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Grantors

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Sponsors

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Meet Our Donors

Tributes

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Our Tributes

Performers

Annalisa Dias

*

Panelist

Todd London

*

Panelist

Joseph Roach

*

Pre-Amble Panelist

Stephanie Ybarra

*

Moderator

Setting

Songs & Scenes

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Production Staff

Long Wharf Theatre Staff
Artistic Director - Long Wharf Theatre
Jacob G. Padrón
Managing Director
Kit Ingui
Interim Managing Director
Eric Gershman
Associate Artistic Director - Long Wharf Theatre
Rachel Alderman
General Manager
Emily Goeler
Director of Production
Nicole Bouclier
Company Manager
Vanessa Soto
Patron Services Manager
Carolyn Stockage
Director of Finance
Nancy Meguerditchian
Executive Coordinator
Jessica Durdock Moreno
Assistant Director of Production
Allison Jackson Backhaus
Associate Producer
Kate Moore Heaney
Director of Marketing and Communications
Avery Anderson
Director of Development
Briona Jenkins
External Relations Operations Manager
Jill Coulter
Creative Content Manager
Kelly Brown
Video Producer
Kahleem Poole-Tejada
Graphic Designer
Dajvi Selmani
Elm City Tickets Manager
Emma Joy Hill
AP/AR Manager
Geoffrey Molloy
Individual Giving Coordinator
Halima Flynn
Assistant Box Office Manager
Maig Smith
Box Office Associate
Ronald Hill
Yale Staff
Executive Director - Schwarzman Center
Rachel Fine
Associate Artistic - Director Schwarzman Center
Jennifer Newman
Director of Production
Robert Chikar
Director of Marketing & Communications
Maurice L. Harris
Director of Finance and Administration
Meg O'Brian
Deputy Director
Laura Paul
Technical Director
Joel Johnson
Associate Director of Strategic Initiatives
Natalie King
Special Advisor to Schwarzman Center
Kate Krier
Building & Program Logistics Manager
Kirk D. Keen
Business Manager
Bonnie Kramm
Visitor Services Manager
Christian Ponce
Woolsey Hall Stage Manager
Kito Covington
Marketing Manager
Sarah Ficca
Exhibitions & Bookings Manager
Carlynne Robinson
Associate Production Manager
Jessi Codder
Senior Administrative Assistant
Madison Grady
Financial Assistant
Daryl MacMillan
Assistant Technical Director (AV)
Kino Alvarez
Production Electrician
Katie Brown
Sound Engineer
Adam Bintz

Venue Staff

School Administration Staff

No items found.

Musicians

No items found.

DIRECTORS

Board Chair

Nancy Alexander

Vice- Chair

William J. Aseltyne, Esq.

Secretary

Babz Rawls Ivy

Treasurer

Jenny Carrillo, PhD

Honorary Founder Trustee

Anne Schenck

Board Members

Kenneth Boroson Gail Brekke Diane Brown Lee Cruz Cathy Edwards Robert Esposito Barbara Franke Abdul-Rehman Malik Victor Padilla-Taylor Joseph Roach Constance Royster JD Anita Sharif-Hyder

Student Advisory Board

Credits

Lighting equipment from PRG Lighting, sound equipment from Sound Associates, rehearsed at The Public Theater’s Rehearsal Studios. Developed as part of Irons in the Fire at Fault Line Theatre in New York City.

Special Thanks

*Appearing through an Agreement between this theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 actors and stage managers, Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an International organization of performing arts unions. www.actorsequity.org

United Scenic Artists ● Local USA 829 of the I.A.T.S.E represents the Designers & Scenic Artists for the American Theatre

ATPAM, the Association of Theatrical Press Agents & Managers (IATSE Local 18032), represents the Press Agents, Company Managers, and Theatre Managers employed on this production.

Cast
Creatives

Meet the Cast

Annalisa Dias

*

Panelist
(
)
(
)
Pronouns:

Annalisa Dias is a Goan-American transdisciplinary artist, community organizer, and award-winning theater-maker working at the intersection of racial justice and care for the earth. She is a co-founder of Groundwater Arts and a co-director of HERE Arts Center. Prior to joining HERE, Annalisa was director of artistic partnerships and innovation at Baltimore Center Stage.

Previously, she has been acting creative producer and a producing playwright with The Welders, a DC playwright's collective; and a co-founder of the DC Coalition for Theatre & Social Justice.

Annalisa's work has been produced or developed by arts institutions across the US and UK, and her artistic work has taken her to South Africa, India, Malawi, Arctic Norway, and more. Annalisa frequently teaches theatre of the oppressed and decolonization workshops and is a sought-after speaker about race, identity, and performance.

Todd London

*

Panelist
(
)
(
)
Pronouns:

Todd London has been a leading figure in the U.S. nonprofit theater for more than 35 years and was the first recipient of Theater Communications Group’s Visionary Leadership Award for “an individual who has gone above and beyond the call of duty to advance the theater field as a whole...” He spent 18 seasons as Artistic Director of New York's New Dramatists. He’s served on the faculties of Yale School of Drama, Harvard, NYU, the New School, and the University of Washington, where he was Executive Director of the School of Drama. His many books include two novels, If You See Him, Let Me Know and The World's RoomThis Is Not My Memoir (with Andre Gregory); and numerous theater books, An Ideal TheaterOutrageous Fortune; The Importance of Staying EarnestThe Artistic Home, and Zelda Fichandler’s The Long Revolution (editor). A past winner of the George Jean Nathan Award for Dramatic Criticism and recipient of an honorary doctorate from DePaul University, Todd is director of the Legacy Playwrights Initiative and Dramatists Guild Fellows Program. 

