Live Design: End of 10

The 2009-2010 Broadway season, that is, with six new shows, in ascending order of quality. (Pictured is The Normal Heart). The 2010-2011 seaon begins June 14 with the opening, at last, of Spider-Man: Turn Off the Dark, which I see on Friday.

In other news I saw myself, sevreral times, at the Drama Desk Awards, which Ovation is televising in highly truncated but enjoyable form. Best times to watch for me: at the 46-minute mark, during the Newsical number about an hour in, and at the end under host Harvey Fierstein's credit. Closest I'll get to being a star.

Live from the Drama Desks

And there I was, at Table 1 (Table 1!) last night, in the presence of an august nominee who was a bit peeved not to win. But so it goes. Look for me when the show is telecast (with judicious edits, natch) on Ovation beginning June 4.

And the winners were...my personal favorites were Bobby Cannavale, sensational in The Motherf**ker in the Hat (pictured), and 12-time nominee Derek McLane, finally winning for his ship-shape Anything Goes set design. "My son always asks why I don't win one," he remarked.

The show itself was a far more opulent affair than in recent years, with welcome one-stop carousing and celebrating at the Hammerstein Ballroom and its Manhattan Center environs and actual musical performances. Not much eating, however, as nominee Colin Quinn rather devastatingly pointed out from the dais ("three ziti in a red sauce you call dinner?"), to catcalls from the staff. (It must be said that the red velvet cupcakes and brownies at the afterparty went down a treat.)

So, a good time was had by all, with the possible exception of a few nominees. Best gaffe went to presenter Christian Siriano, who referred to "The Mechanic of Venice," which then became a running gag. (And not a bad idea; Jason Statham, call your agent.) And I had nice chats with special award honoree Reed Birney and Book of Mormon nominee Andrew Rannells, who may not have won but comported himself with style and charm. I'm glad I voted for him.

Mormon, Porter excel at Drama Desks

The Book of Mormon and the revival of Anything Goes bowled over the Drama Desk nominations committee this year, with The Merchant of Venice taking play honors. I must catch up on a few shows before voting. The big night is May 23.

Drama Desk winners announced

Two ties highlighted this year's awards, as Outstanding Play Revival and Outstanding Actress (Musical) deadlocked. Me? I was most happy to see Alex Timbers' book for Bloody, Bloody Andrew Jackson win, to see the Tony-ineligible Brighton Beach Memoirs get a bit of recognition, and that the ensemble cast of The Temperamentals had something to celebrate as the show closed. Can't argue with the rest, not doing cartwheels, either; it was that kind of season. The award-winning import Red, which struck gold, is pictured.

Drama Desk nominations announced

Leading the pack: the revival of Ragtime and The Scottsboro Boys (pictured). Scanning the list, I would have liked to have seen the two lead actors and The Pride itself nominated; easily the most riveting drama of the season past. Still, a lot of worthy work awarded or in contention this year: kudos especially to the casts of Circle Mirror Transformation and The Temperamentals, John Douglas Thompson in The Emperor Jones, Terri White in Finian's Rainbow, and Yank!. I would like to see the Projection and Video category, which I helped inaugurate, return in some form, and do think that if puppets can be on the same line as set design so too could be projection and video. But I'm not a nominator, and I'm no longer a board member...and I see there are a few shows that I can't recall off the top of my head and will have to look up, proof that the committee has cast a typically wide net.

And the winner was...

Geoffrey Rush, who heads back to Australia following the June 14 closing of Exit the King with five New York acting citations under his belt, including Tony and Drama Desk Awards. This courtesy of David Sheward at Backstage, who had the philanthropic/insane notion to collate all this stuff.

