“I Am My Own Wife”: John Tufts Bewitches As Charlotte von Mahlsdorf.

“I need to believe in her stories as much as she does. That Lothar Berfelde navigated a path between the two most repressive regimes the Western World has ever known - the Nazis and the Communists - in a pair of heels.”(Doug Wright)

“I Am My Own Wife” by Douglas Wright, work-shopped and finalized at the first La Jolla Playhouses Page to Stage program in 2001 is in excellent hands at the Laguna Playhouse with John Tufts as Charlotte von Mahlsdorf.

Jefferson May, whose star rose condiderably, took the show to New York and ultimately returned to La Jolla with a Tony in hand for his outstanding performance. It also won the Pulitzer Prize for Best Play and it is now in a mesmerizing production directed by Jenny Sullivan.

Nimble actor John Tufts takes us on the same journey that Lothar Berfelde, aka, Charlotte von Mahlsdorf’s life took when he discovered at an early age that he was a transvestite who openly dressed as a woman and, lived through and survived the Nazi and Soviet Regimes during and after WWII.

John Tufts as Charlotte von Mahlsdorf

Born in 1928 Berlin Lothar was forced by his abusive father, already a Nazi, to join Hitler’s Youth Movement. Later she weathered her parent’s divorce and after her mother took the children to East Prussia she met and was was influenced by her lesbian aunt who encouraged her to be herself.

Some time later she went back to Berlin to help her father, but being the bastard that he was, he attacked her and locked her in her room. As a collector, she always carried a ring of miscellaneous keys in her pocket. That allowed her to leave the room where, as the story goes, it was either she or her father. She killed him in self -defense and was sentenced to four years in prison. With luck on her side the war came to and end and she managed to walk away from the prison.

 

Based on a series of interviews and letters playwright Doug Wright had with Charlotte while he was in Berlin, 1993 covering the demise of the Berlin Wall, the story of a life of creativity, survival, humor, espionage and even reluctant informant for the Stasi against her friends and family more for survival than allegiance, comes full circle.

“I thought if they shoot me, what’s the difference between a boy and a girl, because dead is dead!”

Dressed in a simple black dress (Keith Mitchell) with a double strand of pearls around his neck, a babushka on his head and clunky black shoes and stockings, Tufts takes on the persona of Charlotte (as well as 25 others) in a one- man tour de force performance second to none.  

John Tufts in Laguna Playhouse's "I Am My Own Wife"

Under Sullivan’s astute direction and surrounded by Keith Mitchell’s  (set designer) collection of old gramophones, phonographs, record players, clocks of various sizes and shapes, old furniture lining the walls and suspended from the rafters, and with Pablo Santiago’s on spot lighting design, Warren Casey’s pros, Christopher Moscatiellosoun accurate sounds, not to mention… projections on a chalkboard in the background the visuals are overwhelming.

“Welcome to my Gründerzeit-Museum.”

We first meet our lady in waiting as she carefully peeks through the door of her museum before she greets us. When she does emerge she is cradling an antique ‘Thomas Alva Edison’s invention’, the 1887 phonograph the worlds first, in her arms. She carefully sets it on a small table. In the background hanging on the wall is a framed painting of the Edison phonograph with the dog, Nipper, ‘ears cocked” to listen into the long horn.

Charlotte begins by giving us a history of the gramophone recalling how he, Lothar, loved to listen to his records on the gramophone when he was a child. Having developed a fascination with the machines, he began his collections along with all sorts of antiques, which he later turned into a museum and also won him/her the ‘medal of honor’ by the East German communist government for the preservation of German antiques.

“The day I received the medal was for me recognition of my work, and I thought It’s good, because other people see that a transvestite can work. A transvestite becomes such a medal.”

Tufts’ beautifully nuanced performance captivates with just the right combination of moves to tell Charlotte’s story. Every time he speaks in Charlotte’s voice, (he is also 35 other characters including Doug Wright himself) he touches his hand to the double string of pearls, he moves at angles and faces the audience in his other voices. He is fascinating to watch and has found her voice in such telling ways that it is impossible to take you eyes off of him.

