Category Archives: Events


Adam Gopnik of the New Yorker wrote that Donald Trump’s need to be comforted by Broadway music “degrades both the office of the Presidency and a great American institution”

(Rachel Hagan’s article appeared in the Mirror, 6/29 via the Drudge Report.)

Donald Trump’s staff would play the song Memory from the Broadway musical Cats to soothe the former US President when he was stressed, it has been revealed.

Stephanie Grisham, who served as his White House press secretary and communications director and as Melania Trump ’s chief of staff, said on Tuesday that former US President Trump’s temper was “scary”.

She continued: “He’d snap and almost lose control.”

Grisham recently published a tell-all book and noted that when Trump descended into turmoil, his staff resorted to summoning an aide, nicknamed the “Music Man”, to play songs from musicals they knew would soothe him, namely Memory from the Broadway musical Cats.

Her remarks came as a result of ex-aide, Cassidy Hutchinson speaking in staggering detail to the House select committee hearing on Tuesday about Trump’s character.

She portrayed an unhinged leader who often veered wildly out of control.

The committee were investigating the January 6 attacks on Capitol Hill but Trump’s character was also destroyed during the hearing.

The New York Times reported that in Grisham’s memoir, I’ll Take Your Questions Now: What I Saw in the Trump White House, “Mr Trump’s handlers designated an unnamed White House official known as the ‘Music Man’ to play him his favourite show tunes, including ‘Memory’ from Cats, to pull him from the brink of rage”.

The paper identified the “Music Man” as Max Miller.

Miller is a former boyfriend of Grisham who was also a Trump aide and now a Republican candidate for Congress in Ohio.

Adam Gopnik of the New Yorker wrote that Trump’s need to be comforted by Broadway music “degrades both the office of the Presidency and a great American institution”.

Betty Buckley, the award-winning actress who plays Grizabella in Cats and sings Memory, told CNN‘s Jim Acosta that his desire to have the song plated indicates that Trump’s soul is “so damaged.”

She thinks Trump’s soul is so damaged and she feels that the lyrics by Trevor Nunn, and the music by Andrew Lloyd Webber, “resonates with what remains of the window into whatever soul he might actually have”.

She said Grizabella is a character that is about longing, the need to be touched and the need to connect.

(Read more)


(Lyndsey Winship’s article appeared in the Guardian, 6/26; via Pam Green.)

Due to open in Stratford next year, the sibling to the Islington institution will have a special emphasis on local talent, hip-hop and artists of colour

The sun is beaming across London’s Queen Elizabeth Olympic Park. Next to West Ham’s London Stadium is the tangled red steel of the Orbit; nearby, a line of swan pedalos wait to be paddled up the River Lea. There are cranes everywhere, busy building. This is the view from the top-floor studios of a new theatre for dance, Sadler’s Wells East, a sister venue to the original Sadler’s Wells in Islington.

The O’Donnell + Tuomey-designed building has just celebrated its “topping out”, the completion of its concrete structure. It’s a significant milestone for Sadler’s Wells’ artistic director Sir Alistair Spalding, the wry, affable, recently knighted 64-year-old who is a driving force in UK dance. “This has been my mission all the time at Sadler’s Wells, to really put dance at the centre of cultural life in London,” he says. This new theatre is definitely in the cultural thick of things: due to open in November 2023, it is part of the £1.1bn East Bank project that includes a branch of the V&A, BBC studios and a vast new home for the London College of Fashion.

While on the current building site you can’t yet see the rusty-red Italian brick facade, the sawtooth roof or theatrically inspired lighting by designer Aideen Malone; even so, you can see its great potential. A huge, L-shaped foyer hugs the corner of the building across the bridge from Zaha Hadid’s curvaceous Aquatics centre, full-height windows inviting people in. There’ll be a movable stage for local dance companies to perform on, a bar and cafe. Spalding calls it “a people’s theatre”. “It’s not just about the art, it’s about who sees it,” he says, hoping that will include lots of people who haven’t yet discovered their love for dance. Young local people are already being invited to take part in workshops this summer to find dancers for the theatre’s opening show, Vicki Igbokwe’s Our Mighty Groove, about the power of the dancefloor.