Drama Desk winners announced

A short and snappy ceremony resulted in big wins for Lynn Nottage's Ruined (pictured) and Billy Elliot the Musical at the 54th Drama Desk Awards, held last night. I've just come from the after party, held at the large and lovely Rouge Tomate bistro, where I met winners Geoffrey Rush (Exit the King), Pablo Schreiber (the off-Broadway reasons to be pretty), and Janet McTeer (Mary Stuart). The understandable absence of overseas-based winners like Shrek the Musical designer Tim Hatley was more than made up for by the present-and-accounted-for star wattage of winners Liza Minnelli and Angela Lansbury, whose award was presented by Jane Fonda. Besides Nottage's win for the gripping Ruined--one of seven Off or Off Off Broadway winners this year--I was especially gratified to see set designer David Korins take home a statuette. It couldn't happen to a better designer, or a nicer guy.

Drama Desk nominations announced

Looks as if this year's nominators were working 9 to 5 (pictured) this awards season--the soon-to-open musical garnered 15 nominations, the most of any show in the 2008-2009 season, and a record haul. (Having been on the committee, I can assure you that they were working 9 to 5, and then some, to place the best of Broadway, Off Broadway, and Off Off Broadway into contention.)

Harvey hosting Drama Desk Awards

Multiple Drama Desk and Tony Award winning actor/writer Harvey Fierstein will host the 54th Annual Drama Desk Awards ceremony on Sunday, May 17, at 9 PM at the F.H. LaGuardia Concert Hall at Lincoln Center in New York City, it was announced by Robert R. Blume, Executive Producer of the annual Drama Desk Awards ceremony, and William Wolf, President of the Drama Desk, an organization of theater critics, writers and editors that honors excellence in all areas of New York theatre, including Broadway, Off Broadway, Off Off Broadway and not-for-profit theater. This will be the fourth time in the past six years that Fierstein has hosted the Drama Desk Awards, having emceed the Awards in 2004, 2005 and 2006.

"We are delighted that Harvey Fierstein has accepted our invitation to host this year’s Awards ceremony," said Robert R. Blume. “He has a cutting edge sense of humor and a quick wit that are perfectly suited for this type of hosting assignment. He understands all aspects of theater and uses his knowledge to great advantage.”

“The Drama Desk organization takes great pride in our awards presentations and the selection of Harvey Fierstein as host this year is welcomed.” said William Wolf. “Harvey has done a magnificent job hosting in the past and we are confident his professionalism will add excitement to this year’s proceedings.”

Harvey Fierstein made his debut at the La Mama Experimental Theater Club in 1971 in Andy Warhol’s only play, Pork, and followed that with appearances in 60 Off Broadway plays, writing and performing in many of his own productions. His Torch Song Trilogy opened Off Off Broadway in 1980, transferred Off Broadway in 1981 and then went on to Broadway. Fierstein won two Drama Desk Awards, two Tony Awards, an Obie Award and a Dramatist Guild Award for his efforts, as well as an Olivier Award nomination. Fierstein won his third Tony Award for the book of La Cage aux Folles. His other plays include Safe Sex, Spookhouse and Forget Him.

For his performance as Edna Turnblad in the smash hit musical Hairspray, Fierstein received the 2003 Drama Desk Award (Outstanding Actor in a Musical), Drama League Award (Outstanding Performance of the Year) and New York Magazine Award. He also received the 2003 Tony Award (Best Actor in a Musical), making him only the second person in history to win Tonys in four different categories. Fierstein’s recent appearances on Broadway include Tevye in the record-breaking revival of Fiddler on the Roof and the musical, A Catered Affair, for which he wrote the book and also co-starred.

Fierstein has appeared in 30 films, including Independence Day, Mrs. Doubtfire and Woody Allen’s Bullets Over Broadway. His TV appearances included stints on Ellen, Common Ground (which he also co-wrote) and Cheers, for which he received an Emmy nomination. Fierstein also provided the voice of Homer Simpson’s executive secretary on The Simpsons and he is a regular commentator on PBS’ In The Life. His children’s book, The Sissy Duckling (Simon & Schuster) garnered an Ace Award.

