Book of Mormon, Anything Goes Top Drama Desk Nominations

Liev Schreiber and Audra McDonald announce the nominations Friday at the Friar's Club.

DRAMA DESK NOMINATIONS FOR THE 2010-2011 SEASON

The following awards were voted by the nominating committee and will be presented by the Drama Desk at its awards ceremony:

Outstanding Ensemble Performances

This year the nominators chose to bestow special ensemble awards for acting to the casts of two shows. Therefore, individual cast members for these shows were not eligible for acting awards in the competitive categories.

•In Transit
•The Normal Heart
Special Awards

Each year, the Drama Desk votes special awards to recognize excellence and significant contributions to the theater. For 2010-2011, these awards are:


•To A.R. Gurney for his enduring, keenly observed portraits of American life over a prolific four-decade-long career.
•To Reed Birney for his versatile and finely nuanced performances over the past thirty-five years, and for his exceptional work this season in Tigers Be Still, A Small Fire and The Dream of the Burning Boy.
•To The New Group and Artistic Director Scott Elliott for presenting contemporary new voices, and for uncompromisingly raw and powerful productions.
•To The Pearl Theatre Company for notable productions of classic plays and nurturing a stalwart resident company of actors.
•To the creative team of War Horse for thrilling stagecraft: Paule Constable, Marianne Elliott, 59 Productions, Adrian Kohler with Basil Jones for Handspring Puppet Company, Tom Morris, Rae Smith, Christopher Shutt, Toby Sedgwick, Adrian Sutton and John Tams.
The following are the nominations for the competitive categories. Winners will be selected by the voting membership of the Drama Desk:

Note: Eligibility and award category designations for the productions under consideration this season were determined by the Drama Desk board of directors, with recommendations from the nominating committee. Because of the abundance of great work throughout the season, the board also authorized the increase in the number of nominees allowed in select categories. Bloody Bloody Andrew Jackson, Brief Encounter and The Scottsboro Boys were considered for their productions Off Broadway in the 2009-2010 season. Under Drama Desk rules, only new elements in their transfers to Broadway were eligible this season.

Outstanding Play

•Jon Robin Baitz, Other Desert Cities
•Adam Bock, A Small Fire
•Stephen Adly Guirgis, The Motherf**ker With the Hat
•Samuel D. Hunter, A Bright New Boise
•Rajiv Joseph, Bengal Tiger at the Baghdad Zoo
•David Lindsay-Abaire, Good People
•Nick Stafford, War Horse

Outstanding Musical

•In Transit
•Priscilla Queen of the Desert: The Musical
•See Rock City & Other Destinations
•Sister Act
•The Book of Mormon
•The Kid

Outstanding Revival of a Play

•Born Yesterday
•The House of Blue Leaves
•The Importance of Being Earnest
•The Merchant of Venice
•The Normal Heart
•Three Sisters

Outstanding Revival of a Musical

•Anything Goes
•Hello Again
•How to Succeed in Business Without Really Trying

Outstanding Actor in a Play

•Charles Busch, The Divine Sister
•Bobby Cannavale, The Motherf**ker With the Hat
•Al Pacino, The Merchant of Venice
•Geoffrey Rush, The Diary of a Madman
•Mark Rylance, Jerusalem
•Michael Shannon, Mistakes Were Made
•Paul Sparks, Dusk Rings a Bell

Outstanding Actress in a Play

•Nina Arianda, Born Yesterday
•Stockard Channing, Other Desert Cities
•Frances McDormand, Good People
•Laurie Metcalf, The Other Place
•Michele Pawk, A Small Fire
•Lily Rabe, The Merchant of Venice

Outstanding Actor in a Musical

•Norbert Leo Butz, Catch Me if You Can
•Colin Donnell, Anything Goes
•Daniel Radcliffe, How to Succeed in Business Without Really Trying
•Andrew Rannells, The Book of Mormon
•Tony Sheldon, Priscilla Queen of the Desert:The Musical
•Christopher Sieber, The Kid

Outstanding Actress in a Musical

•Sutton Foster, Anything Goes
•Beth Leavel, Baby It's You!
•Patina Miller, Sister Act
•Donna Murphy, The People in the Picture
•Sherie Rene Scott, Women on the Verge of a Nervous Breakdown

Outstanding Featured Actor in a Play

•Brian Bedford, The Importance of Being Earnest
•Christian Borle, Peter and the Starcatcher
•Boyd Gaines, The Grand Manner
•Logan Marshall-Green, The Hallway Trilogy
•Zachary Quinto, Angels in America
•Tom Riley, Arcadia
•Yul Vazquez, The Motherf**ker With the Hat

