Category: Stage

Two more island theater groups – the Honolulu Theatre for Youth and The Actors Group – have finalized their fall stage seasons.

HTY has embraced a title/theme for its 2022-2023 slate of shows: “E Ho‘i Hou: Return Anew,” a celebratory notion following virtual stagings during the height of the pandemic, anticipating “our return to live gatherings with laughter, stories, culture and learning,” according to Eric Johnson, HTY artistic director.

At TAG, five of its six shows will be Hawaiii premieres – newbies are hot here.

Honolulu Theatre for Youth

The HTY slate, at Tenney Theatre:

• “The Royal School,” by Lee Cataluna and Moses Goods.
• “The Pa‘akai We Bring,” by Moses Goods and the HTY Ensemble.
• “In the Year of the Boar and Jackie Robinson,” adapted by Mark Branner, based on the book by Bette Bao Lord, which will tour more than 20 U.S. cities before a staging at Tenney.
• “Step by Step,” by Reiko Ho and the HTY Ensemble.
• “Happy, Sad, Sad, Happy,” by Annie Cusick Wood and the The Ensemble.
• “Peter Pop Pan,” a musical adaption of Peter Pan, by Mattea Mazzella, Eric Johnson and the HTY Ensemble.

Show descriptions, precise performing dates and other details have not yet been announced. For details, visit www.htyweb.org

The Actors Group

TAG shows at the Brad Powell Theatre at the Shops at Dole Cannery will feature fresh and new works; five of the season’s six titles are Hawaii premieres:

• “The God Committee,” by Mark St. Germain, Sept. 23 through Oct. 16. A medical drama about three patients angling to receive a heart transplant, exploring moral and ethical questions surrounding organ transplants.
• “Painting TJ,” by Nancy Moss, Nov. 25 through Dec. 18. A tale about a high school junior, whose mother is the school’s headmaster, painting a penis on a statue of Thomas Jefferson, with themes of racism and familial conflicts.
• “A Soldier’s Play,” by Charles H. Fuller, Jan. 20 through Feb. 12, 2023. A drama set at a Louisiana military base that is racially segregated, where a black soldier is murdered, with tensions of racism.
• “The Demon of the Burning Boy,” by David West Read, March 24 through April 16, 2023. A teacher’s favorite student is murdered, creating conflicted emotions, including the power to move on.
• “Uncle Vanya,” by Anton Chekhov, May 26 through June 18, 2023. A powerful literary classic, about the struggles within a family that is timeless and tormenting.
• “Rotterdam,” by Jon Brittain, July 28 through Aug. 20, 2023. A comedy that raises tough questions about gender, sexuality, love, and how they connect.

Information: (808) 741-4699 or www.taghawaii.net

Honoring dads

Father’s Day – Sunday June 19 — will have a Hawaiian vibe at Chef Chai’s, on Kapiolani Boulevard.

You can do an all-you-can-eat lobster tail  buffet at either a brunch or dinner outing.

Kuana Torres Kahele, with the 2000 Miss Aloha Hula winner Tehani Gonzado, headlines the brunch session, with reservations being taken from 9 a.m.to 9:30 a.m. and also from noon to 12:30 p.m.

Robert Cazimero, a monthly Chai’s performer, will reign over the dinner show, with reservations being taken from 4 to 4:30 p.m. and from 7:15 to 7:30 p.m. Cazimero willf feature hula regulars Sky Perkins Gora and Bully Keola Makaiau.

Cost is $125 per person, for the entertainment and special buffet including a gamut of appetizers, soup and salads, plus entree and dessert options.

There is a pre-Father’s Day dinner, on Saturday, June 18, without entertainment, also with a $25 tariff including the lobster tail buffet.