Aside from the fact that Tufts performance is so breathtaking, you will find Charlotte’s life equally gripping as she transitions from character to character with as much as a hand movement, a nod, a um, yes? ja? a look, a wave, smoothing her dress, or just simply looking straight out into the audience.

 

At 40 years old her mother said to her, “Lottchen, it’s all very well to play dress-up. But now you’ve grown into a man. When will you marry?” And I said to her “My dear Mutti, I am my own wife.”

“I Am My Own Wife” continues through Jan 28^th on the Laguna Stage (the 4^th show in the Laguna Playhouse 97^th season).

For yours truly, it was a trip down memory lane having seen it before, but confess that I had to catch up on so much forgotten material that I almost didn’t remember what it was like for the ‘other’ to live through under Hitler and Russian regimes.  “Like the Jews, we were fair game.”

She eventually moved to Sweden, but returned to her museum in Berlin every five years. While at the museum, Charlotte died of a heart attack at the age of 74. The story of her life premiered off- Broadway one year later in 2004.

Hers is a history worth repeating.

“I Am My Own Wife” continues through Jan 28^th on the Laguna Stage and is the 4^th show in the Laguna Playhouse 97^th season.

See you at the theatre.

Dates: Through Jan. 28^th

Organization: Laguna Playhouse

Phone: 1-949-497-2787

Production Type: Drama

Where: 606 Laguna Canyon Road, Laguna Beach, CA

Ticket Prices: Start at $51.00

Web: lagunaplayhouse.com

Venue: Mainstage -Moulton Theatre

Photo: David Bazemore, Ensemble Studio

“Around The World in 80 Days” Hits Just The Right Stride at North Coast Rep.

If your idea of a perfect traveling experience is sitting in you favorite seat at North Coast Repertory Theatre and avoid all the pitfalls traveling affords, join those who on opening night traveled the world in 80 days (on trains, steamers and elephant, and fraught with danger, adventure and outrageous happenings) with Richard Baird, Loren Lester, Omri Schein, Lovlee Carroll and Will Vought, who plays 19 characters, and together with the rest of the cast play 40 characters by shows end.

Forget about the balloon and put on your imagination caps for a journey with some folks you will get to know in that time frame, and more importantly, some you will probably want to meet up with on your next trip or not.  

Loren Lester and Omri Schein

Jules Vern’s 1780 classic adventure “Around The world in 80 Days” has been made into a motion picture and adapted to several play versions most following the speedy journey around the world and stopping off for a quick look- see in different countries, continents and hotel lobbies usually with a cast larger than seen at NCR.

This particular version, somewhat resembling Alfred Hitchcock’s “The 39 Steps”, was adapted by Mark Brown and deftly directed by Allison Bibicoff and is in a San Diego Premiere running through Feb. 4^th.  It is a hoot and a howl.

Briefly, our central character Phileas Fogg (Baird is a perfect fit as the mysterious, meticulous and methodical Fogg) is at his Reform Club where his whist partners are discussing a recent bank robbery. The robber got away scot-free with fifty thousand pounds from the Bank of London.

Omri Schein, Richard Baird and Loren Lester

They argue back and forth about how this robber could or not, get away with the crime. It is now 1872 and Fogg pipes in that the world has grown smaller (than it was 100 years ago) because of the completion of the new Great Indian Peninsular Railway, making it much easier to make it around the world in 80 days (a mathematical fact according to Fogg) thereby eluding the law. 

By making this statement he contradicts some of his friends who insist that it would take three months. At this time, a twenty thousand pound wager is agreed upon that sets this tale into motion.

If he’s to win the bet, he must make all the right connections. However even without airline delays that are so much a part of our now daily lives, unexpected trials and tribulations will get in the way of our fellow travelers.  

Fogg, whose routine is exactly the same everyday, summons his Parisian valet Passepartout (Omri Schein is one hell of an actor doing the almost impossible). He is perfect as the versatile decoy and does yeoman’s work as the over the top clown and do all -be all servant to Baird’s steady as she goes gentlemanly aura.  

Omri’s Passepartout claims to have been a singer, horse rider, trapeze artist, tight ropewalker and goat herder as he tumbles on to the stage and does a head stand. 