Outstanding Featured Actress in a Play

•Lisa Emery, The Collection & A Kind of Alaska
•Edie Falco, The House of Blue Leaves
•Julie Halston, The Divine Sister
•Sarah Nina Hayon, A Bright New Boise
•Celia Keenan-Bolger, Peter and the Starcatcher
•Linda Lavin, Other Desert Cities
•Judith Light, Lombardi

Outstanding Featured Actor in a Musical

•Adam Godley, Anything Goes
•John Larroquette, How to Succeed in Business Without Really Trying
•Brian Stokes Mitchell, Women on the Verge of a Nervous Breakdown
•Rory O'Malley, The Book of Mormon
•Bob Stillman, Hello Again
•Tom Wopat, Catch Me if You Can

Outstanding Featured Actress in a Musical

•Laura Benanti, Women on the Verge of a Nervous Breakdown
•Kerry Butler, Catch Me if You Can
•Victoria Clark, Sister Act
•Jill Eikenberry, The Kid
•Nikki M. James, The Book of Mormon
•Patti LuPone, Women on the Verge of a Nervous Breakdown
•Laura Osnes, Anything Goes

Outstanding Director of a Play

•Trip Cullman, A Small Fire
•Joel Grey and George C. Wolfe, The Normal Heart
•Moises Kaufman, Bengal Tiger at the Baghdad Zoo
•Davis McCallum, A Bright New Boise
•Daniel Sullivan,The Merchant of Venice
•Kirjan Waage and Gwendolyn Warnock, Baby Universe

Outstanding Director of a Musical

•Rob Ashford, How to Succeed in Business Without Really Trying
•Joe Calarco, In Transit
•Jack Cummings III, Hello Again
•Jack Cummings III, See Rock City & Other Destinations
•Kathleen Marshall, Anything Goes
•Casey Nicholaw and Trey Parker, The Book of Mormon

Outstanding Choreography

•Rob Ashford, How to Succeed in Business Without Really Trying
•Scott Graham and Steven Hoggett, Beautiful Burnout
•Steven Hoggett, Peter and the Starcatcher
•Kathleen Marshall, Anything Goes
•Casey Nicholaw, The Book of Mormon
•Siudy, Between Worlds

Outstanding Music

•Brad Alexander, See Rock City & Other Destinations
•Alan Menken, Sister Act
•Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon
•Marc Shaiman, Catch Me if You Can
•Mike Stoller and Artie Butler, The People in the Picture
•David Yazbek, Women on the Verge of a Nervous Breakdown

Outstanding Lyrics

•Rick Crom, Newsical The Musical - Full Spin Ahead
•Jack Lechner, The Kid
•Adam Mathias, See Rock City & Other Destinations
•Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon
•Glenn Slater, Sister Act
•Scott Wittman and Marc Shaiman, Catch Me if You Can

Outstanding Book of a Musical

•Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan and Sara Wordsworth, In Transit
•Iris Rainer Dart, The People in the Picture
•Stephan Elliott and Allan Scott, Priscilla Queen of the Desert: The Musical
•Adam Mathias, See Rock City & Other Destinations
•Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon
•Michael Zam, The Kid

Outstanding Orchestrations

•Mary-Mitchell Campbell, Hello Again
•Bruce Coughlin, The Burnt Part Boys
•Simon Hale, Jim Abbott and David Yazbek, Women on the Verge of a Nervous Breakdown
•Larry Hochman and Stephen Oremus, The Book of Mormon
•Marc Shaiman and Larry Blank, Catch Me if You Can
•Lynne Shankel, The Extraordinary Ordinary

Outstanding Music in a Play

•Wayne Barker, Peter and the Starcatcher
•Kathryn Bostic, Bengal Tiger at the Baghdad Zoo
•Lars Petter Hagen, Baby Universe
•Alan John, The Diary of a Madman
•Tom Kitt, The Winter's Tale
•Dan Moses Schreier,The Merchant of Venice

Outstanding Revue

•Fyvush Finkel Live!
•Newsical The Musical - Full Spin Ahead
•Rain: A Tribute to the Beatles on Broadway

Outstanding Set Design

•Rachel Hauck, Orange, Hat & Grace
•David Korins and Zachary Borovay (projection design), Lombardi
•Derek McLane, Bengal Tiger at the Baghdad Zoo
•Derek McLane, Anything Goes
•Tony Straiges, Treasure Island
•Mark Wendland, The Merchant of Venice