Reservations: (808) 585-0011 or www.chefchai.com …

Clublicity notes

Blue Note Hawaii, at the Outrigger Waikiki resort, features these troupers in the nights ahead:

• Tito Jackson, formerly of the Jackson 5 with his siblings, performs at 6:30 and 9 p.m. May 20 and 21. Tickets: $45 and $55.
• The Honolulu Jazz Quartet, led by John Kolivas, marks its 20^th anniversary with a CD release launch, at 7 p.m. May 22. Tickets: $25 and $35.

• Kuana Torres Kahele teams up with Robert Cazimero, for another Hawaiian collaboration, at 6:30 and 9 p.m. June 8. Tickets:  $45 and $55.
• Felix Cavaliere,  formerly of The Young Rascals (aka The Rascals), takes the stage at 6:30 and 9 p.m. June 10, 11 and 12. Tickets: $45 and $55.
• Who’s Bad 20/10, at 6:30 and 9 p.m. June 17 and 18. Tickets: $35 and $45.
• Beat-Lele, a Tribute to the Beatles, at 6:30 and 9 p.m. June 19. Tickets: $25 and $35.

Tickets: (808) 777-4890 or www.bluenotehawaii.com …

And that’s Show Biz. …

You may remember Mary Gutzi as Norma Desmond, in a 2011 production of “Sunset Boulevard,” at Diamond Head Theatre.

Or perhaps, when Gutzi was Grizabella, the aging cat, awaiting ascent to the Heavyside Layer, in a Broadway tour of “Cats” at Blaisdell Concert Hall.

With other credits ranging from “Les Miserables” to “Ragtime,” Gutzi is no stranger to voice and stage technique and tryouts.

So in June, she’s tapping her skills to offer workshops for kids and adults interested in voice and acting  lessons, with tips to prep for future auditions for stage, film and TV roles.

Her agenda:

• Acting and audition workshop for kids 7 to 14, from 1:30 to 4:30 p.m. May 22, at Medici’s at Manoa Marketplace.
• Acting and audition workshop for adults, 15 and older, from 1 to 5 p.m. June 12, at Medici’s, Manoa Marketplace.

Fee for each session is $50, confirmed upon advance payment.

Inquiries: Nancy Bernal at (808) 947-5763, email at NancyBernal@aol.com.

      Send payment to Nancy Bernal, 2444 Hihiwai St., #905, Honolulu HI 96826. …

Broadway show grosses

Check out the grosses for the week ending in May 8, 2022.

Show Name	GrossGross	TotalAttn	Capacity	%Capacity
A STRANGE LOOP	$476,797.00	4,965	7,376	67.31%
ALADDIN	$1,091,385.55	13,123	13,816	94.98%
AMERICAN BUFFALO	$514,501.63	4,686	6,008	78.00%
BEETLEJUICE	$900,622.50	8,042	12,816	62.75%
BIRTHDAY CANDLES	$264,076.00	3,624	5,816	62.31%
CHICAGO	$684,274.40	7,149	8,640	82.74%
COME FROM AWAY	$473,306.68	4,926	8,368	58.87%
COMPANY	$617,116.73	5,563	8,368	66.48%
DEAR EVAN HANSEN	$489,004.50	5,395	7,872	68.53%
FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE / WHEN THE RAINBOW IS ENUF	$159,092.90	2,421	6,184	39.15%
FUNNY GIRL	$1,382,855.75	9,512	9,752	97.54%
GIRL FROM THE NORTH COUNTRY	$274,781.50	3,341	6,384	52.33%
HADESTOWN	$856,528.50	7,209	7,344	98.16%
HAMILTON	$2,103,020.00	10,012	10,592	94.52%
HANGMEN	$252,543.44	2,601	6,416	40.54%
HARRY POTTER AND THE CURSED CHILD	$1,177,920.80	10,466	12,976	80.66%
HOW I LEARNED TO DRIVE	$317,017.00	4,221	5,096	82.83%
MACBETH	$1,365,598.50	8,077	8,408	96.06%
MJ THE MUSICAL	$1,352,589.00	9,973	11,096	89.88%
MOULIN ROUGE! THE MUSICAL	$1,592,497.50	10,323	10,400	99.26%
MR. SATURDAY NIGHT	$565,411.50	4,058	5,955	68.14%
MRS. DOUBTFIRE	$477,132.00	5,710	8,272	69.03%
PARADISE SQUARE	$193,669.30	4,804	7,856	61.15%
PLAZA SUITE	$1,668,783.10	7,756	7,800	99.44%
POTUS: OR, BEHIND EVERY GREAT DUMBASS ARE SEVEN WOMEN TRYING TO KEEP HIM ALIVE	$380,673.50	5,709	11,608	49.18%
SIX	$1,162,514.00	7,954	8,248	96.44%
TAKE ME OUT	$351,909.70	3,342	4,095	81.61%
THE BOOK OF MORMON	$905,752.71	7,875	8,528	92.34%
THE LION KING	$1,716,181.00	13,195	13,568	97.25%
THE LITTLE PRINCE	$330,668.47	6,231	11,776	52.91%
THE MINUTES	$346,283.00	3,696	5,336	69.27%
THE MUSIC MAN	$3,431,657.08	12,151	12,200	99.60%
THE PHANTOM OF THE OPERA	$742,308.20	7,847	12,840	61.11%
THE SKIN OF OUR TEETH	$174,481.00	3,304	8,464	39.04%
TINA – THE TINA TURNER MUSICAL	$1,065,578.30	8,694	11,824	73.53%
WICKED	$1,341,127.00	11,264	14,456	77.92%

