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Quarterly Report — Philadelphia Theater Critic’s Awards for 2014

Every January, I confer my personal honors to the theaters, actors, and directors who have worked so creatively to entertain me and, I hope, thousands of others during a year.

The awards, which I call the Philadelphia Theater Critic’s Award, aren’t decided in a flurry of last minute activity. I’m far too anal for that. Each show is listed in a diary and ranked as it is seen. So far in 2014, since the Philly Award, goes against the grain and is judged within a calendar year rather than a theater season, 45 shows have been in the region between New Brunswick, N.J. and Wilmington, Delaware. Today is the perfect day to look at the year so far because the Philadelphia theater season is in a brief pause before new spates of production open on March 26 and April 2. I’m taking this time to submit a quarterly report. This is a list of all the people and productions seen in 2014 that are, so far, eligible to be considered for a Philadelphia Theater Critic’s Award. Not surprisingly, you will be a much longer list for supporting actors and actresses than for leads.

Potential nominees in the various categories are listed alphabetically.  The season by the way, is so far, so good. Of the 45 shows seen, I’d judge 38 of them to be worthy of a visit from a theatergoer. Even two of the remaining seven have something to recommend them.

This report will be augmented in June and September. Each report will demonstrate how much talent there is in the Philadelphia region and why Philadelphia ranks with any area in the world as a solid, exciting theater town.

BEST PRODUCTION

Hotel Suite -- interiorAccomplice, Ainadamar, An Evening Without the Catskills, Arsenic and Old Lace, Ballroom with  Twist 2, Beautiful Boy, Book of Days, Cherokee, Circle Mirror Transformation, Cirkopolis, Cyrano de Bergerac (Concert Operetta Theater), Dancing at Lughnasa, Dialogues of the Carmelites, The Diary of Anne Frank, Driving Miss Daisy, The Exonerated, Fences, Ghosts, Hinckley, Hotel Suite, Julius Caesar, Laughter on the 23rd Floor, Let’s Pretend We’re Famous, Macbeth (Temple), Madeleine, The Mystery of Irma Vep, Ondine, Other Desert Cities, The Phantom of the Opera, The Pillowman, Porgy and Bess, Pride and Prejudice (People’s Light),  The School for Lies, Side Show, Skin & Bone, The Suit, Tribes, True West, Tuesdays with Morrie, Vanities, Water by the Spoonful, We Will Rock You, Why Do Fools Fall in Love?

BEST ACTOR

Armando Batista for “Water by the Spoonful,” Tony Braithwaite for “Hotel Suite” and “Let’s Pretend We’re Famous,” Andrew Carroll for “Ondine,” Brian Ming Chu for “Cyrano de Bergerac,” Jeffrey Coon for “Beautiful Boy” and “Side Show,” Brian Justin Crum for “We Will Rock You,” Paul Dake for “The Diary of Anne Frank, Robert DaPonte for “The Pillowman,” Charlie DelMarcelle for “Macbeth,” Richert Easley for “Tuesdays with Morrie,” David Edwards for “Laughter on the 23rd Floor,” Cooper Grodin for “The Phantom of the Opera,” Joel Guerrero for “The Mystery of Irma Vep,” Johnnie Hobbs, Jr. for “Driving Miss Daisy,” David Ingram for “Cherokee,” Ben Jacoby for “The Phantom of the Opera,” Kevin Jackson for “Cherokee,” Ivanno Jeremiah for “The Suit,” Jeb Kreager for “True West,” Mark LeVasseur  for “Pride and Prejudice,”  Brian Osborne for “True West,” Esau Pritchett for “Fences,” Seth Thomas Schmitt-Hall for “The School for Lies,” Sam Sherburne for “Hinckley,” Carl N. Smith for “The Mystery of Irma Vep,” Nathaniel Stampley for “Porgy and Bess,” Greg Wood for “Other Desert Cities,”  John Zak for “The Pillowman”

