How many times has it been said that there is nothing new to do, nothing new to create, no new musical note combinations to compose, no new anything to conceive? How many revivals must an audience endure because there is not enough creative and financial nerve to demand that audiences take up the challenge? How does one do justice to an illusion when there are no words to fittingly describe what one has just seen? How do you describe the indescribable?

A company dripping with affection for the past has taken that past and created a 21st century delight imbued with irony, humor and beta movement; an homage to Fritz Lang, “The Jazz Singer,” Max Fleischer, F.W. Murnau, Robert Wiene, artistic surrealism, “The General” and maybe the Columbine Mine Massacre with a little bit of anti poverty polemic and contemporary childhood management policy thrown into the mix. The Animals and Children Took to the Streets is a scrumptious effort by the totally original English company, 1927, now in residence at The Studio Theatre and words are elusive in the effort to impart the visual and aural sensations of this masterpiece.

The Animals and Children Took to the Streets is a large installation, really, with three actors, four voices and a large ensemble and moving set that are actually projected animations at 24 frames per second to accommodate recorded music in the style of a 1927 talkie; and the remarkable ability to turn three-dimensional actors into two-dimensional illustrations in front of our very eyes. The exactitude of the timing, both in the animation and the actors’ live action within and without the animation, is a marvel of patience and dedication. The actors are also the conceivers of this allegory and keep the animated action flowing through animated roaches and skinks prowling the walls of the buildings on Red Herring Street. The constantly crawling critters and the meticulous detail of the moving illustrations behind and in front of the actors induce the viewer to question what he or she may be seeing. It is impossible to describe what there is to be seen in this show. The delectation is not imaginable in the traditional sense of theatre; this show must be seen to be believed.

The story is a fable reminiscent of Lang’s “Metropolis” which my reader knows is one of my favorite films. The city is a shining beacon on the hill and everyone who matters is happy there. But, like every other shining beacon on the hill, this city has its dark underside; a place that exists but doesn’t matter because it is not in the purview of the citizens of the shining beacon. That place is called The Bayou and that is where Agnes Eaves and her little daughter, Eavie, move to save the children of The Bayou by giving them art lessons. Meanwhile, the criminal Mrs. Villycar’s delinquent daughter, Zelda, foments a revolt by The Bayou children in the heart of the beautiful city. The Mayor appoints the Minister of Quick Fix solutions to do something about the criminal children of The Bayou and that solution is the cornerstone of 1927’s social commentary. Caught up in this maelström of events is the little damsel, Eavie Eaves, who must be rescued from the Ministry of Quick Fix solutions and reunited with her virtuous and saintly mother. A Gish sisters/Mary Pickford motif is presented by Esme Appleton as Agnes Eaves, the wide-eyed, virtuous mother whose baby has been taken from her. Appleton also plays Zelda the reckless, saw playing delinquent who takes revenge on the more fortunate inhabitants of the city with her Caligariish drawn gangs of unruly Bayou children mimicking the animated roaches and skinks cavorting about the walls on Red Herring Street. The remedy for taming the Bayou children is recognizable both in the comic shock value of its advent to begin with and its use today as a mainstream fix for headstrong and naughty children.

Lillian Henley composed the original score as the accompaniment to the silent presentation, sampling Mary Poppins, Kurt Weill and Tom Waits among others. The surrealness of silent German Expressionism and the brooding and studied approach to comic drama by Buster Keaton combined with Henley’s score in a packed theatre recreated the miracle and grandeur of film when it was still a novel advancement in mass entertainment. The audience was transfixed.

Suzanne Andrade (Mrs. Villycar) is a comic storyteller with a droll and imposing voice giving body to Paul Barritt’s animations that are the life of this show. Barritt’s knowledge of the biology and physiology of the human eye in conjunction with the psychology of persistence of vision imbue this installation with emotional urgency as we root for the rescue of little Eavie. James Addie is the offstage voice of the caretaker who is played also by Andrade. Andrade’s ability for quick change, costume and character, reinforces the Expressionistic delight of colorfulness without a lot of color.

The many elements of this creation are pulled together into a miraculous deadpan whole that is suitable for children who can suspend belief, all the while it oozes sophistication with an oblique je né sais quoi for the mature, adventuresome theatre lover who will still gaze in childlike awe at what is being presented on the stage. All that and gumdrops too!

Photo Gallery

Photos provided by Studio Theatre

Cast

• Suzanne Andrade
• Esme Appleton
• Lillian Henley
• Voice of the Caretaker: James Addie

Production Staff

• Director: Suzanne Andrade
• Producer: Jo Crowley
• Production Stage Manager: Derek Andrade
• Written by: Suzanne Andrade
• Film Animation and Design: Paul Barritt
• Music: Lillian Henley
• Costumes: Esme Appleton, Sarah Munro

Disclaimer: Studio Theatre provided two complimentary media tickets to ShowBizRadio for this review.