And that’s Show Biz. …

Nudity on Broadway is nothing new, but infrequent. When someone goes au natural, it raises the buzz – and some barriers – like the latest incidence.

A baseball play, “Take Me Out,” features two actors – Jesse Willliams and Patrick J. Adams – in full-frontal nudity in a locker room scene. It’s playing at the Helen Hayes Theatre on Broadway, and has been extended through June 21. Not sure if the nudity is part of the appeal, or simply brisk box office sales because of the controversy.

Whatever the reason, that theater has taken on new security measures, with playgoers required to isolate their cellphones in Yondr felt pouches with a magnet security tagging system, so calls or texting or photo-taking cannot be done for 2:15, the duration of the production. The regs are outlined in an insert of the show’s Playbill.

But clearly, somebody didn’t abide by the rules – likely, refused disclosure that they had a phone, or the device was not discovered during the entry process – and took photos of the aforementioned nude scene, prompting the theater security folks to demand the images be erased after unauthorized images appeared on social media.

No word about charges being filed, but it is across-the-board illegal to take photos in any play, with or without nudity, and the ban-the-phones directive maintains privacy issues for the actors. No ifs, ands or buts about this house rule. There’s new technology in place, where the theater security can monitor and sense camera in photo mode.

The lock-the-phone element – new on the Great White Way — has been utilized occasionally by mainstream rock concert stars, not due to nudity, but because the performers didn’t want the distraction of phones aiming at them or they didn’t want patrons to limit access to have images that could be shared or sold, even on social media.

I saw the original “Take Me Out” when it originally was staged in 2003, with the nude scene but minus the uproar of illegal photo-taking. There wasn’t the ban on phones in the house either. And if memory serves, no pics appeared for gawkers.

The fuss and flurry about nudity on Broadway might go back to 1971, when “Oh! Calcutta” debuted at the Belasco Theatre. The nakedness was constant, making the raucous show a success in its original run and a revival production later. It wasn’t a good show – but I recall the notorious nudity, with actors cajoling in the buff.

But baring it and sharing it goes back a bit earlier, to 1968, when “Hair,” subtitled “The American Tribal Love Rock Musical,” opened at the Biltmore Theatre.  For the record, the show had rock and pop hits and hippie cultural elements. But only about 20 seconds – amid flashing lights – of nudity.

