This is my favorite feature of the year – where we present notes from the Helen Hayes nominees. In this curtain call, if you will, I love it that a costumer ‘stands’ next to a lighting designer, followed by a performer with a choreographer and producer a few steps away.
I am always struck by the clarity and honesty of the responses. This year we begin with a writer who starts out ‘ I ran out of money.’ The stories are very personal. Some of the most illuminative can be found in the Ensemble responses, such as Resurrection and The Last Days of Judas Iscariot.
This feature has 3 sections. Here’s how to find everyone:
(this section) David Adjmi, Che Ayende, Colin K. Bills, Michael J. Bobbitt, Andrew Call, Karma Camp, Will Chase, Andrew Cissna, Marianne Custer, Natascia Diaz, Sofia Jean Gomez, Paul Scott Goodman, Miriam Gordon, Carolyn Griffin, Marc Jacoby, Irakli Kavsadzki, Angelina Kelly, Karl Kenzler, Adam Koch, Doug Kreeger
(Section 2) Deborah Wicks La Puma, Chris Lee, Konstantine Lortipanidze, David Loud, Ariella Tepper Madover, Jennifer Mendenhall, Matthew M. Nielson, Christiane Nolle, Jill Paice, Daniel Pelzig, Andy Prosky for Robert Prosky, Marc Ramirez, Ari Roth, Kimberly Schraf, Scott Schwartz, Mark Shunock, Chris Sizemore, Nilaja Sun, Teller, Irina Tsikurishvili, Paata Tsikurishvili
(section 3) Ted van Greythuysen, John Vreeke, Jeremy Webb, Kenny Wollesen, Chris Youstra, Karen Zacharias, Stefanie Zadravec. Ensembles: Carmen, Goodnight Moon, In the Heart of America, Les Miserables, Measure for Pleasure, Resurrection, Romeo and Juliet, The History Boys, The Last Days of Judas Iscariot and Constellation Theatre, recipient of Outstanding Emerging Theatre Company.
For purposes of readability, we have abbreviated the questions originally posed. Click here to read the actual questions.
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David Adjmi – Outstanding New Play or Musical
Stunning . Woolly Mammoth Theatre Company
The inspiration …
I’d run out of money and had to move back in with my mother for a bit, and was living in the area I’d grown up in – which seemed in many ways totally unchanged. That was the beginning.
Biggest surprise …
That it’s been produced at all – it’s an odd play, and it’s challenging.
When did you finish the play?
I’m still working on the play, actually. I learned an enormous lot just by seeing it up on its feet – it’s changed pretty significantly since the premiere.
Biggest challenge …
It’s an enormously challenging play – just modulating all the tonal elements, and figuring how to weave together the disparate story elements. And Blanche is someone who hides her story from everyone – the audience needs to know her even if the other characters in the play don’t. So that has cotinued to be a challenge for me.
Did you see the DC production?
Yes, I was there for the entire rehearsal period.
Favorite moment …
The goldfish moment was kind of fabulous, actually.
Next?
Lincoln Center is producting the NY premiere of Stunning – it’s the first of my plays to be done in NY. I’m very excited and very indebted to Howard and everyone at Woolly for helping to birth this play.
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Che Ayende – Outstanding Supporting Actor, Resident Production
Dre in Resurrection . Arena Stage
Dre was a man taking responsibility for his past mistakes.
Creating the role …
[I connected to the character] through my father
Favorite moment …
My favorite scene was with Isaac and his father the Bishop.
This year’s favorite performances …
John Thompson’s portrayal of Othello at TFNA [Theatre for a New Audience].
Next?
A new play by Christina Anderson called Inked Baby at Playwrights Horizons.
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Colin K Bills – Outstanding Lighting Design, Resident Production
Stunning . Woolly Mammoth Theatre Company
Greatest challenge …
The set was mostly white, except for the parts that were mirrors or plexiglass. Many of the (mirrored) walls moved around, either sliding or rotating. And the set was two floors. The challenging part was finding the balance between what looked cool and what was actually consistent with the storytelling in the play.