• Invisible Man, September 2012
• The Aliens
• The Motherfucker with the Hat
• TBA
• The Real Thing
• Dirt
• Contractions
• Skin Tight
• 2-2 Tango
• The Rocky Horror Show

Schedule is subject to change due to performance rights conflicts or other issues. Specific dates of performances are yet to be announced.

Information on these shows, as provided by The Studio Theatre:

• Invisible Man Adapted for the stage by Oren Jacoby; based on the novel by Ralph Ellison; directed by Christopher McElroen; a co-production with Huntington Theatre Company.

  A blistering adaptation of Ellison’s 1952 masterpiece. The play follows an anonymous black man as he journeys from the Deep South to a basement in the borderlands of Harlem, from a betrayal at his Negro ivy-covered college to a nightmare job in a paint factory in New York City to the story’s violent climax at a Harlem race riot. Ellison’s hero moves through an America divided by race and class, and grapples with the paradoxes of identity that have rendered him invisible. This savage, hypnotic, and impassioned adaptation of Invisible Man explores bigotry and its effects on the minds of both victims and perpetrators.

• The Aliens by Annie Baker.

  The dingy back alley of a sleepy Vermont coffeehouse is home to trash bins, weathered patio furniture, and two affable slackers. KJ and Jasper fill their languid days with Bukowski references, low-key jam sessions, and ‘shroom-spiked tea. When smart but awkward teen Evan, a new employee, attempts to evict them from their makeshift perch, KJ and Jasper recruit him as their unlikely protégée over a summer of small triumphs and quiet, unforeseen devastations. From the critically acclaimed writer of Circle Mirror Transformation, this artful and indelible drama is a subtle ode to the truth and compassion hidden in unexpected people and places.

• The Motherfucker with the Hat by Stephen Adly Guirgis; directed by Serge Seiden

  Jackie, out on parole and newly sober, is determined to start anew with his childhood sweetheart Veronica, but her unrelenting coke addiction, his slick-talking AA sponsor, and the discovery of another man’s hat in his living room all threaten to derail Jackie’s tenuous progress. With profane passion and genuine vulnerability, Jackie and Veronica untangle their decades of co-dependence as they wrestle with the painful limitations of trust, desire, and rehabilitation. A smash hit on Broadway, Stephen Adly Guirgis’ rapid-fire black comedy is an intoxicating and cheerfully vulgar look at the complicated recovery from love and other addictions.

• A new American play, to be announced. Starring Tana Hicken (Road to Mecca, The History Boys).
• The Real Thing by Tom Stoppard; directed by David Muse.

  Henry is a celebrated playwright, his wife is an actress, and his latest play is a Coward-esque take on relationships and adultery. But as the intricate web of off-stage infidelities unfolds, relationships prove much more demanding than a droll retort. A distinguished play about the complexities of commitment, the power of great writing, and the mysterious ways of love from one of the world’s most celebrated playwrights.

• Dirt by Bryony Lavery. World Premiere.

  Harriet is about to die. Ellie is her waitress. Matt will eventually sleep with them both. Mesmerizing, stylish, and unnervingly funny, this world premiere from the author of Frozen explores the politics of dirt and the ways that modern life is suffocating us emotionally and physically.

• Contractions by Mike Bartlett; directed by Duncan Macmillan. US Premiere.

  Emma’s manager is concerned that she is in breach of contract. In a series of cordial but increasingly tense conversations, the two dissect the differences between “sexual” and “romantic,” negotiate the length of Emma’s interoffice relationship, and face the consequences of shrinking privacy and binding contracts. An ink-black satire from one of Britain’s most acclaimed and provocative writers.

• Skin Tight by Gary Henderson.

  A husband and wife relive the torrid fervor of their marriage in this physically intense, erotically charged duet from one of New Zealand’s premier playwrights.

• 2-2 Tango by Daniel MacIvor.

  Witty and kinetic, this sweet and stylish play explores the universal obstacle course of love, from pickup to hookup to boredom, breakup, or bliss. A revival of one of 2ndStage’s first hits from one of Canada’s most well-known and innovative playwrights.

• Richard O’Brien’s The Rocky Horror Show 40th Anniversary. Production book, music, and lyrics by Richard O’Brien; directed by Keith Alan Baker.

  Celebrate Studio 2ndStage’s 25th anniversary with this original horror comedy musical! Two naïve lovers, Brad and Janet, seek shelter from a thunderstorm in an old castle and find themselves thrust into the laboratory of pansexual, cross-dressing mad scientist Dr. Frank ‘N’ Furter and his cadre of madcap minions. Stripped of their inhibitions–and their clothes–Brad and Janet embark on a wild, unforgettable odyssey of carnal pleasures and self-discovery. Reality, fiction, and camp collide in this mashup of comics, rock and roll, and late-night horror flicks.

