Review: SOUL the Stax Musical at Baltimore Center Stage

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 10 minutes with one intermission

It’s likely that we’ve all heard of Motown Records, RCA, Atlantic, A&M, and all the other big names in the music business, but what about the smaller labels that gave us the classics we know and love today? Unbeknownst to many, small companies like Sun Records, Chess Records, and Stax Record Co. have given us numerous hits and given starts to such legendary performers such as Elvis Presley, Muddy Waters, Otis Redding, Isaac Hayes, and countless others, but we usually don’t think about where these folks started. Baltimore Center Stage’s latest offering, SOUL the Stax Musical with a Book by Matthew Benjamin, Directed by Kwame Kwei-Armah, Musically Directed by Rahn Coleman, and Choreographed by Chase Brock, tells the story of one of these aforementioned companies, Stax Record Company, and it’s rise and fall in that crazy business of music.

In a nutshell, SOUL the Stax Musical concerns itself with the rise and fall of Stax Record Company and the evolution of American soul music. It begins with a brother and sister team, Jim Steward and Estelle Axton, who combined the first two letters of each of their last names to form Stax Record Company. It touches on the careers of many well-known artists such as Otis Redding, Isaac Hayes, Sam & Dave, and others who started their long, illustrious careers at the small label. It also tells of how the music business isn’t all about the music, sometimes, and bad deals, novice businessmen, and egos get in the way of the magic. Every good thing must come to an end whether we like it or not and this is not only a history of soul music but also a cautionary tale of the business part of show business.

Scenic Design by David Gallo is intelligent and practical adding value to this production. Using a unit set with set pieces coming in and out, create each space perfectly and seamlessly in this fast paced piece. Though in the background, the orchestra is presented nicely and they are noticeable but cleverly out of the way of the action. A simple looking set, it allows for ease of entrances and exits of the actors and helps tell the story in an interesting and engaging way.

Dede Ayite’s Costume Design is divine and on point as each era of this production is represented from the late 1950s through the 1970s, with a bit of the 90s thrown in there. Her attention to detail is commendable and there is no question as to which era we are in by the styles and wardrobe chosen for each character. Kudos to Avite for a superb design.

Since this piece is all about the music, Music Supervisor and Musical Director Rahn Coleman is to be commended for his fantastic direction. The tunes are recognizable and folks are familiar with most of them so it can be tricky not to mess with the music so much, but, wisely, Coleman has decided to stick to the original arrangements and the audience couldn’t have been more entertained and pleased. It’s worth mentioning the outstanding band consisting of Jared Denhard (Trombone), DeAnte Haggerty-Willis (Guitar), Matt Kruft (Guitar), Todd Harrison (Drums), Fred Irby, III (Trumpet/Flugelhorn), Winston Philip (Keyboard), Mark Russell (Bass), and Ed Walters (Saxophone/Flute). These folks hit the nail on the head when it came to performing the music of this energized, delving music and they deserve many kudos for their efforts for this production.

To go along with music being a main component of this production, Choreographer Chase Brock also gives us high energy, brilliant, and engaging choreography that is simply a joy to watch and is actually infectious, causing me to tap my foot along with the classics I grew up hearing. I found myself looking forward to and waiting with anticipation for the next choreographed number and I the dancers themselves were tight and well-rehearsed adding great value and vitality to this production.

Kwame Kwei-Armah, former Artistic Director of Baltimore Center Stage, has taken this script and presented it in a thoughtful and attentive manner, giving us the history and the humanity of a story not often told. Technically, this is a historical piece and has to be handled carefully, but Kwei-Armah with clever staging, on point pacing, and wonderful casting has managed to tell this story and stay true to that history. It’s obvious he has a great comprehension of the material (both the text and the music), and it shows in his dynamic vision that reaches into the psyche and soul (no pun intended) of the audience.

