Disney’s Beauty and the Beast Most
Anticipated Production in Actors’ Playhouse
History
Actors’ Playhouse at the Miracle Theatre has a
long-standing reputation as the top musical producer in
South Florida, with more than 50 Carbonell Awards to
prove it. But as the first theatre in South Florida to
be granted the opportunity to present Disney’s Beauty
and the Beast, the company has pulled out all the stops.
The show, just finishing more than ten years on
Broadway, will play for seven weeks at the Miracle
Theatre in Coral Gables, with opening night set for
November 19 and a limited run that must end on January
2, 2005.
Artistic Director David Arisco is
pleased to present a show of this scope and magnitude.
”We’ve built, hired, dressed, rehearsed—everything our
audiences will see and hear, we put together right here
in Miami. It’s the perfect family show for the holiday
season. A timeless love story, a Broadway musical for
the young and young at heart.”
“We are so fortunate to be the first
theatre in this region to receive the rights for one of
Broadway’s best musicals. It’s exhilarating too for our
artistic team to design such a creative show,” added
Executive Producing Director Barbara S.
Stein.
The musical, set in a small provincial
town in France, is based on the 1991 Disney animated
movie, with book by Linda Woolverton. Beauty and the
Beast tells a classic magical tale of love, betrayal,
hope and forgiveness. It reminds us all of that old
adage—beauty is only skin-deep; the radiance of
character lies in our depth. The stunningly beautiful
music, including songs “Be Our Guest,” “Home,” “Gaston,”
“Human Again,” and the title song “Beauty and the Beast”
is by Alan Menken with lyrics by Howard Ashman and Tim
Rice.
Arisco directs an immensely talented cast
of regional and New York based actors. Tally Sessions,
winner of the 2003 Carbonell Award for Best Actor in a
Musical for the critically acclaimed Floyd Collins,
stars as the Beast. Sharing the show’s name and
spotlight is Carbonell nominee Gwen Hollander as Belle.
Carbonell award-winning actor Gary Marachek plays the
inventive Maurice, Belle’s father. Robert Rokicki plays
the muscled, in-love-with-Belle Gaston. David
Perez-Ribada plays Lefou, Gaston’s sidekick.
Evening performances are at 8pm. Wednesday
through Saturday and matinees are scheduled Saturdays
and Sundays at 2pm. Special additional holiday matinees
will be presented at 2pm on Wednesday, December 22 and
29. Tickets are $37.50-$45, with discounts for groups of
15 or more. Seniors and students receive special
discounts subject to restrictions. For reservations and
information, call the box office at 305-444-9293.
Tickets may also be purchased online at
www.actorsplayhouse.org. PHOTO
IDS 1. Gwen Hollander as Belle and Tally
Sessions as the Beast 2. Terrell
Hardcastle as Cogsworth, Lourelene Snedeker as Mrs.
Potts, and Bill Perlach as Lumiere
Photos by Daniel Portno
Palm Beach Dramaworks Scores
Big with ‘night, Mother, as Cast, Director
Shine by Ron
Levitt Contributing Writer
In
1981, Marsha Norman wrote a compelling play entitled
‘night, Mother, which premiered on Broadway starring
Anne Pitoniak and Kathy Bates, and was praised by the
audience and critics alike. The play won the 1983
Pulitzer Prize for drama.
In 1986, the author
used her script to author a movie of the same name. It
starred Anne Bancroft and Sissy Spacek and got a so-so
reception when critics said it lacked “the electricity
of a live performance.”
Since that time, the play
has been produced in many cities, as it recounts the
story of a small-town Southern mother spending the
evening trying to talk her unhappy daughter out of
committing suicide. ‘night, Mother is what the author
intended—a drama. It is the kind of production that
makes its two-member cast either sink or swim by the
strength of their performances. The production currently
at the Palm Beach Dramaworks on Banyan Road in downtown
West Palm Beach swims!
It is a stark drama,
elegantly played by its stars, Barbara Bradshaw and
Nanique Gheridian as the mother-daughter. Bradshaw, a
three-time Carbonell winner, is magical as the slovenly
mother, while Gheridian, whose Carbonell nominations
mount year after year, is perfect as the troubled
daughter. Both the original Broadway version and the
1986 movie were directed by Tom Moore, a Broadway stage
director, which seems to explain the acceptance and
differential between the play and motion picture.
Fortunately, at Palm Beach Dramaworks, the
direction was in the hands of one of South Florida’s
most able stage directors, William Hayes, who also has a
distinguished career as an actor—2003 Curtain Up award
as Best Actor and a Carbonell nominee for The Dresser.
