The 2016 Wilde Awards honor best productions and performances of Michigan’s 2015-16 professional theater season

ANN ARBOR, Mich – It was another Wilde night at West Bloomfield’s Berman Center for the Performing Arts, as Michigan’s professional theater community came together for The 15th Annual Wilde Awards presented by EncoreMichigan.com. Established in 2002, The 2016 Wilde Awards honored the best productions, performances and technical accomplishments of the recently concluded 2015-16 season.

In all, 37 artists and 26 productions produced or presented by 20 professional theaters across the state earned an award. In an unusual feat, no single show, artist or production dominated the awards – a trend that is becoming more common with each passing year.

“Although it might look like we’re trying to spread the number of awards across as many theaters and artists as possible, that’s certainly never our intent,” said co-founder of The Wilde Awards Donald V. Calamia. “But when you have more than a dozen critics spanning out across the state reviewing nearly 250 shows produced or presented by more than five dozen theaters like we did this past season, it becomes very tough for one artist, one show or one company to win multiple awards. And to me, that’s a good thing, because it’s a sign that great work is happening in theaters of every size, shape and budget – and they’re being recognized for it.”

This year’s top theaters – Saugatuck’s Mason Street Warehouse, Hamtramck’s Planet Ant Theatre, and Ferndale’s Ringwald Theatre – each earned four awards. The top production was Mason Street’s “Cabaret,” with four wins; Planet Ant’s “Antenna” was next with three. And only Kurt Stamm, founding artistic director of Mason Street Warehouse, was the only artist to win multiple awards – with two.

“The wealth of talent on display at theaters all across the state is evident by these awards,” said David Kiley, owner and publisher of EncoreMichigan.com. “Since taking over the company last year, I’ve been blown away by the work I’ve seen on our stages. And this year’s results – with so many people being honored for their work – should prove to the world that Michigan can compete with the best of them when it comes to producing high quality theater.”

The awards were determined by EncoreMichigan.com’s team of professional critics who reviewed 241productions produced or presented by 66 professional theater companies located in 36 communities across the state. The critics included Paula Bradley, Calamia, Tom Emmott, Carolyn Hayes-Harmer, Marin Heinritz, Tanya Gazdik Irwin, Kiley, Martin F. Kohn, Jenn McKee, Sue Merrell, Amy J. Parrent, Frank Anthony Polito, John Quinn and Bridgette M. Redman.

Thespians from theaters around the state attended the event that began at 6:30 p.m. with a social hour of cocktails and hors d’oeuvres; the awards presentation began at 8 p.m. Hosted by Calamia, the evening included performances of songs from shows nominated for Best Musical, and an original mini-production created by Brandy Joe Plambeck of The Ringwald Theatre.

“It’s been a long-standing tradition to poke fun of ourselves at The Wilde Awards, and Brandy Joe’s spoof of ‘Romeo and Juliet’ did just that. While the awards themselves we take seriously, we can’t help but laugh at ourselves and our industry at an event such as this, since it’s not often that the community comes together in a single spot to celebrate what ties us together,” Calamia said. “And laughter IS the best medicine, after all!”

Other top productions include “Charlotte’s Web” by Ann Arbor’s Wild Swan Theater (Best Theater for Young Audiences; Best Performance – Theater for Young Audiences); “Mary Poppins” by Augusta’s Barn Theatre (Best Design – Sets; Best Design – Lights); “The Rivals” by Jackson’s Michigan Shakespeare Festival (tie for Best Supporting Actress – Play; Best Design – Costumes); and “The Passenger” by Detroit’s Michigan Opera Theatre (Best Opera; Best Performance – Opera).

Even the recently defunct Performance Network Theatre walked away with two awards for its spectacular production of “Who’s Afraid of Virginia Woolf?” (tied for Best Play; Best Performance, Lead Actor – Play). “Performance Network is the winner of more Wilde Awards than any other theater in our history, and they certainly left us on a high-note,” said Kiley. “They’ll truly be missed.”