Moving on to the performance of this piece, I would be amiss if I didn’t mention how well polished and dedicated the entire ensemble of this piece is. They work well together and off of each other and it’s easy to see every member of this cast is giving 100% of him or herself and is confident in the story they are telling. Major kudos to the ensemble as a whole.

Among this amazing ensemble are a few higlights, such as Robert Lenzi as Jim Stewart and Warner Miller as Al Bell, the creator (Jim Stewart) and somewhat savior (Al Bell) of Stax Record Company. Lenzi is confident and has a complete grasp of his character – an unexperienced, wet-behind-the-ears music executive. His mannerisms and character work is impressive and makes Jim Steward a likeable character in the end. Miller, too, has a good comprehension of his character – a smooth-talking, good-intentioned radio DJ turned music executive. Miller’s blend of sincerity with a hint of sleaziness is impressive as he’s created a character that keeps the audience guessing whether or not they like him or not, making for a complex, engaging character.

There’s an old adage that goes something like “behind every great man is a great woman” and there is no exception in this story. Mary Jo Mecca takes on the role of Estelle Axton, co-founder of Stax Record Company and the logical thinker of the crew, and Anastacia McCleskey tackles the role of Deanie Parker, dedicated employee and peace-keeper of sorts. Mecca gives an authentic and poignant performance as Estelle Axton and plays this character as rough-around-the-edges but it’s easy to see she has a heart of gold and cares deeply for her brother and business partner, Jim. Mecca is able to portray this character with the perfect blend of acidity and charm that makes her a multifaceted, but likeable character. Also, her vocal performance is spot on, especially in her featured number, “Your Good Thing (Is About to End)” which she duets with an able and resonating Tasha Taylor (as Mable John).

Rounding out this uber-talened and able ensemble is Harrison White as Rufus Thomas, Ricky Fante as Otis Redding, and Boise Holmes as Isaac Hayes. These three actors couldn’t be more on point with not only their performances but their look and representation of these well-known soul singers of a bygone era. Harrison’s energy is relentless and remarkable as he sings and dances his way through is featured numbers such as “Walking the Dog,” “Can Your Monkey Do the Dog,” and the party staple “Do the Funky Chicken.” He also has a heartwarming duet with a velvet-voiced Allison Semmes (as Carla Thomas), “Cause I Love You,” which gives us a taste of the good music to come in this production.

Ricky Fante takes on the persona of the famous Otis Redding and shines bright not only in his portrayal but in his vocals in such numbers as “These Arms of Mine,” “Respect,” and the ever-popular smooth sounding “(Sittin’ on) The Dock of the Bay.” Pure magic.

Kwei-Armah couldn’t have cast anyone more appropriate than Boise Holmes as (arguably) the most famous performer to come out of Stax Record Company, Isaac Hayes (who started at Stax while he was still working at a slaughter house… who knew?!). Holmes completely embodies Isaac Hayes as he transitions this character from the early 60s to through the 70s in style and mannerisms. His deep, smooth bass vocals resonate throughout the theatre and make one stand and take notice. His featured songs are performed flawlessly, such as “Soul Man” in which he duets with an equally notable Trevon Davis (as David Porter), the slow-groove and moving “Walk on By,” and even the mostly instrumental, mostly spoken “Theme from Shaft.” Overall, Holmes is an absolute standout in this production.

Final thought…  SOUL the Stax Musical at Baltimore Center Stage is a high energy, nostalgic look at the rise and fall of a special time and place that brought us some of the most memorable and meaningful music in American history. It not only entertains but teaches us a little about the music business and its darker side where it’s not just about the music, no matter how the creators want it to be. The performances are spot on, the choreography is inspiring, and the story is one that has been wanting and needed to be told and it is told with love and care. Whether you’re a fan of soul music or just discovering it, you do not want to miss this production this season. Get your tickets as fast as you can!

This is what I thought of Baltimore Center Stage’s Productions’ production of SOUL the Stax Musical… What did you think? Please feel free to leave a comment!