Joseph Roach

*

Pre-Amble Panelist
(
)
(
)
Pronouns:

Joseph Roach, Sterling Professor of Theater and Professor of English Emeritus at Yale, is a theater historian, stage director, and Long Wharf board member. He co-founded the Creede Repertory Theatre, which will celebrate its 60th season next year, and the Interdisciplinary PhD in Theater at Northwestern University. 

Stephanie Ybarra

*

Moderator
(
)
(
)
Pronouns:

Stephanie Ybarra is a program officer for Arts and Culture, shaping individual grantmaking and launch philanthropic initiatives in the performing arts, leveraging the grantmaking, convening, and research assets of the Foundation.

Prior to Mellon, Stephanie served as Artistic Director of Baltimore Center Stage, where she broke ground as the country's first Latina artistic director of a League of Resident Theaters (LORT) member theater. Over four seasons, she was instrumental in leveraging powerful artistic works as a catalyst for conversation, reflection, and action. With more than twenty years' experience in nearly all aspects of the theater both on stage and behind the scenes, she is a preeminent voice in the fight against racism and inequity in theater-establishing the Artists' Anti-Racism Coalition in 2016 to uproot the systemic racism in New York's off-Broadway theater community. In addition to staging compelling works, she has been instrumental in closely examining demographic data on playwright commissions, director hiring patterns, fighting for change related to pay equity, tiered fee systems, and even reviews.

In addition, Stephanie is a faculty member at The Juilliard School and New York University and is currently on the board of Citizen University, Make Believe Association and Maryland Citizens for the Arts, as well as the Artistic Council for the People's Theatre Project.

She holds her Master of Fine Arts from the Yale School of Drama and a Bachelor of Fine Arts from Baylor University.

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2021 National Touring Cast

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George Clooney, Jennifer Simard, Tom Francis, More 2025 Tony Nominees React
Theatrely Staff
May 1, 2025

This season has been one of the most exciting years in recent Broadway memory thanks to the incredible work of artists center stage and behind the curtain. Click here to see the full list of 2025 Tony Award Nominations and below are just some reactions from from the stars and artists themselves:

“It’s a thrill to have 5 nominations for this play. For everyone involved, this has been an incredible experience. I couldn’t be more proud or feel more lucky.” - George Clooney, first time nominee for his Broadway debut in Good Night, and Good Luck

“This is absolutely wild. I am stunned and a bit lost for words. To be recognized among this incredible group of artists is an unbelievable honor and beyond my wildest dreams. Massive congratulations to my fellow nominees and all the nominated shows this season.” Tom Francis, Tony Nominee – Best Performance by a Lead Actor in a Musical, SUNSET BLVD.

“My mother was my softball coach and instilled in me the meaning of teamwork. We at Death Becomes Her are a team and I am so grateful for every single player who makes me better. Thank You to the Tony Award nominating committee for this incredible honor.” – Jennifer Simard

“This Nomination represents a tireless cast of dancers dedicated to sharing a tsunami of JOY with audiences 8 times a week. I am grateful to their FULLOUT dedication to every step , kick, tap and turn. Nothing makes me happier than being in a room creating dance, Broadway dance that makes audiences hearts cheer.” -Jerry Mitchell, BOOP! The Musical

“I’m thrilled, elated, and slightly stunned. There is no other show I would want to experience my first nomination on. This was the perfect combination of collaboration, creative freedom, trust, and support. I’m so excited for George, Scott, Heather, David and Daniel on their nominations. And of course, thanks to David  Cromer, Grant Heslov and George Clooney on their extraordinary vision!” - Brenda Abbandandolo, Good Night, and Good Luck, Best Costume Design of a Play

“I grew up in a small town in rural Appalachian Georgia; as a teenager, and for a long time after, I felt like I needed to shed my Southern-ness to be taken seriously as an artist. For John Proctor is the Villain, a play about Southern teenage girls, to be nominated for 7 Tony awards is so special I can hardly believe it. And what a surreal joy to be in the company of these other playwrights whose work I’ve long admired and adored, and to share John Proctor’s nominations with our incomparable director, Danya Taymor, and our brilliant actors and designers. I am humbled, and thrilled, and I can’t feel my face or hands.” - Kimberly Belflower, playwright and first-time Tony nominee for her Broadway debut

“The brilliant Kimberly Belflower’s play John Proctor is the Villain is raw, primal, hilarious and told from the vantage point of young women. Thank you to the Tony nominating committee for taking these teenage girls seriously and for seeing and honoring that mysterious alchemy that occurs between playwright, actor, designer and director—this was a true collaboration. To be nominated alongside so many incredible talented artists in the theater community of all disciplines is a huge honor and I’m beyond grateful.” - Danya Taymor, nominee for Best Direction of a Play

“What an incredible honor it is to be nominated in this talent-packed season. I’m so touched that our beautiful play, written by the undeniable Kimberly Belflower, is being recognized for the lightning bolt of truth that it is. The fact that Sadie and Fina are being recognized for their work moves me to no end. It’s no coincidence that the play, the actors and the designers are all doing top-level work when we’re being led by the incredible Danya Taymor. She’s truly singular as an artist and as a leader, and I’m very happy that she’s being recognized for her work. What can I say? I love this play. I love the great group of people that I get to go to work with every day. I love that our play seems to be speaking to our audience, especially our young audience members, on an incredibly deep level. It’s a privilege. I’m so grateful to the nominators. That green light….I want it.” - Gabriel Ebert, nominee for Best Performance by an Actor in a Featured Role in a Play

“Honestly, I didn’t expect this! I burst into tears. I wish my mom were here – she would have been so proud of me. I’m so overwhelmed with gratitude to be among these nominees, as this is just the best community in the world. I’m still in the “oh my god, oh my god, oh my god” mode!” - Mia Farrow, first time Tony Award nominee