Special awards were presented to Rochester’s Meadow Brook Theatre in honor of its 50^th season; Hal Soper of Planet Ant Theatre; David Regal in honor of his retirement from the University of Detroit Mercy and the UDM Theatre Company; Tom and Kathy Vertin of The Snug and Riverbank Theatres (Marine City); Scott Myers of Little Man Public Relations; and recently retired George Cvetanovski of the 7 Brothers Bar, whose love for the Metro Detroit theater community will be missed.

Only shows that were produced or presented by Michigan’s professional theaters and opera companies—both union and non-union—and reviewed by EncoreMichigan.com’s theater critics during the 2015-16 season were eligible for a 2016 Wilde Awards nomination. Shows had to be performed for four consecutive days or more or over two weekends or more to be eligible for a review.

The 2016 Wilde Awards were sponsored by Comcast, Pride Source Media Group, Actors’ Equity Association, The Berman Center for the Performing Arts, and Little Bill’s Trophies.

EncoreMichigan.com is web-based publication established in 2008 that is focused on Michigan's professional theater industry. Designed as a one-stop shop for consumers, industry professionals and others with an interest in the performing arts, EncoreMichigan.com is updated daily and packed with informative interviews, insightful reviews, comprehensive show listings, thoughtful commentary, audition notices, podcasts and much, much more. Original content is created by a dedicated team of veteran freelance journalists and theater professionals. For more information about EncoreMichigan.com, log onto www.encoremichigan.com.

WINNERS: The 2016 Wilde Awards

Best Musical

Cabaret, Kurt Stamm, director; Mason Street Warehouse

Best of The Bard

Henry IV, Janice L. Blixt, director; Michigan Shakespeare Festival

Best One-Person Show

From Broadway to Obscurity, Brian P. Sage, director; Detroit Public Theatre

Best Opera

The Passenger, Rob Kearley, director; Michigan Opera Theatre

Best Original Production or One-Act

Antenna, Mike McGettigan, director; Planet Ant Theatre

Best Play

A Streetcar Named Desire, Randy Wolfe, director; What A Do Theatre

Who's Afraid of Virginia Woolf?, Suzi Regan, director; Performance Network Theatre