SOUL the Stax Musical will play through June 10 at Baltimore Center Stage, 700 North Calvert Street, Baltimore, MD. For tickets, call the box office at 410-332-0033 or you can purchase them online.

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Review: The Book of Joseph at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 15 minutes with one intermission

(l-r) Megan Anderson, Helen Hedman, Beth Hylton, and Bari Hochwald. Credit: ClintonBPhotography

There are secrets in every family whether close or estranged. There are untold stories and questions we may have about or family we just let go of because we either don’t want to know or we don’t know where to find the information and with the current rage of DNA testing and ancestry more and more folks are finding answers to the questions they have about their own families. Everyman Theatre’s latest offering, The Book of Joseph by Karen Hartman is Directed by Noah Himmelstein and is based on the book The Life of Joseph A. Hollander and His Family by Richard Hollander. It is a journey of discovery of a man who was a father, son, brother, uncle, and husband who kept his past in letters and documents that tell an

The Cast of The Book of Joseph. Credit: ClintonBPhotography

extraordinary story of the bonds of family and an unconditional love.

In a nutshell, The Book of Joseph concerns itself with the story of Joseph Hollander, a Polish immigrant who happens to be Jewish, and his correspondence with the family he left behind during World War II, as the Nazi Party took over most of Europe. The story is told by his son, Richard, as he discusses the book he wrote about these correspondences he discovered after the death of Joseph. The thing is, it took years for Richard to read these correspondences because of the fear he had of what he might find out about his family after noticing the Nazi emblems on the letters in his father’s briefcase. Richard had managed to tell the story with kid gloves, glazing over the horrible parts and concentrating on the good parts, while possibly adding a bit of his own optimism. However, Richard’s son, Craig, is determined to get the truth about what happened, even if it means facing a darkness that has been hidden within the family.

Daniel Ettinger’s Set Design is, once again, impeccable, and helps move the story along nicely allowing for easy exits and entrances with thoughtful use of projections and dark colors to express the poignancy of the story. The turntable that takes the audience from one setting to the next is clever and makes for smooth transitions between scenes. Ettinger has created yet another successful design.

(l-r) Wil Love, Beth Hylton, Hannah Kelly, Danny Gavigan, and Bari Hochwald. Credit: ClintonBPhotography

Working in tandem with the Set Design, the Sound Design by Elisheba Ittoop and Lighting Design by Cory Pattak is superb and sets the mood of not only entire production but each scene as well. Pattak uses rays of isolated light and subtle dimming of light to represent the dreariness and uncertainty in the story as well as brightening to express the more uplifting points. Working with the lighting Ittoop’s sound design blends perfectly into the production and may not be noticeable until she wants you to notice it which makes for an intelligent design. Her original compositions are faintly heard in the background during certain scenes, but are fitting and well-thought out. Together, these aspects of light and sound do not hinder the production and performances but enhance and help them along.

David Burdick rarely disappoints and his Costume Design for this production is no different. His attention to detail is immaculate and, being a period piece that requires a specific style, Burdick’s design is spot on. His choice of wardrobe for each character gives them an individuality and the modern and bygone era styles are presented flawlessly and transitions smoothly from one scene to the next. Kudos to Burdick for his work on this production.

Noah Himmelstein takes the helm of this superb production and presents the story clearly with a focused vision. It’s obvious he has a great comprehension of the text, the characters represented, and the message of the story. Himmelstein has amassed a balanced, well-rounded cast with a chemistry that is second to none and his staging is engaging, making for spot on pacing that is just about perfect. Himmelstein should be applauded for his impeccable work on this production.

Danny Gavigan as Joseph (foreground) and Cast. Credit: ClintonBPhotography

Commenting on the performance aspect of this production, it’s worth mentioning that, according to this story, the Hollander family is a family driven by strong women, with Joseph being the only male amongst supportive females. Hellen Hedman as Berta, the matriarch of the Hollander family, plays her character as a woman who has an unencumbered faith in family and puts on a show of strength for her daughters and only son. Hedman is comfortable with her role and plays it with confidence.