Outstanding Costume Design

•Tim Chappel and Lizzy Gardiner, Priscilla Queen of the Desert: The Musical
•Desmond Heeley, The Importance of Being Earnest
•Ann Hould-Ward, A Free Man of Color
•Martin Pakledinaz, Anything Goes
•Ann Roth, The Book of Mormon
•Paloma Young, Peter and the Starcatcher

Outstanding Lighting Design

•Jean Kalman, John Gabriel Borkman
•R. Lee Kennedy, See Rock City & Other Destinations
•David Lander, Bengal Tiger at the Baghdad Zoo
•Laura Mroczkowski, Spy Garbo
•Ben Stanton, The Whipping Man
•David Weiner, A Small Fire

Outstanding Sound Design in a Musical

•Lindsay Jones, The Burnt Part Boys
•Michael Rasbury, Hello Again
•Brian Ronan, Anything Goes
•Brian Ronan, The Book of Mormon
•Jon Weston, In Transit

Outstanding Sound Design in a Play

•Acme Sound Partners, The Merchant of Venice
•Acme Sound Partners and Cricket S. Myers, Bengal Tiger at the Baghdad Zoo
•Ian Dickinson, John Gabriel Borkman
•Brett Jarvis, Baby Universe
•Bray Poor, Wings
•Eric Shimelonis, The Hallway Trilogy

Outstanding Solo Performance

•Daniel Beaty, Through the Night
•Mike Birbiglia, Mike Birbiglia's My Girlfriend's Boyfriend
•Juliette Jeffers, Batman and Robin in the Boogie Down
•John Leguizamo, Ghetto Klown
•Colin Quinn, Colin Quinn Long Story Short
•Joanna Tope, The Promise

Unique Theatrical Experience

•Being Harold Pinter
•Circus Incognitus
•Gatz
•Play Dead
•Room 17B
•Sleep No More

Theater Review: Jerusalem

This City on a Hill Might Just Turn on You

By Lauren Yarger

Mark Rylance is the second coming, in more ways than one. He tore up the stage last season with his delightfully obnoxious turn in La Bete and is back for more, this time playing a hard-living, pleasure grabbing sort of Messiah in the transfer of the Royal Court Theatre’s production of Jez Butterworth’s dark, funny and enigmatic saga Jerusalem.

With his painful limp, a reminder of his glory days as an Evel Knievel daredevil who jumped double-decker buses, and an uncontainable energy, Johnny “Rooster” Byron (Rylance) plows through life throwing wild booze and drug gatherings for the kids who live in the New Estate development near his trailer in the English countryside.

Those activities, his litter-strewn trailer and grounds (Ultz, scenic and costume design) and his refusal to pay taxes have angered the neighbors who have rallied to have him evicted. Two government officials (Sarah Moyle and Harvey Robinson) arrive to serve notice after a party that quickly is becoming legend. Those who attended slowly emerge out of the woods in preparation for celebrating the annual Flintock St. George’s Fair.

Ian Rickson ably directs a large cast. There’s Davey (Danny Kirrane), who has no desire to travel from his rural environment and who doesn’t understand why Lee Piper (John Gallagher, Jr.) has decided to take off for Australia first thing in the morning. Also on hand are an absent-minded Professor (Alan David) who looks for his dead wife, Wesley (Max Baker), owner of the last pub which hasn’t banned Rooster from its premises, two party girls, Pea and Tanya (Molly Ranson and Charlotte Mills) and Ginger (a spot-on Mackenzie Crook) who is sort of a straight-man, devil’s advocate for the tall tales with which Rooster entertains the group.

Also coming in for the fair are Rooster’s former wife, Dawn (Geraldine Hughes), and the 6-year-old son Marky (Mark Page and Aiden Ayrick) he has neglected. Rooster also receives a less-than-friendly visit from Troy Whitworth (Barry Sloane) looking for his stepdaughter Phaedra (Aimee-Ffion Edwards), the fair queen, who has been missing for days. Jay Sullivan and Richard Short round out the cast.

All of these folks are in emotional pain of some kind and flock to Rooster in the hopes of eliminating it. Every time they look into his dark eyes, however, they see something terrifying they can’t face (and we hear a rumble of thunder, Ian Dickinson for Autograph, sound design).