Best Theater for Young Audiences

Charlotte's Web, Lauren Mounsey, director; Wild Swan Theater

Best Touring Production

A Christmas Carol, Graham McLaren, director; University Musical Society

Best Performance - One-Person Show

Sebastian Gerstner, Chesapeake; Theatre Nova

Richard Payton, Buyer & Cellar; The Ringwald Theatre

Best Performance - Opera

Adrienn Miksch, The Passenger; Michigan Opera Theatre

Best Performance - Original Production or One-Act

Lauren Bickers, Antenna; Planet Ant Theatre

Best Performance - Rising Star

Maxim Vinogradov, BFs!; Slipstream Theatre Initiative

Best Performance - The Bard

David Montee, As You Like It; Interlochen Shakespeare Festival

Best Performance - Theater for Young Audiences

Sandy Ryder, Charlotte's Web; Wild Swan Theater

Best Performance, Lead Actor – Musical

Christopher Behmke, Cabaret; Mason Street Warehouse

Best Performance, Lead Actor – Play

Joe Bailey, The Whale; UDM Theatre Company and The Ringwald Theatre

John Seibert, Who's Afraid of Virginia Woolf?; Performance Network Theatre

Best Performance, Lead Actress – Musical

Stacey Harris, Cabaret; Mason Street Warehouse

Best Performance, Lead Actress – Play

Jamie Warrow, A Streetcar Named Desire; The Ringwald Theatre

Best Performance, Supporting Actor – Musical

Vince Kelley, Heathers: The Musical; The Ringwald Theatre

Best Performance, Supporting Actor – Play

Dax Anderson, Orson's Shadow; Planet Ant Theatre

Best Performance, Supporting Actress – Musical

Shinnerrie Jackson, Ghost the Musical; Barn Theatre

Best Performance, Supporting Actress – Play

Wendy Katz Hiller, The Rivals; Michigan Shakespeare Festival

Allison Megroet, Precious Little; Matrix Theatre Company

Best Choreography

Kurt Stamm, Cabaret; Mason Street Warehouse

Best Design – Costumes

Laura Heikkinen, R.U.R.; Puzzle Piece Theatre

Melanie Schuessler, The Rivals; Michigan Shakespeare Festival

Best Design – Lights

Andrew Carson, Mary Poppins; Barn Theatre

Best Design – Props

Thomas Koehler, August: Osage County; What A Do Theatre

Best Design - Sets

Shy Iverson, Mary Poppins; Barn Theatre

Best Design - Sound or Video

Mike Eshaq, Antenna; Planet Ant Theatre

Tom Whalen and Noele Stollmack, 2AZ; The Purple Rose Theatre Company

Best Music Direction

Tyler Driskill, Into the Woods; The Encore Musical Theatre

Best New Script

David Wells and R. Mackenzie Lewis, Irrational; Theatre Nova

SPECIAL AWARDS:

Critics’ Choice Award:

Meadow Brook Theatre
50^th Anniversary

Critic’s Choice Award

George Cvetanovski

7 Brothers Bar

Founders Award for Excellence

Hal Soper

Planet Ant

Jim Posante Community Pride Award

Scott Myers

Council Cargle Award for Dedication to the Michigan Theatre Community

David Regal

Publisher’s Award

Tom and Kathy Vertin

The Snug and Riverbank Theatres

edited 8/31/16

Don and Jaime do it again: The 2015 Wilde Awards are in the books!

ANN ARBOR, Mich – It was yet another Wilde night at West Bloomfield’s Berman Center for the Performing Arts, as Michigan’s professional theater community gathered for The 14th Annual Wilde Awards presented by EncoreMichigan.com. Established in 2002, The 2015 Wilde Awards honored the best productions, performances and technical accomplishments of the recently concluded 2014-15 season.

In all, 28 artists and 19 productions produced or presented by 16 theaters across the state earned an award. In a rare feat, no single show, artist or production dominated the awards – something almost unheard of in Wilde Awards history.

“This year’s winners come from all over the state, and they represent theaters both large and small – and one just opened its doors this year,” said co-founder and editor-at-large Donald V. Calamia. “That to me indicates that great work is happening in all our theaters regardless of their sizes, budgets or locations.”

Standing out from the crowd, The Purple Rose Theatre and Michigan Opera Theatre each took home three awards.

“Annapurna” from The Purple Rose Theatre took home the most awards for a single show, winning Best Drama (Guy Sanville, director); Best Design for Sets (Bartley H. Bauer); and Best Design for Props (Danna Segrest.)

The awards were determined by EncoreMichigan.com’s team of professional critics who reviewed 168 productions produced or presented by 49 professional theater companies located in 25 communities across the state. The critics included Calamia, Carolyn Hayes Harmer, (owner and editor-in-chief) David Kiley, Martin F. Kohn, Jenn McKee, Sue Merrell, Amy J. Parrent, Frank Anthony Polito, John Quinn, Bridgette M. Redman, Judith Cookis Rubens and guest critic Jennifer Knightstep.

Representatives from theaters around the state attended the event that began at 6:30 p.m. with a social hour of cocktails and hors d’oeuvres; the awards presentation began at 8 p.m.

Hosted by Calamia and popular actress and improviser Jamie Moyer, the evening mixed entertainment with announcements of the awards.

“This year was especially fun with the return of Jaime as my co-host,” said Calamia. “Her dance card is quite full in Los Angeles these days where she relocated a few years back, and her celebrated comedic genius helped ensure our guests had one ‘Wilde’ night indeed!”

Other top winners were the Michigan Opera Theatre’s “Elektra,” which won Best Opera for Nicholas Muni, director, and Best Performance, Opera, for Christine Goerke. MOT also took home a Best Design -- Costumes for Monika Essen for the opera “Frida.”

Best Comedy went to Beth Torrey, the director of Tipping Point’s “Leaving Iowa.” Best Musical went to Steve DeBruyne, director of “Violet” at The Dio – Dining and Entertainment.

Other theaters that took home two awards were The Dio – Dining and Entertainment (Best Musical and Best Performance Actress in a Musical), Shakespeare in Detroit (Best of the Bard, Best Performance – The Bard), PuppetArt (Best Theatre for Young Audiences, Best Choreography), Williamston Theater (Best Performance Actress – Comedy, Best Teamwork) and The Jewish Ensemble Theatre (Best Performance Actress – Drama, Best New Script).