Loren Lester and Will Vought  

He is ordered by Fogg to take “two carpet bags with the bare essentials” along with the Bradshaw Guide that contains timetables of every steamer and railway in the world, and be prepared for some travel.

And the trek begins on the train with the first stop in Brindisi and from there to Bombay via Suez. It is here we meet up with Inspector Fix (Loren Lester). He follows Fogg throughout the journey, resembling Colombo in a long trench coat, convinced that Fogg is the thief that mastermind the bank robbery.

If you combined Colombo, Inspectors Clouseau and Poirot, Fix is the embodiment of the classic bumbling detective. He hides behind newspapers, peeks around corners and is, in general a royal pain in the arse. 

His goal is to stop Fogg at his own game, slow him down in anticipation of an arrest before he sets foot back on British soil. Unfortunately for him, as ‘twas not the case, he was outwitted by Fogg and company at every turn.

Cast of "Around The World in 80 Days"

One of the most interesting characters we meet up is Kamana Aouda in the person of Lovlee Carroll daughter of a wealthy merchant and recent widow.  In India, Fogg rescues her after a near death mishap and the two become traveling companions, which in turn puts a little zip in Foggs step. I’ll let you watch that one play out because Carroll is so convincing, and yes a bit coy as the sought after and beautiful Aouda.

Thanks to set designer Marty Burnett’s clever (a la ‘Laugh In’ type set) with the map of the world as a backdrop, drawers that pull out for various and sundry uses; a step up pyramid for the ship’s deck, 4 chairs for train travel, a chest with again, miscellaneous ‘stuff’ and in what is the most clever, two umbrellas representing elephant ears, doors leading to other doors for the coming and going of the various characters that come and go. Baird, for the most part, stays in character throughout.

Loren Lester (front) Will Vought, Omri Schein, Ruchard Baird and Lovlee Carroll

Holly Gillard’s props are exceptional and Kimberly DeShazo’ costumes are worth noting for their (for lack of a better word) flexibility and originality. Dave Mickey’s sound design gives credence to the type of travel, say fog horn, train whistle, etc., and Matt Novotny’s lighting puts everything into perspective.

Allison Bibicoff’s hits all the right strides with enough mystery to have you shaking your collective heads on the way out wondering how they managed to make it all come together and finish their game of whist at the end of 80 days.

NCR’s “Around The World in 80 Days” is a whimsical, theatrical, magical, capricious, playful, you name it, romp. It’s well worth the trip to Solana Beach. Enjoy.

“Oh! The places you’ll GO! You’ll be on your way up! You’ll be seeing great sights! You’ll join the high flyers who soar to great heights!” You will be traveling to Mongolia, Hong Kong, Bombay, Calcutta, the Suez Canal and Egypt, Singapore, Yokohama, the American West and New York. (Dr. Seuss)

See you at the theatre.

Dates: Through Feb. 4^th

Organization: North Coast Repertory Theatre

Phone: 858-481-1055

Production Type:

Where: 987 Lomas Santa Fe Drive Suite D

Ticket Prices: Start at $42.00

Web: northcoastrep.org

Photo: Aaron Rumley

National Tour Of “Hamilton” Lands In San Diego And Is Nothing Less Than Awesome

What more can be said about the hip hoppin’, jazz, blues, rap centric, R&B mega hit “Hamilton” that hasn’t been said already? Winner of the Pulitzer Prize for Drama, and eleven Tony Awards including Best Musical, the life and times of Alexander Hamilton comes full circle for over two hours in Lin-Manuel Miranda’s historical unfolding of America’s beginnings

Alexander Hamilton

As one who is, let’s say a virgin “Hamilton” apprentice, well except for listening endless hours on my CD, to reading the making of the show, to watching clips on YouTube, to watching him bring “Hamilton” to the White House, to memorizing some of the lyrics, I was finally in the lobby of the Civic Theatre where one might have expected another revolution to break out, the energy ran so high.

Everyone with umbrellas, to soggy haired patrons carrying tickets with the famous “Hamilton” logo on them (I wanted one) showed up en mass at the Civic Center the night I attended all looking to have the experience of a lifetime and relieved that THIS moment in San Diego theatre had finally arrived. The national tour of “Hamilton” through Jan. 28^th with last minute changes in casting (that could have fooled me) was about to happen

Cast of Hamilton

Da dada da da dada da dada da da

Curtain Up!