Butterworth writes a play that is very funny, deep and almost mythical. Though it holds our interest for three hours, it could be shorter, and from my perspective, a little more to the point. Having invested such time and emotion I wanted some sort of conclusion, a solid message to take away. Instead, I felt strangely satisfied by seeing a superior work, but not really sure what it all was about.

Allegorical comparisons between Rooster and Christ abound including:

• A feeling of impending doom hangs over the piece, not unlike Christ’s waiting to be taken at the Garden of Gethsemane. For Rooster, the garden is the ancient patch of woods his family has handed down through the generations.
• He claims his mother was a virgin when she bore him (in a truly funny story)
• Rooster was pronounced dead after one of his jumping accidents, then miraculously revived
• He hangs out with the undesirables of his time.
• Jesus’ hostile crowd clamored for crucifixion; Rooster’s calls for eviction.
• He sheds his blood for others.
• He is betrayed by his friends and spit upon.
• He tells “parables” to the crowds who flock around him.
• He even lists a long line of “begats.”

Rooster hardly is Jesus, however, and with his poor choices, bad advice and reliance on spells and spirit, it’s more likely he could be representing evil. That doesn’t seem to be the point, though, either.

According to the playwright’s program notes, the title comes from the hymn “Jerusalem,” based on a William Blake poem about Jesus visiting England and the idea of a city that is a metaphor for heaven and earth, with people living in peace with each other and with the land.

It’s very funny, brilliantly acted and engrossing. And while I got a lot of the references, I just couldn't decide why they were there. I guess I’m just not British enough.

Jerusalem plays through July 24 at the Music Box Theatre, 239 West 45th Street, NYC. For tickets, visit http://www.telecharge.com.

Christians might also like to know:
Language
Nudity
God’s name taken in vain
Drug use

Theater Review: Sister Act

The sisters. Photo by Joan Marcus.

They Rock the House -- of God, That is
By Lauren Yarger
When crass wannabe singer Deloris Van Cartier -- like the jewelry, she tells us -- witnesses her boyfriend/promoter commit a murder and finds herself at the top of his hit list, what’s a girl to do?

Well, if this is Sister Act, the hit movie starring Whoopie Goldberg or the new Broadway musical she is producing based on the film, the girl goes undercover in a convent with a bunch of unsuspecting, unworldly, wannabe-singer nuns. Chaos, fun and a lot of good singing ensue.

Police officer Eddie Souther (Chester Gregory) comes up with the plan to protect the girl he had a crush on in high school until she can testify and put Curtis Jackson (Kingsley Leggs) away for good. Mother Superior (played with great comedic flare by the super-talented Victoria Clark) reluctantly agrees after Monsignor O’Hara (Fred Applegate) tells her a hefty donation from the police might postpone having to sell the financially struggling parish and split the nuns up.

Mother is concerned about Deloris’ influence on the cloistered sisters, however, especially the impressionable Mary Patrick (Sarah Bolt) and postulant Mary Robert (Marla Mindelle). She puts the lounge singer where she's sure she can do no harm: in charge of the really pathetic-sounding choir headed by Sister Mary Lazarus (Audrie Neenan), but the plan backfires. Deloris trades in hymns for a more rocking repertoire and suddenly the nuns are bopping, hitting the rafters with notes they didn’t know they had, packing in the crowds and their donation dollars and attracting media attention which might lead Curtis right to Deloris.

Cheri and Bill Steinkellner (with additional material from Douglas Carter Beane) keep the book pretty close to the movie script (written by Joseph Howard) and employ lots of good humor. They overdo the “nun’s are stupid and uninteresting” joke, however, and one scene, where Curtis’ henchmen, Joey (John Treacy Egan), Pablo (Caesar Samoyoa) and TJ (Demond Green) sing about seducing the sisters, really crosses the tasteless line.

Jerry Zaks directs the show at almost break-neck speed.. Perhaps that’s because there are a lot of great songs by Alan Menken to get in around the plot. He writes a really nice score full of different sound styles with a few ballads to show off Miller’s elasticity and high-belt ability. Glen Slater’s lyrics are simple, but are fun and do a nice job tying the emotions and plot.

Anthony Van Laast over choreographs (enough with the arm and hand motions already…) and costume designer Lez Brotherston, obviously frustrated with the black and white habits, invents sparkly additions for the nuns to wear that rival those of Deloris and her lounge backup singers (Kashidra Scott and Alena Watters). There also are some clever break-aways for Eddie. Designer Klara Zieglerova creates a variety of slide-into-place sets, including the colossal stain-glass church with a “Holy Crow!” sized statue of the Virgin Mary that joins in the action.