I recall asking James Grant Benton, the island comedian-actor who was in the Las Vegas company of “Hair,” what the governing rules were for cast members who would strip at the show’s finale. You remember, when “Let the Sunshine In,” was sung and danced. He said peeling and baring were voluntary, not required; if you felt it, you’d do it. Or not. And it was a quickie, if you did.

More impressive, in a Los Angeles production at the Aquarius Theatre in 1968, was the policy of engaging audience members to join the ritual of letting-the-sunshine-in, by ascending to the stage. The last Broadway revival was in 2011, and at the performance I attended, audience members could get on stage for the “Sunshine” sing-along.

Among other Broadway shows with nudity:

* “The Full Monty,” about unemployed British steelworks who attempt to be male strippers, has a big reveal – just as the lights go out. Meaning it’s a teaser scene, where most audiences see nothing.

* “Equus,” a revival of a psychological drama about Alan Strang, a disturbed youngster who blinded six horses, became a Broadway hit in 2007 when Daniel Radcliffe, by then a superstar thanks to his “Harry Potter” franchise of flicks, appeared naked, brightly and clearly. Nope, his young Potter fans could not attend, because of its adults-only restriction.

* “Spring Awakening,” a musical about boarding school teenagers in a repressive German society in the late 19^th century, featured two young “Glee” faves, Jonathan Groff and Lea Michele, in one steamy scene but the baring was brief and Groff’s butt probably noticed, only briefly.

* “M. Butterfly,” the David Henry Hwang drama inspired by the operatic drama “Madame Butterfly,” tells the story of a military officer Rene Gallimard (played by John Lithgow) having a longtime love affair with Song Liling (portrayed by B.D. Wong), incredibly not knowing that his paramour is a guy, not a woman; a major disrobing nude scene features Wong.

* “Miss Saigon,” the hit musical with a Vietnam storyline about an American soldier and his tryst with a Vietnam woman, had a brief bedroom scene in a darkened moment, with mostly his butt showing. The disrobed solider in the original production was Willy Falk, a Punahou grad nominated for a Tony Award as a Featured Actor in a musical.

* “Love! Valour!  Compassion!,” a gay Terrence McNally comedy with a lot of exclamation points, featured a company of eight skinny dippers, unclothed, in one frolicking scene. Broadway veteran Nathan Lane was in the cast.

* “The Lisbon Traviata,” another McNally endeavor, is an homage to opera singer Maria Callas, involving two aging men in a relationship, disrupted with the arrival of a younger gent, leading to an operatic finale of sorts, with nudity along the way.

**********

When actor Joe Chishold appeared nude in “Afterglow,” an off-Broadway hit at the Davenport Theatre  in 2018, he shared meaningful thoughts about dropping trous in an interview.

“Every single one of us is naked at some point every day,” he said. “American culture has spent the last century demonizing nudity, making it into something naughty or bad, but it’s the most basic human state of being. Somewhere along the way, we sexualized the naked body. But I think it is important to reaffirm the fact that sex and nudity are two separate things. That is a big takeaway of this show. In my mind, nudity onstage or onscreen, as long as is it serves a purpose and is not gratuitous, is simply another costume (or lack thereof).”

*******************

Three other shows – one on Broadway, two off-Broadway – further demonstrate the diverse ways nudity end up on stage:

• “Avenue Q,” the slightly naughty but clever musical produced by former islander Kevin McCollum an an original cast member from Hawaii, Ann Harada, was an all-puppet show (the dolls were manipulated by actors) which earned Best Musical laurels when it played the Golden Theatre in 2007. The show, in retrospect, had naked puppets having sex!
• “Naked Boys Singing,” an off-Broadway oddity with male singers and dancing totally nude (but with shoes)  at the Actors Playhouse  in 1999. I saw it, it was hilarious, but forgettable.
• “Puppetry of the Penis,” at the John Houseman Theatre in 2001, was wholly gratuitous, with two guys, in the buff, creating genital contortions or penal origami  in the first and only show where the actor played with their privates. …

And that’s Show Biz…

Note: Since this review was posted, Manoa ValleyTheatre has extended “Cambodian Rock Band” through May 22. See MVT website for specifics.’