This time, Hayes obviously got the most out of his two
actors. His sense of direction gives this production so
much of its heart and his handiwork on the play is
evident.
This ‘night, Mother is the kind of
excellence one has started to expect from this tiny
theatre in West Palm Beach. Recently, Palm Beach
Dramaworks waltzed off with the Carbonell award for Best
Musical, Jacques Bril. It is hoping its audience likes
its drama as well.
“‘night, Mother” runs through
December 5. For reservations and more information, call
the box office at 561-514-4042.
The Blonde, The Maven,
and “The” Jay Leno meet for The Arc of Palm
Beach by The
Blonde and The Maven Contributing Writers
On
Friday, November 13, at the Palm Beach County Convention
Center, The Blonde and The Maven met up with Jay Leno
doing a charity function for The Arc of Palm Beach. The
Arc is a foundation that, for 46 years, has provided
quality services for children and adults who are
developmentally disabled. This successful sold-out
evening was a wonderful occasion for a very worthy
cause. It was well-organized and beautifully planned.
The festivities included casino games, a live auction,
with amazing prizes, cocktails, snacks and a cigar
terrace.
The actual Jay Leno Live Show began
with Channel 5's own, the lovely newscaster Laurel
Sauer, and “the voice of the Hurricane coverage,” Steve
Weagle. They introduced distinguished guests such as
State Attorney General Charles Crist, the Mayor of Palm
Beach Lois Frankel and the Honorary Chair of this event,
Congressman Mark Foley, who introduced Jay Leno. Jay
walked onto the stage to a cheering crowd of around
4,000 people. He performed for a little over an hour,
with his famous brand of comedy that included politics,
his parents, infamous legal cases, and, of course, his
love of cars. His humor included a personal touch as he
spoke directly to the audience, making each person feel
as if he or she was his personal friend. His warm,
human, clean-cut comedy separates him from all his
peers. His very Bill Cosby-type of non-vulgar humor
seemed to go over very well with the crowd. Leno's
performance showed us all why he is such a super-star
comedian. It is no wonder why Johnny Carson felt
comfortable entrusting his position as host of the
“Tonight Show” to him. That is one handing over of the
baton I am sure the very talented and likeable Jay Leno
is proud and happy to have received.
The Blonde: What a wonderful night
for a wonderful cause. I love when people come together
to do something so giving and honorable. Now moving
right along…Maven, Jay was so funny, adorable and truly
a class act, but I just couldn't help myself from
wanting to throw some gray hair-color on his head to
finish off that last section of black that he has
remaining. It bugs me. But… that's just me! In
lieu of sounding cliché, he also looks thinner in
person.
The
Maven: What an entertaining evening we had. Just take
the first five minutes of “The Tonight Show” and stretch
it to an hour and you get a sore face from laughing. His
humor leaves no one untouched from Indian Casinos—“I
still haven't met an Indian in one yet”; to pet
behavior—“Ever notice how dogs pretend to be interested
in everything you say?” He delivers a whole gambit of
topical subjects. AND Blonde, LEAVE HIS HAIR ALONE! He
is a natural, real guy.
The
Blonde: You know, I find it refreshing that Jay, as
powerful in the industry as he is, remains kind and
humble and doesn’t flaunt an attitude or ego. I love
that. I would have LIKED to flirt with him, but
unfortunately he's married. All the good ones
are!
The
Maven: I admire the fact that Leno's comedy is
wholesome, non-offensive and not even off-color.
The Blonde: Why, you liked Andrew Dice
Clay? But I agree with you, his performance was a
delightful change.
The
Maven and the Blonde: We are both impressed with Jay
Leno's sense of charity and goodness. All in all, it was
a wonderful evening of festivities and comedy.
To contribute to The Arc of Palm Beach
County, the address is 1201 Australian Avenue Riviera
Beach, Florida 33404-9942. You can also call 561-
842-3213 or visit
www.arcpbc.org. PHOTO
IDS 1.&2. Jay Leno Photos by
Kelly Owen
Morning’s at Seven—Caldwell Opens Season
with Fun Classic, Tony-Winning Delight
by Ron Levitt Contributing
Writer
Caldwell Theatre Company’s Artistic Director
Michael Hall knows how to start his theatre’s season,
have the audience beg for his next show, and give them
good news about the theatre’s future.