BEST ACTRESS

Annie Frank homeKrista Apple for “Other Desert Cities,” Ama Bollinger for “Ondine,” Victoria Rose Bonito for “The School for Lies,” Rachel Camp for “Side Show,” Jennifer Childs for “Let’s Pretend We’re Famous,” Alicia Hall-Moran for “Porgy and Bess,” Alex Keiper for “Side Show,” Nonhlanhla Kheswa for “The Suit,” Anastasia Korbal for “The Diary of Anne Frank,” Jessica Lennick for “Madeleine,” Ruby Lewis for “We Will Rock You,” Mary Martello for “Arsenic and Old Lace,” Drucie McDaniel for “Skin & Bone,” Maria Hinojosa Montenegro for “Ainadamar,” Emily-Grace Murray for “Book of Days,” Marina Pardo for “Ainadamar,” Kathryn Petersen for “Ghosts,” Portia for “Fences,” Jane Ridley for “Arsenic and Old Lace,” Evelyn Rossow for “Cyrano de Bergerac,” Wendy Scharfman for “Driving Miss Daisy,” Rachel Sterrenberg for “Dialogues of the Carmelites,” Maureen Tiersney-Weir for “Skin & Bone,” Julia Udine for “The Phantom of the Opera,” Leah Walton for “Macbeth,” Susan Wilder for “Other Desert Cities,” and Julianna Zinkel for “Pride and Prejudice”

BEST SUPPORTING ACTOR

Rajeer Alford for “Side Show,” Jordan Barbour for “The Suit,” David Bardeen for “Circle Mirror Transformation,” Kevin Bergen for “Water  by the Spoonful,” Mitchell Bloom for “The School for Lies,” Kenneth Boys for “Laughter on the 23rd Floor,” Phillip Brown for “Beautiful Boy,” Tad Cooley for “Tribes,” Alvin Crawford for “Porgy and Bess,” Robert DaPonte for “Pride and Prejudice,” Peter DeLaurier for “Ghosts ,” Ben Dibble for “Arsenic and Old Lace,” David DiLiberto for “Book of Days,” Tim Dugan for “Macbeth,” ” Brendan Maxwell Farrell for “The School for Lies,” Chris Fluck for “The Pillowman,”  Laurent Giroux for “Arsenic and Old Lace,” Bruce Graham for “Laughter on the 23rd Floor,”  P.J. Griffith for “We Will Rock You,” Leonard C. Haas for “Hotel Suite,” Jonas Hacker for “Cyrano de Bergerac,” Roy Hage for “Dialogues of the Carmelites,” Austy Hicks for “The Diary of Anne Frank,” Alex Hoeffler for “Tribes,” Jim Hogan for “Side Show,”  Nathan Holt for “Skin & Bone,” David Ingram for “An Evening Without the Catskills,” Thomas-Robert Irvin for “Book of Days,” Robert Jason Jackson for “Macbeth,” John Judd for “Tribes,” Leonard Kelly for “Dancing at Lughnasa,” James Kern for “Macbeth,” Ryan Knowles for “We Will Rock You,” Scott Langdon for “The Diary of Anne Frank,” Anthony Lawton for “The Exonerated,” Kingsley Leggs for “Porgy and Bess,” Ian Lithgow for “The Pillowman,” Benjamin Lloyd for “Laughter on the 23rd Floor,” Jamez McCorkle for “Dialogues of the Carmelites,” Phil McGlaston for “Fences,” Jered McLenigan for “Juilus Caesar,” Jared McNeill for “Fences,” Chris Meyers for “Fences,” Chris Monaco for “The School for Lies,” P. Brendan Mulvey for “The Diary of Anne Frank,” Dan Olmstead for “Arsenic and Old Lace,”  Jarrett Ott for “Dialogues of the Carmelites,” Jerry Puma for “Ondine,” Kalani Queypo for “Cherokee,” G. Alverez Reed for “Fences,”  David A. Richman for “Book of Days,” Matteo Scammell for “Other Desert Cities,” Eric Scotolati for “Dancing at Lughnasa,”Tom Shotkin for “An Evening Without the Catskills,” Harry Smith for “Pride and Prejudice,” Tom Teti for “Pride and Prejudice,” Danny Vaccaro for “Tuesdays with Morrie,”  Bill Van Horn for “Driving Miss Daisy,” Frank Viveros for “The Phantom of the Opera,” Carl Wallnau for “Laughter on the 23rd Floor,” Bob Weick for “Circle Mirror Transformation,” Russ Widdall for “Hinckley,” Brian Anthony Wilson for “Water by the Spoonful,” Jared Zirilli for “We Will Rock You”