It’s entertaining, if overdone. Catch it at the Broadway Theatre, 1681 Broadway, NYC. Discounted tickets are available at http://www.givenik.com/show_info.php/Masterworks/290/individual.

Christians might also like to know:

God’s name taken in vain
Cross dressing (one character, one scene)

Theater Review: Born Yesterday

Nina Arianda Shines in Broadway Debut
By Lauren Yarger
Stepping into shoes once filled by Judy Holliday in both the original stage production and the 1950 film adapted from it might prove daunting for some, but Nina Arianda, making her Broadway debut as Billie Dawn in the revival of Garson Kanin’s Born Yesterday leaves any memories in the dust.

Arianda is brilliant as the showgirl lacking in social graces who tries to improve herself to fit in with the swells hobnobbing in the 1946 political scene in Washington DC.

Jim Belushi plays her brash boyfriend, Harry Brock, a crooked junk business operator looking to expand his operations through bribing Sen.Norval Hodges (Terry Beaver) and some legal maneuvering by his morally sold-out attorney, Ed Devery (Frank Wood). His loud and awkward mistress is a contrast to the type of refined woman accepted in Washington society, like the senator’s wife, Mrs. Hodges (Patricia Hodges), however, so Brock hires reporter Paul Verrall (Robert Sean Leonard) to smooth her rough edges and educate her.

The effervescent Billie throws herself into the task, discovering Brock’s true character and his intentions to use her in some shady business dealings. Meanwhile, Verrall finds himself increasingly attracted to the delightful, big-hearted, easy going girl.

Director Doug Hughes coaxes excellent performances from the actors and gives them room to develop really interesting characters: Brock becomes increasingly obnoxious; Billie blossoms in intelligence and confidence and Devery fades into self loathing. It’s funny, savvy and surprisingly contemporary. It’s also easy to look at thanks to Catherine Zuber’s lovely period costumes and John Lee Beatty’s opulent hotel suite. Subtle touches, like having Mrs. Hodges’ mauve suite stand out against the gaudy orangey color of the sofa in Brock’s suite, are a nice collaboration to bring the message home of two worlds clashing.

All of the performances are first rate, but Arianda’s not-so-dumb blonde, nasal laughs and perfect comedic timing are what propel the play into one of the most enjoyable times at the theater this season. I'm guessing she might just give Frances McDormand (Good People) a run for the Best Actress Tony.
Born Yesterday plays at the Cort Theatre, 138 West 48th St., NYC. Discounted tickets are available at http://www.givenik.com/show_info.php/Masterworks/311/individual.
Christians might also like to know:
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Theater Review: Wonderland

Finding the Way Through the Looking Glass Proves More Difficult than You’d Think
By Lauren Yarger
In a season of musicals that have come up short, Wonderland, featuring composer Frank Wildhorn’s return to Broadway, makes it about halfway to the bullseye before failing to hit its ultimate target.

The music generally is good and the score contains a number of moving, high--belt ballads for which the composer (Scarlet Pimpernel, Jekyll & Hyde, Civil War) is known, ably performed by actors with solid vocal abilities. Where it goes off course, however, is by trying to give the story a modern twist with a weak book with weak characters by Gregory Boyd and Jack Murphy (who also direct and write the lyrics, respectively).

The plot often is confused, but if you don’t know the classic Lewis Carroll story, which is rather confusing itself, you will find yourself as lost as Alice (Janet Dacal) at times, even though the predictable dialogue sounds like it is written for 5 or 6 year olds (minus a more adult political barb thrown at the Tea Party).

And maybe it is. This modern version, though, has an adult. work-weary Alice following a White Rabbit (a grossly miscast Edward Staudenmayer trying to protray a character that just doesn't work) down an elevator to a mysterious Wonderland below her New York apartment building where she has relocated with her daughter, Chloe (Carly Rose Sonneclar) following the breakup of her marriage.

There she meets a variety of odd folks, including the White Rabbit’s cousin, Morris, the March Hare (Danny Stiles), an Hispanic Cheshire Cat named El Gato (Jose Llana) who erroneously thinks he has the power to become invisible , a cool blues-singing caterpillar (E. Clayton Cornelius) and a White Knight hero named Jack (Darren Ritchie).

Ruling over the land is the Queen of Hearts (Karen Mason) who chops off the heads of anyone opposing her. Surreptitiusly attempting to usurp her throne, however, is the Mad Hatter (Kate Shindle) who kidnaps Chloe in an attempt to keep Alice from replacing her in the queen's favor.