In the same vein, Bari Hochwald plays Mania, the eldest sister, and she plays it in a way that makes this character relatable to anyone who has an older sister, like myself. She seems to portray this character as an obligated caretaker, as many eldest children feel, having a nice blend of being both strict and stern as well as compassionate for her family. The match with Everyman Theatre Resident Company member Wil Love as Salo, her husband, is brilliant and Love’s portrayal of a loving and supportive husband with a gentle demeanor is believable and charming.

Bruce Randolph Nelson. Credit: ClintonBPhotography

Beth Hylton, an Everyman Theatre Resident Company member takes on the role of Klara, Joseph’s next eldest sister who seems to be a tough cookie, as well as Felicja Hollander, the first wife of Joseph. Playing these two vastly different characters is a representation of Hylton’s impressive skills as she plays Klara with a rough-around-the-edges but soft on the inside kind of sister and mother who manages to get along no matter what life throws at her and the snooty, uptight Felicja. Kudos to Beth Hylton on a remarkable performance. Along with Hylton’s Klara, Hanna Kelly tackles the role of Genka and the gender-bending role of Boy Arnold. Much like Hylton, Kelly’s portrayal of these roles is a natural and believable switching flawlessly between the anxious and nervous young immigrant, Boy

Arnold, and the young, optimistic, and hopeful Genka.

Megan Anderson and David Gavigan. Credit: ClintonBPhotography

Two highlights in this production are Everyman Theatre Resident Company members Megan Anderson and Daid Gavigan. Anderson takes the roles of Dola, Joseph’s sister to whom he seems to be closest, and Vita, Joseph’s second wife and lifelong love, and Gavigan takes on the titular role of Joseph, the man who kept correspondence with his family and tried to help them immigrate to the United States for as long as he possibly could. Anderson brings her usual energy and confidence to her roles that make her a joy to watch and she has a tight grasp on her strong, independent characters making for a remarkable performance. Gavigan, too, understands the nuances of his character, a conflicted and worried young man who is desperate to help his family. He has a good presence and is confident in this role and it makes for a fantastic performance that is the backbone of this production.

Bruce Randolph Nelson as Richard and Elliott Kashner as Craig. Credit: ClintonBPhotography

Rounding out the cast are two more highlights – Elliott Kashner as Elliott, Joseph’s grandson, and Everyman Theatre Resident Company member Bruce Randolph Nelson as Richard, Joseph’s son. Both these actors bring the modern into this production amidst the flashbacks and memories and they do it seamlessly and they both have a deep comprehension of their characters and the text. Nelson brings a certain levity to this poignant piece that fits in perfectly without making a mockery of the story and his rollercoaster of emotions is clear making for an authentic performance that is a delight to experience. Kashner, who enters later in the piece, is absolutely believable with a great mix of flippancy that makes you want to smack him, a yearning to know his own history, and a compassion for his father. He has a confident presence on stage and it makes for an admirable performance, overall.

Final thought… The Book of Joseph is a poignant, heart-wrenching look into the life of one family during the turbulent and uncertain times during WWII. The story is well framed and structured even though it hops through time, it’s easy to follow in the way the script is laid out. It’s a story that incorporates hope, regret, love of family, survival, and moving on under extreme circumstances. It also has a certain amount of levity mixed in with the tragedy that gives the audience emotional peaks and valleys that make for great theatre. It reminds us of the untold stories of war and strife that don’t come to light until years later when those involved are long gone and we only have letters and documents to put the pieces of the past puzzle together. The performances are extraordinary and the script is well put-together making for a thoughtful and entertaining production as a whole. Once again, Everyman has not disappointed and you don’t want to miss this final production of the 2017-18 season.

This is what I thought of Everyman Theatre’s production of The Book of Joseph… What did you think? Please feel free to leave a comment!