That’s the
positive feeling one gets after attending Caldwell’s
opening of Morning’s at Seven at the Boca Raton-based
venerable regional theatre. Morning’s at Seven, replete
with its history as a Tony Award-winning play by Paul
Osborn, already has a reputation as an American
classic. This presentation only adds luster to the
scripting of Osborn’s already noteworthy three-acts. It
reminds the theatre-goer what a class act Caldwell is
and how timeless this 1930s play can be.
And,
thanks to this ensemble cast, this rendition of a truly
funny play takes on even more shine than its reputation
for fine writing. The cast all deserves praise: Dennis
Creaghan, Pat Nesbitt, Angie Rodash, Jacqueline Knapp,
Arland Russell, Carl Danielson, Margery Lowe, Cary Anne
Spear and Ronald Siebert. One might wonder how director
Hall could find such faultless fits for the
unconventional characters in this comedy/drama.
The
1938 backyard setting by designer Tim Bennett is the
perfect background for the Gibbs and their folksy,
countrified families, who are a portrait of four sisters
living side by side, having known way too many
intimacies about each other through the years. If this
excellent group of actors looks familiar, many of them
were cast members from last year’s The Dining Room at
the Caldwell. You have until December 19th to see
this play—a play which has been back on Broadway three
separate times over the years.
First nighters not
only enjoyed this production, but got the news the
Caldwell Theatre eventually would have its new home, in
the same basic location. The audience learned that
Caldwell Theatre Company and the Owner/Developer of the
20-plus acre Levitz Shopping Center—a joint venture
between two Boca Raton based companies, Newman Realty
Group and Falcone Group, LLC—have signed a contract to
incorporate Caldwell’s new building into their proposed
mixed-use project. This new tri-partnership will extend
Caldwell’s current lease until the new theater building
is completed. Caldwell will be the anchor of the new
community consisting of residential townhouses and
condominiums, offices, restaurants and retail shops.
Construction of the new theater is anticipated for the
summer of 2005, which would ensure final completion
before the start of the 2006 Mainstage season. There is
a campaign underfoot at Caldwell to raise an additional
$1.2 million so that the new facility can be constructed
debt-free.
For tickets and more information, call
the box office at 561-241-7432 or visit
www.caldwelltheatre.com. PHOTO
IDS 1. Pat Nesbit, Dennis Creaghan and Angie
Rodash are three of the cast in Morning's at
Seven
Virsky Ukrainian National
Dance Company to Dance in One South Florida
Performance Sunday, November
28
The Virsky Ukrainian
National Dance Company, made up of 60 dancers and 15
musicians, will dance its only South Florida performance
on Sunday, November 28, 3pm, presented by Judy Drucker’s
Concert Association of Florida at and in association
with the Broward Center for the Performing Arts, 201 SW
5th Ave. As a special offer for the holiday weekend,
patrons will receive a free ticket for every ticket
purchased at full price.
Led by Artistic Director
Myroslav Vantukh, the Virsky is famous for its bright
colors, its unity of content and the vivid embodiment of
its native Ukraine, performing traditional folk dance
and showcasing the artistic wealth and splendor of its
unique region.
Founded in 1937 by Pavlo Virsky
and Mykola Bolotov, well-known Ukrainian ballet masters,
Virsky Ukrainian National Dance Company began as a small
group of folk dancers and has since evolved into a
dynamic company whose main objective and continuing
creative quest is the careful preservation and
development of folk choreographic art. The company has
since toured Austria, England, Argentina, Brazil, Spain,
Cuba, Italy, Ecuador, China, Canada Switzerland, the
U.S., and many other nations.
A recent
performance at Washington D.C.’s Kennedy Center Concert
Hall elicited rave reviews from The Washington Post.
“From the lavishly costumed opening, Ukraino, My
Ukraino!, when quick-footed women skimmed the stage, to
the stirring finale, Hopak, with its breathtaking solos
for the men, who spin on a dime, jump into straddle
splits and barrel-leap parallel to the floor, the
program swelled in momentum… It took just three dances
for the audience to erupt in rhythmic clapping; by the
end they called back the company—60 dancers and 15
musicians—for a double encore.”
Tickets for the
Virsky Ukrainian National Dance Company are available by
calling the Concert Association of Florida,
305-808-7446, ext. 301, TicketMaster and all
TicketMaster outlets, 305-358-5885, 954-523-3309 or
561-966-3309, or through the Broward Center Box Office,
954-462-0222. Additional information about the Concert
Association is available online at
www.concertfla.org. PHOTO
IDS 1. Virsky Ukrainian National Dance
Company
A Legend in His Own Mind:
An Interview with Jay London
by Reymond
Levy Contributing Writer
It’s difficult to tell if Jay
London is putting you on. When I talked to him over the
phone, for instance, the comedian—most known from NBC’s
reality contest show, “Last Comic Standing” Seasons 2
and 3—initially offered to call me back, saying that I
sounded as if I had just gotten home, and stating that
he didn’t want to rush me right as I walked in the door.