Your most important contribution …
We (the director and the designers) spent a great deal of time well before rehearsals talking through the show, setting the different wall and furniture positions. And then also talking through the transitions in almost miniscule detail. So everybody went into rehearsals and tech with a really good understanding of the visual vocabulary for the show. Of course, things changed some once we were actually running the show in full scale instead of with a half-inch model, but we started with a really strong set of templates for the show. This level of collaboration and forward thinking is all too rare in most companies’ production processes, and I’m really proud at how well it worked in this one.
What new technology in the last few years has contributed most to your art?
Conveyor belt sushi. During a long day of tech, the best way to get up my energy is raw fish, and the conveyor belt sushi is the fastest (and most exciting!) way to get it.
Dream project …
I’d like to try lighting a show entirely with flourescent fixtures, placed strategically throughout the set, either visible or not. I’m more than aware and just a little bit embarrassed at how much energy it takes to light a show, and I’d love to find a way to change that. LEDs are still pretty far outside the realm of budgetary reality, but I really like the way those look, and will be quick to embrace them when the costs come down. Either way, reducing the eco-footprint of my work while still maintaining a strong visual aesthetic would be exciting.
Next?
I’m really looking forward to Fever Dream at Woolly.
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Michael J. Bobbitt – Outstanding Choreography, Resident Musical
Goodnight Moon . Adventure Theatre and Tribute Productions
Why this project?
Goodnight Moon was the first book I read to my little boy on the night we brought him to our hotel from his orphanage in Vietnam. It has remained an incredible reminder of a very joyous and emotional occasion. Adventure Theatre has been trying to define it’s niche in an area with several major Children’s Theatres. Goodnight Moon, and it’s appeal to the very young, seemed like a right fit. Additionally, tap dancing bears and chairs is a choreographer’s dream.
Greatest Challenge
Personally, it was living inside a production as Choreographer, Artistic Director and Producer and it was the first year of our transition into a more professional company. So, dealing with our shortfalls as a company was very much a growing pain. As choreographer – the star ballet was particularly challenging. But the collaboration between myself, Mary Hall Surface, the Puppet Company and Dan Covey’s lighting made for a very special moment. I’m very proud of this production, and miss it very much.
Favorite moment …
Tap dancing bears on chairs.
Your last performance as a dancer was …
The Oedipus Plays at Shakespeare Theatre, resulting in a hernia and shortly followed by my son’s adoption and 50 lbs of daddy weight.
If you could choreograph for anyone …
Gene Kelly – I loved his athleticism, style and sense of story while he danced.
Dream dance assignment …
A huge classic musical comedy number which builds into a complex, multi tempi, meter changing, mood changing dance with 10-15 solid well trained dancers – with lifts, and costume changes and alot of tricks.
Next?
Choreographing the 25th Annual Helen Hayes Awards – followed by workshops of two new plays that Adventure Theatre is developing.
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Andrew Call – Outstanding Supporting Actor, Resident Musical
Marius in Les Miserables . Signature Theatre
AC: Marius is a heartfelt Lover who is torn between what is right for society and what his heart tells him. sometimes not understanding why he cant have both with the fullest of passions.
Creating the role …
I connected on many levels being from Arkansas I am often torn between city and country life, I am someone who is extremely passionate for the coming thing but often getting caught up in beauty and romance along the way straying from course causing my own inner conflict.
Biggest surprise ...
Being onstage with such a fine group of actors was amazing. We had our fair share of Antics but it was to be expected when a talented and artistic company is formed. ( Thanks, [Eric] Scheaffer). Nothing out of the world of the show of course:)
Favorite moment …
I have many but my favorite was the entrance into Paris (my first moment onstage since the opening scene an hour ago.) I loved to walk out and see the audience on the edge of their seats and know that my fellow actors had created the magic door for me to step through. ( My kudos to the ensemble)
This year’s favorite performers ….
I absolutely loved Stephen Booth from Glory Days! even though I was in the show and all the guys were great I really enjoyed working with him.
Next?
Currently grinding it out in NYC, numerous readings and auditions, concerts and the like. I have a few jobs lined up for the summer that are expected to transfer to New York in the Fall of 09′ and the spring of 2010 but that’s a while away, So no nothing as of yet….Its nice to have a break for a bit.
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Karma Camp – Outstanding Choreography, Resident Production
Kiss of the Spider Woman . Signature Theatre
Why this project?