Back in 2013, Spalding announced his desire to build a mid-scale venue and various developers got in touch, usually with offers to build a residential block with a theatre underground. The East Bank proposal offered much more, though; still, it’s had a few wobbles along the way, such as when it was realised that the residential towers that would have part-financed the site were going to interrupt a protected view of St Paul’s Cathedral from Richmond Hill on the opposite side of London. “That was nearly the end,” says Spalding. Then there was Covid, which delayed building work by about a year. And Brexit, with its resulting price increases for materials. Although the real Brexit impact is felt inside the theatre, where a new layer of admin and visas for touring shows means more costs and staff – the opposite of cutting red tape – plus switching to a European haulage firm because of cabotage laws. “If this soft power thing is going to work, you have to make it easy for people to travel around the world,” says Spalding

(Read more)


(Catherine Bennett’s article appeared in the Observer, 6/19;via Pam Green.)

One irritating theatre reviewer shouldn’t hide the fact that too many writers pull punches

Legally Blonde at Regent’s Park Open Air theatre. The Observer reviewer gave it four stars: “Everything is as popping and pink as bubblegum.” 

Remaining evening performances of Legally Blonde, showing at the Regent’s Park Open Air theatre, are, at the time of writing, sold out. While terrific for the production, this does limit opportunities for theatregoers hoping to demonstrate support for a show whose cast has been collectively body-shamed by a leading critic: “The stage’s superstructure wobbles under the weight of the company’s loosely choreographed gyrations.”

The production opened to generally approving notices, with the Observer’s Susannah Clapp giving it four stars: “Everything is as popping and pink as bubblegum.” But the theatre, stung by “the insensitive language of one review”, issued this warning: “We expect that everyone comments with respect and sensitivity and those who decide not to will no longer be invited back to our theatre.”

At the Tony awards last week, where she won two awards as co-creator of the hugely successful Six, Lucy Moss, Legally Blonde’s director, was emphatic: the review had been “unacceptable”.

The offending piece is taken to be that, entitled “Not so Pretty in Pink”, by the Sunday Times theatre critic, Quentin Letts, a veteran of various scraps with understandably offended theatres. In 2018, the RSC said his suggestion that a highly regarded actor had been cast because he was black amounted to “a blatantly racist attitude”.

While he had a range of reservations about Legally Blonde, Letts seemed especially unimpressed by the cast’s appearance, citing the “fuller-bodied, nonbinary actors”. So much so that it’s not clear that any line-up, binary-wise, would have been acceptable unless it fulfilled his body-mass requirements. “Fellow fatties of the world,” he wrote, “first we take Harvard, then we take Brenda Hale’s old seat on the Supreme Court.”

The name-calling could hardly be better calculated to arouse sympathy for the indignant theatres

Though it may be little consolation for the Regent’s Park performers, they have not been singled out for denigration, not even on the basis that Letts dislikes the look of them. Actually, they’re in fantastic company. Some years ago, the critic defended, with yet more elaborate insults, those dismissing a young opera singer as inadequately enticing in Der Rosenkavalier. The “roly poly” young singer had, Letts said, “the figure and face of a goodish pork pie” and looked “as though she has been at the biscuit barrel”. For critics not to feel similarly disinhibited in their responses would, he said, be for them to fall victim to “Leveson-style censorship”. You gathered that anyone interested in free speech should defend to the death, even if they recoil from fat-shaming, this defiant critic’s right to disqualify performers for being too big or too black or too old or for repeatedly speaking in what Letts calls “whining Scottish accents”.

In reality, the name-calling could hardly be better calculated to arouse sympathy, even among habitual respecters of creative freedom, for the indignant theatres. Even if, as is often stressed by advocates of review-resilience, Byron was mean to Keats, unkind reviewers were once challenged to duels, Henry James survived being booed and, more recently, Kenneth Tynan was always skewering actors. For one thing, if the ghastly Tynan was likewise threatened with bans it was also recognised that he loved the theatre. And if “fatties” are still eligible for the pillory, Equity’s view that reviewers are in need of its educational guidelines – especially on race, but also on writing in general “with sensitivity, empathy and understanding” – looks momentarily less condescending.