El Gato, and Jack with his White Knight backup singers performing corny choreography (by Marguerie Gherricks) are really fun. The fun display of six women playing the caterpillar's legs is clever and visually satusying as well. The large sets (Neil Patel, design) and colorful costumes (Susan Hilferty) are entertaining, and the looking glass effect (Paul Gallo, lighting design) is nicely executed. We are left wondering a few things, however, like why are a bunch of men dressed as child Alice look-alikes? Where did the caterpillar’s legs go?

There isn’t much to wonder about when it comes to the script, however, with dialogue that can be downright laughable at times. When it does veer off the predictable path, it’s not believable at all, like when Alice stops to have a nice chat and a song with Lewis Carroll before resuming her quest to save her kidnapped daughter.

Wonderland leaves us wondering what might have been if the book had been edited and if a few weaker songs had been polished. It could have been a wonder indeed.

Wonderland plays at the Marquis Theatre, 1535 Broadway, NYC through May 15. Discounted tickets are available at http://www.givenik.com/show_info.php/Masterworks/288/individual.
Christians might also like to know:
God’s name taken in vain
Reading of tea leaves
Lots of talk and singing about beheadings

Sister Act, Anything Goes Top Outer Critics Nominations

Brian d'Arcy James and Tyne Daly announce the 2010-2011 Outer Critics Circle Awards

nominations this morning in New York.

Outer Critics Circle 2010-2011 Award Nominations

OUTSTANDING NEW BROADWAY PLAY
Bengal Tiger at the Baghdad Zoo
Good People
The Motherf**ker With the Hat
War Horse

OUTSTANDING NEW BROADWAY MUSICAL
The Book of Mormon
Priscilla Queen of the Desert
Sister Act
Women on the Verge of a Nervous Breakdown

OUTSTANDING NEW OFF-BROADWAY PLAY
Blood From a Stone
Kin
Other Desert Cities
The Other Place

OUTSTANDING NEW OFF-BROADWAY MUSICAL
Freckleface Strawberry
In Transit
The Kid
Tomorrow Morning

OUTSTANDING NEW SCORE
(Broadway or Off-Broadway)
The Book of Mormon
Catch Me If You Can
Sister Act
Women on the Verge of a Nervous Breakdown

OUTSTANDING REVIVAL OF A PLAY
(Broadway or Off-Broadway)
Born Yesterday
The Importance of Being Earnest
The Merchant of Venice
The Normal Heart

OUTSTANDING REVIVAL OF A MUSICAL
(Broadway or Off-Broadway)
Anything Goes
How to Succeed in Business Without Really Trying
Hello Again
A Tree Grows in Brooklyn

OUTSTANDING DIRECTOR OF A PLAY
Marianne Elliott & Tom Morris -- War Horse
Emma Rice -- Brief Encounter
Anna D. Shapiro -- The Motherf**cker With the Hat
Daniel Sullivan -- Good People

OUTSTANDING DIRECTOR OF A MUSICAL
Rob Ashford -- How to Succeed in Business Without Really Trying
Kathleen Marshall -- Anything Goes
Casey Nicholaw & Trey Parker -- The Book of Mormon
Jerry Zaks -- Sister Act
OUTSTANDING CHOREOGRAPHER
Rob Ashford -- How to Succeed in Business Without Really Trying
Ross Coleman -- Priscilla Queen of the Desert
Kathleen Marshall -- Anything Goes
Casey Nicholaw -- The Book of Mormon

OUTSTANDING SET DESIGN
(Play or Musical)
Desmond Heeley The Importance of Being Earnest
Derek McLane Bengal Tiger at the Baghdad Zoo
Neil Murray Brief Encounter
Todd Rosenthal The Motherf**ker With the Hat

OUTSTANDING COSTUME DESIGN
(Play or Musical)
Lez Brotherston Sister Act
Tim Chappel & Lizzie Gardiner Priscilla Queen of the Desert
Desmond Heeley The Importance of Being Earnest
Lizz Wolf Baby It’s You!

