Harry Potter, Spongebob, Admissions, Desperate Measures Take Top Outer Critics Awards

At the Lyric Theatre. Photo: Lauren Yarger

Desperate Measures at the York. Photo: Carol Rosegg

Jessica Hecht, Andrew Garman, and Ben Edelman Photo: Jeremy Daniel

Broadway stars Jenn Colella, Jim Dale, Christine Ebersole andMartha Plimpton will serve as gala award presenters at the upcoming 68^th annual Outer Critics Circle Awards ceremony May 24 at Sardi’s Restaurant.

(Winners names are in bold preceded by an asterisk. *)

Outer Critics Circle

2017-2018 Awards

OUTSTANDING NEW BROADWAY PLAY

The Children

Farinelli and the King

*Harry Potter and the Cursed Child

Junk

OUTSTANDING NEW BROADWAY MUSICAL

Escape to Margaritaville

Frozen

Mean Girls

Prince of Broadway

*SpongeBob SquarePants

OUTSTANDING NEW OFF-BROADWAY PLAY

*Admissions

Cost of Living

Hangmen

The Low Road

Mlima’s Tale

OUTSTANDING NEW OFF-BROADWAY MUSICAL

Cruel Intentions

*Desperate Measures

Jerry Springer- The Opera

Miss You Like Hell

Woody Sez

OUTSTANDING BOOK OF A MUSICAL

(Broadway or Off-Broadway)

*Tina Fey     Mean Girls

Quiara Alegría Hudes     Miss You Like Hell

Kyle Jarrow     SpongeBob SquarePants

Peter Kellogg     Desperate Measures

 OUTSTANDING NEW SCORE

(Broadway or Off-Broadway)

* Jonathan Coulton, David Bowie and Brian Eno, Plain White T’s, T.I., Domani Harris, and Darwin Quinn, Brendon Urie of Panic! At the Disco, Alexander Ebert of Edward Sharpe and the Magnetic Zeros, Cyndi Lauper and Rob Hyman, Yolanda Adams, The Flaming Lips, Sara Bareilles, Steven Tyler and Joe Perry of Aerosmith, Lady Antebellum, John Legend, They Might Be Giants, Andy Paley and Tom Kenny, Derek Drymon, Mark Harrison, Stephen Hillenburg, and Blaise Smith, and Tom Kitt –  SpongeBob SquarePants

David Friedman and Peter Kellogg          Desperate Measures

Imogen Heap                   Harry Potter and the Cursed Child

Erin McKeown and Quiara Alegría Hudes            Miss You Like Hell

Kristen Anderson-Lopez and Robert Lopez              Frozen

OUTSTANDING REVIVAL OF A PLAY

(Broadway or Off-Broadway)

*Angels in America

Jesus Hopped the ‘A’ Train

Lobby Hero

Three Tall Women

Travesties

OUTSTANDING REVIVAL OF A MUSICAL

(Broadway or Off-Broadway)

Carousel

*My Fair Lady

Once on This Island

Pacific Overtures

OUTSTANDING DIRECTOR OF A PLAY

Jo Bonney     Cost of Living

Marianne Elliott     Angels in America

Patrick Marber     Travesties

Joe Mantello     Three Tall Women

*John Tiffany     Harry Potter and the Cursed Child

OUTSTANDING DIRECTOR OF A MUSICAL

Michael Arden     Once on This Island

Bill Castellino     Desperate Measures

*Tina Landau     SpongeBob SquarePants  (tie)

Casey Nicholaw     Mean Girls

*Bartlett Sher     My Fair Lady  (tie)

OUTSTANDING CHOREOGRAPHER

Camille A. Brown     Once on This Island

Christopher Gattelli     My Fair Lady

Christopher Gattelli     SpongeBob SquarePants

Steven Hoggett     Harry Potter and the Cursed Child

*Justin Peck     Carousel

OUTSTANDING SET DESIGN

(Play or Musical)

Miriam Buether     Three Tall Women

Myung Hee Cho     In the Body of the World

*Christine Jones     Harry Potter and the Cursed Child

Michael Yeargan     My Fair Lady

David Zinn     SpongeBob SquarePants

OUTSTANDING COSTUME DESIGN

(Play or Musical)

Katrina Lindsay     Harry Potter and the Cursed Child

Clint Ramos     Once on This Island

Paloma Young     Time and the Conways

David Zinn     SpongeBob SquarePants

*Catherine Zuber     My Fair Lady

OUTSTANDING LIGHTING DESIGN

(Play or Musical)