 The Book of Joseph will play through June 10 at Everyman Theatre315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online.

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Review: Big Fish at Silhouette Stages

By Yosef Kuperman

Running Time: 2 hours and 30 minutes with one Intermission.

If you’ve ever wanted to be someone you’re not or wanted to do things you think you can’t do, usually, you make up big beautiful stories in your head, to help you, to get you by, or just to take yourself away for just awhile. In Silhouette Stages latest offering, Big Fish, with Book by John August and Music & Lyrics by Andrew Lippa, Directed by TJ Lukacsina, with Music Direction by Michael Tan, and Choreography by Rikki Lacewell – this is exactly the case. This 2013 Broadway musical adaptation of a 1998 novel by Daniel Wallace and 2003 film of the same name.

Don’t be put off by this being an adaption. You don’t need to know the Big Fish movie or novel to get this show and still enjoy it. I think I saw the movie once, but can’t remember anything besides the name. I hadn’t realized a book existed until I Googled it, but that didn’t matter. John August and Andrew Lippa did their job so well that you don’t need to be familiar with the source material.

(l-r) Christa Kronser, Missy Spangler, Samuel Greenslit, John Machovec, Luis Matty Montes, Drew Sharpe, Emily Machovec, Emily Alvarado, Emily Mudd. Credit: JOhn Cholod

Briefly, Big Fish concerns itself with Edward Bloom, who is a dying old man who tells improbable self-aggrandizing comical stories to his son, Will Bloom. Will finds this habit aggravating as his is a reporter interested in the historic truth and what actually happened. He responds to his father’s fatal diagnosis by digging into his father’s past, looking for historic truth amid the lies. He eventually discovers his dad has anti-skeletons in his closet including the fact he helped his neighbors rebuild after a flood. This leads him to accept his dad’s use of exaggeration and story telling to avoid talking about painful subjects.

This story is a good drama. You feel the conflict between father and son, the bitterness it causes, and the catharsis.

Emily Mudd, Luis Matty Montes. Credit: John Cholod

Putting it on the table, I’m a brand new reviewer, trying something new. I just see a lot of shows so I figured I’d try my hand at reviewing. I don’t play an instrument, build sets, or act. I just watch lots of plays. So umm… The Set Design by Alex Porter looked cool and the live orchestra and cast sounded great. The performers sang and moved well, including Luis Montes as Edward Bloom, Michael Nugent as Will Bloom, and Emily Mudd as Sandra Bloom, the little dysfunctional family. Nothing broke, the lights came on when they were supposed to, so, when all is said and done, the production value is top notch, but I love theater for the story telling, so I’ll focus on that.

Big Fish balances between being funny and being serious and, in the process, it tells a story about the power and purpose of the stories people tell about themselves.

(l-r) Luis Matty Montes, Samuel Greenslit. Credit: John Cholod

As the story of Big Fish progresses, Will finds a series of stories Edward tells about himself. These are exaggerated tall tales are funny, nonsensical, and increasingly fictional and are presented to the audience in scenes and musical numbers. For instance, Edward says he learns of his demise from a Witch (Emily Alvarado), takes up with a giant named Karl (Nick Rose), learns how to swim from a mermaid (Emily Mahovec), discovers his circus boss, Amos (Richard Greenslit) is a werewolf, and gets shot out of a cannon, among other situations.

These stories are good comedy. They’re feel good, funny, and well delivered and they blend in smoothly with the frame story’s heavier material.

For its conclusion, Big Fish ties the stories together and, finally, Will discovers the truth. His father is hiding a disappointed former sweetheart, Jenny Hill (Christa Kronser). He makes peace with his father’s casual approach to historic fact. We assume the tall tales are false. Then Karl the Giant shows up at the funeral. So what if anything was true?

Big Fish asks, “Who cares what the actual truth is?” Big Fish asks. The now enlightened Will embraces exaggeration, tall tales, and myth as modes of communication. The historic truth is no longer the only truth he cares about.