“Alexander Hamilton”, (“How does a bastard, orphan son of a whore -And Scotsman, dropped in the middle of a forgotten spot in the Caribbean by providence impoverished -In squalor, grow up to be hero and a scholar?”) was the very first number that went from my CD straight to David Korins’ open stage design with a slow moving turntable and room to fill any necessary props, brought in by cast members. It was awesome and the audience went mad!

Scene from Hamilton

In retrospect, the show exceeded my expectations and the entire production blew my mind away. The fact that it is the most talked about, featured and bragged about from those who paid up to a thousand dollars to see the original production with Lin-Manuel Miranda in New York several years ago, to those who have seen it more than once (I would see it again in a heartbeat) to yours truly who has nothing to compare it with, deserves all the hype afforded it.

Inspired by the 2004 biography Alexander Hamilton by historian Ron Chernow, “Hamilton: An American Musical” with music, lyrics and book by Lin-Manuel Miranda, the story traces the life of one America’s Founding Fathers, Alexander Hamilton; statesman, Secretary of the Treasury, author of economic policies under George Washington, immigrant from the Caribbean, born ‘out of wedlock’ and brought to New York as a teenager to pursue his education, became a representative to the Congress of the Confederate and, his likeness appears on our U.S. $10.00 bill.

His back -story is more interesting than his credentials as played out in the musical. Miranda puts a face on the young patriot who steadfastly pushed his way into the making of a country as vulnerable as he, writing a majority of articles and or essays called the Federalist Papers defending the ratification to the U.S. Constitution.

King George III as portrayed by Rory O'Malley

With a cast as colorful (read multi ethnic), and somewhat as diverse as our founding father’s, Alexander Hamilton is played by he talented and charismatic Austin Scott. When he isn’t going face to face to face with his nemesis (“I’m Not Throwin Away My Shot”) Aaron Burr, (Ryan Vasques who was brought in on opening night to replace Nicholas Christopher, and nailed it… “The Room Where It Happened”), he tests the waters by supporting the revolution to break away from the Mother Land and Monarch King George III, played with scrumptious wit and snooty arrogance by Rory O’Malley (“You’ll Be Back”).

Even though the women in most bios of the founding fathers get short -changed, Hamilton was as much a romantic and a rogue that he almost threw away his marriage while engaging in an outside affair. Early on he met and married, the love of his life, one of the Schuyler Sisters, Angelica “I’ll never forget the first time I saw your face”, Sabrina Sloan “Satisfied”) who introduced him to her sister Eliza (Raven Thomas) at the Winters Ball

The Schuyler Sisters

The women in his life played a large part and Miranda, equal opportunity master that he is, gives the women some of the most compelling lyrics and music with which to express themselves. (“The Shuyler Sisters”, “Wrek”, “Helpless”, “Who Lives, Who Dies, Who Tells Your Story.”)

On the battlefield and in the planning of the revolution, Hamilton won the respect of George Washington (the full voiced Isaiah Johnson “Right Hand Man”) much to the chagrin, consternation, and I might add jealousy of Burr. As long as Washington stayed in power, Hamilton was protected from his enemies.

Jordan Donica as Thomas Jefferson

The minute Washington stepped down after the battle and independence a reality, with the help of the Marquis de Lafayette (Jordan Donica who also plays the dandy Thomas Jefferson to perfection), Hamilton was open game and Burr was clearly out to break the man. Unfortunately, Burr’s claim to fame was that he shot and killed Alexander Hamilton. (“It’s Quiet Uptown”).   

Scene from Alexander Hamilton

“Hamilton” is such an ensemble piece that it’s difficult to pick out some that caught our attention although Amber Iman as Maria Reynolds (She also played a short time as sister Peggy) whose affair with Hamilton almost wrecked his life, is devastated when he breaks it off-  “Say No To This”) does show up as an important piece of the puzzle in Hamilton's life. Later it will be her husband, James Reynolds (Desmond Newson) and Burr that will bring Hamilton down almost ending his marriage and deepening his rivalry with Burr.