Special awards went out to Farmers Alley Theatre; the Detroit Improv Collective; Kurt Stamm of Mason Street Warehouse; Bailey Boudreau of Slipstream Theatre Initiative; and Kristine Thatcher, former artistic director of Lansing’s BoarsHead and Stormfield Theatres.

The night also featured an announcement by David Kiley of New Roads Media, the new owner of EncoreMichigan.com and The Wilde Awards, which detailed his many plans for the company. “I love this community,” he told the audience – after which he earned thunderous applause when he pledged to work hard at keeping this vital resource alive and successful for generations to come.

Only shows that are produced or presented by Michigan’s professional theaters and opera companies—both union and non-union—and reviewed by EncoreMichigan.com’s theater critics during the 2014-2015 season were eligible for a 2015 Wilde Awards nomination. Shows had to be performed for four consecutive days or more or over two weekends or more to be eligible for a review.

The 2015 Wilde Awards were sponsored by Detroit Public TV, Pride Source Media Group and Actors’ Equity Association. The Council Cargle Award for Dedication to the Michigan Theatre Community was sponsored by Little Bill’s Trophies.

EncoreMichigan.com is web-based publication established in 2008 that is focused on Michigan's professional theater industry. Designed as a one-stop shop for consumers, industry professionals and others with an interest in the performing arts, EncoreMichigan.com is updated daily and packed with informative interviews, insightful reviews, comprehensive show listings, thoughtful commentary, audition notices, podcasts and much, much more. Original content is created by a dedicated team of veteran freelance journalists and theater professionals. For more information about EncoreMichigan.com, log onto www.encoremichigan.com.

WINNERS: The 2015 Wilde Awards

Best Comedy

Leaving Iowa, Beth Torrey, director; Tipping Point Theatre

Best Drama

Annapurna, Guy Sanville, director; The Purple Rose Theatre Company

Best Musical

Violet, Steve DeBruyne, director; The Dio - Dining & Entertainment

Best Opera

Elektra, Nicholas Muni, director; Michigan Opera Theatre

Best of the Bard

King Lear, Frannie Shepherd-Bates, director; Shakespeare in Detroit

Best Theatre for Young Audiences

Sleeping Beauty, Igor Gozman, director; PuppetART

Best Touring Production

Kinky Boots, Jerry Mitchell, director; Broadway in Detroit: Fisher Theatre

Best Performance, Actress - Comedy

Emily Sutton-Smith, Miracle on South Division Street; Williamston Theatre

Best Performance, Actress - Drama

Inga R. Wilson, Sugarhill; The Jewish Ensemble Theatre Company

Best Performance, Actress – Musical

Mahalia Greenway, Violet; The Dio - Dining & Entertainment

Best Performance, Actor - Comedy

Brandy Joe Plambeck, Boeing Boeing; Hilberry Theatre

Best Performance, Actor - Drama

Mike McGettigan, Buried Child; The Abreact

Best Performance, Actor – Musical

Sebastian Gerstner, Spamalot; The Encore Musical Theatre Company

Best Performance – Opera

Christine Goerke, Elektra; Michigan Opera Theatre

Best Performance – The Bard

Julia Garlotte, King Lear; Shakespeare in Detroit

Best Performance – Theater for Young Audiences

Sam Carter, The Diary of Anne Frank; Flint Youth Theatre

Best Teamwork

Tony Caselli and John Lepard, The Best Brothers; Williamston Theatre

Best New Script

Linda Ramsay-Detherage, Sugarhill; The Jewish Ensemble Theatre Company

Best Music Direction

Brian E. Buckner, The Ugly Duckling; Wild Swan Theater

Best Choreography

Irina Baranovskaya and Igor Gozman, The Crane Maiden; PuppetART

Best Design – Sound or Video

Tim Culver, Cameron Lake and Lauri Rowe, It's a Wonderful Life: A Radio Play; Great Escape Stage Company