(l-r) Emily Machovec, Christa Kronser, Emily Alvarado, Luis Matty Montes, Grace La Count. Credit: John Cholod

However, there’s another story that Silhouette Stages could have told and didn’t – a dark reflection of the cheerful and upbeat production they actually staged. One might also see Big Fish as a story about the alluring power of fake news. Here’s another equally true reading:

Edward Bloom has a reckless disregard for historic facts. He tells so many tall tales that maybe he doesn’t know or remember the “real truth”. He definitely doesn’t care and he just tells the story that matters to him. His son, a reporter, finds this infuriating. When Edward gets his fatal diagnosis, Will’s investigative reporting leads him to a witness, Jenny Hill, Edward’s allegedly jilted high school sweetheart. Jenny tells Will about how awesome his lying father really is.

Well… does Jenny tell the son the historic truth? Her story sounds like fake news. Did Edward really buy his high school sweetheart a house to sooth her broken heart? Oh, come on! Will suspects an affair and that sounds way more probable than the Jenny’s version. She even suggests she doesn’t want to ruin Will’s image of his father before telling him a transparent whopper.

(l-r) Michael Nugent, Missy Spangler, Emily Mudd, Luis Matty Montes. Credit: John Cholod

But Will accepts the tall-tale about how his dad magically moved a town without anyone posting it on the internet (Will’s smartphone actually gets used a few times as a prop and he’s got Google installed). Why? Because Will realizes that the lies let everyone get along better. He could confront his dying father and his grieving mother with the affair. But why? The truth will make everyone miserable, not free. So he says nothing and humors his dying father, like a normal well-adjusted human. The story then shows us that Edward Bloom really had a very big friend named Karl. Fact and fiction have blended and the audience can no longer tell the true story from the tall tales,  or fact from fiction. In the final scene, we see the reporter son has abandoned his dream of teaching his son to crave and search for truth and instead embraces telling tall tales to keep people happy. That’s #2018 for you.

(l-r) Richard Greenslit, Emily Machovec, Emily Mudd, Grace La Count. Credit: John Cholod

Now, Silhouette Stages and TJ Lukacsina didn’t go there and, considering the production’s superb, I’ll write that down as a good call! But you can see this darker story peaking out over the wooden stage fencing around the live orchestra’s box on stage.

Regardless of how you see this story, if you’re familiar with it or not, Silhouette Stages has put together an entertaining, well produced production that shouldn’t be missed this season! You won’t be disappointed!

Big Fish will run through May 27 at Silhouette Stages, Slayton House, 10400 Cross Fox Lane, Columbia, MD. For tickets, call 410-637-5289 or purchase them online.

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2018 Tony Award Nominations Announced

By Jason Crawford Samios-Uy

Well, folks, it’s that time of year again and the theatre world is buzzing about with predictions, satisfaction, and outrage (of course) about the Tony Award nominations announced yesterday by the lovely duo of Katherine McPhee and Leslie Odem, Jr.

For musicals, Mean Girls and SpongeBob SquarePants: The Musical lead the running with 12 nominations each while, for plays, Angels in America leads with 11 nominations but Harry Potter and the Cursed Child, Parts One and Two follow closely behind with 10 nominations under their belt! So, without further ado, let’s recap the nominees!

 

Best Book of a Musical
The Band’s Visit, Itamar Moses
Frozen, Jennifer Lee
Mean Girls, Tina Fey
SpongeBob SquarePants: The Musical, Kyle Jarrow

Best Original Score (Music and/or Lyrics) Written for the Theatre
Angels in America, Music: Adrian Sutton
The Band’s Visit, Music & Lyrics: David Yazbek
Frozen, Music & Lyrics: Kristen Anderson-Lopez and Robert Lopez
Mean Girls, Music: Jeff Richmond, Lyrics: Nell Benjamin
SpongeBob SquarePants: The Musical, Music & Lyrics: Yolanda Adams, Steven Tyler & Joe Perry of Aerosmith, Sara Bareilles, Jonathan Coulton, Alex Ebert of Edward Sharpe & The Magnetic Zeros, The Flaming Lips, Lady Antebellum, Cyndi Lauper & Rob Hyman, John Legend, Panic! at the Disco, Plain White T’s, They Might Be Giants, T.I., Domani & Lil’C