Except that when you look at the other reviews for Legally Blonde, or indeed reviews for almost any current theatre, to warn all critics about their delinquent insensitivity seems about as reasonable as threatening a whole class with detention when only one kid was texting. If anything, many reviewers’ reluctance to trash all but the direst productions, a tendency factored in by cautious theatregoers, has only deepened, post-pandemic, into what sometimes comes across as limitless tenderness towards a convalescing child. And if it’s sometimes unclear, reading between the lines, whether a play goes on so long as to be utterly unendurable, or won all its stars (“moments of brilliance!”) for effort, or is only likeable if you like that sort of thing, many customers probably still share the reviewer’s relief that the theatre is back at all.

Commentary on social media can be instructive here, just as it is in modifying the conclusions of ungenerous critics. “Still grinning from ear to ear from the utter joy” (along with the now redundant advice “get tickets”) seems reasonably typical of the Legally Blonde reviews from paying customers.

(Read more)


(Benjamin Lee’s article appeared in the Guardian, 6/22.)

The award-winning writer, whose hit musical originally opened on Broadway in the late 60s, died in New York City of cardiorespiratory arrest

James Rado, the award-winning co-creator of Hair, has died at the age of 90.

The writer, whose hit musical launched songs such as Aquarius and Let the Sunshine In, died peacefully in New York City surrounded by family. The cause of death was cardiorespiratory arrest, as confirmed by longtime friend, publicist Merle Frimark. 

How we made Hair

Rado wrote the book and music for Hair along with the late Gerome Ragni. His career originally started as an actor, including the lead in the 1966 James Goldman play The Lion in Winter starring Rosemary Harris and Christopher Walken and in Mike Nichols’ production of The Knack.

During the 60s, Rado and Ragni were also writing Hair, a rock musical about hippie counterculture and the sexual revolution of the 60s. After a brief off-Broadway run, it hit Broadway in 1968 and ran for 1,750 performances.


“There was a wonderful warmth in the hippie atmosphere, a sense of freedom,” Rado said about the culture in a 2008 interview. “Men would just come up to you and take you in their arms, and it was so freeing and felt so good. It’s a psychological truth that had been so blocked from human behavior.”

(Read more)


(from France24, 6/17.)

In this edition we focus on France’s foremost playwright. Molière’s witticisms and deft handling of the French language still dazzle, four centuries after he was born. To celebrate the author’s link to the court of Louis XIV, the town of Versailles has been hosting a month of special events and performances for 26 years. Olivia Salazar-Winspear, Gerôme Vassilacos and Loïc Chalavon head to Versailles to meet the young troupe breathing new life into Molière’s plays.

We also get a glimpse of the renovations of the apartments of Louis XV’s favourite mistress, as Madame du Barry’s lodgings are restored to their former gilded glory.


(Jennifer Schuessler’s article appeared in The New York Times, 6/15; via Pam Green.) 

In 2019, Will Arbery scored

Arbery, a Pulitzer finalist in 2020, is back with a play inspired by his relationship with his sister. But don’t call it an “issue” play.

In 2019, Will Arbery scored an unlikely hit with “Heroes of the Fourth Turning,” his darkly comic, boundary-pushing play about young Catholic conservatives debating God, love, friendship and Donald Trump at a late-night party in a Wyoming backyard. A finalist for the 2020 Pulitzer Prize, it won praise both from the heavily liberal New York theater world and from traditionalist Christians who often feel caricatured by it, if they are depicted at all.

“Heroes” was a play that, for all the idiosyncrasies of its characters, was hailed as being very much About Something. But on a recent morning, Arbery, 32, was sitting outside a cafe near his apartment in Brooklyn, alternately wrestling with and resisting the question of just what his new play, “Corsicana,” was about.