Best Design - Sets

Bartley H. Bauer, Annapurna; The Purple Rose Theatre Company

Best Design - Props

Danna Segrest, Annapurna; The Purple Rose Theatre Company

Best Design - Lights

Harley Miah, Red; Open Book Theatre Company

Best Design - Costumes

Monika Essen, Frida; Michigan Opera Theatre

SPECIAL AWARDS:

Critics’ Choice Award:

Farmers Alley Theatre

Critic’s Choice Award

Detroit Improv Collective

Founders Award for Excellence

Kurt Stamm, Mason Street Warehouse

Jim Posante Community Pride Award

Bailey Boudreau, Slipstream Theatre Initiative

Council Cargle Award for Dedication to the Michigan Theatre Community

Kristine Thatcher

The times they are a-changing (again): My announcement regarding EncoreMichigan.com and The Wilde Awards

My last shot at hosting The Wilde Awards!
photo by Sean Carter

This announcement was sent to the management teams of the state's professional theaters early this afternoon.

* * * * * * * * * *

For some of you, this will sound familiar, but effective October 1, I will no longer be part of the editorial and management teams of EncoreMichigan.com.

As many of you may recall, I initially retired from both EncoreMichigan.com and Pride Source Media Group in December 2014 because of health issues. But when David Kiley assumed ownership of EncoreMichigan.com in March 2015, he asked that I return in a part-time capacity to help him navigate the business and the community. It’s now 18 months later, and I think it’s time for David to fully grab the reins and take the company where he sees fit without having a personal Jiminy Critic whispering such things as “Are you sure you want to do that?” and “This is why we’ve always done it this way” in his ear.

What most people don’t understand is this: Much of the funding to keep EncoreMichigan.com going is coming from David’s personal bank account. And so I believe it’s time for him to get the kudos he deserves for the significant investment he’s making in the community without having me overshadow his accomplishments (something I was reminded of at this year’s Wilde Awards).

So does this mean I’m retreating into the darkness, never to be heard from again? Oh, heck no!

Although I plan to take some time away from the theater community to focus on long-neglected personal projects and a close friend’s campaign for political office (if you’re a Wayne County resident and honesty and integrity matter to you, I urge you to vote for Kelly Ann Ramsey for Circuit Court judge), I plan to continue working as a freelance journalist for various local outlets, and I’ve told David that once his budget can afford to add interviews and feature stories to the mix, I’ll gladly return once or twice a week with my once-popular series, “A Few Minute With…” And as time and interest allow, I’ll gladly assist with special projects that arise for which he asks for my help (or that I suggest we tackle).

Plus, there are a couple of theater-related projects I’ve been talking about for a handful of years that might finally get some traction – and I’m working on a brand NEW theater-related project that might be of interest to you, which COULD be announced sometime over the next month or so. Keep watching my blog for more information (http://crankycritic2.blogspot.com). (A few details still need to be worked out.)

Then there’s The Wilde Awards. Although it wasn’t publicly announced, I decided last year to step away as producer and host of the annual ceremony because I believe it’s time for others to step in and reinvigorate the show. And so David took on the full producing responsibilities this year, while this was my last as writer and host.

However, since I feel it’s important that consistent management should be maintained to ensure the integrity of the process that determines each year’s nominations and winners, David has appointed me executive director of The Wilde Awards. My sole functions will be to manage the nominations process (a year-long responsibility), oversee the event’s media relations, and maintain the awards’ history, which we’ll begin posting on EncoreMichigan.com and my blog over the next several weeks.

And although I don’t plan to review shows for EncoreMichigan.com in the near future (except to help out when schedule conflicts occur), I’ve also agreed to serve as a “second set of eyes” on shows the critics or others believe may deserve a potential Wilde Awards nomination. (You’ll hear more about that soon.)

Obviously, then, my departure from the media company side of the business doesn’t mean you’ll finally be rid of me. (No such luck!) However, I do want to publicly acknowledge at this time the fact that I’ve enjoyed working with all of you in my editorial capacity. Although our community can at times be a fractious one, our theaters are managed and staffed by amazing individuals who all have one common goal – and that’s to produce great theater. And they do. Consistently.