BEST SUPPORTING ACTRESS

Robin Abramson for “Tribes,” Jacqueline B. Arnold for “We Will Rock You,” Karina Arroyave for “Water by the Spoonful,” Trice Baldwin for “Dancing at Lughnasa,” Linda Balgord for “The Phantom of the Opera,” Megan Bellwoar for “The Exonerated,” Carla Belver for “Beautiful Boy,” Elena Bossler for “Beautiful Boy,” Nancy Boykin for “Circle Mirror Transformation,” Tina Brock for “Ondine,” Meghan Cary for “Hinckley,” Kim Carson for “Circle Mirror Transformation,” Jennifer Childs for “An Evening Without the Catskills,” Ann Crumb for “Other Desert Cities,” Maia DeSanti for “Water by the Spoonful,” Jennie Eisenhower for “Arsenic and Old Lace,” Ashley Everage for “Cherokee,” Anna Flynn-Meketon for “Macbeth,” Jacquelynne Fontaine for “The Phantom of the Opera,” Sarah J. Gafgen for “Vanities,” Aetna Gallagher for “Dancing at Lughnasa,” Karen Getz for “An Evening Without the Catskills,” Susan Giddings for “Ondine,” Danielle Lee Greaves for “Porgy and Bess,” Tracie Higgins for “Hotel Suite,” Colleen Hughes for “Dancing at Lughnasa,” E. Ashley Izard for “True West,” Amanda Kearns in “Tribes,” Laurie Klatscher for “Tribes,” Emilie Krause in “Circle Mirror Transformation,” Jazimina MacNeil for “Dialogues of the Carmelites,” Megan McDermott for “Laughter on the 23rd Floor,” Susan McKey for “Pride and Prejudice,” Bi Jean Ngo for “Water by the Spoonful,” Karen Peakes for “Hotel Suite,” Alicia Roper for “Beautiful Boy,”  Shir Rozzen for “Dialogues of the Carmelites,” Marcia Saunders for “Pride and Prejudice” and “Cherokee,” Amanda Schoonover for “Skin & Bone,” Sarah Shafer for “Dialogues of the Carmelites” and “Ainadamar,” Isa St. Clair for “Dancing at Lughnasa,” Heather Stebbins for “Dialogues of the Carmelites,” Jennifer Summerfield for “Dancing at Lughnasa,” Meghan Winch for “The School for Lies”

BEST DIRECTOR

Charles Abbott for “Arsenic and Old Lace,” Susan D. Atkinson for “Tuesdays with Morrie,” Keith Baker for “Laughter on the 23rd Floor,” Samantha Bellomo for “Pride and Prejudice,” Peter Brook for “The Suit,” Gregory Scott Campbell for “The Pillowman,” Stuart Carden for “Tribes,” Gay Carducci for “Dancing at Lughnasa,” Jesse Cline for “The Diary of Anne Frank,” Laurence Connor for “The Phantom of the Opera,” Aaron Cromie for “Ondine,” Matthew Decker for “Circle Mirror Transformation,” Ben Elton for “We Will Rock You,” Jordan Fein for “Dialogues of the Carmelties,” Amy Feinberg for “Hinckley,” Kate Galvin for “Other Desert Cities,” Bernard Havard for “Driving Miss Daisy,” Allison Heishman for “Skin & Bone,” Dan Kern for “Macbeth,” Kathryn MacMillan for “The School For Lies,” Michael Philip O’Brien for “Side Show,” Diane Paulus for “Porgy and Bess,” Matt Pfeiffer for “True West,” Phylicia Rashad for “Fences,” Jared Reed for “The Mystery of Irma Vep,” Matt Silva for “Hotel Suite,” David Stradley for “Beautiful Boy,” Heather Timberman for “Book of Days,”  Louis van Amstel for “Ballroom with a Twist 2”

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