Choreographing a Kander and Ebb musical is always delightful. Their music flows, has dynamic hits and is full of emotion – it asks for choreography! My interest in Spider Woman was the opportunity to show diverse choreography. It has comic elements in numbers such as “Morphine Tango” and pure sexual heat of the Spider Woman with a testosterone driven all male dancing chorus!! It was an opportunity to show dramatic/comic/sexual choreography – all in one show. That opportunity doesn’t come along very often.
Greatest challenge …
Converting the choreography from the rehearsal room to the set. Adam’s set was so visually stunning but it added an element of patience and re-creation of numbers. It was like working on a jungle gym – we were doing a dance show in a very small space with metal grates, stairs, levels, lifts and having to work around Hunter and Will who were always watching and/or a part of each number. The musical numbers are memories of old movies for Molina (Hunter’s character) so it was important for the audience to watch him as we brought his vision to life. Though challenging, I think it added to the success of each number.
Favorite moments …
Chris Lee’s dramatic light cue of prison bars – which were simply lights shooting up through holes in the floor. It started the show and really told the audience what they were going to see. Favorite dance moment … the final pose of “Gimme Love”.
Your last performance as a dancer was …
Every time I teach a dance number! I also choreograph concerts for Marvin Hamlisch which involves a lot of tap dancers – usually 10 to 45! In order to teach tap – you have to do it! Once a hoofer – always and forever – a hoofer!
If you could choreograph for anyone …
When I was 23, I had the opportunity to meet Gene Kelly. In fact, I have tap shoes signed by him and a wonderful photo taken by the White House Staff of him doing so. It’s a wonderful photo of Mr. Kelly, Michael Smuin and myself. Can you imagine? I pulled silver tap shoes out of my bag at a White House function and asked: Mr. Kelly would you sign my tap shoes? I like athletic dancers that can also produce elegance when they move. For me – Gene Kelly had every quality. He had great technical training, tap training, gymnastic training … and what a smile. I don’t believe we’ll ever see anything the likes of Gene Kelly and/or Fred Astaire ever again. Sad thing – some of the younger generation doesn’t even know they existed!
Dream dance assignment …
Oh what I wouldn’t give to recreate something like An American in Paris! I’m Cecchetti trained in ballet and rarely get to exercise those muscles in the theatre. Ah – see ….Gene Kelly again.
Next?
– A Crystal Light commercial. Watch for it….a dancer’s costume becomes fluid watercolors and then, well you now the rest, fluid becomes the drink.
– A National Symphony Orchestra concert with The Temptations conducted by my dear friend Marvin Hamlisch using 10 dancers.
– Overtures the musical theatre training institute created by myself and Eric Schaeffer
– First You Dream: The Music of Kander & Ebb at Signature
– Showboat at Signature
– Little Shop of Horrors at Ford’s Theatre|
– Mrs. Warren’s Profession at Shakespeare Theatre
and I’m working on a new show with Marvin Hamlisch … more to come on that later.
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Will Chase – Outstanding Lead Actor, Resident Musical
Valentin Arregui Paz in Kiss of the Spider Woman . Signature Theatre
WC: He’s a Marxist revolutionary and polical prisoner who shares a cell with Molina. Valentin is already in bad health from the torture he has received at the beginning of the play and continues to be tortured throughout.
Creating the role …
It was one of those thrilling times where I wasn’t that familiar with the piece and it was all new and foreign to me. That is always more exciting to have to create from scratch something that is seemingly far from your “self”. However, as I dove in, the passion and frustration and sensitivity that Valentin possesses was more and more available to me.
Biggest surprise …
I don’t know if there was one particular moment. Maybe when Natascia’s understudy (whose name escapes me,) who was wonderful, went on with little to no rehearsal.
Favorite moment …
Any moments with Hunter Foster whose work in the play was outstanding. I also loved performing “The Day After That”. It’s one of those mini plays within the play that gives us all the info and back story for the character. It allowed me to see Valentin as a man full of passion as opposed to a two dimensional angry young man.
This year’s favorite performances …
Didn’t see a whole lot of theater in the past year. However, I recently saw Cynthia Nixon in “Distracted” and am constantly amazed by her.
Next?
Mostly television. Just finished a wonderful short-lived theater piece with Malcolm Gets called The Story of My Life which has since closed.