“I am truly overwhelmed and deeply honored to be nominated for best direction of a musical for my work on Maybe Happy Ending. Collaborating with this incredible team of artists on Will Aronson and Hue Park's brilliant musical has been a highlight of my career and life as an artist. I am also so proud of the work done by our stars Helen J Shen, Darren Criss, Dez Duron, and Marcus Choi. Special thanks to Justin Scribner, our steadfast PSM and the incredible crew at the Belasco Theater who make the magic happen nightly. Bravo and congrats to all the shows on Broadway this season!” - Michael Arden, Tony Nominee – Best Direction of a Musical

"I’m overjoyed and overwhelmed and over par to be nominated for a Tony Award. Coming to Broadway has been a lifelong dream. I’m grateful for the warmth and openness of this gorgeous community and to SpitLip and the entire Operation Mincemeat team for the untold joy that this show continues to bring." - Jak Malone for his nomination for Best Performance by an Actor in a Featured Role in a Musical

"To even be in this season, among the absolute best in this business feels utterly surreal. Huge congratulations to the other nominees, many of whom are our all-time heroes and inspirations. We love comedy, we love theatre, we love this story and telling it. To the city of New York and Broadway itself, we are so humbled by this welcome. Now we must stop screaming, we have a show tonight." - David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts (SpitLip), on their nominations for Best Musical, Best Book of a Musical and Best Original Score (Music and/or Lyrics) Written for the Theatre:

“This morning's nomination is a joyful affirmation of the work director Leigh Silverman and I have done over 20 years, to create and refine Yellow Face into a play which can bring audiences together, to laugh and think about how to move our country forward. Thank you so much to the Nominators!” - David Henry Hwang, Tony Nominee – Best Revival of a Play

" I am so thrilled for the entire Dorian Gray family that our show has been recognized with six Tony Nominations. We are so humbled to receive this honor and to share in it with such a brilliant array of shows from this incredible Broadway season. It’s nearly midnight here in Sydney, but we are celebrating loudly down under, and I can’t wait to be back with Sarah and our incredible Broadway crew next week to share in this special moment together. We are so grateful to the American Theatre Wing and The Broadway League for this great honor." - Kip Williams, director of The Picture of Dorian Gray

“I am exploding with joy and gratitude! I saw my first play when I was 10 years old at a community theater in Roswell, Georgia, and I was hooked. When I wasn’t doing shows, I was painting the sets, selling the pop corn, anything I could to be around that magic. That trend has continued to shape my entire life. To be recognized by the very community that I have loved ever since I can remember, is the highest honor. What makes it even more special, is to have it happen with Dead Outlaw. I feel so incredibly lucky to get to be telling this story, with these incredible theater artists and makers, at the top of their game, who came together to make a truly original and beautiful piece of theatrical art. We are having the time of our lives.” - Andrew Durand, Dead Outlaw

“I didn't know my phone's text capacity was so vast.  It seems people care about the Tonys...I've certainly cared about them and tuned in with my family as far back as I can remember.  I guess I've enjoyed them as a spectacular celebration of Broadway theatre which I've loved since I saw my first show at age six...Applause, with Lauren Baccal.  This year I'll have a good seat and i'll be cheering the community on full-throated.” - Jeb Brown, Dead Outlaw

“There are no words to describe how absolutely over the moon I am. Dead Outlaw is a dream come true in every single way. Every day that I get to be a part of this piece of theatre is a gift, and I feel so grateful that this team has allowed me to live in Maggie/ Millicent /et et al many many shoes (& hats) for the last two years. To be recognized for my part in the magic that this brilliant group collectively creates every night is overwhelming, humbling, and a true honor. I say it every day, but especially so today: I am the luckiest girl in the world.” - Julia Knitel, Dead Outlaw

“I had an incredibly rewarding 18 months collaborating with composers, cast, designers, producers, GMS, PMs, SMs, ADs, etc on Dead Outlaw. I am proud to share these nominations with every one of these motherfuckers.” - David Cromer, Dead Outlaw

“This group of extraordinary actors has inspired me, encouraged me, and gave me the confidence to step onto the stage in such an incredible show in a legendary venue. Kieran's take on Ricky...which is stunning and honest - a Ricky Roma with a youthful, unblinking confidence.  Bill Burr is the most powerful Dave Moss you can imagine, and Michael McKean delivers more laughs per second onstage than anyone…as well as buckets of humanity.  Donald Webber Jr. has been a powerful, inspirational scene partner, and Howard Overshown is a joy to work with.  Lastly, John Pirruccello is the best saddest James Lingk I could imagine, such a hoot to watch every night.  Patrick Marber gave us incredible free rein to re-discover this classic play, and constant encouragement that I surely needed.The Broadway experience has been incredibly fun and welcoming, from the crews to the theatre personnel, to the audiences who show up with genuine excitement and encouragement every time.  I am thankful to be embraced with such support by the community.” Bob Odenkirk, Glengarry Glen Ross

George Clooney, Jennifer Simard, Tom Francis, More 2025 Tony Nominees React
Theatrely Staff
May 1, 2025

This season has been one of the most exciting years in recent Broadway memory thanks to the incredible work of artists center stage and behind the curtain. Click here to see the full list of 2025 Tony Award Nominations and below are just some reactions from from the stars and artists themselves:

“It’s a thrill to have 5 nominations for this play. For everyone involved, this has been an incredible experience. I couldn’t be more proud or feel more lucky.” - George Clooney, first time nominee for his Broadway debut in Good Night, and Good Luck

“This is absolutely wild. I am stunned and a bit lost for words. To be recognized among this incredible group of artists is an unbelievable honor and beyond my wildest dreams. Massive congratulations to my fellow nominees and all the nominated shows this season.” Tom Francis, Tony Nominee – Best Performance by a Lead Actor in a Musical, SUNSET BLVD.