And so it’s been my pleasure to work with you to help spread the good news as far and wide as I possibly could. And I look forward to continuing our relationship as my future endeavors (and second eye visits) cause us to cross paths yet again down the road.

Don

The 2016 Wilde Awards: Yes, the critic DOES get cranky

From The 2003 Wilde Awards: Don Calamia and Serena Escevelle

People have teased me for some time now that the name of this blog (and my nickname) is a misnomer. I'm rarely cranky, they tell me. So why call it that?

You're about to find out why: Today I'm cranky as hell!

It's hard to believe that the upcoming Wilde Awards is now in its 15th year. It seems like it was only a short while ago that Jan Stevenson, Susan Horowitz and I thought it was important to bring two related groups together - thespians and the LGBT community, between which there is a lot of crossover - to celebrate the great work produced by our professional theaters. That first year at The Furniture Factory in what's now called Midtown Detroit (among other, more recent names) was a much smaller affair, and my first co-host was the lovely and memorable Serena Escevelle, a popular, up-and-coming female impersonator of that era.

But as times changes, so too did the awards - and who owned them. But no matter who was paying the bills, I always considered it a great honor and responsibility to produce the show and manage the nominations process. And I truly appreciate the hard work everyone put into making past ceremonies a success.

One thing, however, has never changed throughout the years, and that's this: Producing the show is a royal pain in the ass - a lesson EncoreMichigan.com owner David Kiley is learning as he assumes the job of producer this year. (My role this year was to manage the nominations process, write the script and host the show.)

Producing the annual Wilde Awards is a frustrating and time-consuming process - and it never goes according to plan. As this is David's first attempt at producing the event, he's working hard to make it a memorable one - going so far as to arrange the night's ceremony to be professionally recorded by Comcast for later broadcast. (How cool is that!)

But as he's discovering, the best of intentions don't keep the gremlins away - and Friday's twists and turns were a reminder that a good sense of humor helps keep things in perspective. ("Why are we doing this again?" is a question I asked myself many times since the awards were created back in 2002. And I think the thought has already crossed his mind, as well!)

Roadblocks and detours are to be expected when so many moving parts - and so many people - are involved in a project such as this. But this year we've experienced an extraordinary number of unusual ones. (Since I don't want to give away any secrets, I won't mention them right now. But there have been a few doozies no one could have foreseen!)

Heck, I've even lost yet another co-host, thanks to a job offer that couldn't be resisted. (The road to landing a co-host this year is another tale for another time. Anyone interested in the position? It's still available. The pay is a free ticket, the stress is over in a few hours after which alcohol and sweets are available to soothe the nerves, and it's fun!)

All of this is manageable, of course. Every producer and stage manager faces stuff like this all the time.

It's the rumors, gossip, bitching and complaining from the community itself that drives me especially crazy. And this year is no different.

It's easy to ignore what I hear more than anything: "Why didn't so-and-so or such-and-such-a-play get nominated? I saw it, and it was the best thing I saw all season." It might have been. I don't doubt that. But as a team, it's a safe bet that we saw 5-10 times as many plays as did any individual - and likely more - and so our universe of potential nominations is quite large. So maybe if we were back in the days of reviewing only 75 or 100 shows, many of the "favorites" I hear about would have been nominated. But we've grown way beyond that now, including reviewing shows statewide. And so it's not as easy as it used to be to earn a nomination.

I also pay little attention to the rumors of people boycotting the awards because of one perceived injustice or another. If people want to skip a party that's attended by many of their industry friends and peers, that's their choice.

What's truly frustrating, however, are the destructive whispers and innuendos that creep through various corners of the community, delivering dabs of false information as if they're facts. (Apparently, it's too much of a bother for folks to reach out directly to us to resolve their concerns, when it's far more fun to damage us instead.)

Personally, I'm offended by such crap, as it questions my integrity and is harmful to my reputation, both of which I work very hard to maintain as an honest and trusted advocate for the community.

So what are this year's top rumors that have made their way to me, you might be wondering? In no particular order:

Rumor #1: Nominated theaters that didn't buy a congratulatory ad in this year's expanded Wilde Awards program may not win the award they deserve.