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Andrew Cissna – Outstanding Lighting Design, Resident Production
1984 . Catalyst Theatre
Greatest challenge …
Jim Kronzer’s set gave me the unique challenge of having one more or less stationary box set that could transform into 18 different locations. We didn’t have the budget to install LED strips into the walls as I had wanted (or even colored fluorescent tubes) and so finding a way to light each space cleanly was a significant challenge. It was from here that I decided to embrace the Kandinsky-esque designs that would be created on the walls as lights streaked across them and work that into a grander design-aesthetic for the entire piece.
Your most important contribution …
The answer here is really that the whole team came together in a collaborative effort that I had yet to find in my few short years in DC. The unity that we all created is what made this show so strong, clean, and cohesive. “Team Orange,” as we called ourselves, decided to make a bold color choice to denote the party’s overwhelming presence in the world of 1984, which also went along with Jim’s early concept of the “branding” nature of both their society and our current society.
What new technology has contributed the most to your art?
I think that, in lighting, LED technology has the opportunity to influence how I achieve a lot of the images in my head once it becomes more widely available and affordable to the smaller theatre companies.
Dream project …
I would love to be working on more original modern dance pieces that seem so few and far between; there is a forum for expression in dance that just isn’t found, quite in the same way, anywhere else. Theatrically, I enjoy designing Moises Kauffman pieces and would always enjoy another crack at Gross Indecency or Laramie Project. As we sit here in this recession, I am looking forward to the day when I can really get the chance to stretch my arms with a little budget room and have most of the tools at my disposal to make fuller, stronger statements.
Next?
I am heading up to Merrimack Rep in Massachusetts working on a production of Moon for the Misbegotten with LD Beverly Emmons. I then head to the Spoleto Festival in Charleston, SC for 7 weeks immediately followed by the Source Festival back here in DC.
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Marianne Custer – Outstanding Costume Design, Resident Production
Alice . Round House Theatre
Greatest challenge …
Alice, based on “Alice in Wonderland” is such a well-known classic and the Tenniel drawings so iconic, that the greatest challenge for me was to find a vision for the characters that was true to the original story, but still visually fresh.
Your most important contribution …
I think that the costumes brought a certain colorful vigor and vivacity to the production, perhaps a touch of modernity in a “period” production.
What new technology in the last few years has contributed the most to your art?
I treasure what is made by hand, beautiful cloth, gorgeous trims. I love the art of tailoring, the art of draping, of cutting, painting and dyeing cloth. I love drawing with a pencil, painting with water color, acrylics, colored pencils and markers. They are all beautiful and old technologies. Of newer technologies, I appreciate the computer that speeds the production team’s communication. I also appreciate air travel to buy beautiful materials where they can best be found.
Dream project?
I love rethinking the classics, but would also enjoy working on a project that took me out of the realm of “just clothes”.
Next?
A Streetcar Named Desire, Oedipus Rex and searching for more great new projects.
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Natascia Diaz – Outstanding Lead Actress, Resident Musical
Monica P. Miller in ROOMS a Rock Romance . MetroStage
ND: Monica P. Miller is an explosive comet… a young, ambitious Scottish aspiring songwriter/rockstar…who learns how hollow that pursuit can be when it comes at any cost…sacrificing stillness and real love.
Creating the role …
[The connection] was my affection and affinity for the composer’s storytelling voice and how Monica and I have many of the same lessons to learn…and how similarly we burn…:)
Biggest surprise …
Learning the NY transfer I thought I earned and was promised would be taken away by my most admired, trusted and loved team of colleagues.
Favorite moments …
Any moment of Monica sparkle that enchanted Ian into action, and soaring moment of pure unbridled joy and optimism and power that is her dream and ambition, and any moment that she learns, in spite of herself, how to stand still…and let Ian in.
This year’s favorite performances …
I had never seen Chita Rivera perform live until The Visit so it was very special for me.
Next?
Material for my audition for Cabaret, Sally Bowles, the ORIGINAL, if slightly more tragic, Monica Miller.
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Sofia Jean Gomez – Outstanding Supporting Performer, Non-Resident Production
Athena in Argonautika . Shakespeare Theatre Company
SG: I had the honor to play the great and vivacious warrior of wit “Athena”. In Argonautika, the audience is given an Athena that is now a woman: ripe, instinctual as hell and fierce. She is past her “baby years with Papa watchin’ over.” My role also was the portal for the audience, guiding not only the Argos to their successes and perils but the audience as well. The audience got the opportunity to see the “Gods” really at work. You see them fail and succeed – just like those darn humans. I really enjoyed that about the script.