“My mother was my softball coach and instilled in me the meaning of teamwork. We at Death Becomes Her are a team and I am so grateful for every single player who makes me better. Thank You to the Tony Award nominating committee for this incredible honor.” – Jennifer Simard

“This Nomination represents a tireless cast of dancers dedicated to sharing a tsunami of JOY with audiences 8 times a week. I am grateful to their FULLOUT dedication to every step , kick, tap and turn. Nothing makes me happier than being in a room creating dance, Broadway dance that makes audiences hearts cheer.” -Jerry Mitchell, BOOP! The Musical

“I’m thrilled, elated, and slightly stunned. There is no other show I would want to experience my first nomination on. This was the perfect combination of collaboration, creative freedom, trust, and support. I’m so excited for George, Scott, Heather, David and Daniel on their nominations. And of course, thanks to David  Cromer, Grant Heslov and George Clooney on their extraordinary vision!” - Brenda Abbandandolo, Good Night, and Good Luck, Best Costume Design of a Play

“I grew up in a small town in rural Appalachian Georgia; as a teenager, and for a long time after, I felt like I needed to shed my Southern-ness to be taken seriously as an artist. For John Proctor is the Villain, a play about Southern teenage girls, to be nominated for 7 Tony awards is so special I can hardly believe it. And what a surreal joy to be in the company of these other playwrights whose work I’ve long admired and adored, and to share John Proctor’s nominations with our incomparable director, Danya Taymor, and our brilliant actors and designers. I am humbled, and thrilled, and I can’t feel my face or hands.” - Kimberly Belflower, playwright and first-time Tony nominee for her Broadway debut

“The brilliant Kimberly Belflower’s play John Proctor is the Villain is raw, primal, hilarious and told from the vantage point of young women. Thank you to the Tony nominating committee for taking these teenage girls seriously and for seeing and honoring that mysterious alchemy that occurs between playwright, actor, designer and director—this was a true collaboration. To be nominated alongside so many incredible talented artists in the theater community of all disciplines is a huge honor and I’m beyond grateful.” - Danya Taymor, nominee for Best Direction of a Play

“What an incredible honor it is to be nominated in this talent-packed season. I’m so touched that our beautiful play, written by the undeniable Kimberly Belflower, is being recognized for the lightning bolt of truth that it is. The fact that Sadie and Fina are being recognized for their work moves me to no end. It’s no coincidence that the play, the actors and the designers are all doing top-level work when we’re being led by the incredible Danya Taymor. She’s truly singular as an artist and as a leader, and I’m very happy that she’s being recognized for her work. What can I say? I love this play. I love the great group of people that I get to go to work with every day. I love that our play seems to be speaking to our audience, especially our young audience members, on an incredibly deep level. It’s a privilege. I’m so grateful to the nominators. That green light….I want it.” - Gabriel Ebert, nominee for Best Performance by an Actor in a Featured Role in a Play

“Honestly, I didn’t expect this! I burst into tears. I wish my mom were here – she would have been so proud of me. I’m so overwhelmed with gratitude to be among these nominees, as this is just the best community in the world. I’m still in the “oh my god, oh my god, oh my god” mode!” - Mia Farrow, first time Tony Award nominee

“I am truly overwhelmed and deeply honored to be nominated for best direction of a musical for my work on Maybe Happy Ending. Collaborating with this incredible team of artists on Will Aronson and Hue Park's brilliant musical has been a highlight of my career and life as an artist. I am also so proud of the work done by our stars Helen J Shen, Darren Criss, Dez Duron, and Marcus Choi. Special thanks to Justin Scribner, our steadfast PSM and the incredible crew at the Belasco Theater who make the magic happen nightly. Bravo and congrats to all the shows on Broadway this season!” - Michael Arden, Tony Nominee – Best Direction of a Musical

"I’m overjoyed and overwhelmed and over par to be nominated for a Tony Award. Coming to Broadway has been a lifelong dream. I’m grateful for the warmth and openness of this gorgeous community and to SpitLip and the entire Operation Mincemeat team for the untold joy that this show continues to bring." - Jak Malone for his nomination for Best Performance by an Actor in a Featured Role in a Musical

"To even be in this season, among the absolute best in this business feels utterly surreal. Huge congratulations to the other nominees, many of whom are our all-time heroes and inspirations. We love comedy, we love theatre, we love this story and telling it. To the city of New York and Broadway itself, we are so humbled by this welcome. Now we must stop screaming, we have a show tonight." - David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts (SpitLip), on their nominations for Best Musical, Best Book of a Musical and Best Original Score (Music and/or Lyrics) Written for the Theatre:

“This morning's nomination is a joyful affirmation of the work director Leigh Silverman and I have done over 20 years, to create and refine Yellow Face into a play which can bring audiences together, to laugh and think about how to move our country forward. Thank you so much to the Nominators!” - David Henry Hwang, Tony Nominee – Best Revival of a Play

" I am so thrilled for the entire Dorian Gray family that our show has been recognized with six Tony Nominations. We are so humbled to receive this honor and to share in it with such a brilliant array of shows from this incredible Broadway season. It’s nearly midnight here in Sydney, but we are celebrating loudly down under, and I can’t wait to be back with Sarah and our incredible Broadway crew next week to share in this special moment together. We are so grateful to the American Theatre Wing and The Broadway League for this great honor." - Kip Williams, director of The Picture of Dorian Gray