• 23 different companies received nominations.
• Shakespeare Theatre Company and the Kennedy Center each had six different productions nominated.
• Arena Stage received 23 total nominations, STC 22, Folger 19, and Kennedy Center 18
• The most nominated show was Candide, by the Shakespeare Theatre Company, with 12 nominations.

View the nominations by category or by company.

Nominations Listed by Category

Outstanding Choreography, Resident Production

• Diane Coburn Bruning, Improbable Frequency, Solas Nua
• Ben Cunis, King Arthur, Synetic Theater
• Parker Esse, Oklahoma!, Arena Stage
• Maurice Hines, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Irina Tsikurishvili, King Arthur, Synetic Theater
• Irina Tsikurishvili, Othello, Synetic Theater

Outstanding Costume Design, Resident Production

• Mara Blumenfeld, Candide, Shakespeare Theatre Company
• Murell Horton, The Liar, Shakespeare Theatre Company
• William Ivey Long, Henry VIII, Folger Theatre
• Reggie Ray, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Anastasia Ryurikov Simes, Othello, Synetic Theater

Outstanding Director, Resident Musical

• Toby Orenstein, Hairspray, Toby’s Dinner Theatre
• Eric Schaeffer, Chess, Signature Theatre
• Molly Smith, Oklahoma!, Arena Stage
• Molly Smith, The Light in the Piazza, Arena Stage
• Mary Zimmerman, Candide, Shakespeare Theatre Company

Outstanding Director, Resident Play

• Kasi Campbell, Travels With My Aunt, Rep Stage
• Joseph Haj, Hamlet, Folger Theatre
• Robert Richmond, Henry VIII, Folger Theatre
• Howard Shalwitz, Clybourne Park, Woolly Mammoth Theatre Company
• Paata Tsikurishvili, Othello, Synetic Theater
• Paata Tsikurishvili, The Master and Margarita, Synetic Theater

Outstanding Lead Actor, Non-Resident Production

• Steel Burkhardt, Hair, The Kennedy Center
• Brent Michael DiRoma, Avenue Q, The Broadway Musical, Shakespeare Theatre Company
• Laurence Fishburne, Thurgood, The Kennedy Center
• Gavin Lee, Mary Poppins, The Kennedy Center
• David Pittsinger, South Pacific, The Kennedy Center

Outstanding Lead Actor, Resident Musical

• Maurice Hines, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Marc Kudisch, Sycamore Trees, Signature Theatre
• Geoff Packard, Candide, Shakespeare Theatre Company
• Nicholas Rodriguez, Oklahoma!, Arena Stage
• Bobby Smith, Annie, Olney Theatre Center
• Cody Williams, Oklahoma!, Arena Stage

Outstanding Lead Actress, Non-Resident Production

• Carmen Cusack, South Pacific, The Kennedy Center
• Jaqueline Grabois, Avenue Q, The Broadway Musical, Shakespeare Theatre Company
• Caroline Sheen, Mary Poppins, The Kennedy Center
• Kacie Sheik, Hair, The Kennedy Center
• Caren Lyn Tackett, Hair, The Kennedy Center

Outstanding Lead Actress, Resident Musical

• E. Faye Butler, Oklahoma!, Arena Stage
• Eleasha Gamble, Oklahoma!, Arena Stage
• Carrie A. Johnson, Annie, Olney Theatre Center
• Lauren Molina, Candide, Shakespeare Theatre Company
• Jill Paice, Chess, Signature Theatre
• Hollis Resnik, The Light in the Piazza, Arena Stage

Outstanding Lead Actress, Resident Play

• Lise Bruneau, Mikveh, Theater J
• Naomi Jacobson, Henry VIII, Folger Theatre
• Sarah Marshall, Mikveh, Theater J
• Jennifer Mendenhall, Clybourne Park, Woolly Mammoth Theatre Company
• Erika Rose, In Darfur, Theater J
• Holly Twyford, Orestes, A Tragic Romp, Folger Theatre

Outstanding Lighting Design, Resident Production

• Colin K. Bills, Antony and Cleopatra, Synetic Theater
• Colin K. Bills, The Master and Margarita, Synetic Theater
• Dan Covey, On the Verge or The Geography of Yearning, Rep Stage
• T.J. Gerckens, Candide, Shakespeare Theatre Company
• Klyph Stanford, Henry VIII, Folger Theatre
• Justin Townsend, Hamlet, Folger Theatre