Creating the role …
To be honest – I can be something of bad-a** ( don’t know if I can really say that for the papers and kiddies). I am feisty,witty and love to give any role a good fresh look .With that said, I connected to Athena on many many levels. She is a WO-MAN. I think that gets lost a lot with our current view of what young women are “supposed to be.” We have different media outlets giving us our weight and manner. Athena was a rare opportunity to play a sexy woman who has strength and vulnerability.
Biggest surprise …
Well, two things. The growth of the show over the course of a run – is always my favorite. Really getting the chance to dive into the abyss of texture and subtleties to journey thru the core of the play. Also, we had a cast mate, the lovely and wonderous talent, Jesse J. Perez — He CUT his finger! Yeah. Blade on stage — and BAM! He goes off stage and tells Ben, A.S.M., that he thinks he hurt himself. Ben sees it and bandages immediately. Jesse – CONTINUES -with the show. He was rowing, throwing, tying, and lifting. End of the night, he goes to the emergency room – he cut right into his pinkie. He had to go to pinkie rehab for a couple of months. So,the show must go on! We really really love what we do.
Favorite moment …
The end. Talking to the audience, and knowing that they were there the whole time with us. As Athena, I would sit back and talk about the stars. The everlasting sky. I loved the sweet simple moment with the D.C. peeps. That and telling them “OH.YES. THEY DID. Right there on the fleece itself.” (when Medea and Jason decide to do the horizontal fleece dance.)
This year’s favorite performances …
I would have to say Humana Festival. Naomi Wallace’s new play Hard Weather Boating Party directed by Jo Bonney. It’s some raw- ness and genuine guts – and sooo funny. I think this goes under current – but I just really got a kick out of it. Also, there was a children’s production of The Argos at the McCarter that I loved with all my heart. It was very endearing and filled with such delight. Their sea monster was – amazing!
Next?
I just finished Arabian Nights in the role of Schererazade. I also just found out that I am nominated for a Bay Area Critics Circle Award for Principal Female 2008 for that performance. I am currently working at Portland Stage Company on a show called Trying by Joanna McClelland Glass directed by the charming Paul Mullins. It’s about – (the D.C. area should know this play since there was a previous production in the area) – it’s about Former Attorney General Francis Biddle’s last year and his secretary. After April, I am hunting for the next project. Heck, not gonna hide – a girl’s has gotta work!
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Paul Scott Goodman – Outstanding New Play or Musical
ROOMS a Rock Romance . MetroStage
The inspiration …
I was inspired to write ROOMS when thinking of my upbringing as a Scottish middle class Jew and my friendship/creative collaboration with my friend Ian, a working class Catholic.
Biggest surprise …
The biggest surprise to me is always people paying money to come hear my songs and see my shows.
When did you finish the play?
For me, my shows are never finished, there’s always something I want to fix.
Biggest challenge …
The biggest challenge is/was keeping it interesting with just 2 performers, having to rely solely on performance and material.
Favorite moment in the DC production …
I saw the DC production several times, my fave bit was all of it.
Next?
Bright Lights Big City, licensed by Rogers & Hammerstein Organization, will next be seen in Croydon, England.
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Miriam Gordon . Outstanding New Play or Musical
ROOMS a Rock Romance . MetroStage
The inspiration ….
ROOMS is a rock romance about a Scottish songwriting team, however, for me, ROOMS is a story about ambition and a lack thereof. Living in New York and in this fast paced globally connected world, we are constantly surrounded by drive and ambition in our lives. As human beings we have to ask how much and how hard should one compete in order to succeed and where does one draw the line? Does success bring happiness and if not what does bring happiness? The “American Dream” is no longer confined to Americans; it’s universal. Rooms is a metaphor for all the rooms visited in one’s life on the journey to finding happiness. I also liked the idea of comparing the Scottish Jewish lifestyle to Scottish society as a whole as well as to the similarities and differences in American Jewish lifestyle.
Biggest surprise …
Audiences still love romantic tales and no matter how hard we tried to steer the story away from any romantic cliché we were always pulled back to the romance.