I'm starting with the one that especially pisses me off. As the person who drives the entire nominations process, rumors like this impugn my honesty, integrity and sense of fairness.

Never did this fundraising effort factor in to who would win and who would not this year. In fact, nominations and winners of the adjudicated awards were determined (and set in stone) back on June 11, seven weeks prior to the solicitation David sent out to the community. What's more, if my memory is correct, he hadn't even come up with the idea until sometime in July. So one did not impact the other whatsoever.

And I would never, ever allow such a thing to happen. If it was suggested or forced upon us, my resignation would have been immediate and irrevocable.

(In all fairness, I will admit to changing the winner of one of this year's special awards - but it had to do with the results of the vetting process I did on the group that was initially suggested as the winner. They're not ready yet for such an honor, and so it was changed. In the future? Who knows.)

Rumor #2: The reason for the increase in the number of theaters and individuals who were honored with a nomination this year was to sell more tickets to the awards.

While it's always nice to sell more tickets to help pay for the event - which ain't cheap, by the way - I address this accusation head on in the press release that will be issued this Tuesday announcing the winners. In it, I say this: "(W)hen you have more than a dozen critics spanning across the state reviewing nearly 250 shows produced or presented by more than five dozen theaters like we did this past season, it becomes very tough for one artist, one show or one company to win multiple awards. And to me, that's a good thing, because it's a sign that great work is happening in theaters of every size, shape and budget - and they're being recognized for it."

And I truly believe that!

Now, let me break things down a bit deeper for you: During this past season, we reviewed 241 productions staged or presented by 66 theaters. During the two seasons prior, we averaged 197 performances at 49 venues. That's a significant jump - which helps explain how much tougher the competition was this year. (Why did I average the prior two seasons? Because as some of you might recall, our review seasons fluctuated a bit back then, with one year including only 10 months and the other 14. So the data is now comparing apples and apples, so to speak.)

But then there's this: We also increased the number of adjudicated awards from 25 to 30 - mostly to respond to the many requests we had from the community to once again split many of the acting nominations between "lead" and "supporting" roles. To do that, though, we needed to be mindful that there's a limit to how many awards we can give out on a single night without the audience tiring out and drifting away. And so we made a few other changes as well (some of which were equally not very popular in certain quarters, but you can't please everyone), and the result was an overall increase by five in the number of adjudicated awards given out this year.

So let's do the math, shall we? More award categories + more reviews + more theaters + more artists whose work we've seen = more potential nominations.

It really IS that simple. But if more people show up Monday night, we won't turn them away; we'll be happy to see them!

(Again, in all fairness, there may have been an instance or two when the critics narrowed a category down to two specific individuals, one of whom was already guaranteed a nomination. If nothing else could break a tie and everything else was equal, the artist without a nomination got it. So yes, we may have "spread the wealth" once or twice, but it had nothing to do with selling more tickets; rather, we wanted to see as many artists as possible get recognized for their splendid work.)

Rumor #3: Personal biases and grudges prevented some theaters or artists from getting more nominations.

This, too, really rankles me.

Do theater critics have biases? Or favorites? Of course we do, because contrary to popular belief, we are human, too!

But part of our job as critics is to set those biases aside and focus our attention on the production and performances we see before us, and not let past experiences color our perceptions. As such, our personal opinions - which is what they always are - should always be presented with intelligence, integrity and insight, with never a hint of malice or prejudice. And determining the nominations and winners each year is no different.

So to accuse us of purposely sabotaging the nominations to settle petty, personal grievances is absurd.

I've always viewed my role as manager of the nominations process (which includes determining the winners) as one who pokes, prods, questions and challenges the critics to arrive at the best slate we possibly can. My objective, then, is to keep everyone focused on "the best" of the season, not on outside or past influences of any kind. In the end, I think I've been more successful at it than not, given the different personalities of the critics and the wide variety of shows and performances we're comparing. (Its ain't easy, though, trust me!)

Are we always correct with our decisions? I'd like to think so, but - again - we're human and we occasionally fail in our mission. But I bet we miss the mark far less than some would have us or you believe. (Re-read my response to number 2 above for another reason why I say that.)