Outstanding Musical Direction, Resident Production

• George Fulginiti-Shakar, Oklahoma!, Arena Stage
• Jon Kalbfleisch, Sunset Boulevard, Signature Theatre
• Daniel Kluger, Orestes, A Tragic Romp, Folger Theatre
• Fred Lassen, Sycamore Trees, Signature Theatre
• Konstantine Lortkipandze, Othello, Synetic Theater
• Doug Peck, Candide, Shakespeare Theatre Company
• Paul Sportelli, The Light in the Piazza, Arena Stage
• James Sugg, Orestes, A Tragic Romp, Folger Theatre

Outstanding Set Design, Resident Production

• Tony Cisek, Henry VIII, Folger Theatre
• Simon Higlett, Mrs. Warren’s Profession, Shakespeare Theatre Company
• James Kronzer, Clybourne Park, Woolly Mammoth Theatre Company
• Eugene Lee, Oklahoma!, Arena Stage
• Derek McLane, The Lisbon Traviata, The Kennedy Center
• Daniel Ostling, Candide, Shakespeare Theatre Company

Outstanding Sound Design, Resident Production

• Anthony Cochrane, Henry VIII, Folger Theatre
• Jack Herrick, Hamlet, Folger Theatre
• Irakli Kavsadze, Othello, Synetic Theater
• Konstantine Lortkipandze, Othello, Synetic Theater
• Matthew M. Nielson, Hamlet, Folger Theatre
• Matt Otto, Johnny Meister and the Stitch, Solas Nua
• Michael Rasbury, Henry VIII, Folger Theatre
• Tom Teasley, The Ramayana, Constellation Theatre Company

Outstanding Supporting Actor, Resident Musical

• Ed Dixon, Sunset Boulevard, Signature Theatre
• James Konicek, Annie, Olney Theatre Center
• Jeremy Kushnier, Chess, Signature Theatre
• John Manzari, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Leo Manzari, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Jesse J. Perez, Candide, Shakespeare Theatre Company
• Larry Yando, Candide, Shakespeare Theatre Company

Outstanding Supporting Actor, Resident Play

• Louis Butelli, Henry VIII, Folger Theatre
• Adam Green, The Liar, Shakespeare Theatre Company
• Michael Tolaydo, New Jerusalem: The Interrogation of Baruch De Spinoza, Theater J
• Ted van Griethuysen, All’s Well That Ends Well, Shakespeare Theatre Company
• Paxton Whitehead, All’s Well That Ends Well, Shakespeare Theatre Company

Outstanding Supporting Actress, Resident Musical

• MaryLee Adams, Hairspray, Toby’s Dinner Theatre
• Lauren ‘Coco’ Cohn, Glimpses of the Moon, MetroStage
• Jesaira Glover, Hairspray, Toby’s Dinner Theatre
• Marva Hicks, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Hollis Resnik, Candide, Shakespeare Theatre Company
• Jenna Sokolowski, Annie, Olney Theatre Center

Outstanding Supporting Actress, Resident Play

• Colleen Delany, Pirates! A Boy at Sea, Imagination Stage
• Naomi Jacobson, Richard II, Shakespeare Theatre Company
• MacKenzie Meehan, Circle Mirror Transformation, The Studio Theatre
• Phylicia Rashad, every tongue confess, Arena Stage
• Dawn Ursula, Clybourne Park, Woolly Mammoth Theatre Company

Outstanding Supporting Performer, Non-Resident Production

• Ellen Harvey, Mary Poppins, The Kennedy Center
• Jodi Kimura, South Pacific, The Kennedy Center
• Marc Kudisch, Golden Age, The Kennedy Center
• Josh Lamon, Hair, The Kennedy Center
• Hoon Lee, Golden Age, The Kennedy Center

The Charles MacArthur Award for Outstanding New Play or Musical

• every tongue confess, Marcus Gardley, Arena Stage
• Snow White, Rose Red (and Fred), music by Zina Goldrich, The Kennedy Center Family Theater
• Sycamore Trees, book, music & lyrics by Ricky Ian Gordon, Signature Theatre
• Snow White, Rose Red (and Fred), book & lyrics by Marcy Heisler, The Kennedy Center Family Theater
• The Liar, David Ives, Shakespeare Theatre Company
• Knuffle Bunny: A Cautionary Musical, musical arrangements by Deborah Wicks La Puma, The Kennedy Center Family Theater
• Sycamore Trees, book by Nina Mankin, Signature Theatre
• Knuffle Bunny: A Cautionary Musical, music by Michael Silversher, The Kennedy Center Family Theater
• Pirates! A Boy at Sea, Charles Way, Imagination Stage
• Knuffle Bunny: A Cautionary Musical, script & lyrics by Mo Willems, The Kennedy Center Family Theater