Kevin Adams     SpongeBob SquarePants

*Neil Austin     Harry Potter and the Cursed Child

Paule Constable     Angels in America

Paul Russell     Farinelli and the King

Lap Chi Chu     Mlima’s Tale

OUTSTANDING PROJECTION DESIGN

(Play or Musical)

Tim Reid     1984

Finn Ross     Frozen

Finn Ross     In the Body of the World

Finn Ross and Adam Young     Mean Girls

*Finn Ross and Ash Woodward     Harry Potter and the Cursed Child

OUTSTANDING SOUND DESIGN

(Play or Musical)

*Gareth Fry     Harry Potter and the Cursed Child

Kate Marvin     [Porto]

Fitz Patton     Napoli, Brooklyn

Marc Salzberg     My Fair Lady

Darron L. West     Mlima’s Tale

OUTSTANDING ORCHESTRATIONS

Jason Robert Brown, Charlie Rosen, Larry Blank, & Sam Davis          Prince of Broadway

Tom Kitt     SpongeBob SquarePants

AnnMarie Milazzo and Michael Starobin     Once on This Island

*Jonathan Tunick     Carousel

Claire van Kampen     Farinelli and the King

OUTSTANDING ACTOR IN A PLAY

Sean Carvajal     Jesus Hopped the ‘A’ Train

*Andrew Garfield     Angels in America

Tom Hollander     Travesties

Gregg Mozgala     Cost of Living

Michael Urie     The Government Inspector

OUTSTANDING ACTRESS IN A PLAY

MaameYaa Boafo     School Girls; Or, the African Mean Girls Play

Jessica Hecht     Admissions

*Glenda Jackson     Three Tall Women

Lauren Ridloff     Children of a Lesser God

Katy Sullivan     Cost of Living

OUTSTANDING ACTOR IN A MUSICAL

Harry Hadden-Paton     My Fair Lady

Joshua Henry     Carousel

David M. Lutken     Woody Sez

Conor Ryan     Desperate Measures

*Ethan Slater     SpongeBob SquarePants

  

OUTSTANDING ACTRESS IN A MUSICAL

*Lauren Ambrose     My Fair Lady

Erika Henningsen     Mean Girls

Hailey Kilgore     Once On This Island

Taylor Louderman     Mean Girls

Patti Murin     Frozen

OUTSTANDING FEATURED ACTOR IN A PLAY

Anthony Boyle     Harry Potter and the Cursed Child

Johnny Flynn     Hangmen

*Nathan Lane     Angels in America

David Morse     The Iceman Cometh

Paul Sparks     At Home at the Zoo

OUTSTANDING FEATURED ACTRESS IN A PLAY

Jamie Brewer     Amy and the Orphans

Denise Gough     Angels in America

Harriet Harris     The Low Road

* Laurie Metcalf     Three Tall Women

Mary Testa     The Government Inspector    

OUTSTANDING FEATURED ACTOR IN A MUSICAL

*Norbert Leo Butz     My Fair Lady

Alexander Gemignani     Carousel

Gavin Lee     SpongeBob SquarePants

Nick Wyman     Desperate Measures

Tony Yazbeck     Prince of Broadway

OUTSTANDING FEATURED ACTRESS IN A MUSICAL

Kerry Butler    Mean Girls

*Lindsay Mendez     Carousel

Lauren Molina     Desperate Measures

Ashley Park     Mean Girls  

Emily Skinner     Prince of Broadway

OUTSTANDING SOLO PERFORMANCE

*Billy Crudup     Harry Clarke

Eve Ensler     In the Body of the World

Alison Fraser     Squeamish    

John Lithgow     Stories By Heart

Sharon Washington     Feeding the Dragon

JOHN GASSNER AWARD

(Presented for an American play, preferably by a new playwright)

Kate Benson     [Porto]

*Jocelyn Bioh     School Girls; Or, the African Mean Girls Play

Lindsey Ferrentino     Amy and the Orphans

Meghan Kennedy     Napoli, Brooklyn

Dominique Morisseau     Pipeline

Celebrating its 68th season of bestowing awards of excellence in the field of theatre, the Outer Critics Circle, is an association with members affiliated with more than ninety newspapers, magazines, web sites, radio and television stations, and theatre publications in America and abroad. 