Best Performance by an Actor in a Leading Role in a Play
Andrew Garfield, Angels in America
Tom Hollander, Travesties
Jamie Parker, Harry Potter and the Cursed Child, Parts One and Two
Mark Rylance, Farinelli and the King
Denzel Washington, Eugene O’Neill’s The Iceman Cometh

Best Performance by an Actress in a Leading Role in a Play
Glenda Jackson, Edward Albee’s Three Tall Women
Condola Rashad, Saint Joan
Lauren Ridloff, Children of a Lesser God
Amy Schumer, Meteor Shower

Best Performance by an Actor in a Leading Role in a Musical
Harry Hadden-Paton, My Fair Lady
Joshua Henry, Rodgers & Hammerstein’s Carousel
Tony Shalhoub, The Band’s Visit
Ethan Slater, SpongeBob SquarePants: The Musical

Best Performance by an Actress in a Leading Role in a Musical
Lauren Ambrose, My Fair Lady
Hailey Kilgore, Once on This Island
LaChanze, Summer: The Donna Summer Musical
Katrina Lenk, The Band’s Visit
Taylor Louderman, Mean Girls
Jessie Mueller, Rodgers & Hammerstein’s Carousel

Best Performance by an Actor in a Featured Role in a Play
Anthony Boyle, Harry Potter and the Cursed Child, Parts One and Two
Michael Cera, Lobby Hero
Brian Tyree Henry, Lobby Hero
Nathan Lane, Angels in America
David Morse, Eugene O’Neill’s The Iceman Cometh

Best Performance by an Actress in a Featured Role in a Play
Susan Brown, Angels in America
Noma Dumezweni, Harry Potter and the Cursed Child, Parts One and Two
Deborah Findlay, The Children
Denise Gough, Angels in America
Laurie Metcalf, Edward Albee’s Three Tall Women

Best Performance by an Actor in a Featured Role in a Musical
Norbert Leo Butz, My Fair Lady
Alexander Gemignani, Rodgers & Hammerstein’s Carousel
Grey Henson, Mean Girls
Gavin Lee, SpongeBob SquarePants: The Musical
Ari’el Stachel, The Band’s Visit

Best Performance by an Actress in a Featured Role in a Musical
Ariana DeBose, Summer: The Donna Summer Musical
Renée Fleming, Rodgers & Hammerstein’s Carousel
Lindsay Mendez, Rodgers & Hammerstein’s Carousel
Ashley Park, Mean Girls
Diana Rigg, My Fair Lady

Best Scenic Design of a Play
Miriam Buether, Edward Albee’s Three Tall Women
Jonathan Fensom, Farinelli and the King
Christine Jones, Harry Potter and the Cursed Child, Parts One and Two
Santo Loquasto, Eugene O’Neill’s The Iceman Cometh
Ian MacNeil and Edward Pierce, Angels in America

Best Scenic Design of a Musical
Dane Laffrey, Once on This Island
Scott Pask, The Band’s Visit
Scott Pask, Finn Ross & Adam Young, Mean Girls
Michael Yeargan, My Fair Lady
David Zinn, SpongeBob SquarePants: The Broadway Musical

Best Costume Design of a Play
Jonathan Fensom, Farinelli and the King
Nicky Gillibrand, Angels in America
Katrina Lindsay, Harry Potter and the Cursed Child, Parts One and Two
Ann Roth, Edward Albee’s Three Tall Women
Ann Roth, Eugene O’Neill’s The Iceman Cometh