The Robert Prosky Award for Outstanding Lead Actor, Resident Play

• Philip Fletcher, Othello, Synetic Theater
• John Glover, The Lisbon Traviata, The Kennedy Center
• Graham Michael Hamilton, Hamlet, Folger Theatre
• Mitchell Hébert, Clybourne Park, Woolly Mammoth Theatre Company
• Bill Largess, The Foreigner, The Bay Theatre Company, Inc.
• Alex Mills, Othello, Synetic Theater
• Cody Nickell, Clybourne Park, Woolly Mammoth Theatre Company
• Ian Merrill Peakes, Henry VIII, Folger Theatre
• Johnny Ramey, Superior Donuts, The Studio Theatre
• Alexander Strain, New Jerusalem: The Interrogation of Baruch De Spinoza, Theater J

Outstanding Ensemble, Resident Musical

• Candide, Shakespeare Theatre Company
• Hairspray, Toby’s Dinner Theatre
• If You Give a Pig a Pancake, Adventure Theatre
• Oklahoma!, Arena Stage
• Snow White, Rose Red (and Fred), The Kennedy Center Family Theater
• Sycamore Trees, Signature Theatre

Outstanding Ensemble, Resident Play

• American Buffalo, The Studio Theatre
• Clybourne Park, Woolly Mammoth Theatre Company
• Henry VIII, Folger Theatre
• Orestes, A Tragic Romp, Folger Theatre
• Othello, Synetic Theater
• Travels With My Aunt, Rep Stage

Outstanding Non-Resident Production

• Avenue Q, The Broadway Musical, Shakespeare Theatre Company
• The Last Cargo Cult, Woolly Mammoth Theatre Company
• Mary Poppins, The Kennedy Center
• South Pacific, The Kennedy Center
• Thurgood, The Kennedy Center

Outstanding Production, Theatre for Young Audiences

• If You Give a Pig a Pancake, Adventure Theatre
• Knuffle Bunny: A Cautionary Musical, The Kennedy Center Family Theater
• The Nutcracker, The Puppet Co.
• Pirates! A Boy at Sea, Imagination Stage
• Snow White, Rose Red (and Fred), The Kennedy Center Family Theater
• The Red Balloon, Adventure Theatre

Outstanding Resident Musical

• Annie, Olney Theatre Center
• Candide, Shakespeare Theatre Company
• Duke Ellington’s Sophisticated Ladies, Arena Stage
• Hairspray, Toby’s Dinner Theatre
• The Light in the Piazza, Arena Stage
• Little Shop of Horrors, Ford’s Theatre
• Oklahoma!, Arena Stage
• Sweeney Todd, Signature Theatre

Outstanding Resident Play

• Clybourne Park, Woolly Mammoth Theatre Company
• Hamlet, Folger Theatre
• Henry VIII, Folger Theatre
• The Master and Margarita, Synetic Theater
• New Jerusalem: The Interrogation of Baruch De Spinoza, Theater J
• Orestes, A Tragic Romp, Folger Theatre
• Othello, Synetic Theater
• Superior Donuts, The Studio Theatre

The John Aniello Award for Outstanding Emerging Theatre Company

• No Rules Theatre Company
• Factory 449: a theatre collective

Nominations listed By Company Name

Adventure Theatre

• If You Give a Pig a Pancake
  • Outstanding Ensemble, Resident Musical
  • Outstanding Production, Theatre for Young Audiences
• The Red Balloon
  • Outstanding Production, Theatre for Young Audiences

Arena Stage

• Oklahoma!
  • Outstanding Choreography, Resident Production, Parker Esse
  • Outstanding Director, Resident Musical, Molly Smith
  • Outstanding Lead Actor, Resident Musical, Nicholas Rodriguez
  • Outstanding Lead Actor, Resident Musical, Cody Williams
  • Outstanding Lead Actress, Resident Musical, E. Faye Butler
  • Outstanding Lead Actress, Resident Musical, Eleasha Gamble
  • Outstanding Musical Direction, Resident Production, George Fulginiti-Shakar
  • Outstanding Set Design, Resident Production, Eugene Lee
  • Outstanding Ensemble, Resident Musical
  • Outstanding Resident Musical
• Duke Ellington’s Sophisticated Ladies
  • Outstanding Choreography, Resident Production, Maurice Hines
  • Outstanding Costume Design, Resident Production, Reggie Ray
  • Outstanding Lead Actor, Resident Musical, Maurice Hines
  • Outstanding Supporting Actor, Resident Musical, John Manzari
  • Outstanding Supporting Actor, Resident Musical, Leo Manzari
  • Outstanding Supporting Actress, Resident Musical, Marva Hicks
  • Outstanding Resident Musical
• The Light in the Piazza
  • Outstanding Director, Resident Musical, Molly Smith
  • Outstanding Lead Actress, Resident Musical, Hollis Resnik
  • Outstanding Musical Direction, Resident Production, Paul Sportelli
  • Outstanding Resident Musical
• every tongue confess
  • Outstanding Supporting Actress, Resident Play, Phylicia Rashad
  • The Charles MacArthur Award for Outstanding New Play or Musical, Marcus Gardley

The Bay Theatre Company, Inc.