OUTSTANDING LIGHTING DESIGN
(Play or Musical)
Paule Constable War Horse
Natasha Katz Sister Act
David Lander Bengal Tiger at the Baghdad Zoo
Malcolm Rippeth Brief Encounter

OUTSTANDING ACTOR IN A PLAY
Reed Birney The Dream of the Burning Boy
Bobby Cannavale The Motherf**ker With the Hat
Joe Mantello The Normal Heart
Al Pacino The Merchant of Venice
Mark Rylance Jerusalem

OUTSTANDING ACTRESS IN A PLAY
Nina Arianda Born Yesterday
Edie Falco The House of Blue Leaves
Judith Light Lombardi
Frances McDormand Good People
Laurie Metcalf The Other Place

OUTSTANDING ACTOR IN A MUSICAL
Norbert Leo Butz Catch Me If You Can
Josh Gad The Book of Mormon
Daniel Radcliffe How to Succeed in Business Without Really Trying
Tony Sheldon Priscilla Queen of the Desert
Aaron Tveit Catch Me If You Can

OUTSTANDING ACTRESS IN A MUSICAL
Victoria Clark Sister Act
Sutton Foster Anything Goes
Beth Leavel Baby It’s You!
Patina Miller Sister Act
Donna Murphy The People in the Picture

OUTSTANDING FEATURED ACTOR IN A PLAY
Brian Bedford The Importance of Being Earnest
Evan Jonigkeit High
Stacy Keach Other Desert Cities
Seth Numrich War Horse
Yul Vázquez The Motherf**ker With the Hat

OUTSTANDING FEATURED ACTRESS IN A PLAY
Renée Elise Goldsberry Good People
Linda Lavin Other Desert Cities
Estelle Parsons Good People
Alison Pill The House of Blue Leaves
Elizabeth Rodriguez The Motherf**ker With the Hat

OUTSTANDING FEATURED ACTOR IN A MUSICAL
Colin Donnell Anything Goes
Adam Godley Anything Goes
Chester Gregory Sister Act
John Larroquette How to Succeed in Business Without Really Trying
John McMartin Anything Goes
OUTSTANDING FEATURED ACTRESS IN A MUSICAL
Laura Benanti Women on the Verge of a Nervous Breakdown
Nikki M. James The Book of Mormon
Patti LuPone Women on the Verge of a Nervous Breakdown
Marla Mindelle Sister Act
Laura Osnes Anything Goes

OUTSTANDING SOLO PERFORMANCE
Daniel Beaty Through the Night
Mike Birbiglia My Girlfriend’s Boyfriend
John Leguizamo Ghetto Klown
Michael Shannon Mistakes Were Made

JOHN GASSNER AWARD
(Presented for an American play, preferably by a new playwright)
Amy Herzog After the Revolution
Matthew Lopez The Whipping Man
David West Read The Dream of the Burning Boy
Kim Rosenstock Tigers Be Still

SPECIAL ACHIEVEMENT AWARDS
Ellen Barkin for her Outstanding Broadway Debut in The Normal Heart
Adrian Kohler with Basil Jones for Handspring Puppet Company, Puppet Design, Fabrication and Direction for War Horse

Celebrating its 61st season of bestowing awards of excellence in the field of theater, the Outer Critics Circle, is an association with members affiliated with more than 90 newspapers, magazines, websites, radio and television stations, and theatre publications in America and abroad. The winners will be announced Monday, May 16 and the annual awards ceremony will be held on Thursday, May 26 at Sardi’s Restaurant.

Feature: High's Matthew Lombardo

Playwright’s Real-Life Drama and Journey of Faith

By Lauren Yarger
When his play closes on Broadway this Easter Sunday, the irony of the timing won’t be lost on author Matthew Lombardo.

After all, High, starring Kathleen Turner as Sister Jamison Connelly, a nun with a faith crisis of her own trying to help a young boy kick his crystal meth habit, was inspired by the real seven-year addiction that almost robbed the playwright of his career, his faith and his life. A last-chance plea to God for help saved all three, so it seems ironic, yet fitting, that the play’s final curtain should come on the day when the resurrection’s triumph over death is celebrated. Without what Lombardo calls his own “miracle,” neither the play, nor he would be here today.

“I never thought I would get this again,” he said, gesturing around the Booth Theatre where we talked the week before the show was scheduled to open Tuesday, April 19. The playwright had seen success very early in his career, having plays produced and writing for the popular television soap opera “Another World.”.

His breakout work in theater came with the production of Tea at Five, his one-woman play about Katharine Hepburn, who made her home in Lombardo’s native Connecticut. The play premiered in 2002 at Hartford Stage starring Kate Mulgrew and enjoyed a successful regional tour. At the same time, however, Lombardo’s addiction to crystal methamphetamines was spiraling out of control.

The worst thing you can do with an addiction is take it on tour, Lombardo said. Suddenly no one wanted to work with him. He lost his career, his home and almost all hope that anything could change. It was a dark place in which he’d never expected to find himself.