For me, the best thing about “Cambodian Rock Band” – playing through Sunday (May 15) — is that eye-filling, stage-expanding atmospheric set, designed by Michelle A. Bisbee. It depicts arcs of many hues of a ‘bow  that dominates the stage, with ribbons of stripes enveloping the band to the right side of the stage, reaching out to the other side, and even spilling over onto the floor decor of the stage. Credit, too, to scenic artist/properties designer Willie Sabel for making the environment pop.

The scenics attract the selfie crowd and iPhoners who aim and shoot before the show, at intermission, and after the final curtain. When the set gets that kind of scrutiny, it evolves as a “character” in the storytelling.

It’s a beautifully bewildering statement that perhaps serves as a mindful reminder of the rays that depict the changing moods of the players. There’s a desk and a bit of furniture on the left side of the stage but there’s no denying: this trip to Cambodia will be remembered for this stellar rainbow.

Depending on what your expectations might be, “Cambodian Rock Band” is a tad challenging. It’s a little-known contemporary rock musical (it had an off-Broadway run, plus an indie film release) with historical and political implications of Cambodia in the 1970s, yielding questions that test your appreciation of non-traditional theater where the actors perform on instruments, too.

The play, by Lauren Yee, was bumped from MVT’s 2020 season due to the COVID pandemic, so it’s a bit tardy but provides a refreshing burst of invention. MVT is the first to stage the show in the islands.

The drama-with-music is a melange of different tiers, from a family drama to a staged rock concert, from a possibly tormenting drama about genocide to a dose of Dengue Fever (not the ailment but the rock band). This is foreign history put into words and lyrics that enhance a hip tempo. But a “Hamilton” it’s not.

Yee’s work is frequently wavering, with periodic disturbing turns, about a fictional band running afoul of the Khmer Rouge and potential demise, and tosses political bones with the reliance of prevailing surf-rock California vibes aired on Cambodian radio, with some tunes in the native tongue.

Yet the show is a rarity, with all but one of the seven-member cast singing and acting while performing on instruments and four actors have dual roles. Because several tunes are rock-oriented, be aware that the volume is occasionally loud.

The ensemble sashays in alternating time warps from the mid-70s to 2008 in Phnom Penh, Cambodia, and the pearls are in the retrospective past, with costumer Kimmerie H.H. Jones fine-tuning the garb to reflect the era.

Neary (Kelsey Bachrens, attractive and agile) is a motivated American lawyer, who is a lead singer who delivers the Cambodian repertoire with authority; she is the daughter of Chum (Adrian Khactu, impressive as dad and a lead voice ), a Cambodian native, accused of being a spy and sent to prison.  Not surprisingly, they are at odds with generational viewpoints.

Pou (Micki Yamamoto, sweetly fragile ) also tackles vocal leads, with bandsmen Ted (Michael “Mickey” Delara, dependable and comforting), Leng (Kevin Yann, fashionably young-spirited) and Rom (Jason Nomura, versatile) is the reigning musical director).

Duch (Brandon Caban, effective and sardonic) is the narrator/antagonist with a powerful grin.

This isn’t a production where you’ll be humming a tune as you head home, but a whimsical “Old Pot Still Cooks Good Rice” and “Champa Battambang” might be titles you’ll cheer. And a Bob Dylan tune also is tucked into the soundtrack.

There are a few ironic twists as the denouement sheds light on relationships, so be aware.

 Remaining shows: 7:30 p.m. tomorrow (Thursday, May 12) and Friday (May 13), 3:30 and 7:30 p.m. Saturday (May 14) and 3:30 p.m. Sunday (May 15).

Tickets: $22 to $40

Reservations: (808) 988-6131) or www.manoavalleytheatre.com

And that’s Show Biz. …

Kevin McCollum, a former Honolulan and a veteran Broadway producer, is the lone Tony nominee with Hawaii ties competing as a producer of “Six – The Musical,” which is vying in eight categories this year.