• The Foreigner
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Bill Largess

Constellation Theatre Company

• The Ramayana
  • Outstanding Sound Design, Resident Production, Tom Teasley

Factory 449: a theatre collective

• The John Aniello Award for Outstanding Emerging Theatre Company

Folger Theatre

• Henry VIII
  • Outstanding Costume Design, Resident Production, William Ivey Long
  • Outstanding Director, Resident Play, Robert Richmond
  • Outstanding Lead Actress, Resident Play, Naomi Jacobson
  • Outstanding Lighting Design, Resident Production, Klyph Stanford
  • Outstanding Set Design, Resident Production, Tony Cisek
  • Outstanding Sound Design, Resident Production, Anthony Cochrane
  • Outstanding Supporting Actor, Resident Play, Louis Butelli
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Ian Merrill Peakes
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play
• Hamlet
  • Outstanding Director, Resident Play, Joseph Haj
  • Outstanding Lighting Design, Resident Production, Justin Townsend
  • Outstanding Sound Design, Resident Production, Matthew M. Nielson
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Graham Michael Hamilton
  • Outstanding Resident Play
• Orestes, A Tragic Romp
  • Outstanding Lead Actress, Resident Play, Holly Twyford
  • Outstanding Musical Direction, Resident Production, James Sugg
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play

Ford’s Theatre

• Little Shop of Horrors
  • Outstanding Resident Musical

Imagination Stage

• Pirates! A Boy at Sea
  • Outstanding Supporting Actress, Resident Play, Colleen Delany
  • The Charles MacArthur Award for Outstanding New Play or Musical, Charles Way
  • Outstanding Production, Theatre for Young Audiences

The Kennedy Center

• Hair
  • Outstanding Lead Actor, Non-Resident Production, Steel Burkhardt
  • Outstanding Lead Actress, Non-Resident Production, Kacie Sheik
  • Outstanding Lead Actress, Non-Resident Production, Caren Lyn Tackett
  • Outstanding Supporting Performer, Non-Resident Production, Josh Lamon
• Thurgood
  • Outstanding Lead Actor, Non-Resident Production, Laurence Fishburne
  • Outstanding Non-Resident Production
• Mary Poppins
  • Outstanding Lead Actor, Non-Resident Production, Gavin Lee
  • Outstanding Lead Actress, Non-Resident Production, Caroline Sheen
  • Outstanding Supporting Performer, Non-Resident Production, Ellen Harvey
  • Outstanding Non-Resident Production
• South Pacific
  • Outstanding Lead Actor, Non-Resident Production, David Pittsinger
  • Outstanding Lead Actress, Non-Resident Production, Carmen Cusack
  • Outstanding Supporting Performer, Non-Resident Production, Jodi Kimura
  • Outstanding Non-Resident Production
• The Lisbon Traviata
  • Outstanding Set Design, Resident Production, Derek McLane
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, John Glover
• Golden Age
  • Outstanding Supporting Performer, Non-Resident Production, Marc Kudisch
  • Outstanding Supporting Performer, Non-Resident Production, Hoon Lee

The Kennedy Center Family Theater

• Snow White, Rose Red (and Fred)
  • The Charles MacArthur Award for Outstanding New Play or Musical, music by Zina Goldrich
  • The Charles MacArthur Award for Outstanding New Play or Musical, book & lyrics by Marcy Heisler
  • Outstanding Ensemble, Resident Musical
  • Outstanding Production, Theatre for Young Audiences
• Knuffle Bunny: A Cautionary Musical
  • The Charles MacArthur Award for Outstanding New Play or Musical, music by Michael Silversher
  • The Charles MacArthur Award for Outstanding New Play or Musical, script & lyrics by Mo Willems
  • The Charles MacArthur Award for Outstanding New Play or Musical, musical arrangements by Deborah Wicks La Puma
  • Outstanding Production, Theatre for Young Audiences

MetroStage

• Glimpses of the Moon
  • Outstanding Supporting Actress, Resident Musical, Lauren ‘Coco’ Cohn

No Rules Theatre Company

• The John Aniello Award for Outstanding Emerging Theatre Company

Olney Theatre Center

• Annie
  • Outstanding Lead Actor, Resident Musical, Bobby Smith
  • Outstanding Lead Actress, Resident Musical, Carrie A. Johnson
  • Outstanding Supporting Actor, Resident Musical, James Konicek
  • Outstanding Supporting Actress, Resident Musical, Jenna Sokolowski
  • Outstanding Resident Musical

The Puppet Co.