When did you finish the play?
The DC production was always meant to move to Rochester and so we knew that there would be some small rewrites there. In Rochester we knew that we would be doing the same for New York. Even now, I can see places that I will be tweaking for the next round if we are so fortunate.
Biggest challenge?
My concern with ROOMS was always about how to tell the romantic story in an interesting way. My goal was to provide an interesting and dynamic vehicle for the actors. Another challenge was making sure that my voice as a writer matched with Paul Scott Goodman’s to create a cohesive piece of work.
Did you see the DC production?
I lived at the lovely Holiday Inn in Alexandria for almost a month when we were in rehearsal at MetroStage. MetroStage was the perfect place to mount the show. It has an intimate feel with a large stage that allowed us to concentrate on the essentials. When we moved to larger venues we were able to build upon what was created there. Carolyn Griffin is one of the most supportive and accommodating artistic directors that we had ever worked with. She deserves a lot of the credit for making ROOMS the success that it was in DC.
Which scene or moment did you most especially like?
It’s very hard for me to be that removed. As a writer I have to love every moment equally or I feel that somehow I’ve failed or haven’t completed my work. As pieces themselves, I always love”All I Want is Everything”, “Clean”, and “My Choice”. They drive the story along in a beautiful way. I also love “Scottish Jewish Princess” and the scene that follows immediately afterwards, it’s just hysterical.
Next?
Right now I’m working on three other shows but I don’t know if they’ll be ready for production within a year. One is called Not for a Better (about divorce) in which I’m doing Lyrics and Libretto with Wendy Federman. The other piece might reunite Paul and I with MetroStage, but that is TBA and would be very exciting if we do go ahead.
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Carolyn Griffin – Outstanding Resident Musical
ROOMS a Rock Romance . MetroStage
Why this play?
I fell in love with the story and the music. Paul Scott Goodman is a fabulous composer, the show had a great range of music genres from ballads to rock, the two roles were both tour de force roles for actors and the size and composition were perfect for MetroStage. I am always looking for “little gems” and this fit perfectly.
How did you first learn of the play?
A producer friend Charlie Fink told New York producers Van Dean and Hillary Cutter that MetroStage would be a great place to launch ROOMS because of our size and our reputation for new work, particularly musicals.
Greatest challenge …
It had enhanced technical requirements and greater rehearsal and preview requirements than we can usually provide. There was some enhancement money and some shared expenses with a co-producer, but I learned that to serve best in this role of premering new work where so much is at stake, in fact its future is at stake, more enhancement money is necessary.
What about this production makes you most proud?
It’s a wonderful musical and it deserved to be produced, seen and heard and MetroStage made that happen.
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Marc Jacoby – Outstanding Supporting Actor, Resident Musical
Peter Dummermut in The Visit . Signature Theatre
MJ: Peter Dummermut is the mayor of Brachen, the God-forsaken town which is the setting of The Visit.
Creating the role …
The circumstances which surround the action of The Visit are extreme beyond belief: the town is so economically depressed that the citizen’s actual survival is in question. Lacking a specific situational experience that would be similar one must, I think, try to find the closest thing to desperation that he has experienced, so that’s how I got started on the role. A result of this desperation, in my character’s case, is the abject obsequiousness he pays to Claire Zachanassian, the “Visitor”.
Biggest surprise …
I don’t know if “surprise” is the right word, but I was continually struck by the audience’s reaction to the story. The sense was that they had become completely absorbed in the ethical and social issue raised by the play. I’m judging this from their response during and after the performance, their comments as they exited, and the several “talk backs” we held. It seems that musicals are often thought of primarily as entertainment and are less often regarded as thought-provoking. I must confess that it was gratifying to be in a musical that was so intellectual stimulating.
Favorite moments …
So many great moments in our show, I think. Claire’s one-legged tango comes immediately to mind. I know it’s not really a moment in the show, but director Frank Galati’s note sessions are absolute classics. They should be transcribed and used as instructional tools in drama departments.
This year’s favorite performances …
As far as a favorite paerformance – that’s tough, of course, with so much great work out there – but I’ll go with David Margulies as Grandpere in The Happy Time. Really quite exuberant and infectious (in a wonderful way).
Next?