Drama Desk Awards on May 17

The 54th Annual Drama Desk Awards will take place on Sunday, May 17, at 9pm at the F.H. LaGuardia Concert Hall at Lincoln Center in New York City, it was announced by Robert R. Blume, Executive Producer of the annual Drama Desk Awards ceremony and telecast, and William Wolf, President of the Drama Desk, an organization of theater critics, writers and editors that honors excellence in all areas of New York theatre, including Broadway, Off Broadway, Off Off Broadway and not-for-profit theater.

The nominations will be announced at a news conference on Monday, April 27, at 9am at the New York Friars Club, 57 East 55th Street. The annual Nominees Cocktail Reception will take place on Tuesday, May 5, at 4pm at a location to be announced. The Drama Desk, organized in 1949, presented its first awards in 1955. The Drama Desk Awards are unique in that Broadway, Off-Broadway and Off-Off Broadway shows and creative personal compete in the same categories.

The 2008/2009 Nominating Committee for the Drama Desk Awards is composed of: Barbara Siegel (Chairperson) TalkinBroadway.com, TheaterMania.com; Dan Bacalzo, TheaterMania.com; Christopher Byrne, Gay City News; Patrick Christiano, TheaterLife.com, Dan’s Papers; Jason Clark, Entertainment Weekly, TheaterOnline.com; Gerard Raymond, Back Stage, The Advocate; and Richard Ridge, Broadway Beat TV.

Robert R. Blume is Executive Producer of the 54th Annual Drama Desk Awards and Blume Media Group Ltd is the producing company. Lauren Class Schneider is Producer and Jeff Kalpak is Director of the Awards ceremony. For the production, the Associate Producers (alphabetically) are Margot Astrachan, Jacki Barlia Florin, Joseph Callari, and Les Schecter, who is also Director of Publicity and Promotions. Felicia M. Lopes is the General Manager; Ellis Nassour is Press Liaison, and Corine Dana Cohen is Director of Program Ad Sales. Randie Levine-Miller is Special Events Director for the Drama Desk organization.

The Board of Directors of the Drama Desk is composed of: William Wolf, President; Leslie (Hoban) Blake, Vice President; Charles Wright, Treasurer and 2nd Vice President; Richard Ridge, Secretary; Michael Bracken; Robert Cashill; David Kaufman; Ellis Nassour; Sam Norkin; and Barbara Siegel.

RIP Roy Somlyo

The Drama Desk expresses great sadness at today’s passing of legendary theatrical and television producer Roy Somlyo following a long illness.

William Wolf, President of the Drama Desk, issued the following statement:

“The Drama Desk mourns the loss of Roy Somlyo, Consulting Producer for the annual Drama Desk Awards ceremony. In addition to being a good friend and a very special person, Roy was of enormous assistance in recent years in helping obtain sponsorship for our annual awards shows and in arranging and editing television productions. His death today is a profound loss both personally and professionally. We salute Roy for his long involvement in the theater and we extend our deepest sympathy to his family.”

Robert R. Blume, Executive Producer of the annual Drama Desk Awards shows since 1999, speaking for Drama Desk Awards producer Lauren Class Schneider, director Jeff Kalpak and Associate Producer Les Schecter, said the following about the loss of their friend and associate:

“All of us who have known and worked closely with Roy Somlyo will miss him terribly. In addition to being a giant in the entertainment industry, Roy was a close friend whose guidance and advice helped raise the annual Drama Desk Awards presentations to new levels and greater exposure since joining the production team in 2004. We will all miss his sense of humor, his vast amount of knowledge and his sound advice based on his decades of experience as a theatrical, film and television producer. Our love, affection and sympathy go out to his family in this time of sadness.”

(Somlyo was a seven-time Emmy nominee and a four-time winner, for three Tony Awards telecasts (1980, 1998 and 1999) and 1982's Night of 100 Stars show--RC)

Drama Desk: Can Theater Inspire Social Change?