• The Nutcracker
  • Outstanding Production, Theatre for Young Audiences

Rep Stage

• Travels With My Aunt
  • Outstanding Director, Resident Play, Kasi Campbell
  • Outstanding Ensemble, Resident Play
• On the Verge or The Geography of Yearning
  • Outstanding Lighting Design, Resident Production, Dan Covey

Shakespeare Theatre Company

• Candide
  • Outstanding Costume Design, Resident Production, Mara Blumenfeld
  • Outstanding Director, Resident Musical, Mary Zimmerman
  • Outstanding Lead Actor, Resident Musical, Geoff Packard
  • Outstanding Lead Actress, Resident Musical, Lauren Molina
  • Outstanding Lighting Design, Resident Production, T.J. Gerckens
  • Outstanding Musical Direction, Resident Production, Doug Peck
  • Outstanding Set Design, Resident Production, Daniel Ostling
  • Outstanding Supporting Actor, Resident Musical, Jesse J. Perez
  • Outstanding Supporting Actor, Resident Musical, Larry Yando
  • Outstanding Supporting Actress, Resident Musical, Hollis Resnik
  • Outstanding Ensemble, Resident Musical
  • Outstanding Resident Musical
• The Liar
  • Outstanding Costume Design, Resident Production, Murell Horton
  • Outstanding Supporting Actor, Resident Play, Adam Green
  • The Charles MacArthur Award for Outstanding New Play or Musical, David Ives
• Avenue Q, The Broadway Musical
  • Outstanding Lead Actor, Non-Resident Production, Brent Michael DiRoma
  • Outstanding Lead Actress, Non-Resident Production, Jaqueline Grabois
  • Outstanding Non-Resident Production
• Mrs. Warren’s Profession
  • Outstanding Set Design, Resident Production, Simon Higlett
• All’s Well That Ends Well
  • Outstanding Supporting Actor, Resident Play, Ted van Griethuysen
  • Outstanding Supporting Actor, Resident Play, Paxton Whitehead
• Richard II
  • Outstanding Supporting Actress, Resident Play, Naomi Jacobson

Signature Theatre

• Chess
  • Outstanding Director, Resident Musical, Eric Schaeffer
  • Outstanding Lead Actress, Resident Musical, Jill Paice
  • Outstanding Supporting Actor, Resident Musical, Jeremy Kushnier
• Sycamore Trees
  • Outstanding Lead Actor, Resident Musical, Marc Kudisch
  • Outstanding Musical Direction, Resident Production, Fred Lassen
  • The Charles MacArthur Award for Outstanding New Play or Musical, book, music & lyrics by Ricky Ian Gordon
  • The Charles MacArthur Award for Outstanding New Play or Musical, book by Nina Mankin
  • Outstanding Ensemble, Resident Musical
• Sunset Boulevard
  • Outstanding Musical Direction, Resident Production, Jon Kalbfleisch
  • Outstanding Supporting Actor, Resident Musical, Ed Dixon
• Sweeney Todd
  • Outstanding Resident Musical

Solas Nua

• Improbable Frequency
  • Outstanding Choreography, Resident Production, Diane Coburn Bruning
• Johnny Meister and the Stitch
  • Outstanding Sound Design, Resident Production, Matt Otto

The Studio Theatre

• Circle Mirror Transformation
  • Outstanding Supporting Actress, Resident Play, MacKenzie Meehan
• Superior Donuts
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Johnny Ramey
  • Outstanding Resident Play
• American Buffalo
  • Outstanding Ensemble, Resident Play

Synetic Theater

• King Arthur
  • Outstanding Choreography, Resident Production, Irina Tsikurishvili
• Othello
  • Outstanding Choreography, Resident Production, Irina Tsikurishvili
  • Outstanding Costume Design, Resident Production, Anastasia Ryurikov Simes
  • Outstanding Director, Resident Play, Paata Tsikurishvili
  • Outstanding Musical Direction, Resident Production, Konstantine Lortkipandze
  • Outstanding Sound Design, Resident Production, Irakli Kavsadze
  • Outstanding Sound Design, Resident Production, Konstantine Lortkipandze
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Philip Fletcher
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Alex Mills
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play
• The Master and Margarita
  • Outstanding Director, Resident Play, Paata Tsikurishvili
  • Outstanding Lighting Design, Resident Production, Colin K. Bills
  • Outstanding Resident Play
• Antony and Cleopatra
  • Outstanding Lighting Design, Resident Production, Colin K. Bills

Theater J

• Mikveh
  • Outstanding Lead Actress, Resident Play, Lise Bruneau
  • Outstanding Lead Actress, Resident Play, Sarah Marshall
• In Darfur
  • Outstanding Lead Actress, Resident Play, Erika Rose
• New Jerusalem: The Interrogation of Baruch De Spinoza
  • Outstanding Supporting Actor, Resident Play, Michael Tolaydo
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Alexander Strain
  • Outstanding Resident Play

