the Grand Circle, a great opportunity to fulfil my Glenn Close in Dangerou Liaisons  fantasy, but not the best for playwatching. To see the stage, you need to twist round and then lean quite far forward, which then forces everyone else in the row to lean too. Fortunately, with a house that was only 75% full, we were able to relocate at the end of the first act, but it is truly outrageous that these seats are up for sale at all.

As for the play itself, it is an updated version relocated into the 1980s according to the show literature, although there were curiously few references to this and I don’t think I would have worked it out had I not been informed of it. It’s a tale of a wealthy landowning family who are struggling to conceal the cracks caused by repressed homosexuality, inheritance struggles, alcoholism and the shadow of terminal illness, and I suppose the one benefit of shifting the timing of the play enables the fact that the cast are all black to be not considered an issue. Continue reading “Review: Cat On A Hot Tin Roof, Novello”