“I am exploding with joy and gratitude! I saw my first play when I was 10 years old at a community theater in Roswell, Georgia, and I was hooked. When I wasn’t doing shows, I was painting the sets, selling the pop corn, anything I could to be around that magic. That trend has continued to shape my entire life. To be recognized by the very community that I have loved ever since I can remember, is the highest honor. What makes it even more special, is to have it happen with Dead Outlaw. I feel so incredibly lucky to get to be telling this story, with these incredible theater artists and makers, at the top of their game, who came together to make a truly original and beautiful piece of theatrical art. We are having the time of our lives.” - Andrew Durand, Dead Outlaw

“I didn't know my phone's text capacity was so vast.  It seems people care about the Tonys...I've certainly cared about them and tuned in with my family as far back as I can remember.  I guess I've enjoyed them as a spectacular celebration of Broadway theatre which I've loved since I saw my first show at age six...Applause, with Lauren Baccal.  This year I'll have a good seat and i'll be cheering the community on full-throated.” - Jeb Brown, Dead Outlaw

“There are no words to describe how absolutely over the moon I am. Dead Outlaw is a dream come true in every single way. Every day that I get to be a part of this piece of theatre is a gift, and I feel so grateful that this team has allowed me to live in Maggie/ Millicent /et et al many many shoes (& hats) for the last two years. To be recognized for my part in the magic that this brilliant group collectively creates every night is overwhelming, humbling, and a true honor. I say it every day, but especially so today: I am the luckiest girl in the world.” - Julia Knitel, Dead Outlaw

“I had an incredibly rewarding 18 months collaborating with composers, cast, designers, producers, GMS, PMs, SMs, ADs, etc on Dead Outlaw. I am proud to share these nominations with every one of these motherfuckers.” - David Cromer, Dead Outlaw

“This group of extraordinary actors has inspired me, encouraged me, and gave me the confidence to step onto the stage in such an incredible show in a legendary venue. Kieran's take on Ricky...which is stunning and honest - a Ricky Roma with a youthful, unblinking confidence.  Bill Burr is the most powerful Dave Moss you can imagine, and Michael McKean delivers more laughs per second onstage than anyone…as well as buckets of humanity.  Donald Webber Jr. has been a powerful, inspirational scene partner, and Howard Overshown is a joy to work with.  Lastly, John Pirruccello is the best saddest James Lingk I could imagine, such a hoot to watch every night.  Patrick Marber gave us incredible free rein to re-discover this classic play, and constant encouragement that I surely needed.The Broadway experience has been incredibly fun and welcoming, from the crews to the theatre personnel, to the audiences who show up with genuine excitement and encouragement every time.  I am thankful to be embraced with such support by the community.” Bob Odenkirk, Glengarry Glen Ross

2025 Tony Award Nominations Complete List: BUENA VISTA, DEATH BECOMES HER, And MAYBE HAPPY ENDING Lead The Noms
Kobi Kassal
May 1, 2025

The champagne is chilled and the ballots are ready. The nominees for the 2025 Tony Awards were announced today and now let the campaigning begin.

Eligible for the 2024-2025 season are 42 productions, with 14 new musicals, 14 new plays, seven musical revivals, and seven play revivals, all hoping to hear their name called this morning. The nominations are being revealed by Sarah Paulson and Wendell Pierce, live from the Sofitel Hotel in Midtown Manhattan.

The winners of the 78th annual Tony Awards will be revealed on Broadway's biggest night on June 8 at Radio City Music Hall. Tony winner Cynthia Erivo will host the main event, which will air from 8:00-11:00 PM, ET/5:00-8:00 PM, PT on the CBS Television Network, and streaming live and on demand on Paramount+*.  

See the full list below:

Best Book of a Musical

Buena Vista Social Club

Marco Ramirez

Dead Outlaw

Itamar Moses

Death Becomes Her

Marco Pennette

Maybe Happy Ending

Will Aronson and Hue Park

Operation Mincemeat: A New Musical

David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts

Best Original Score (Music and/or Lyrics) Written for the Theatre

Dead Outlaw

Music & Lyrics: David Yazbek and Erik Della Penna

Death Becomes Her

Music & Lyrics: Julia Mattison and Noel Carey

Maybe Happy Ending

Music: Will Aronson

Lyrics: Will Aronson and Hue Park

Operation Mincemeat: A New Musical

Music & Lyrics: David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts

Real Women Have Curves: The Musical

Music & Lyrics: Joy Huerta and Benjamin Velez

Best Performance by an Actor in a Leading Role in a Play

George Clooney, Good Night, and Good Luck

Cole Escola, Oh, Mary!

Jon Michael Hill, Purpose

Daniel Dae Kim, Yellow Face

Harry Lennix, Purpose

Louis McCartney, Stranger Things: The First Shadow

Best Performance by an Actress in a Leading Role in a Play

Laura Donnelly, The Hills of California

Mia Farrow, The Roommate

LaTanya Richardson Jackson, Purpose

Sadie Sink, John Proctor Is the Villain

Sarah Snook, The Picture of Dorian Gray

Best Performance by an Actor in a Leading Role in a Musical

Darren Criss, Maybe Happy Ending

Andrew Durand, Dead Outlaw

Tom Francis, Sunset Blvd.

Jonathan Groff, Just in Time

James Monroe Iglehart, A Wonderful World: The Louis Armstrong Musical

Jeremy Jordan, Floyd Collins

Best Performance by an Actress in a Leading Role in a Musical

Megan Hilty, Death Becomes Her

Audra McDonald, Gypsy

Jasmine Amy Rogers, BOOP! The Musical

Nicole Scherzinger, Sunset Blvd.

Jennifer Simard, Death Becomes Her

Best Performance by an Actor in a Featured Role in a Play

Glenn Davis, Purpose

Gabriel Ebert, John Proctor Is the Villain

Francis Jue, Yellow Face

Bob Odenkirk, Glengarry Glen Ross

Conrad Ricamora, Oh, Mary!