No one had, in fact. His high school friends in Wethersfield, CT might have voted him “Least Likely Not to Have a Drug Problem” he kidded. The clean-cut, good looking man from a loving Italian Catholic family didn’t party much in his youth,

“I was so anti-drugs all my life,” he said. “I never touched a drug until I was 36.”

So what changed the course of his life? While in Los Angeles, he fell in love with a man who was a meth addict.

“He was addicted to meth and I was addicted to him,” Lombardo said.

Ironically, after he was hooked, the other man entered a drug rehab program and as part of the treatment, was prohibited from having any contact with Lombardo.

Only two things had made him feel good, Lombardo said: the man he could no longer have and meth. He drew comfort from the one he still could have. He was tired of being “an all-American boy and doing the right thing,” he decided and began taking the drug every day.

Close with his mother, he would work hard to pull himself together for their daily phone chats. She didn’t know what was wrong, but she sensed something wasn’t right. At one point, in 2004, he thought about getting clean and confessed his addiction to his mother. She couldn’t believe it. It was just so unexpected.

He wasn’t able to quit and the habit got worse over the next three years. Finally, his sponsor told his family that they had to break all contact with Lombardo. His mother would play his voice messages over and over again to hear his voice, but couldn’t call him back.

That put Lombardo over the edge and caused a turning point. He calls it his miracle. He prayed to God and said “If you can get me into a cab and to the hospital, I will fight this.” The emotion from this moment in the playwright’s life shows up in a scene from High where Sister Jamison pleads with God to meet her half way.

He did get to the hospital where he slowly, but surely, started on the road to recovery. It wasn’t easy. Because meth “destroys your mind,” he was unable to tell between reality and fiction. While he was using, he never once connected that the drug was what had destroyed his career and was threatening his life.

As things became clearer, he recognized a pattern of addiction that had been present in his life from the time he was a small boy. Siblings also struggle with addictions, so he discovered he was battling a genetic disposition as well as other factors, he said.

Also coming into focus was a new relationship with God. The god he grew up with had been represented as distant and punishing, he said. During his seven years of drug addiction, he had turned his back on faith.

“The god I grew up with is different from the God I know today,” he said. Now, he’s personal.

Also helping on a personal level are the brothers in recovery he has met through his 12-Step Program, Crystal Meth Anonymous. He splits his time between New York and Ft. Lauderdale, where his sponsor is. These folks have helped him learn how to do everything all over again – sober. Even going to the store to buy a candy bar for the first time can be a daunting task, he said.

The 12-step program includes belief in a “higher power.” Lombardo smiles broadly when relating facts about medical professionals acknowledging that this belief seems to make it possible for someone to be healed.

“There’s nothing I can’t handle now because of my relationship with God,” he said.

Proof of this came yesterday when producers posted an early-closing for High following less-than-favorable reviews and sluggish ticket sales.

"Despite the closing, I remain eternally grateful for this amazing opportunity,” he said. “Audiences have been extremely supportive of this project and I am so proud to have collaborated with this extraordinary groups of artists."

Not a day goes by that he doesn’t receive a message from someone who has been touched personally by High and the struggles of its character, young Cody, driven to prostitution and possibly murder while addicted. Recently, Lombardo related, a man in his early 20s languished at the back of the theater after one of the previews. When Lombardo identified himself as the author, the man thanked him for writing the play, and became emotional, saying that his brother was one of the “ones that didn’t make it.”

The play starts with the addiction, but becomes about faith and how to “get out of our way to let the miracle happen,” Lombardo said.

High plays its final performance 3 pm Sunday (April 24). What’s next for the playwright besides welcoming newcomers to his 12-steap meetings?

He’s working on an adaptation of six Greek plays, a vehicle for his specialty – a dynamite woman's role to be tackled by a powerhouse actress of a certain age, like Hepburn, Turner and Valerie Harper who garnered a 2010 Best Actress Tony nomination for Lombardo’s Looped.

Information about help and treatment for methamphetamine and other addictions are available from the following resources:
• Crystal Meth Anonymous, a 12-step program http://www.crystalmeth.org//
• Find a meeting http://www.crystalmeth.org/find-a-cma-meeting.html
• Connecticut info http://www.ct.gov/dmhas/cwp/view.asp?a=2902&q=376512
• List of state resources http://www.methresources.gov/Index.html
• 12 Step Program http://www.12step.org/
• Celebrate Recovery, a church program http://www.celebraterecovery.com/