Most simply, “Corsicana,” which runs until July 10 at Playwrights Horizons, is about four people in that small city in Texas, including a young woman with Down syndrome, her aspiring filmmaker brother and a reclusive self-taught artist who comes into their orbit. Inspired by Arbery’s relationship with his older sister Julia, it’s the rare play to feature both a lead character — and a lead actor — with Down syndrome.

But it’s also, Arbery said, a play that “very stubbornly defies about-ness.”

(Read more)


(Rory Carroll’s article appeared in the Guardian, 6/16/22; Photo: James Joyce in Zurich in 1915. Photograph: Granger Historical Picture Archive/Alamy.)

1933 trial that vindicated ‘pornographic’ James Joyce novel made into play to be staged in Dublin

It was a seminal literary trial in which a book itself – not its author or publisher – was the defendant.

The United States v One Book Called Ulysses, as the case was termed, put James Joyce’s masterpiece, which had been banned for obscenity, on trial in a New York courtroom in 1933. The landmark ruling in favour of Ulysses resounded across the world and helped lift bans in other jurisdictions, including the UK.

The victory for freedom of speech eventually faded into history, a dusty footnote, but now it has been turned into a play that will be performed in Dublin to mark the centenary of the publication of Ulysses.

“A history play is never about history it’s always about today, and this seemed a good time to be talking about cancellation and censorship,” said the author, Colin Murphy. “I like stories that can flip how we think about things today.”

The performance of The United States v Ulysses at the Pavilion theatre in Dún Laoghaire will be one of dozens of events on Thursday to celebrate Bloomsday, named after Leopold Bloom, the hero of Joyce’s novel, which recounts his wanderings around Dublin on a single day, 16 June 1904.

The annual celebration – a mix of tours, readings, concerts, screenings, reenactments and tributes – has additional resonance this year as it marks a century since the book’s publication in 1922, a keystone for modern literature.

The Museum of Literature Ireland – its acronym MoLI is an homage to Bloom’s fictional wife Molly – collaborated with 35 Irish embassies and consulates to make a short film, titled Hold to the Now, that mixes scholars and actors, including Stephen Fry. It will premiere on YouTube on Thursday morning.

The day will also mark the first public staged performance of Murphy’s play, which draws on case files, other historical material, and Set at Random, a novel by Declan Dunne about the trial.

“I thought I knew the Joyce story but this had completely passed me by,” said Murphy. “For us Joyce is an Irish story so it was surprising to find this American leg, and this leg is crucial. The verdict creates the possibility of Joyce as a part of mass popular culture.”

(Read more)




(via Scott Klein, Ken Sherman & Associates; Photos: Kyiv City Ballet.)

The Kyiv City Ballet (, under the artistic direction of Ivan Kozlov, announced today a U.S tour from September 16 to October 24, 2022. The Fall tour is a US premiere and marks the Kyiv City Ballet’s first United States performances ever. 


The day before Ukraine was invaded in February, The Kyiv City Ballet unknowingly took one of the last flights out of Kyiv. The company flew to Paris to begin a long planned tour. They have not returned home. The country of France sheltered them and the company has been performing throughout France, and now Europe, since the invasion began.


The US tour will include a full-length Swan Lake (choreography by Marius Petipa, Lev Ivanov and Ivan Kozlov), and a second mixed repertory program of three ballets: Thoughts (choreography by Vladyslav Dobshynskyi) a contemporary ballet, Tribute to Peace (choreography by Ekaterina and Ivan Kozlov) a neo-classical work, and Men of Kyiv (choreography by Pavlo Virskya Ukranian folk dance.

“We are honored to share the beauty of ballet with US audiences, through Ukranian artists” said Ivan Kozlov, Artistic Director. “Touring the States for the first time with a range of ballets makes an important global statement. It demonstrates the resilience of the Ukrainian people.”


The Kyiv City Ballet’s mission is to bring joy to audiences through ballet by bringing exemplary artists to theatres around the world. In the past decade, the company has successfully toured throughout dozens of countries on four continents.


Two of Ukraine’s prima ballerinas: Krystina Kadashevych and Oksana Bondarenko will perform with the company on their US tour. The company’s principal dancer is Vsevolod Maevskiy, a former soloist of the Mariinsky Ballet and Kozlov’s former student.