Best Performance by an Actress in a Featured Role in a Play

Tala Ashe, English

Jessica Hecht, Eureka Day

Marjan Neshat, English

Fina Strazza, John Proctor Is the Villain

Kara Young, Purpose

Best Performance by an Actor in a Featured Role in a Musical

Brooks Ashmanskas, SMASH

Jeb Brown, Dead Outlaw

Danny Burstein, Gypsy

Jak Malone, Operation Mincemeat: A New Musical

Taylor Trensch, Floyd Collins

Best Performance by an Actress in a Featured Role in a Musical

Natalie Venetia Belcon, Buena Vista Social Club

Julia Knitel, Dead Outlaw

Gracie Lawrence, Just in Time

Justina Machado, Real Women Have Curves: The Musical

Joy Woods, Gypsy

Best Scenic Design of a Play

Marsha Ginsberg, English

Rob Howell, The Hills of California

Marg Horwell and David Bergman, The Picture of Dorian Gray

Miriam Buether and 59, Stranger Things: The First Shadow

Scott Pask, Good Night, and Good Luck

Best Scenic Design of a Musical

Rachel Hauck, Swept Away

Dane Laffrey and George Reeve, Maybe Happy Ending

Arnulfo Maldonado, Buena Vista Social Club

Derek McLane, Death Becomes Her

Derek McLane, Just in Time

Best Costume Design of a Play

Brenda Abbandandolo, Good Night, and Good Luck

Marg Horwell, The Picture of Dorian Gray

Rob Howell, The Hills of California

Holly Pierson, Oh, Mary!

Brigitte Reiffenstuel, Stranger Things: The First Shadow

Best Costume Design of a Musical

Dede Ayite, Buena Vista Social Club

Gregg Barnes, BOOP! The Musical

Clint Ramos, Maybe Happy Ending

Paul Tazewell, Death Becomes Her

Catherine Zuber, Just in Time

Best Lighting Design of a Play

Natasha Chivers, The Hills of California

Jon Clark, Stranger Things: The First Shadow

Heather Gilbert and David Bengali, Good Night, and Good Luck

Natasha Katz and Hannah Wasileski, John Proctor Is the Villain

Nick Schlieper, The Picture of Dorian Gray

Best Lighting Design of a Musical

Jack Knowles, Sunset Blvd.

Tyler Micoleau, Buena Vista Social Club

Scott Zielinski and Ruey Horng Sun, Floyd Collins

Ben Stanton, Maybe Happy Ending

Justin Townsend, Death Becomes Her

Best Sound Design of a Play

Paul Arditti, Stranger Things: The First Shadow

Palmer Hefferan, John Proctor Is the Villain

Daniel Kluger, Good Night, and Good Luck

Nick Powell, The Hills of California

Clemence Williams, The Picture of Dorian Gray

Best Sound Design of a Musical

Jonathan Deans, Buena Vista Social Club

Adam Fisher, Sunset Blvd.

Peter Hylenski, Just in Time

Peter Hylenski, Maybe Happy Ending

Dan Moses Schreier, Floyd Collins

Best Direction of a Play

Knud Adams, English

Sam Mendes, The Hills of California

Sam Pinkleton, Oh, Mary!

Danya Taymor, John Proctor Is the Villain

Kip Williams, The Picture of Dorian Gray

Best Direction of a Musical

Saheem Ali, Buena Vista Social Club

Michael Arden, Maybe Happy Ending

David Cromer, Dead Outlaw

Christopher Gattelli, Death Becomes Her

Jamie Lloyd, Sunset Blvd.

Best Choreography

Joshua Bergasse, SMASH

Camille A. Brown, Gypsy

Christopher Gattelli, Death Becomes Her

Jerry Mitchell, BOOP! The Musical

Patricia Delgado and Justin Peck, Buena Vista Social Club

Best Orchestrations

Andrew Resnick and Michael Thurber, Just in Time

Will Aronson, Maybe Happy Ending

Bruce Coughlin, Floyd Collins

Marco Paguia, Buena Vista Social Club

David Cullen and Andrew Lloyd Webber, Sunset Blvd.

Best Play

English

Author: Sanaz Toossi

The Hills of California

Author: Jez Butterworth

John Proctor Is the Villain

Author: Kimberly Belflower

Oh, Mary!

Author: Cole Escola

Purpose

Author: Branden Jacobs-Jenkins

Best Musical

Buena Vista Social Club

Dead Outlaw

Death Becomes Her

Maybe Happy Ending

Operation Mincemeat: A New Musical

Best Revival of a Play

Eureka Day

Author: Jonathan Spector

Romeo + Juliet

Thornton Wilder’s Our Town

Yellow Face

Author: David Henry Hwang

Best Revival of a Musical

Floyd Collins

Gypsy

Pirates! The Penzance Musical

Sunset Blvd.