Overall the large cast with precision choreograph by Andy Blankenbuehler is in a category by itself with some beautiful and muscle bound bodies making this spectacular another reason to be there.

With outstanding conducting by Julian Reeve’s, musical supervision and orchestrations by Alex Lacamoire (more than appreciated in the large Civic Theatre thanks to Nevin Steinberg’s sound design) and deftly directed by Thomas Kail, and outfitted by Paul Tazewell, and with Howell Binkley’s dazzling lighting, beg borrow or sign up for the lottery to have an experience of a lifetime.  

Do listen to the music and clever lyrics and try to familiarize yourselves to have the full understanding of what’s being said. One such outburst in the show “Immigrant’s we get the job done!” is cheered by an audience that understands that each of us has a stake in the prosperity of this great nation of ours.

Enjoy

See you at the theatre.

Dates: Through Jan. 28th

Organization: Broadway San Diego

Phone: 619-570-1100

Production Type: Musical

Where: 1100 Third Ave., San Diego, CA. 92101

Ticket Prices: Check with Box Office or enter lottery @hamiltonmusical.com/lottery 

Web: Broadwaysd.com

Venue: Civic Theatre

Photo: Joan Marcus

 

SECRET’S OUT OF THE BAG ! NOMINANTIONS ANNOUNCED

The San Diego Theatre Critics Circle has announced the nominations for its 16^th annual Craig Noel Awards for Theatrical Excellence, which will be presented in a ceremony on Feb. 12, 2018, at the Jacobs Center for Neighborhood Innovation in San Diego.

     Named for the late founding artistic director of San Diego’s longest-established theater, The Old Globe, the Craig Noel Awards honor the top achievements in San Diego professional theater.

For more information on the Critics Circle and the Craig Noel Awards, visit sdcriticscircle.org

The 2017 Craig Noel Nominations:

Outstanding Dramatic Production

“Blue Door” – Moxie Theatre

“Awake and Sing” – New Village Arts

 “Ballast” – Diversionary Theatre

“The Ballad of Emmett Till” – ion theatre

“Father Comes Home from the Wars, Parts 1, 2 & 3” – Intrepid Theatre

Outstanding New Musical

“Freaky Friday” – La Jolla Playhouse

“Benny & Joon” – The Old Globe

 “SUMMER: The Donna Summer Musical” – La Jolla Playhouse

 “Tarrytown” – Backyard Renaissance Theatre Company

Festival of Christmas:  “North of Normal”– Lamb’s Players Theatre

Outstanding Resident Musical

“On the 20th Century” –  Cygnet Theatre

“Shockheaded Peter” – Cygnet Theatre

“Guys and Dolls” – The Old Globe

“Billy Elliot” – San Diego Musical Theatre & California Ballet

“In The Heights” – Moonlight Stage Productions

 “Spring Awakening” – OnStage Playhouse

Outstanding New Play

Hershey Felder – ”Our Great Tchaikovsky,” San Diego Repertory Theatre

Will Cooper – “Margin of Error,” The Roustabouts Theatre Co.

Georgette Kelly – “Ballast,” Diversionary Theatre

Mat Smart – “Kill Local,” La Jolla Playhouse

Hansol Jung – “Wild Goose Dreams,” La Jolla Playhouse

Outstanding Touring Production

“The Old Man and The Old Moon” – PigPen Theatre Co. at The Old Globe

“An American in Paris” – Broadway/San Diego

“The Absolute Brightness of Leonard Pelkey” – The Old Globe

“Matilda the Musical” – Broadway San Diego

“Flight” – Curbside (Long Beach) at San Diego International Fringe Festival

Outstanding Ensemble

 “Awake and Sing” –New Village Arts

“Ballast” – Diversionary Theatre

“The Ballad of Emmett Till” –  ion theatre

“A Piece of My Heart” – OnStage Playhouse

“Tarrytown” – Backyard Renaissance Theatre Company

Outstanding Solo Performance

Hershey Felder – “Our Great Tchaikovsky,” San Diego Repertory Theatre

Linda Libby – “An Iliad,” New Village Arts

Shana Wride – “2.5 Minute Ride,” Diversionary Theatre

James Lecesne – “The Absolute Brightness of Leonard Pelkey,” The Old Globe

Claudio Raygoza – “Sex, Drugs, Rock & Roll,” ion theatre

Outstanding Lead Performance in a Musical, Male

David S. Humphrey – “The Music Man,” Welk Resort Theatre

Paul Swenson Eddy – “Buddy: The Buddy Holly Story,” Intrepid Theatre &  New Village Arts