However, at the point that I made it clear I was ready
to conduct our interview, and asked him for his consent
to my taping our conversation, he replied, “Go ahead;
give it to the FBI.” As I tried to catch up to this
abrupt rhetorical turnaround, I realized that London may
have been joking all along—but I couldn’t be sure.
That ambiguity is central to London’s persona.
At one moment courteous and considerate, only to be
dismissive and almost rudely frank the next, the
comic—who, while wearing overalls during his routine and
sporting long hair, combines the style of Steven Wright
with the sounds and looks of a hipster Gilbert
Gottfried—is, in his own words, “complicated.” More
precisely, he is the embodiment of a certain
contradiction: the innovative original looking for
acceptance. Over the course of our discussion, I found
myself having to, several times, ask him to clarify his
references and expressions. This, in turn, made me aware
that not only were London’s sayings and frame of
knowledge obscure, they were outdated—maybe, I gradually
discovered, deliberately so. Of his relationship to
his audience, his unspoken creed seems to be: if you
can’t join them, beat them. In fact, this appears to be
the purpose of his eccentricities—to expressly make him
more unique than his audience. As he says of people’s
response to him: “It’s a love/hate thing. Either I’m
totally embraced and taken in, or it’s, ‘Where did this
come from?’ And I’ll take that. I’ll take that any day
of the week.”
Perhaps London’s defiant tone is
due to the fact that, according to the Bronx-born and
Queens-raised performer, “I’m a sensitive nerd, and I
use my looks to veil that.” Though he was brought up in
“a healthy dysfunctional family,” he describes himself
during childhood as akin to Salvador Dali, or even to
“Howard Hughes, with no money.” Even so, London sees his
comedy as being specifically motivated: “The
acknowledgement of getting the laugh is therapeutic.” He
recognizes that he may have “an emaciated ego” that
results in him needing to “go that extra mile and be
onstage.”
Despite this impulse, London’s sense
of humor is ultimately that of a contrarian’s: he enjoys
having a deflating ability “to dissect and gut the
subject matter.” Through his jokes, he gets at the
meaning behind the manner in which people use words.
London professes to have a great attachment to the
English language, referring to himself as a “wordsmith.”
In one joke, for example, he parodies how others express
their charity: after relating how people say they want
to give back to the community, he subversively gives the
thought his own spin: “I wanna contribute to the
delinquency of a minor.”
The way London
understands it, the basis of people’s reaction to him is
that, since new comics really don’t do shtick anymore,
audiences either don’t get him, or they’re too young to
understand what he’s up to, and don’t want to be
bothered with thinking about it. However, as London sees
it, he is working in the style of such greats as Henny
Youngman, Buster Keaton, Jackie Vernon, and Leonard Barr
(take out your reference book of choice for those last
two!), trying to leave his own marking on the field of
comedy. This points to another paradox: even though he
works without a net, using words to establish in
people’s minds essentially visual scenarios, this
conceptual and experimental comedian considers himself a
descendant of a particular comedic heritage—and, since
his idols were mostly as groundbreaking as London is
now, perhaps he is.
“Groundbreaking” does
not necessarily translate into being accessible to the
masses, though—a detail which has evidently fueled
London’s act. His anger at being rejected by Rodney
Dangerfield and Jackie Mason (who asked him, “They let
Puerto Ricans be comics?”) nearly 19 years ago only
served to motivate him even more to be “just as big, in
my world, as RodneyDangerfield.” According to
London, “I don’t let insults go,” so he’s been doing
stand-up ever since. (He describes this as reminiscent
of a line from a Jimmy Cagney movie: “Look at me,
ma!”—meaning that he wants people who didn’t believe in
him to see where he’s at now). Not in it for money, he
quit his job as a cabdriver to pursue his dream to make
people laugh; indeed, “to knock them silly” with a
“haymaker” (what London explained, when I asked, to be a
devastating punch).