Toby’s Dinner Theatre

• Hairspray
  • Outstanding Director, Resident Musical, Toby Orenstein
  • Outstanding Supporting Actress, Resident Musical, MaryLee Adams
  • Outstanding Supporting Actress, Resident Musical, Jesaira Glover
  • Outstanding Ensemble, Resident Musical
  • Outstanding Resident Musical

Woolly Mammoth Theatre Company

• Clybourne Park
  • Outstanding Director, Resident Play, Howard Shalwitz
  • Outstanding Lead Actress, Resident Play, Jennifer Mendenhall
  • Outstanding Supporting Actress, Resident Play, Dawn Ursula
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Mitchell Hébert
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Cody Nickell
  • Outstanding Set Design, Resident Production, James Kronzer
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play
• The Last Cargo Cult
  • Outstanding Non-Resident Production

Fast-paced, dynamic, and grungy (in the most artistic sense of the word), 2nd Stage’s production of Mojo is a rockabilly roller-coaster that engages audiences. Director Christopher Gallu has assembled a solid cast of actors and streamlined his production to bring it rocketing to its exciting conclusion. Aesthetically the production engages all five senses and brings the audience into the scene. This is a must-see show for retro audiences.

Mojo reflects in the microcosm of a London club the worldwide political upheaval of the 1950’s. When the owner of Ezra’s Atlantic club is murdered, his cronies are hurled headlong into a high-stakes intrigue.

The comedy that won Mojo the Olivier Award for Best New Comedy was really downplayed in this production. Everything was played with such serious intensity that it never felt appropriate to laugh at the comedy. This rigidity was evidenced again in the Cockney accents affected by the actors. Almost across the board, the accent followed dialectical “rules” so, rather than a charming Cockney lilt that should roll off the tongue, their words were regimented and harsh.

Dylan Myers (Skinny) stole the show from where I was sitting. He created a caricature of the quintessential oblivious-and-nerdy-accountant-gone-bad and gave a high-energy performance that blew me away.

Scot McKenzie (Mickey) was a very close second. McKenzie expertly drew out his character’s motivations and portrayed them with a virtuoso’s skill. His performance was compelling and convincing, adding depth and quality to the production.

Daniel Eichner (Baby) probably had the hardest part to portray as Baby does not have a clear motivation. Eichner was energetic and entertaining, but his character never solidified in my mind, remaining the suggestion of an impression.

Although Matt Dewberry (Sweets) and Danny Gavigan (Potts) appeared over-rehearsed and rendered their characters somewhat stale, they kept the show moving forward and successfully revealed the back-story to the audience.

Gallu’s production team created a cohesive production that was stunning. The show is done as theater-in-the-round and forces the audience to become silent partakers in the scene. Set decoration was sufficient to evoke a well-inhabited speakeasy, without overwhelming the audience visually. Terrific lighting illuminated the staging area and included a special effect controlled by one of the actors. I was especially impressed by the use of pitch-black transitions and how effectively the actors moved in the darkness.

Mojo had great period costumes — not contrived or haphazard in the slightest. The doo-wop music tastefully selected came alternately from a jukebox and from overhead speakers. Special effects and rigging were all impressive as well. Well done creative team!

Now, it seems necessary to note that Mojo is a dark and gritty show, definitely NOT for younger audiences. It is coarse, crass, violent, and irreverent. There is a lot of language, so more conservative audiences should steer clear of this one.

2ndStage’s Mojo draws its audience into the scene. The high energy that Christopher Gallu requires from his actors and the clear vision he gave to his creative team gives this show a sense of completeness that is often lacking in community theater. If you like loud music and intrigue, this is the show for you.

Photo Gallery

Logan DalBello as Silver Johnny	Daniel Eichner as Baby and Scot McKenzie as Mickey
(l to r) Scot McKenzie as Mickey, Matt Dewberry as Sweets, Dylan Myers as Skinny, and Danny Gavigan (back) as Potts

Photos by Scott Suchman.

Cast

• Silver Johnny: Logan DalBello
• Sweets: Matt Dewberry
• Potts: Danny Gavigan
• Baby: Daniel Eichner
• Skinny: Dylan Myers
• Mickey: Scot McKenzie

Production Staff

• Direction: Christopher Gallu
• Setting: Luciana Stecconi
• Costume: Frank Labovitz
• Lighting: John Burkland
• Sound: Brenden Vierra
• Fight/Dance Choreography: Joe Isenberg
• Dialects: Elizabeth van den Berg
• Rigging: Lewis Shaw
• Stage Management: Marley Monk
• Floor Management: Patrick Magill
• Light Board Operation: Sarah Mackowski

Disclaimer: The Studio Theatre provided two complimentary media tickets to ShowBizRadio for this review.