I just closed a lovely production of A Little Night Music playing opposite Penny Fuller as Desire’. I recently learned that my son and I will be playing father and son in The Light in the Piazza at the Maine State Music Theatre this summer. I’m very excited about it, both as an actor and as a dad.
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Irakli Kavsadzki – Outstanding Sound Design, Resident Production
Romeo and Juliet . Synetic Theater
Biggest challenge?
It was difficult to convey Shakespeare’s words through music.
What’s the best thing you did for this production?
Musical design
What new technology in the last few years has contributed the most to your art?
New sound programs on the computer to help with music design.
Next?
We’ll see.
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Angelina Kelly – Outstanding Supporting Actress, Resident Musical
Emily in Ace: The New Musical Adventure . Signature Theatre
AK: Emily is a crazy amazing 11 year old who is always true to herself, speaks her mind and longs to be a detective.
Creating the role …
I fell in love with Emily from the start. In some ways, she reminds me of myself. Although, I wish that I was a brave as she is.
Biggest surprise …
That I never got tired of it. I’d never done 8 shows a week – this was my first big show. I was surprised at how new and different each night’s show seemed.
Favorite moment …
Singing “Now I’m On Your Case”. Dalton (Harrod) and I always had a blast during that number.
This year’s favorite performances …
13 on Broadway had great music and fun characters that I could relate to. I’m sad it closed before I was tall enough to play a 13 year old.
Next?
I’m playing Annie at my Middle School and doing smaller projects in NYC. I recently sang the National Anthem at a NY Rangers game at Madison Square Garden. Too cool!
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Karl Kenzler – Outstanding Lead Actor, Resident Play
Adolphus Cusins . Major Barbara . Shakespeare Theatre Company
KK: Adolphus Cusins is a seemingly mild-mannered professor of Greek who is engaged to Major Barbara Undershaft of the Salvation Army. Shaw describes him as “”a most implacable, determined, tenacious, intolerant person who by mere force of character presents himself as — and indeed actually is — considerate, gentle, explanatory, even mild and apologetic, capable possibly of murder, but not of cruelty or coarseness.” He pretends to be a Salvationist because of his love for Barbara, though he tells her father, Andrew Undershaft, that he is more of a “collector of religions”. He is revolted by Mister Undershaft’s cynical creed of “money and gunpowder”; but is eventually persuaded to take over his cannon works.
Creating the role …
This play was a real learning experience for me. I always thought of Shaw as a kind of necessary medicine, but I never really cared for his plays. I was always too focused on the intellectual arguments and couldn’t find the humanity in his characters, so the plays always seemed a bit dry. But as we rehearsed Major Barbara, looking around the room at these other talented, smart and FUNNY actors, the things they were saying, I had a profound realization. I suddenly understood that SHAW WAS COMPLETELY NUTS. He was a mad genius with a huge ego — and as a result, all of his characters have a bit of that in them. Once I got that, the rest just seemed to fall into place.
Biggest surprise …
In the second act, Barbara is talking with her father. She asks him if he is religious. He responds, “I’m a millionaire, my dear. That’s my religion.” And on occasion, that line would ACTUALLY DRAW A ROUND OF APPLAUSE and occasionally cheers from certain audiences. That was shocking.
Favorite moment …
My favorite moment in the play actually took place before I ever entered. While Cusins appeared onstage in the first act, I barely spoke until we arrive at the Salvation shelter for my scene with Undershaft (my soon-to-be father-in-law). Any first meeting between a girl’s father and her fiance is bound to have sparks. But Shaw’s dialogue in this scene is so crisp, his arguments so concise, that it required complete and absolute focus. And yet both men are written to appear completely at ease as they match wits. So at the top of the play, Ted Van Griethuysen (our Undershaft) and I would take a walk backstage and run the lines a few times. Quickly, lightly, almost as if we were sparring. Once we’d done that, we could go onstage and the scene played like a fencing match. But it was a true actor’s pleasure to take a walk eight times a week with Ted and speak those words, just for us.
Other than your own work, what were your favorite performances from the past year?
My favorite performance from last year was Andrew Long’s “Bill Walker” in Major Barbara.
Next?
I’m in Chicago right now playing “George Banks” in the first national tour of Disney/Cameron Mackintosh’s Mary Poppins. We’ll be coming to DC in summer 2010. Book your tickets now!