McCollum also is a producer of “Mrs. Doubtfire,” the new musical nominated for one award  – –Rob McClure, for Best Leading Actor in a Musical. McCollum’s previous Tony wins include such hits as “Rent,” “Avenue Q” and “In the Heights.”

By nomination numbers, “A Strange Loop” leads the pack with 11 nods, followed by “MJ” and “Paradise Square” with 10, “Company” with nine, and “The Lehman Trilogy” and “Six” with eight.

The Tony Awards will be staged June 12, in two parts: the main three-hour broadcast, live via CBS from Radio City Music Hall, will be preceded by an awards special hour via Paramount+.

Since most Hawaii folks are not frequent Broadway visitors who might be acclimated to nominated shows or talent, we thought a rundown of the 2022 nominees might be a helpful guide.

The complete list of the 2022 Tony nominees:

Best New Musical

“Girl From the North Country”

“MJ”

“Mr. Saturday Night”

“Paradise Square”

“Six: The Musical”

“A Strange Loop”

Best Musical Revival

“Caroline, or Change”

“Company”

“The Music Man”

Best New Play

“Clyde’s”

“Hangmen”

“The Lehman Trilogy”

“The Minutes”

“Skeleton Crew”

Best Play Revival

“American Buffalo”

“For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

“How I Learned to Drive”

“Take Me Out”

“Trouble in Mind”

Best Book of a Musical

Christina Anderson, Craig Lucas and Larry Kirwan, “Paradise Square”

Billy Crystal, Lowell Ganz and Babaloo Mandel, “Mr. Saturday Night”

Michael R. Jackson, “A Strange Loop”

Conor McPherson, “Girl From the North Country”

Lynn Nottage, “MJ”

Best Original Score

“Flying Over Sunset,” music by Tom Kitt; lyrics by Michael Korie

“Mr. Saturday Night,” music by Jason Robert Brown; lyrics by Amanda Green

“Paradise Square,” music by Jason Howland and Larry Kirwan; lyrics by Nathan Tysen and Masi Asare

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

“A Strange Loop,” music and lyrics: Michael R. Jackson

Best Direction of a Play

Lileana Blain-Cruz, “The Skin of Our Teeth”

Camille A. Brown, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Sam Mendes, “The Lehman Trilogy”

Neil Pepe, “American Buffalo”

Les Waters, “Dana H.”

Best Direction of a Musical

Stephen Brackett, “A Strange Loop”

Marianne Elliott, “Company”

Conor McPherson, “Girl From the North Country”

Lucy Moss and Jamie Armitage, “Six: The Musical”

Christopher Wheeldon, “MJ”

Best Leading Actor in a Play

Simon Russell Beale, “The Lehman Trilogy”

Adam Godley, “The Lehman Trilogy”

Adrian Lester, “The Lehman Trilogy”

David Morse, “How I Learned to Drive”

Sam Rockwell, “American Buffalo”

Ruben Santiago-Hudson, “Lackawanna Blues”

David Threlfall, “Hangmen”

Best Leading Actress in a Play

Gabby Beans, “The Skin of Our Teeth”

LaChanze, “Trouble in Mind”

Ruth Negga, “Macbeth”

Deirdre O’Connell, “Dana. H”

Mary-Louise Parker, “How I Learned to Drive”

Best Leading Actor in a Musical

Billy Crystal, “Mr. Saturday Night”

Myles Frost, “MJ”

Hugh Jackman, “The Music Man”

Rob McClure, “Mrs. Doubtfire”

Jaquel Spivey, “A Strange Loop”

Best Leading Actress in a Musical

Sharon D Clarke, “Caroline, or Change”

Carmen Cusack, “Flying Over Sunset”

Sutton Foster, “The Music Man”

Joaquina Kalukango, “Paradise Square”