“We are humbled that Rhizome has been asked to produce and strategically support the Kyiv City Ballet on their very first tour to the United States,” said producer Kristopher McDowell. “That major cultural arts centers across the country are coming together to open their doors and their hearts is extraordinary. It is very clear this company and their artistry will have great appeal to non-dance and dance audiences alike.”


Additional tour dates will be announced over the summer. The Kyiv City Ballet’s confirmed 2022 US tour schedule is as follows:




Kyiv City Ballet

The Kyiv City Ballet was founded in 2012 by the current Artistic Director Ivan Kozlov. Their mission is to bring joy to audiences through ballet. They strive to bring exemplary artists to theatres around the World. In the past decade, they have successfully worked together with various partners and toured throughout dozens of countries and 4 continents. Their classical ballets include: “Swan Lake”, “Sleeping Beauty”, “The Nutcracker”, “Scheherazade”, “Giselle”, “Chopiniana”, “Romeo and Juliet”, “Don Quixote”, “Gala Tchaikovsky”, “Funny Concert” “Strauss Evening”, “Carmen Suite”. Ballets for young spectators and their families: “Cinderella”, “Snow White and the Seven Dwarfs”, “Aibolit and Barmalei”,”Coppelia” as well as “Thoughts,” “Men of Kyiv,” and “Tribute to Peace.”


Ivan Kozlov (Artistic Director)

Ex-Premier of the National Opera of Ukraine, The St. Petersburg Eifman Ballet, IBT (Internationale Ballet Theater), and the Mariinsky Theater; the choreographer and teacher Ivan Anatolievich Kozlov was born on 13 December 1982. In 2000, after graduating from the KGHU (Kiyv State Choreographic School), under the tutelage of the Honored Artist of Ukraine, Vladimir Denisenko, Ivan Kozlov was invited to join the ballet troupe of the National Opera of Ukraine, and simultaneously to the world- famous troupe of Boris Eifman in St. Petersburg. He worked as an artist in both troupes. During his work in the theater of B. Eifman, Ivan performed the leading parts in the following repertoire: “Red Giselle”, “Don Quixote”, “Russian Hamlet”, “Anna Karenina”, and “The Brothers Karamazov”. In the troupe of the National Opera of Ukraine, he performed the leading parts in the ballets Swan Lake, Giselle, Spartacus, Don Quixote, Viennese Waltz, and many others. Ivan Kozlov worked under contract as a leading soloist of the “Internationale Ballet Theater” in the United States. From 2007 to 2010, he was the premier of the ballet troupe of the Mariinsky Theater, where he performed the leading parts in nearly the entire repertoire of the theater, as well as in numerous concert numbers. Ivan is a laureate of many ballet competitions, including the Serge Lifar International Competition (2002, silver medal) and the X Moscow International Competition (2005, silver medal). Among the teachers of Ivan Kozlov are some of the most outstanding dancers of the 20th century: People’s Artist of the USSR, Irina Kolpakova, People’s Artist of the USSR Vladlilen Semenov, People’s Artist of the RSFSR, Sergei Berezhnoi, Premier of the Mariinsky Theater, Eldar Aliyev, and Honored Artist of Ukraine, Anatoly Kozlov. Since 2014, Ivan Kozlov has been the executive of the theater, “Kiev City Ballet” with which he has successfully toured Europe and the world.


Rhizome Consulting LLC (producer)

Rhizome formed in 2020 by combining the resources of KMP Artists, Sheffield Global Arts Management, and the firm’s strategic partner Ping Pong Productions. The firm provides customized strategies and innovative approaches for arts organizations globally. It works with cultural organizations and artists to innovate from a business perspective. Current Rhizome Consulting clients; include: The Scottish Ballet*; West Australian Ballet*; Beijing Dance Theater*; Charlotte Ballet*: Pittsburgh Ballet Theatre*; Chicago Children’s Theatre*; Cleo Parker Robinson Dance Ensemble*, Henning Rübsam*; Dallas Black Dance Theatre, Dancing Wheels Company*; MUMMENSCHANZ*; PHILADANCO!; Pioneer Winter Collective; Renegade Performance Group; VIVER BRASIL; Helen Pickett*; Yuanyuan Wang*; Kevin Lee-Y Green; Jody Oberfedler; Pioneer Winter; Vera Passos and André M. Zachery. Rhizome helped launch Artists Connectivity, a digital network and education program that connects over 3,000 professional artists. Artists Connectivity stimulates international collaborations between artists from 22 countries.