London’s use of these fight
phrases has its origins in his former incarnation as a
boxer, a southpaw who helped train such figures as
England’s Alan Minter (look him up!). There is also a
bit of that experience, London says, in how he measures
his rhythmic patter, suchas when he decides to attack
and to hang back, in terms of finding openings in
audience laughter. Additionally, his use of asides like
“it doesn’t matter,” “it’s almost over,” and “you’ll
never see me again”—while seemingly off-the-cuff remarks
commenting on the audience’s lack of enthusiasm or
attention—are Similarly calculated.
Asked about
his tendency to insert these remarks, London replies
that they are his way of apologetically asking the
audience to like him—of being a “toesey tyke.” In this
sense, I think, the asides are crucial to understanding
London: while the comments struck me as being somewhat
abrasive and raging, he sees them as terms of
endearment. London’s comic modus operandi thus becomes
clearer: he overcompensates. Wanting to be accepted, he
nevertheless provides audiences with his own eccentric
brand of comedy, describing his method as that of an
artist, with him having to “hit the canvas.” For him,
“creativity is sometimes a malady, a sickness,” but also
cathartic.
A further outlet is Cherokee
spirituality. That’s right: yet another of his trademark
incongruities is that a self-described “Jew, with
traces” (specifically, of Hispanic and of
Siberian/European descent) has discovered guidance in
the Native American tradition. As London poignantly
says, “I’m in the dark sometimes, and I need light.”
Regarding his ultimate goals, London says he is
primed to change the act a bit, concentrating more on
“what makes me tick as a human being.” He has used his
visually comic flair to make short films, such as one in
which the IRS institutes a psychiatric department. When
they ask his character what he does for a living, he
tells them he’s a bouncer for the EPA, and there’s a
scene of him in a forest asking a tree, “Do you wanna
take it outside?” He would like to go for a meaty
dramatic part: “I wanna fool a whole bunch of people.”
Though there was a time when his hair was an intricate
part of who he was, he would cut it “in a minute” for,
say, a role on The Sopranos. In this way, the man who
formerly had problems with authoritative types says he
is now “apt to change.” He repeats this, as if voicing
the thought for the first time: “I am apt to
change.”
The “I’m Still Standing Tour” starring
Gary Gulman, Jay London and Alonzo Bodden from “Last
Comic Standing” Seasons 2 and 3, comes to Miami,
Thursday, November 18 - Sunday, November 21. Showtimes
are Thursday at 8:30pm, Friday at 8:30 and 10:45pm,
Saturday at 7:45, 10:00 and 11:59pm, and Sunday at
8:30pm. The Improv is located at 3390 Mary St, Ste 356,
Miami. Tickets are $21.40. For tickets, call
305-441-8200. PHOTO
IDS 1. Comedian Jay London will perform at
the Miami Improv, along with fellow “Last Comic
Standing” comedians Gary Gulman and Season 3 winner
Alonzo Bodden, from November 18 – 21
The Best of the Best:
2004 Carbonell
Awards by Phyllis
Green Theater Columnist
It
was an evening of star-studded glamour, entertainment,
accolades, tributes, acknowledgments, congeniality; and
plenty of hootin’ and howlin’! The beautiful Amaturo
Theatre of Broward Center for the Performing Arts was
host to the 29th Annual Carbonell Awards on November 8,
and provided a magnificent setting for the elegant
assembly.
Welcome to the Theatre, where
everything resembled a night at the Tony’s! The
magnificent lobby was astir with luminaries and previous
honorees representing the many notable phases of the
arts in the South Florida area: Charles Cinnamon, Jan
McArt, Joe Adler, Christine Dolen, Arnold Mittleman,
Iris Acker, Larry Toppal, Jack Zink and the Producer,
Director, Choreographer of the show, Jean Ann
Ryan.
Named for internationally known sculptor
and Grand Benefactor, Manuel Carbonell, the annual
ceremony is designed to raise scholarships for students
in the tri-county area, to study at accredited colleges
and universities for careers in visual and performing
arts and in journalism. This most impressive
presentation was graced by the delightful Florence
Henderson, returning to South Florida following a
starring role in the 2003-4 production of Florida
Follies at the Parker Playhouse. Beautifully clad
in a pale yellow tuxedo, she treated her fans to some
friendly patter and a parody of “Some People,” after
which the festivities began.
The first of several Special Honors, The Ruth
Foreman Award, named for the beloved pioneer theatre
producer/director, was presented to Barbara Stein and
Lawrence E. Stein, for their cultural contributions as
founders of The Actors’ Playhouse, since restoring The
Miracle Theatre, a historical landmark in Coral Gables,
after Hurricane Andrew. Immediately following this
award, and introduced by his actress mother, Angie
Radosh, actor John Tartaglia, who made his Broadway
debut as the star of Avenue Q, leaped on stage with a
rousing musical interlude.