Richard Bermudez – “Kiss of the Spider Woman,” Welk Resort Theatre

Bryce Pinkham – “Benny and Joon,” The Old Globe

Tom Zohar – “Tarrytown,” Backyard Renaissance Theatre Company

Outstanding Lead Performance in a Musical, Female

Heidi Blickenstaff – “Freaky Friday,” La Jolla Playhouse

Hannah Elless – “Benny and Joon,” The Old Globe

LaChanze – “SUMMER: The Donna Summer Musical,” La Jolla Playhouse

Minka Wiltz – “Black Pearl Sings,” San Diego Repertory Theatre

Kay McNellen – “Tarrytown,” Backyard Renaissance Theatre Company

Outstanding Featured Performance in a Musical, Female

Veronica J. Kuehn - “Guys and Dolls,” The Old Globe

Joy Yandell – “Billy Elliot,” San Diego Musical Theatre & City Ballet

Cashae Monya – “Cabaret,” ion theatre

Caitlyn Calfas – “In the Heights,” Moonlight Stage Productions

Katie Sapper – “Damn Yankees,” San Diego Musical Theatre

Outstanding Featured Performance in a Musical, Male

Michael Cusimano – “On the 20th Century,” Cygnet Theatre

Steve Gouveia – “Shockheaded Peter,” Cygnet Theatre

Randall Hickman – “The Little Mermaid,” Moonlight Stage Productions

Rudy Martinez  – “In the Heights,” Moonlight Stage Productions

Bryan Banville – “Tarrytown,” Backyard Renaissance Theatre Company

Outstanding Lead Performance in a Play, Female

Jessica John – “Les Liaisons Dangereuses,” New Fortune Theatre Company

Milena Phillips – “Having Our Say,” New Village Arts

Sylvia M’Lafi Thompson – “Having Our Say,” New Village Arts

DeAnna Driscoll – “The Effect of Gamma Rays on Man-in-the-Moon Marigolds,” Cygnet Theatre

Jacque Wilke – “Ironbound,” Moxie Theatre

Outstanding Lead Performance in a Play, Male

Vimel Sephus – “Blue Door,” Moxie Theatre

Cortez L. Johnson – “The Ballad of Emmett Till,” ion theatre

Steven Lone – “Roz and Ray,” San Diego Repertory Theatre

Caleb Foote – “Hand to God,” San Diego Repertory Theatre

Robert Malave – “Falling,” InnerMission Productions

Outstanding  Featured Performance in a Play, Female

Sandy Campbell – “Beau Jest,” Lamb’s Players Theatre

Amanda Schaar – “Les Liaisons Dangereuses,” New Fortune Theatre Company

Annie Hinton – “Well,” Diversionary Theatre

Candy Buckley – “Kill Local,” La Jolla Playhouse

Jennifer Paredes – “Into the Beautiful North,” San Diego Repertory Theatre

Outstanding  Featured Performance in a Play, Male

Omri Schein – “Beau Jest,” Lamb’s Players Theatre

Andrew Ableson – “The Illusion,” North Coast Repertory Theatre

Francis Jue  – “Wild Goose Dreams,” La Jolla Playhouse

Tom Stephenson – “Father Comes Home from the Wars, Parts 1, 2 & 3,” Intrepid Theatre

David McBean – “The Legend of Georgia McBride,” Cygnet Theatre

Outstanding Scenic Design

Sean Fanning – “On the 20^th Century,” Cygnet Theatre

Tim Mackabee – “Ken Ludwig’s Robin Hood!,” The Old Globe

Mike Buckley – “The Explorers Club,” Lamb’s Players Theatre

Charles Murdock Lucas – “The Effect of Gamma Rays on Man-in-the-Moon Marigolds,” Cygnet Theatre