Broadway Theater Review: Harry Potter and the Cursed Child, Parts 1 and 2 TOP PICK

Noma Dumezweni, Susan Heyward, Paul Thornley, Olivia Bond, Ben Wheelwright,
Jamie Parker, Poppy Miller, Sam Clemmett . Photo: Manuel Harlan

Harry Potter and the Cursed Child, Parts 1 and 2

By Jack Thorne, based on a story by J.K. Rowling, Jack Thorne and John Tiffany

Directed by John Tiffany

Lyric Theatre

By Lauren Yarger
What's It All About?
The Broadway transfer of the London  hit sequel story to the Harry Potter books. The show is presented in two parts, each just over two and a half hours, and yes, you really do need to see both parts. And no, you don't have to know the story of Harry and his magical friends to enjoy this time-hopping story by Jack Thorne based on a story by Harry Potter book author J.K. Rowling and stage director John Tiffany.

Almost 20 years after the books ended, Harry (Jamie Parker),an employee of the Ministry of Magic and his wife, Ginny (Poppy Miller) are the parents of three kids, the eldest of which, Albus Severus (Sam Clemmett) is about to head off for wizard training at Hogwarts. Joke shop owner Ron Weasley (an amusing Paul Thornley) and Hermione Granger (Noma Dumezweni), who is now Minister of Magic, send their daughter, Rose (Susan Heyward) on the Hogwart's Express as well. Note: the color-blind casting of African-American Dumezweni threw me at first and had me wondering what happened to Hermione because in the one movie I had seen, Hermione was white. All Potter fans knew that Dumezweni was Hermione immediately, of course, because they knew from the books (which I hadn't read) that Hermione and Ron got married.

At school, Harry befriends Scorpius Malfoy (a delightful Anthony Boyle), the son of Harry's nemesis Draco.

I won't tell you more, as you will want to discover the plot yourself, but I will let you know that some events and characters from the past are revisited through time travel.

What Are the Highlights?
A thoroughly absorbing story with one of the most complex plots I ever have seen on stage.

The special effects are dazzling. Intricate and at the same time, surprisingly simple. I won't give too many details because I don't want to spoil, but the time-travel effects are amazing (illusions and magic by Jamie Harrison). Millions of dollars well spent.

Thoroughly enjoyed this play, even though the Harry Potter books never appealed to me. The more than six-hour run time (I saw both parts in one day) went by very quickly.

This show has virtually no competition to win the Tony Award for Best Play. Excellence at every level of performance and creative craft. Well done in an intimate setting that makes you feel you are part of the action. It is the highlight of my season,

What Are the Lowlights?
While the time travel is done very well, there is some confusion a couple of times when harry is remembering or dreaming about past events. We haven't traveled back in time and to someone not familiar with the books or movies, it is not immediately clear that these scenes are from the past. It's a small gripe-- 99 percent of the audience recognizes little Harry (Will Coombs and Landon Haas share the role).

More Information:
Harry Potter is doing theater magic at the Lyric Theatre, which has been refurbished to accommodate this show, at 214 West 43rd St., NYC.

Additional credits:
Movement by Steven Hoggett, (fabulous) Set by Christine Jones, Costumes by Katrina Lindsay, Musica and Arrangements by Imogen Heap, Lighting by Neil Austin, Sound by Gareth Fry, Music Supervision and Arrangements by Martin Lowe.

Tickets are hard to get and expensive, but there is a lottery. Check out the page at harrypottertheplay.com.
The running time of Part One is approximately 2 hours 40 minutes and Part Two runs approximately 2 hours 35 minutes. Both include one 20-minute intermission.

Photo: Matthew Murphy

I am not listing additional casting, because I don't want to spoil which characters might or might not appear in this sequel.

FAMILY-FRIENDLY FACTORS:
-- Magic

Broadway Theater Review: The Iceman Cometh

David Morse, Denzel Washington, and Colm Meaney. Photo: Julieta Cervantes

The Iceman Cometh
By Eugene O'Neill
Directed by George C. Wolfe
Bernard B. Jacobs Theatre 

Through July 1

By Lauren Yarger
What's It All About?

The Eugene O'Neill 1939 marathon we all used to read in high school. You can brush up, or get your first taste, bu reading the Sparks Notes. This Broadway revival stars Denzel Washington.

What Are the highlights?

Anytime Denzel washington is on stage, it's a highlight. He gives a good turn as salesman Theodore Hickman "Hickey." who makes periodic visits to a Greenwich Village dive bar (Set Designer Santo Loquasto gives us the moody atmosphere) run by, metaphorically named Harry Hope (Colm Meaney). 