"Can Theater Inspire Social Change?" asks the next Drama Desk panel. Find out on Feb. 2.

MONDAY, FEB 2, FROM 5 P.M. TO 7:30 P.M.
Dinner at 5 p.m., Panel 6:15-7:30 p.m.
at Tony's Di Napoli
147 West 43rd Street

RICHARD FRANKEL, Producer, Hairspray, Gypsy
ELIZABETH McCANN, Producer, Hair, Equus
NILAJA SUN, actress, author, No Child…
CASIMIRO TORRES, actor, The Castle
Moderator: DAVID ROTHENBERG, Any Saturday, WBAI

Drama Desk Members $25, Non-members $45
RSVP ONLY TO E-MAIL: PJRJS@aol.com
Pay at door with cash or check

Tonys, and The Oscar

Being a Drama Desk nominator last season was so consuming, for so many reasons, that I had my own case of awards fatigue by the time the Tonys rolled around last night. I wouldn't call them anti-climactic, but for me they brought a kind of relief, signaling that the curtain had finally come down on a solid if unspectacular 2007-2008, much stronger on revivals than new work. Rapped acceptance speeches or not, the Tony-winning In the Heights is far more retro (and far less interesting) than the gold-plated South Pacific and Gypsy, whose Tony (and Drama Desk)-winning stars Laura Benanti, Patti LuPone, and Boyd Gaines are pictured. Onwards into the new season, as I take my seat off the aisle, observant if (happily) sidelined as we await our own co-production in August. [And then I'll learn what "tired" really is, and look upon those three-show-Sundays in the depths of winter nostalgically.]

As for last night's show on CBS, the nits are for picking, and given cellar-dwelling ratings we should as usual be grateful that the whole thing hasn't shuffled off onto the web, not that the Drama Desks are poorly served there. The musical numbers were abundant, too much so: To accommodate modestly lauded shows important categories were relegated to the pre-show, which when PBS used to show it was always a more unbuttoned, less bamboozling affair. I was miffed that best book of a musical was off the mainstage, but lumping best revival in steerage with the downtrodden designers (who got a "new" category, sound, recognized by other awards bodies for decades, to join them in their unfair exile) was unconscionable. Stranger, from a telecast standpoint, was announcing the choreography winner in that lost hour--viewers enjoying high-stepping highlights from Cry-Baby and In the Heights no doubt expected the payoff to come with a front-and-center awards announcement. That's showbiz.

[Product plug: Read about the Tony-winning set design of August: Osage County here.]

Twelve hours later and it's all over except the annual keening over the golf- and basketball-challenged ratings. I would add that having Whoopi Goldberg host gave the broadcast a musty feel right from the start (since when was she last an arbiter of what's hip and happening? 1990?), but putting The Lion King in the catbird seat at the top of the telecast did at least bring things up to 1998. Best revival of a Drama Desk schtick (more than one acceptance speech had a familiar ring to it) went to Mark Rylance; I could feel America, or that small subset of America tuned to the Tonys, scratching their heads in puzzlement.

Now that the Tonys are dispensed with, it's time to think about The Oscar. No, not the award, but the deathless 1966 Joseph. E. Levine production, which gets a rare outing on Turner Classic Movies tonight at 11pm EST. In the new documentary Dreams with Sharp Teeth, Harlan Ellison says its star-laden belly-flop into the shallow end of the critical and boxoffice pool killed his screenwriting career. But it died with dignity; his hardboiled purplish prose is a constant riot. It’s hard to see how intended stars Steve McQueen (Ellison's pal) and Peter Falk might have improved matters, but Stephen Boyd and an earnest, preposterous Tony Bennett (!) really bungle the job, launching this one into camp heaven (it's harder still to imagine the academy countenancing such a project). Bennett, who took the still birth of his acting career in stride, later spoofed his role on SCTV.