In the
categories of “Best Supporting Actors and Actresses in
Musicals or Plays,” it was pointed out that “supporting”
just means, the person who steals the show! Proud
recipients enjoyed the screams of their fans and peers
as they approached the podium for their acceptance
speeches. Winners excitedly rushed their “thank you’s,”
lest they get played off by the on-stage orchestra, led
by the nationally renowned musician, conductor, musical
director and holder of 6 platinum records; the
outstanding Peter Graves. Margot Moreland, Annie, The
Actors’ Playhouse, Lorena Diaz, Betty’s Summer
Vacations, Mad Cat Theatre Company, Terrell Hardcastle,
Annie, The Actors’ Playhouse, and Paul Tei, Running With
Scissors, Florida Stage, all were honored for their
stellar performances in supporting roles.
The
Bill Hindman Award, for long-term achievement by
performers and designers, named after the late actor and
regional arts pioneer, was presented to Meridith Lasher,
actress, designer, teacher and founder of the Trap Door
Theater and Women’s Theatre Project. The Howard
Kleinberg Award, named for the former Editor of the
Miami News, recipient was Mark Nerenhausen, President of
the Broward Center, for his support of the arts through
community involvement.
The prestigious George
Abbott Award for Outstanding Achievement in the Arts was
given to Sherron Long, Executive Director of the Florida
Professional Theatres Association, CEO, Florida Cultural
Alliance, and Manager, Florida Association of Local Arts
Agencies, who offered her heartfelt thanks to everyone
“for making theatre so vibrant.”
Best Actor and
Actress Awards for traveling Road Shows are named in the
accompanying listings, with most all of them going to
The Producers, but the enthusiastic “hometown” crowd
really whooped it up as their local favorites floated to
the stage to pick up their valued bronze statuettes. No
“Eve Harrington’s” or “Antonio Saliere’s” in sight; this
supportive, vociferous crowd spent the entire evening
cheering the winners and praising the runners-up. In a
Musical: Best Actor E. L. Losada, Bat Boy, Shores
Performing Arts Theatre; Best Actress Jeanne Lynn Gray,
The Life, Atlantis Playhouse; and in a Play: David
Kwiat, QED, Gables Stage; and Laura Turnbull, The Goat,
or Who Is Sylvia?, Gables Stage. The aforementioned play
was worthy of numerous awards including: Best
Production, Lighting and Scenic Design, with Joe Adler
for Best Director.
Special appearances by the
amazing Sandy Duncan and the genial Martin Vidnovic,
stars of the touring production The King and I, lent an
air of magic to the night, and Wanda Richert, who played
Peggy in the original 42nd Street, provided the frosting
on the cake displaying some distinctive tapping, and
with the curtain re-opening on the fabulous Jean Ann
Ryan Company, the room rocked!
Saving the “Best”
of the Best for Last; it was a personal privilege and
pleasure to witness the deepest, most amazing piece of
work EVER take the highest honor at this award ceremony.
For its remarkable presentation of Jacques Brel is Alive
and Well and Living in Paris, Palm Beach Dramaworks
received the Carbonell Award for Best Production of a
Musical, and J. Barry Lewis was named Best Director. Be
still all hearts, this was so richly deserved!
If
it is so, as Shakespeare said, “All the world’s a stage,
and all the men and women merely players”, it’s apparent
that we have them all here in South Florida, and the
Carbonells have clearly put us on the map. This
was an evening filled with love, admiration, devotion,
commitment, and unexplainable passion. Not just
for the winners and nominees, not just for the families,
friends, and fellow artists, but for that vast
four-walled wonderment called: theatre.
PHOTO
IDS 1. Superb cast of Jacques Brel is
Alive and Well and Living in Paris, Tangi Colombel,
Laura Turnbull, Avi Hoffman, Lisa Manuli, Winner of Best
Production of a Musical, Palm Beach Dramaworks (not
pictured: Best Director, J. Barry
Lewis) 2. Nominee for Best Actress, Margery
Lowe, No Exit, with winning producers, Dramaworks
Executive Directors Sue-Ellen Beryl and Bill
Hayes 3. Recipients of Special Award for the
restoration of Coral Gables’ Miracle Theater as Actors’
Playhouse, Barbara Stein and Lawrence E.
Stein 4. EN&V Theatre Columnists Ron Levitt
and Phyllis Green
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