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Adam Koch – Outstanding Set Design, Resident Production
Kiss of the Spider Woman . Signature Theatre
Greatest challenge …
Finding the balance between the gruesome reality of the prison and the fantasy and escapism of Molina’s cinema dream world. Smartly, EricSchaeffer and I approached the prison as a very brutal and concrete place, as if designed for a play or movie, so that the magical and fantastic screen goddess Aurora’s musical numbers were a totally delightful surprise. But much like a mirage in the desert, with the slam of a prison door the fantasy could evaporate instantly, bringing us back to reality.
Your most important contribution …
Looking back, I’m so glad that with such a big set in such a big space, we kept the acting area quite small and confined, it helped focus our attention down into what is essentially a two man play, and reinforced the dank, cramped dungeon world in which Molina andValentin lived. Also, the entirely steel set became an amazing part of the sound-scape for the show, like one big rattling percussion machine, it was so eerie.
What new technology has contributed the most to your art?
Stage mechanics aside, in terms of sculpting the look of a show, I always turn to the lighting designer when developing a design, and ask ‘It wants to look like this, whats the best way to do it?’ Lighting technology moves so fast, they have to stay on top of the curve. I don’t envy them.
Dream project …
I’m happiest doing Shakespeare, Eugene O’Neill, Durrenmatt, or Sondheim. This past year, however, has been full of new musicals and re-envisioning old ones, which has been a total joy.
Next?
Two Puccini operas are on my drawing table now, and assistants are finishing the model for a big Hello Dolly in North Carolina this summer. After that I’m getting a massage.
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Doug Kreeger – Outstanding Lead Actor, Resident Musical
Ian Wallace in ROOMS a Rock Romance . MetroStage
DK: Ian Wallace is a Scottish, agoraphobic, alcoholic, guiter-playing songwriter living his life comfortably in solitudes in his room in Glasgow.
Creating the role …
I am extremely different from Ian. I am neither Scottish, nor agoraphobic, nor alcoholic, and I was not a proficient guitar player when I booked the role. To connect with Ian, I explored my own comfort zones as a human being, and I was very honest with my own past and present addictions. I also worked with a guitar teacher and a dialect coach.
Biggest surprise …
Everyone associated with ROOMS a rock romance knew how much we loved and were touched by the show. What we didn’t expect was the overwhelming reception we got form our first preview audience, and subsequently from the critics and following audiences. I was so excited to feel how honestly and emotionally people were moved by our work.
Favorite moment …
I love the moment when Ian learns about his son. I have never felt so many conflicting and deep emotions as an actor: love, celebration, fear, humor, guilt, responsibility, and so many others.
This year’s favorite performances …
I appeared in Signature Theatre’s production of Kander and Ebb’s The Visit. It was an absolute gift to watch George Hearn and Chita Rivera effortlessly create magical and heartbreaking moments every night. I learned so much from them via simple observation.
Next?
I am honored to be currently recreating the role of Ian Wallace in New York in the Off-Broadway premiere of ROOMS a Rock Romance. We opened March 16 and it has been a huge success.
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Find more here:
(Section 2) Deborah Wicks La Puma, Chris Lee, Konstantine Lortipanidze, David Loud, Ariella Tepper Madover, Jennifer Mendenhall, Matthew M. Nielson, Christiane Nolle, Jill Paice, Daniel Pelzig, Andy Prosky for Robert Prosky, Marc Ramirez, Ari Roth, Kimberly Schraf, Scott Schwartz, Mark Shunock, Chris Sizemore, Nilaja Sun, Teller, Irina Tsikurishvili, Paata Tsikurishvili
(section 3) Ted van Greythuysen, John Vreeke, Jeremy Webb, Kenny Wollesen, Chris Youstra, Karen Zacharias, Stefanie Zadravec. Ensembles: Carmen, Goodnight Moon, In the Heart of America, Les Miserables, Measure for Pleasure, Resurrection, Romeo and Juliet, The History Boys, The Last Days of Judas Iscariot and Constellation Theatre, recipient of Outstanding Emerging Theatre Company.
She shouldn’t beat Chita. Give me a break.
Natascia Diaz in Rooms should sweep the awards for best actress in a musical or whatever category she would fit into. I loved her. I’d like to see her in another role. I think she’s got talent to burn and versatility we haven’t seen yet.