What Are the Lowlights?

Four hours of 12 drunk men thinking they are important. the women in the cast, of course, are prostitutes (and perhaps lesbians as portrayed by Director Goerge C. Wolfe?)  Two intermissions and a brief pause between the "action" didn't help convince me that this much of my time was well spent on a revival of a play that should have been retired a long time ago. Is there anyone making decisions about what gets on a Broadway stage who actually cares about parity or is that all talk? Let's produce some shows that are a little bit interesting to women, who make up more than 65 percent of the ticket buyers. A cute Hollywood star who will mean good box office isn't enough.

More information:

The Iceman Cometh provides a testosterone fix at the Bernard B. Jacobs Theatre, 242 west 45th st., NYC through July 1. Performances are at 7 pm Tuesday-Friday; 1:30 and 7:30 on Saturday and 1:30 pm on Sunday. Tickets are $79- $209: icemanonbroadway.com.

The company also features David Morse, Bill Irwin, Tammy Blanchard, Carolyn Braver, Austin Butler, Joe Forbrich, Nina Grollman, Thomas Michael Hammond, Neal Huff, Danny Mastrogiorgio, Dakin Matthews, Danny McCarthy, Jack McGee, Clark Middleton, Michael Potts, Reg Rogers and Frank Wood.

Note: If you leave your seat, you will not be permitted back in the theater until a break.The line for the restroom is ridiculously long and there isn't enough time for everyone to get through before the short intermissions are over. The day I attended, the theater was FREEZING -- bring a sweater.

FAMILY-FRIENDLY FACTORS:

-- PG 13 content

-- Language

-- Racial slur

-- Abuse of women

-- God's name taken in vain

Broadway Theater Review: St. Joan

Condola Rashad. Photo: Joan Marcus

Saint Joan
By George Bernard Shaw

Directed by Daniel Sullivan

Manhattan Theatre Club
Through June 10

By Lauren Yarger
George Bernard Shaw's Saint Joan, which doesn't get too many productions, has found its way to a Broadway staging thanks to Manhattan Theatre Club.

While it's always a welcome treat to see plays featuring strong women characters on Broadway, Shaw's 1923 work about the 15th-Century religious martyr might not be the best choice. Most of its stage time, like most plays, goes to the men. Whole scenes feature the men talking about Joan or reacting to Joan, but not much time is given to the development of the character of the religious martyr who later received sainthood for her efforts to lead France to victory over the English during the time of the Hundred Years War.

Played here by Condola Rashad, and directed by Daniel Sullivan, the "Maid of Orléans" comes off as somewhat dimwitted and an unfortunate religious zealot. The drama starts when Joan believes she hears the voices of saints Margaret and Catherine, as well as the Archangel Michael, telling her to crown the Dauphin (Adam Chanler-Berat) Charles VII at Reims. Robert de Baudricourt (Patrick Page) and his steward (Robert Stanton) finally are convinced their chickens won't lay eggs until she gets her way.

She leads an attack with Dunois (Daniel Sunjata), who becomes a supporter. Her victories prompt discussion among others, including the Earl of Warwick (Jack Davenport), Chaplain de Stogumber (also Stanton) and the Bishop of Beauvais (Walter Bobbie, marking the theatrical director’s first return to Broadway as an actor in more than 20 years). The only explanation for her success is that Joan is a witch, de Stogumber concludes, and the poor girl, at only about 19 years of age, is burned at the stake.

The two hours and 45 minutes drags mostly because of all of the men talking about and around Joan. I wanted to know more about her. An illiterate, poor country girl who suddenly feels called to lead the armies of France -- and in soldier's garb (Costume Design is by Jane Greenwood)-- is kind of interesting. Or should be.

How did she come to believe the voices were real? With whom did she first share the knowledge? Even though she vows to be obedient to God's calling, are there moments when she doubts? Does she regret her decision never to marry? Was there a young man she ever had hoped to marry? Had she ever hoped to have children?

I am certain marriage and children certainly had been part of the hopes of a young girl in 1500s France, so how did she cope with that loss? How does she develop the skills necessary to survive on the battle field and to inspire her troops to battle? How does she keep the men's spirits up in the face of defeat? Why does she suddenly decide the voices have been wrong and recant her testimony?  

Any of these questions might have been further developed to give us a heroic woman character with many layers and depth of emotion. Instead we are left with woman developed just enough to fuel conversation for the male characters.