Mare Winningham, “Girl From the North Country”

Best Featured Actor in a Play

Alfie Allen, “Hangmen”

Chuck Cooper, “Trouble in Mind”

Jesse Tyler Ferguson, “Take Me Out”

Ron Cephas Jones, “Clyde’s”

Michael Oberholtzer, “Take Me Out”

Jesse Williams, “Take Me Out”

Best Featured Actress in a Play

Uzo Aduba, “Clyde’s”

Rachel Dratch, “POTUS”

Kenita R. Miller, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Phylicia Rashad, “Skeleton Crew”

Julie White, “POTUS”

Kara Young, “Clyde’s”

Best Featured Actor in a Musical

Matt Doyle, “Company”

Sidney DuPont, “Paradise Square”

Jared Grimes, “Funny Girl”

John-Andrew Morrison, “A Strange Loop”

A.J. Shively, “Paradise Square”

Best Featured Actress in a Musical

Jeannette Bayardelle, “Girl From the North Country”

Shoshana Bean, “Mr. Saturday Night”

Jayne Houdyshell, “The Music Man”

L Morgan Lee, “A Strange Loop”

Patti LuPone, “Company”

Jennifer Simard, “Company”

Best Scenic Design of a Play

Beowulf Boritt, “POTUS”

Es Devlin, “The Lehman Trilogy”

\Anna Fleischle, “Hangmen”

Michael Carnahan and Nicholas Hussong, “Skeleton Crew”

Adam Rigg, “The Skin of Our Teeth”

Best Scenic Design of a Musical

Beowulf Boritt and 59 Productions, “Flying Over Sunset”

Bunny Christie, “Company”

Arnulfo Maldonado, “A Strange Loop”

Derek McLane and Peter Nigrini, “MJ”

Allen Moyer, “Paradise Square”

Best Costume Design of a Play

Montana Levi Blanco, “The Skin of Our Teeth”

Sarafina Bush, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Jane Greenwood, “Plaza Suite”

Jennifer Moeller, “Clyde’s”

Emilio Sosa, “Skeleton Crew”

Best Costume Design of a Musical

Fly Davis, “Caroline, or Change”

Toni-Leslie James, “Paradise Square”

William Ivey Long, “Diana, the Musical”

Santo Loquasto, “The Music Man”

Gabriella Slade, “Six: The Musical”

Paul Tazewell, “MJ”

Best Lighting Design of a Play

Joshua Carr, “Hangmen”

Jiyoun Chang, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Jon Clark, “The Lehman Trilogy”

Jane Cox, “Macbeth”

Yi Zhao, “The Skin of Our Teeth”

Best Lighting Design of a Musical

Neil Austin, “Company”

Tim Deiling, “Six: The Musical”

Donald Holder, “Paradise Square”

Natasha Katz, “MJ”

Bradley King, “Flying Over Sunset”

Jen Schriever, “A Strange Loop”

Best Sound Design of a Play

Nick Powell and Dominic Bilkey, “The Lehman Trilogy”

Justin Ellington, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Mikhail Fiksel, “Dana H.”

Palmer Hefferan, “The Skin of Our Teeth”

Mikaal Sulaiman, “Macbeth”

Best Sound Design of a Musical

Simon Baker, “Girl From the North Country”

Ian Dickinson for Autograph, “Company”

Paul Gatehouse, “Six: The Musical”

Drew Levy, “A Strange Loop”

Gareth Owen, “MJ”

Best Choreography

Camille A. Brown, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Warren Carlyle, “The Music Man”

Carrie-Anne Ingrouille, “Six: The Musical”

Bill T. Jones, “Paradise Square”

Christopher Wheeldon, “MJ”

Best Orchestrations

David Cullen, “Company”

Tom Curran, “Six: The Musical”

Simon Hale, “Girl From the North Country”

Jason Michael Webb and David Holcenberg, “MJ”

Charlie Rosen, “A Strange Loop”

And that’s Show Biz. …