*Companies and Creatives available by arrangement with KMP Artists.



(Sara Keating’s article appeared in the Irish Times, 6/12; Photo: Best actress: Bríd Ní Neachtain won for her role in Happy Days. Photograph: Andrew Downes/Xposure.)

Six months ago Ireland’s theatre world was in lockdown. Tonight felt like a big win for the entire creative community

It felt like a big win for the entire theatre community at the 23rd Irish Times Theatre Awards ceremony on Sunday at the Irish Museum of Modern Art, in Dublin. Six months ago, venues, artists and producers across the country were still in lockdown, wondering when the live-performance sector might return to normality.

On paper, the artists shortlisted in the 15 categories, for productions staged in 2020-21, may have looked like competitors. Who was the better actor: Domhnall Gleeson playing a psychologically unstable patient in Enda Walsh’s Medicine or Matthew Malone playing an HIV-positive man in his dying days in Phillip McMahon’s Once Before I Go? But in the courtyard of the Royal Hospital Kilmainham the rivals came together as colleagues.

It seemed especially fitting, then, that the judges’ special award was presented to the National Campaign for the Arts for its “exceptional dedication to advocacy and political engagement on behalf of the arts, particularly during Covid”, an award that recognised the collective endeavour involved in keeping the lamps lit during a period when creating live performance was almost impossible.

In the end, neither Gleeson nor Malone was triumphant in the best-actor category, although Helen Atkinson, Teho Teardo and Seán Carpio won the best-soundscape award for their support of Gleeson, and Katie Davenport won best costume for dressing Malone, who was gloriously clad in celestial wings for his final scene in the Gate Theatre production. (Davenport’s costuming for Michael Gallen’s opera Elsewhere was also recognised in the award.) Instead the honour for best actor went to Stanley Townsend for his performance as Marcus Conway, the middle-aged protagonist of Solar Bones, adapted from the Mike McCormack novel by Michael West.

Solar Bones also saw Lynne Parker named best director; the Rough Magic Theatre production premiered at the Watergate Theatre as part of the Kilkenny Arts Festival in August 2020, marking the reopening of theatres after the first lockdown; the play’s themes of isolation, grief and anxiety chimed uncannily with Covid times.

The best-actress award went to Bríd Ní Neachtain for Laethanta Sona, the first Irish-language production of Samuel Beckett’s Happy Days, which was performed in the extreme environment of Inis Oírr last August as part of Galway International Arts Festival. Buried up to her waist and then her neck in the inhospitable landscape, it was a performance of physical endurance and a psychological challenge.

A big winner tonight was a sleeper hit of Galway International Arts Festival: Volcano, created by Luke Murphy’s Attic Projects, won four of the seven categories in which it was nominated, including best movement for Murphy and best lighting design for Stephen Dodd (who was also commended for his work on the Abbey Theatre’s production of The Long Christmas Dinner). Alyson Cummins and Pai Rathaya won best set for their claustrophobic reconstruction of Nun’s Island Theatre, in which audience members sat alone in booths to watch Murphy and Will Thompson perform a disturbing but life-affirming postapocalyptic tale that unfolded in four instalments over four nights. With any luck, a bigger audience will get the opportunity to see the remarkable work—which took the best-production honour—in the future.