Meanwhile if you are wondering whether color-blind casting works here to have an African-American play Joan, I would say yes, without a problem save one line of dialogue that gives us pause. Rashad makes the character -- what there is of her, that is -- her own. A better choice would be to find one of the many plays written by women about women heroes out there and produce that one.

Saint Joan plays at the Samuel J. Friedman Theatre, 261 West 47th St., through June 10.

Additional credits:
The design team includes Scott Pask (scenic design), Justin Townsend (lighting design), Obadiah Eaves (sound design), Christopher Ash (projection design), Tom Watson (hair and wig design), Bill Frisell (original music), Deborah Hecht (dialect coach), and Tommy Kurzman (make-up design).

FAMILY-FRIENDLY FACTORS:
-- No content notes, but I would say this is not going to be for younger kids.

Off-Broadway Theater Review: Mlima's Tale -- TOP PICK

 

Sahr Ngaujaht. Photo: Joan Marcus

Mlima's Tale
By Lynn Nottage
Directed by Jo Bonney
The Public Theater
Extended through June 3

By Lauren Yarger

Pulitzer-Prize winner Lynn Nottage (Ruined; Sweat) brings to life an African elephant in the world premiere of Mlima, getting its world premiere at the Public Theater. The production, directed by Jo Bonney, is as visually stunning as the words are poet. 

Mlima (Sahr Ngaujah) is one of the last huge "tuskers" in Kenya (his name means "mountain." He has spent the last years of his life avoiding his wife and children to protect them from poachers who track Mlima for his massive, perfectly symmetrical tusks which will bring bucks on the illegal ivory market. When the poachers finally catch up with Mlima, his spirit follows his tusks as they make their way from the poachers and corrupt government officials to the studio of a sculptor and ultimately, to the home of a wealthy buyer eager to impress visitors to her new apartment with her newly acquired treasure. Mlima's spirit also haunts those who have killed him for greed and marks them with guilt.

Kevin Mambo, Jojo Gonzalez and Ito Aghayere play the various people coming in contact with Mlima and his tusks. Justin Hicks provides music and original composition which, alsong with Sound design by Darron L. West, help set the mood. Riccardo Hernandez's exquisite set design dramatically takes the tale from the plains of Africa to a New York penthouse with simple sliding panels and lighting by Lap Chi Chu.

Nottage, who based the play on an article, "The Ivory Highway" by Damon Tabor, gives Mlima a dynamic voice and lets us see the horrors of the ivory trade without being preachy. She expertly does it all in 80 minutes without an intermission. . Ngaujah skillfully creates a character who is a wild, proud African elephant, but also conveys common human emotions about love, freedom and family. Movement Director Chris Walker and Fight director Thomas Schall help Ngaujah express Mlima in choreography and ballet-like fluidity that allow us to envision a massive elephant on stage. It is truly a remarkable piece of theater.

Mlima's Tale has been extended at the Public Theatre, 425 Lafayette St., NYC through June 3. Perfromances are Tuesday through  Friday at 8 pm; Saturday and Sunday at 2 and 8 pm. Tickets start at $85: www.publictheater.org

Additional credits:

Hair and makeup design by Cookie Jordan.

FAMILY-FRIENDLY FACTORS:
-- God's name taken in vain
-- Language
-- Violence

Broadway Theater Review: Travesties

Travesties

By Tom Stoppard

Directed by Patrick Marber

Roundabout Theatre Company

Through June 17

By Lauren Yarger
The first scene of Tom Stoppard's Travesties, getting a Broadway run by Roundabout Theatre Company, is all in German and the audience has really no idea who the characters are or what is going on. When the language switches to English, the situation doesn't improve much, unfortunately.

A hodgepodge of characters, among them Lenin (Dan Butler)and James Joyce (Peter McDonald) emerge in the memories of  Zurich during World War I as remembered by an old man, Henry Carr (Tom Hollander). Hollander and McDonald reprise their roles from the Menier Chocolate Factory production which sold out in London's West End, also under the direction of Patrick Marber.

Lenin and Joyce clash with Tristan Tzara (Seth Numbrich), founder of Dada, an avant-garde movement of the time that revolutionized the art world just as Lenin's socialism was transforming governments. They get romantically entwined with Cecily (Sara Topham) and Gwendolyn (Scarlett Strallen) in a case of mistaken identity a la The Importance of Being Ernest (Carr is obsessed with the other guy, Algernon...). Cecily is a librarian in the Zurich library (designed by Tim Hatley, who also designed a period costume for each character).