It's fun to imagine Hymie Kelly, Bennett's character, musing about, say, Passing Strange star Stew as he does in the film. With apologies to Ellison: “You finally made it, Stew! Tony night! And here you sit, on top of a glass mountain called "success." You're one of the chosen five, and the whole town's holding its breath to see who won it. It's been quite a climb, hasn't it, Stew? Down at the bottom, scuffling for dimes in those smokers, all the way to the top. Magic Broadway! Ever think about it? I do, friend Stew, I do...”

Drama Desks: The show goes on...

...but happily last night's awards ceremony did not go and on, as it did last year. This was my first year as an attendee, and with Lora radiant in a black maternity dress we were treated to a zippily paced program that came in at the 2:15 mark. Much of the fun came from the presenters, the four-person cast of the Broadway-bound [title of show]--which was not nominated for Drama Desks in its original Off Broadway incarnation two years back, and which they were not shy to satirize. There were some terrifically funny speeches as well, from winners including Linda Lavin and August: Osage County author Tracy Letts, who got a big laugh wondering how his mammoth show will play "with a cast from the Love Boat" once its Steppenwolf members depart. And there were touching moments, too, notably from Gypsy winners Patti LuPone, Laura Benanti (who hoped her parents' server was working as they watched the live webcast on Theatermania.com), and Boyd Gaines. I liked the anything-goes vibe behind it, as well--anyone up there was free to curse, ramble, or behave very eccentrically (the last would be Boeing-Boeing winner Mark Rylance), unlike at the televised Tonys. The "Deskies," as the hosts called them, were clubby-comfortable without pretense, and I for one did not miss the production numbers and hoo-hah that slow or mar so many award presentations of its type.

The night got a real lift from the before and after parties besides. The Hawaiian Tropic lounge on 49th Street always looks to me like a better place to get a lap dance than a dinner, and was a slightly ironic choice given how pallid relentlessly showgoing Drama Deskers look by the end of the season. But the food was excellent (and plentiful) and the service with a smile and a tan followed suit. Afterwards John's Pizza on 44th kept the pasta and slices coming, and I didn't make it home till well after 2am.

As for the winners, well, we nominators presented a very mixed menu, and the voting members pretty much selected from the Broadway entrees, as if often the case. (With interesting results: The 12-"Deskies" nominated A Catered Affair was shut out, and the singly-nominated The Seafarer and Cry-Baby were lauded.) For some this is a crisis. I would however place that word in quote marks. The many Off and Off Off Broadway nominees I talked to consider the nomination itself a win, given the staggering amount of potential competition they're up against (I know, I weeded through it). The "problem" would seem to be that not enough voters see the smaller shows. But to fix that, publicists would likely be obliged to dole out free tickets to more of the membership, which for obvious reasons they are disinclined to do (they are usually happy to accommodate voters who find them, but you do have to look hard sometimes). A larger problem is getting a shrinking number of media outlets interested in the less glitzy, more gritty productions. There is no incentive for voters to see more of the smaller shows, and publicists to allow access to them, if the editorial gatekeepers aren't that interested. It's no conspiracy, or "conspiracy," that the Broadway shows win.

I am, however, satisfied that my nominating committee discharged its duties superbly. What am I to do with myself now? There are, of course, more shows to see; there are always shows to see. Oh, and that event in August...

[Pictured is the "Deskie"-winning musical, Passing Strange, with winner Stew, at home prepping for tonight's Obies, at the left, and nominee Daniel Breaker at the right.]

Tony time: Another perspective

The nominations for the 2007-2008 season Tony Awards are out today, and I think it's true: The Drama Desks really are a bellwether for the Broadway event. Not for those of us who are Drama Desk nominators, mind you--our nominations are a solid mix of Broadway, Off Broadway, and Off Off Broadway shows--but for the Tony nominators, who seemed to have split the difference with us. We went for Cheyenne Jackson in Xanadu; they went for Kerry Butler. We gave the nod to Kevin Kline's Cyrano; The Tonys embraced Patrick Stewart's Macbeth. We nommed Marisa Tomei for Top Girls, they nommed Martha Plimpton for the same show. We dined out on A Catered Affair; they got all choked up over Cry-Baby.