Tony Nominations by Production

Buena Vista Social Club - 10

Death Becomes Her - 10

Maybe Happy Ending - 10

Dead Outlaw - 7

John Proctor Is the Villain - 7

Sunset Blvd. - 7

The Hills of California - 7

Floyd Collins - 6

Just in Time - 6

Purpose - 6

The Picture of Dorian Gray - 6

English - 5

Good Night, and Good Luck - 5

Gypsy - 5

Oh, Mary! - 5

Stranger Things: The First Shadow - 5

Operation Mincemeat: A New Musical - 4

BOOP! The Musical - 3

Yellow Face - 3

Eureka Day - 2

Real Women Have Curves: The Musical - 2

SMASH - 2

A Wonderful World: The Louis Armstrong Musical - 1

Glengarry Glen Ross - 1

Pirates! The Penzance Musical - 1

Romeo + Juliet - 1

Swept Away - 1

The Roommate - 1

Thornton Wilder’s Our Town - 1

Theatrely News
EXCLUSIVE: Watch A Clip From THEATER CAMP Starring Ben Platt, Noah Galvin, and Molly Gordon
Theatrely News
READ: An Excerpt From Sean Hayes Debut YA Novel TIME OUT
Theatrely News
"Reframing the COVID-19 Pandemic Through a Stage Manager’s Eyes"
EXCLUSIVE: Watch A Clip From THEATER CAMP Starring Ben Platt, Noah Galvin, and Molly Gordon
By: Maia Penzer
14 July 2023

Finally, summer has arrived, which can only mean one thing: it's time for camp! Theater Camp, that is. Theatrely has a sneak peak at the new film which hits select theaters today. 

The new original comedy starring Tony Award winner Ben Platt and Molly Gordon we guarantee will have you laughing non-stop. The AdirondACTS, a run-down theater camp in upstate New York, is attended by theater-loving children who must work hard to keep their beloved theater camp afloat after the founder, Joan, falls into a coma. 

The film stars Ben Platt and Molly Gordon as Amos Klobuchar and Rebecca-Diane, respectively, as well as Noah Galvin as Glenn Wintrop, Jimmy Tatro as Troy Rubinsky, Patti Harrison as Caroline Krauss, Nathan Lee Graham as Clive DeWitt, Ayo Edebiri as Janet Walch, Owen Thiele as Gigi Charbonier, Caroline Aaron as Rita Cohen, Amy Sedaris as Joan Rubinsky, and Alan Kim as Alan Park. 

Theater Camp was directed by Molly Gordon and Nick Lieberman and written by Noah Galvin, Molly Gordon, Nick Lieberman & Ben Platt. Music is by James McAlister and Mark Sonnenblick. On January 21, 2023, Theater Camp had its world premiere at the Sundance Film Festival.

You can purchase tickets to the new film from our friends at Hollywood.com here.

READ: An Excerpt From Sean Hayes Debut YA Novel TIME OUT
By: Kobi Kassal
29 May 2023

Actor Sean Hayes is what we in the biz call booked and blessed. On top of his Tony-nominated performance as Oscar Levant in Good Night, Oscar, Hayes has partnered with Todd Milliner and Carlyn Greenwald for the release of their new YA novel Time Out

Heralded by many as Heartstopper meets Friday Night Lights, Time Out follows hometown basketball hero Barclay Elliot who decides to use a pep rally to come out to his school. When the response is not what he had hoped and the hostility continually growing, he turns to his best friend Amy who brings him to her voting rights group at school. There he finds Christopher and… you will just have to grab a copy and find out what happens next. Luckily for you, Time Out hits shelves on May 30 and to hold you over until then we have a special except from the book just for Theatrely:

The good thing about not being on the team the past two weeks has been that I’ve had time to start picking up shifts again at Beau’s diner and save up a little for college now that my scholarship dreams are over.

     The bad part is it’s the perfect place to see how my actions at the pep rally have rotted the townspeople’s brains too.

     During Amy’s very intense musical theater phase in middle school, her parents took her to New York City. And of course she came back home buzzing about Broadway and how beautiful the piss smell was and everything artsy people say about New York. But she also vividly described some diner she waited three hours to get into where the waitstaff would all perform songs for the customers as a way to practice for auditions. The regulars would have favorite staff members and stan them the way Amy stans all her emo musicians.

     Working at Beau’s used to feel kind of like that, like I was part of a performance team I didn’t know I signed up for. The job started off pretty basic over the summer—I wanted to save up for basketball supplies, and Amy worked there and said it was boring ever since her e-girl coworker friend graduated. But I couldn’t get through a single lunch rush table without someone calling me over and wanting the inside scoop on the Wildcats and how we were preparing for the home opener, wanting me to sign an article in the paper or take a photo. Every friendly face just made the resolve grow inside me. People love and support the Wildcats; they would do the same for me.

     Yeah, right.

     Now just like school, customers have been glaring at me, making comments about letting everyone down, about being selfish, about my actions being “unfortunate,” and the tips have been essentially nonexistent. The Wildcats have been obliterated in half their games since I quit, carrying a 2–3 record when last year we were 5–0, and the comments make my feet feel like lead weights I have to drag through every shift.

     Today is no different. It’s Thursday, the usual dinner rush at Beau’s, and I try to stay focused on the stress of balancing seven milkshakes on one platter. A group of regulars, some construction workers, keep loudly wondering why I won’t come back to the team while I refuse proper eye contact.

     One of the guys looks up at me as I drop the bill off. “So, what’s the deal? Does being queer keep ya from physically being able to play?”

     They all snicker as they pull out crumpled bills. I stuff my hands into my pockets, holding my tongue.

     When they leave, I hold my breath as I take their bill.

     Sure enough, no tip.

     “What the fuck?” I mutter under my breath.

     “Language,” Amy says as she glides past me, imitating the way Richard says it to her every shift, and adds, “even though they are dicks.” At least Amy’s been ranting about it every free chance she gets. It was one thing when the student body was being shitty about me leaving the team, but the town being like this is even more infuriating. She doesn’t understand how these fully grown adults can really care that much about high school basketball and thinks they need a new fucking hobby. I finally agree with her.

     [She’s wearing red lipstick to go with her raccoon-adjacent eyeliner as she rushes off to prepare milkshakes for a pack of middle schoolers. I catch her mid–death glare as all three of the kids rotate in their chairs, making the old things squeal. My anger fades a bit as I can’t help but chuckle; Amy’s pissed-off reaction to Richard telling her to smile more was said raccoon makeup, and her tolerance for buffoonery has been at a negative five to start and declining fast.