Best Costume Design of a Musical
Gregg Barnes, Mean Girls
Clint Ramos, Once on This Island
Ann Roth, Rodgers & Hammerstein’s Carousel
David Zinn, SpongeBob SquarePants: The Musical
Catherine Zuber, My Fair Lady

Best Lighting Design of a Play
Neil Austin, Harry Potter and the Cursed Child, Parts One and Two
Paule Constable, Angels in America
Jules Fisher, Peggy Eisenhauer, Eugene O’Neill’s The Iceman Cometh
Paul Russell, Farinelli and the King
Ben Stanton, Junk

Best Lighting Design of a Musical
Kevin Adams, SpongeBob SquarePants: The Musical
Jules Fisher, Peggy Eisenhauer, Once on This Island
Donald Holder, My Fair Lady
Brian MacDevitt, Rodgers & Hammerstein’s Carousel
Tyler Micoleau, The Band’s Visit

Best Sound Design of a Play
Adam Cork, Travesties
Ian Dickinson for Autograph, Angels in America
Gareth Fry, Harry Potter and the Cursed Child, Parts One and Two
Tom Gibbons, 1984
Dan Moses Schreier, Eugene O’Neill’s The Iceman Cometh

Best Sound Design of a Musical
Kai Harada, The Band’s Visit
Peter Hylenski, Once on This Island
Scott Lehrer, Rodgers & Hammerstein’s Carousel
Brian Ronan, Mean Girls
Walter Trarbach and Mike Dobson, SpongeBob SquarePants: The Musical

Best Direction of a Play
Marianne Elliott, Angels in America
Joe Mantello, Edward Albee’s Three Tall Women
Patrick Marber, Travesties
John Tiffany, Harry Potter and the Cursed Child, Parts One and Two
George C. Wolfe, Eugene O’Neill’s The Iceman Cometh

Best Direction of a Musical
Michael Arden, Once on This Island
David Cromer, The Band’s Visit
Tina Landau, SpongeBob SquarePants: The Musical
Casey Nicholaw, Mean Girls
Bartlett Sher, My Fair Lady

Best Choreography
Christopher Gattelli, My Fair Lady
Christopher Gattelli, SpongeBob SquarePants: The Musical
Steven Hoggett, Harry Potter and the Cursed Child, Parts One and Two
Casey Nicholaw, Mean Girls
Justin Peck, Rodgers & Hammerstein’s Carousel

Best Orchestrations
John Clancy, Mean Girls
Tom Kitt, SpongeBob SquarePants: The Musical
AnnMarie Milazzo & Michael Starobin, Once on This Island
Jamshied Sharifi, The Band’s Visit
Jonathan Tunick, Rodgers & Hammerstein’s Carousel

Best Play
The Children
Farinelli and the King
Harry Potter and the Cursed Child, Parts One and Two
Junk
Latin History for Morons

Best Musical
The Band’s Visit
Frozen
Mean Girls
SpongeBob SquarePants: The Musical

Best Revival of a Play
Angels in America
Edward Albee’s Three Tall Women
Eugene O’Neill’s The Iceman Cometh
Lobby Hero
Travesties

Best Revival of a Musical
My Fair Lady
Once on This Island
Rodgers & Hammerstein’s Carousel

Special Tony Awards for Lifetime Achievement in the Theatre
Chita Rivera
Andrew Lloyd Webber

Special Tony Awards
John Leguizamo
Bruce Springsteen

Regional Theatre Tony Award
La MaMa E.T.C., New York City

Isabelle Stevenson Tony Award
Nick Scandalios

Tony Honors for Excellence in the Theatre
Sara Krulwich
Bessie Nelson
Ernest Winzer Cleaners

So… what are your predictions? Go on our Facebook page to take polls and post your opinions!

The 72nd Annual Tony Awards will be hosted by Sara Bareilles and Josh Groben on Sunday, June 10 at Radio City Music Hall. The live broadcast will air on your local CBS channel from 8:00pm-11:00pm (EST).