There is a bunch of philosophy about art, politics, thoughts on perception from an aging memory and even some song and dance thrown in to the mix (Original Music by Sound designer Adam Clark and Movement by Polly Bennett), but it never blends together to form a cohesive work. scenes are repeated (we get that Act-One opener later in English), but nothing seems to click and a play that seems to want to be funny at times, really isn't.

"What is the meaning of this?" Joyce asks about Dada.

"It has no meaning. It is without meaning as Nature is. It is
Dada," responds Tzara.

I guess I could just say this play is Dada. Or maybe I am just really tired of revivals with lots of male characters who don't seem very relevant.  I don't think I was alone. At intermission, in the women's rest room, there dead silence. Let's just say normally you hear chatter about the show as women wait in the very long lines for the the stalls. In the restroom at American Airlines Theatre, you could hear a pin drop. Finally a woman ventured, "You have to really focus. . ." There was no reply.

To be fair, there were some people in the audience who seemed to be enjoying themselves immensely and laughing at lines whose humor was lost on me. A song between Gwendolyn and Cecily had a few amusing twists but was interminable -- like this play which clocks in at two hours and 30 minutes, but feels like about four.

Opal Alladin as Nadya and Patrick Kerr as Bennett, round out the cast of this productions, which plays through June 17 at American Airlines Theatre,  227 west 42nd st., NYC. roundabouttheatre.org

Additional credits:
David Brian Brown, hair and wig design; Meil Auston, lighting design.

FAMILY-FRIENDLY FACTORS:
-- God's name taken in vain
-- Sexually suggestive movement/suggestion

Broadway Theater Review: Summer (The Donna Summer Musical)

Summer: The Donna Summer Musical

Book by Colman Domingo, Robert Cary and Des McAnuff

Songs by Donna Summer, Giorgio Moroder, Paul Jabara and others 

Choreography by Sergio Trujillo

Directed by Des McAnuff 

Lunt-Fontanne Theatre 

By Lauren Yarger
Like the title says,  Summer it is the story of disco queen and music star Donna Summer. Three actresses play Summer at various times in her life: LaChanze (The Color Purple, Once on This Island) as “Diva Donna,” Ariana DeBose (A Bronx Tale, Hamilton) as “Disco Donna” and Storm Lever (Freaky Friday) as “Duckling Donna.” All three are excellent.

The book by Colman Domingo, Robert Cary and Des McAnuff provides highlights from the diva's life without clogging the flow with too much information. Satisfyingly, a portrait of a strong women, who has survived sexual and substance abuse and who is a strong role model emerges (no small feat for three male writers to achieve). There were things I didn't know at all about this singer and I came away with a lot of respect for her. I had always liked her music, which included pop hits like "Love to Love You Baby," MacArthur Park," "On the Radio," "Hot Stuff" and "Last Dance," all of which find themselves performed in the show along with many others, but really hadn't known much about her private life.

I was particularly pleased to find that the writers didn't shy away from Summer's faith. It was a big part of her life and is incorporated in the storytelling (though many people rudely decided to get up and go for a bathroom break when "I Believe in Jesus" was performed.)

The production is very well done. Director Des McAnuff  does a good job of blending the different Donnas and gets excellent performances, both vocally and emotionally from all three.The story is engrossing and the music, under the direction of Victoria Theodore, makes you want to get up and dance. Those on stage get to do some great choreography by Sergio Trujillo.

Summer works hard for the money at the Lunt-Fontanne Theatre, 206 West 46th St., NYC. thedonnasummermusical.com.

Additional casting:
Aaron Krohn as “Neil Bogart,” Ken Robinson  as “Andrew Gaines,” and Jared Zirilli  as “Bruce Sudano.”
Ensemble: Angelica Beliard  Mackenzie Bell ), Kaleigh Cronin, Kimberly Dodson, Anissa Felix , Drew Wildman Foster, Kendal Hartse, Afra Hines, Jenny Laroche, Wonu Ogunfowora, Rebecca Riker, Christina Acosta Robinson, Jessica Rush. Harris M. Turner,Aurelia Michael, Jody Reynard.

Additional credits:
Music supervised by Ron Melrose; sccenic design by Robert Brill, costumes by Paul Tazewell, lighting by Howell Binkley, sound by Gareth Owen, projections by Sean Nieuwenhuis.

FAMILY-FRIENDLY FACTORS:
-- Some more mature content. I would give it a PG-13 rating.