     I rest my arms on the counter and try not to look as exhausted as I feel.

     “Excuse me!” an old lady screeches, making me jump.

     Amy covers up a laugh as I head to the old lady and her husband’s table. They’ve got finished plates, full waters. Not sure what the problem is. Or I do, which is worse.

     “Yes?” I say trying to suppress my annoyance.

     “Could you be bothered to serve us?”

     Only five more hours on shift. I have a break in three minutes. I’ll be with Devin at Georgia Tech tomorrow. “I’m sorry, ma’am,” I say, so careful to keep my words even, but I can feel my hands balling into fists. “What would you—?”

     And suddenly Amy swoops in, dropping two mugs of coffee down. “Sorry about that, you two,” she says, her voice extra high. “The machine was conking out on us, but it’s fine now.”

     Once the coffee is down, she hooks onto a chunk of my shirt, steering us back to the bar.

     “Thanks,” I mutter, embarrassed to have forgotten something so basic. Again.

     “Just keep it together, man,” she says. “Maybe you’d be better off with that creepy night shift where all the truckers and serial killers come in.”

     Honestly, at least the serial killers wouldn’t care about my jump shot.

     It’s a few minutes before my break, but clearly I need it. “I’ll be in the back room.”

     Right before I can head that way though, someone straight-up bursts into the diner and rushes over to me at the bar. It’s a middle-aged dad type, sunburned skin, beer belly, and stained T-shirt.

     “Pickup order?” I ask.

     “You should be ashamed,” he sneers at me. He has a really strong Southern accent, but it’s not Georgian. “Think you’re so high and mighty, that nothing’ll ever affect you? My kid’ll never go to college because of you and your lifestyle. Fuck you, Barclay Ell—”

     And before this man can finish cursing my name, Pat of all people runs in, wide-eyed in humiliation. “Jesus, Dad, please don’t—”

      I pin my gaze on him, remembering how he cowered on the bench as Ostrowski went off, how he didn’t even try to approach me. “Don’t even bother,” I snap.

     I shove a to-go bag into his dad’s arms, relieved it’s prepaid, and storm off to the break room.]

     Amy finds me head in my arms a minute or two later. I look up, rubbing my eyes. “Please spare me the pity.”

     She snorts and hands me a milkshake. Mint chocolate chip. “Wouldn’t dare.” She takes a seat and rolls her shoulders and neck, cracks sounding through the tiny room. “Do you want a distraction or a shoulder to cry on?”

For more information, and to purchase your copy of Time Out, click here.

Reframing the COVID-19 Pandemic Through a Stage Manager’s Eyes
By: Kaitlyn Riggio
5 July 2022

When the COVID-19 pandemic was declared a national emergency in the United States in March 2020, Broadway veteran stage manager Richard Hester watched the nation’s anxiety unfold on social media.

“No one knew what the virus was going to do,” Hester said. Some people were “losing their minds in abject terror, and then there were some people who were completely denying the whole thing.”

For Hester, the reaction at times felt like something out of a movie. “It was like the Black Plague,” he said. “Some people thought it was going to be like that Monty Python sketch: ‘bring out your dead, bring out your dead.’”

While Hester was also unsure about how the virus would unfold, he felt that his “job as a stage manager is to naturally defuse drama.” Hester brought this approach off the stage and onto social media in the wake of the pandemic.

“I just sort of synthesized everything that was happening into what I thought was a manageable bite, so people could get it,” Hester said. This became a daily exercise for a year. Over two years after the beginning of the pandemic, Hester’s accounts are compiled in the book, Hold Please: Stage Managing A Pandemic. Released earlier this year, the book documents the events of the past two years, filtering national events and day-to-day occurrences through a stage manager’s eyes and storytelling.

When Hester started this project, he had no intention of writing a book. He was originally writing every day because there was nothing else to do. “I am somebody who needs a job or needs a structure,” Hester said.

Surprised to find that people began expecting his daily posts, he began publishing his daily writing to his followers through a Substack newsletter. As his following grew, Hester had to get used to writing for an audience. “I started second guessing myself a lot of the time,” Hester said. “It just sort of put a weird pressure on it.”

Hester said he got especially nervous before publishing posts in which he wrote about more personal topics. For example, some of his posts focused on his experiences growing up in South Africa while others centered on potentially divisive topics, such as the 2020 election and the January 6, 2021, attack on the U.S. Capitol.

Despite some of this discomfort, Hester’s more personal posts were often the ones that got the most response. The experience offered him a writing lesson. “I stopped worrying about the audience and just wrote what I wanted to write about,” Hester said. “All of that pressure that I think as artists we put on ourselves, I got used to it.”

One of Hester’s favorite anecdotes featured in the book centers on a woman who dances in Washington Square Park on a canvas, rain or shine. He said he was “mesmerized by her,” which inspired him to write about her. “It was literally snowing and she was barefoot on her canvas dancing, and that seems to me just a spectacularly beautiful metaphor for everything that we all try and do, and she was living that to the fullest.”

During the creation of Hold Please, Hester got the unique opportunity to reflect in-depth on the first year of the pandemic by looking back at his accounts. He realized that post people would not remember the details of the lockdown; people would “remember it as a gap in their lives, but they weren’t going to remember it beat by beat.”

“Reliving each of those moments made me realize just how full a year it was, even though none of us were doing anything outside,” he adds. “We were all on our couches.” Readers will use the book as a way to relive moments of the pandemic’s first year “without having to wallow in the misery of it,” he hopes.

“I talk about the misery of it, but that’s not the focus of what I wrote... it was about hope and moving forward,” Hester said. “In these times when everything is so difficult, we will figure out a way to get through and we will move forward.”

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