As theatre artists reminded us as they advocated for each other over the past two years, the essence of theatre is its liveness, its ephemerality, its unrepeatable nature. Perhaps the most felicitous honour, then, was the award of the special-tribute prize to the photographer Ros Kavanagh, who has played a key role in preserving the artistic process and output of hundreds of theatre artists over the past two decades, including much of the work being celebrated at the awards. Selina Cartmell, director of the Gate Theatre, called Kavanagh a key collaborator who has a rare ability to “make you understand your role as a director”; the choreographer David Bolger highlighted the beauty of an archive of images that “will last forever when the show is gone”.

The Irish Times Irish Theatre Awards 2020/21: The winners

Best actor

Stanley Townsend, Solar Bones (Kilkenny Arts Festival in partnership with Rough Magic in association with Watergate Theatre)

Best actress

Bríd Ní Neachtain, Laethanta Sona, (Company SJ and Abbey Theatre in association with Dublin Theatre Festival and Galway International Arts Festival)

Supporting actor

Bosco Hogan, One Good Turn (The Abbey Theatre) and The Enemy Within (An Grianán Theatre)

Supporting actress

Bláithín Mac Gabhann, The Seagull After Chekhov (Druid) and Our New Girl (The Gate Theatre)

Best director

Lynne Parker, Solar Bones (Kilkenny Arts Festival in partnership with Rough Magic in association with Watergate Theatre)

Best set

Alyson Cummins and Pai Rathaya, Volcano (Luke Murphy’s Attic Projects)

Best costume

Katie Davenport, Once Before I Go (The Gate Theatre) and Elsewhere (Straymaker and the Abbey Theatre in association with Miroirs Étendus and Once Off Productions)

Best lighting

Stephen Dodd, Volcano (Luke Murphy’s Attic Projects) and The Long Christmas Dinner (Abbey Theatre)

Best soundscape

Helen Atkinson, Teho Teardo and Seán Carpio, Medicine (Landmark Productions and Galway International Arts Festival)

Best movement

Luke Murphy, Volcano (Luke Murphy’s Attic Projects)

Best ensemble

Mojo Mickeybo (Bruiser Theatre Company)

Best production

Volcano (Luke Murphy’s Attic Projects)

Best new play

Mark O’Halloran, Conversations After Sex (thisispopbaby)

(Read more)





(from The New York Times, 6/12, compiled by Rachel Sherman; Photo:  Ben Power accepting the Tony for best new play for “The Lehman Trilogy.”Credit…Sara Krulwich/The New York Times.)

The Tony Awards were back at Radio City Music Hall for the first time since June 2019. The awards ceremony, which honors the plays and musicals staged on Broadway and resumed its traditional calendar after a long pandemic disruption, honored work that opened on Broadway between Feb. 20, 2020, and May 4, 2022. (“Girl From the North Country” opened on March 5, 2020, just a week before theaters shut down for the pandemic.)

Ariana DeBose, the former Broadway understudy turned Oscar winner, hosted the three-hour broadcast portion of the Tony Awards on CBS, which was preceded by a one-hour segment hosted by Darren Criss and Julianne Hough on Paramount+. “A Strange Loop” won best musical and “The Lehman Trilogy” was awarded best play at a glittering ceremony celebrating Broadway’s comeback. Myles Frost won his first Tony for best leading actor in a musical for “MJ,” his Broadway (and professional acting) debut. And there were performances from some of the past year’s most prominent musicals: “Company,” “Girl From the North Country” and “Paradise Square,” among others.

A complete list of winners is below.


Best Musical

“A Strange Loop”

Best Revival of a Musical


Best Play

“The Lehman Trilogy”

Best Revival of a Play

“Take Me Out”

Best Book of a Musical

Michael R. Jackson, “A Strange Loop”

Best Original Score

“Six: The Musical,” music and lyrics by Toby Marlow and Lucy Moss

 Best Direction of a Play

Sam Mendes, “The Lehman Trilogy”

 Best Direction of a Musical

Marianne Elliott, “Company”

Best Leading Actor in a Play

Simon Russell Beale, “The Lehman Trilogy”

Best Leading Actress in a Play

Deirdre O’Connell, “Dana. H”

Best Leading Actor in a Musical

Myles Frost, “MJ”

Best Leading Actress in a Musical

Joaquina Kalukango, “Paradise Square”

(Read more)