A poor choice by the way, whatever support it has from the chattering classes. The reasoning must be that A) Rob Ashford's standout choreography, which we did nominate, will look good on TV, and B) the show could tour, if it gets enough audience support here. But it really shouldn't--a bad movie has made for a significantly worse musical. The nomination of Grease for best revival is equally embarrassing, but apparently Tony voters are obliged to vote for a full slate of nominees in all categories, quality be damned, so it got in on that outdated technicality.

Then again, I'm not knocking my brethren. I now know something about the calculus of awards decision-making now, and even if the Tony voters had only 35 shows to consider--a walk in the park, an obligation I could fulfill standing on my head--there are calls to be made, even if they turn out all wonky. But I must say that, with those same shows to consider plus hundreds more, our Broadway choices are a wiser mix. (And I must say that, as our nominations seem but a distant memory now.) It's better, I think, to have six discerning nominators rather than a committee of 21. That, however, is showbiz, and how different sets of rules play out.

A few observations:

*No surprise that August: Osage County and its powerhouse ladies, Amy Morton and Deanna Dunagan (pictured), were nominated. And no surprise that In the Heights got shown major love, too, after setting toes tapping at last year's Drama Desk awards. I did think it played better on Broadway, with the addition (finally) of a song for veteran co-star Priscilla Lopez, but not that much better. Too sugar-spun for my palate.

*So-called "mistakes" made by us were duly "corrected". (Broadway lovers can't see past our mandate of across-the-board excellence.) S. Epatha Merkerson got a slot, and The Seafarer found somewhat safer harbor. No suck luck, again, for the not-too-loved Cat on a Hot Tin Roof or November or the other shows that tumbled through the cracks, though Cat's James Earl Jones is getting a special award at our ceremony this Sunday. So, DD doubters: Did Tony get it wrong, too, or could it be that the shows just didn't add up?

*I liked Stew's performance in Passing Strange, but co-star (and co-Stew) Daniel Breaker does the heavier, leading-man lifting.

*I'm happy to see Bobby Cannavale, Mary McCormack, and A:OC set designer Todd Rosenthal being honored for their fine, and duly considered, work.

*Design dish: The 39 Steps is strong in every way except the minimal Tony-nominated set. The Tonys are to be commended for joining the 20th century a few years late and honoring sound, with play choices that should please Anglophiles. This I give to the Tonys: It distinguishes between design elements in a play and a musical, something the Drama Desk should do (and does do with sets), given the vast quantity of shows considered. On the other hand, only the Drama Desk honors projection, as of this this season.

The Drama Desk Awards are this Sunday, May 18. The Tonys are on June 15.

Look what I (co-) did

Nominations for the 2007-2008 season Drama Desk Awards were announced today. You can find them on the spruced-up Drama Desk website. I was there at the Friars Club (great space) for the big announcement, which was webcast live by TheaterMania. If you go about two-thirds in, you can hear chairperson Barbara Siegel repeat (with my blessing) a few heartfelt remarks about the whole experience, and a bit about my upcoming journey, which will take me from aisle seats to changing tables.

One reason I undertook the arduous work of a Drama Desk nominator is that I sensed that the window of opportunity to do so in the foreseeable future might shut. Happily, I was right...and I managed to give back to the community, and organization, that has meant so much to me these past years. I'm particularly pleased to have been part of the committee that inaugurated the Outstanding Projection and Video Category; this was the moment, and we seized it.

Pictured are nominees Leslie Kritzer and Faith Prince in A Catered Affair, which took home 12 nominations. The Drama Desk's own catered affair, to hand out the awards, is on Sunday, May 18.

I, the Juror

It's only official if it's on Playbill On-Line.