Marty Burnett – “Of Mice and Men,” North Coast Repertory Theatre

Outstanding Sound Design

Joanna Lynne Staub – “Wild Goose Dreams,” La Jolla Playhouse

Matt Lescault-Wood – “Roz & Ray,” San Diego Repertory Theatre

Kevin Anthenill – “Homos, or Everyone in America,” Diversionary Theatre

Gareth Owen – “SUMMER: The Donna Summer Musical,” La Jolla Playhouse

Melanie Chen – “At the Old Place,” La Jolla Playhouse

Outstanding Costume Design

Jennifer Brawn Gittings – “The Revolutionists,” Moxie Theatre

Shirley Pierson – “Shockheaded Peter,” Cygnet Theatre

Jeanne Reith – “The Explorers Club,” Lamb’s Players Theatre

Renetta Lloyd – “Sunset Boulevard,” Moonlight Stage Productions

Jennifer Brawn Gittings – “The Legend of Georgia McBride,” Cygnet Theatre

Outstanding Lighting Design

A.J. Paulin – “Les Liaisons Dangereuses,” New Fortune Theatre Company

Sherrice Mojgani – “Blue Door,” Moxie Theatre

Stephen Strawbridge – “Hamlet,” The Old Globe

Conor Mulligan – “The Effect of Gamma Rays on Man-in-the-Moon Marigolds,” Cygnet Theatre

Jennifer Edwards – “Kiss of the Spider Woman,” Welk Resort Theatre

Outstanding Projection Design

Christopher Ash – “Our Great Tchaikovsky,” San Diego Repertory Theatre

Michael McKeon – “Silent Sky,” Lamb’s Players Theatre

Victoria Petrovich – “Black Pearl Sings!,” San Diego Repertory Theatre

Sean Nieuwenhuis – “SUMMER: The Donna Summer Musical,” La Jolla Playhouse

Blake McCarty – “On the 20^th Century,” Cygnet Theatre

Outstanding Direction of a Play

Delicia Turner Sonnenberg – “Blue Door,” Moxie Theatre

Yolanda Marie Franklin & Claudio Raygoza – “The Ballad of Emmett Till,” ion theatre

Christy Yael-Cox – “Father Comes Home from the Wars, Parts 1, 2 & 3,” Intrepid Theatre

Richard Baird – “Of Mice and Men,” North Coast Repertory Theatre

Samantha Ginn – “Falling,” InnerMission Productions

Outstanding Direction of a Musical

Sean Murray – “On the 20^th Century,” Cygnet Theatre

Rob Lutfy – “Shockheaded Peter,” Cygnet Theatre

Josh Rhodes –“Guys and Dolls,” The Old Globe

James Vasquez – “In the Heights,” Moonlight Stage Productions

Claudio Raygoza – “Cabaret,” ion theatre

Outstanding Musical Direction

Terry O’Donnell – “On the 20^th Century,” Cygnet Theatre

Patrick Marion – “Shockheaded Peter,” Cygnet Theatre

Elan McMahan – “In the Heights,” Moonlight Stage Productions

Morgan Carberry – “Cabaret” – ion theatre

Jon Lorenz – Festival of Christmas: North of Normal,” Lambs Players Theatre

Outstanding Choreography

Jill Gorrie – “Damn Yankees,” San Diego Musical Theatre

Josh Rhodes  –  “Guys and Dolls,” The Old Globe

Javier Velasco – “Evita,” San Diego Repertory Theatre

Carlos Mendoza – “In the Heights,” Moonlight Stage Productions

Ray Limon – “Kiss of the Spider Woman,” Welk Resort Theatre

Special Award categories that will be announced from the Stage:

Don Braunagel Award for Outstanding Achievement by a Small Theater

Actor of the Year, Male and Female

Outstanding Young Artist – Sandra Ellis-Troy Award

Outstanding Special Event

 See you at the Awards Ceremony

Dates: Feb. 12^TH 2018

Organization: San Diego Theatre Critics Circle

Phone: Check e-mail for your invitation

Production Type: Fun and Celebration

When:  Monday, February 12th from 6:00 PM to 10:00 PM

Where: Jacobs Center For Neighborhood Innovation 404 Euclid Ave, San Diego, CA

Price: Free