In conclusion: Although I'm breathing easier now that I've gotten this off my chest, now I'm anxiously awaiting the reaction to the winners after they're announced. I suspect I already know what will likely cause a few heads to explode, and I can't wait to see if I'm correct.

* * * * * * * * * *

COMING SOON:

On Tuesday, I'll link to the list of winners. And shortly thereafter, I suspect you'll see more of the crankiness. Plus, I'll finally start uploading on to EncoreMichigan.com much of The Wilde Awards history, while here you'll find some of the analyses that go with it.

Coming soon: The 2015 Wilde Awards

Yes, it's that time again!

Tickets for The 2015 Wilde Awards, which will be held at The Berman Center for the Performing Arts in West Bloomfield, are now on sale. The evening, which celebrates Michigan professional theater and recognizes the best performances of the 2014-15 season, will feature entertainment from the Mosaic Youth Theatre of Detroit and Michigan actor Eric Gutman, who is touring the U.S. with his one-man show, “From Broadway to Obscurity.”

Established in 2002, The Wilde Awards, will be co-hosted and emceed by Donald V. Calamia and Michigan native and Hollywood actress Jaime Moyer. Calamia is the co-founder of EncoreMichigan.com and The Wilde Awards. Moyer is known for her appearances on “2 Broke Girls,” “Parks & Recreation,” “Jennifer Falls,” and in several short and feature-length films. She is also an alum of The Second City Detroit.

“The 2014-15 season in Michigan was incredibly strong,” said David Kiley, editor and publisher of EncoreMichigan.com. “I am especially excited this year, because it is my first year being involved since acquiring EncoreMichigan last March”

In addition to making award presentations for numerous categories such as Best Musical, Best Drama, Best Actor in a Drama and Best Set Design, EncoreMichigan will preview an all-new website design and plan for serving the professional theater community of Michigan, and announce new award categories for the 2015-16 season.

Advance tickets can be purchased at The Berman website at www.theberman.org. Admission is $22; VIP admission is $47, which includes unlimited bar service.

The Berman Center for the Performing Arts is located at 6600 W. Maple Road, on the campus of the Jewish Community Center at the northwest corner of Maple and Drake Roads in West Bloomfield. Parking is free.

The 2015 Wilde Awards, produced by EncoreMichigan, is generously sponsored by The Berman Center for the Performing Arts, Detroit Public Television; Pride Source Media Group, publisher of Between The Lines, and Actors’ Equity Association.

Updated: WOW! What a week! My thoughts on what went down in the theater community, the cancellation of The Wilde Awards, and what should happen next

Corrected Aug. 1, 2019 at 9:36 p.m. See note at bottom for details.

I’ve been asked by several people for my thoughts regarding the brutal controversy that erupted earlier this week that is still simmering throughout much of Southeast Michigan’s professional theater community. For the most part, I’ve stayed out of it – despite my name being tossed into the discussion a couple of times – and I’ve offered no public comments. (I did, however, “like” many comments on Facebook, in part to keep abreast of the ever-expanding and increasingly nasty threads.)

But with the news yesterday that The Wilde Awards show has been canceled this year – and with continuing inquiries regarding my thoughts on this latest wrinkle to the story – I decided to prepare this statement, which will be my only public statement on this entire affair. (For those of you who may not know this, I co-created the awards back in 2002.)

However, please keep this in mind as you work your way through what will be a significant chunk of your time (if you decide to stick with me till the end, that is): Because I know most everyone involved in this matter one way or another, some of whom for nearly two decades, my objective is not to assign blame or choose sides; there’s enough of that going around. Rather, it’s to offer a broader perspective than what I’ve seen all over that evil Facebook – and to be as honest about it as I can without naming names, directly pointing fingers at specific individuals, or violating confidences.

Finally, before we get to the nitty gritty, I want to be clear about something: Agree with me or not, I don’t care; my words and thoughts are not up for debate. I own them, plain and simple. But they’re based on first-hand knowledge from numerous discussions I’ve had over the past few years with various people involved on both sides of the argument.

Take a deep breath. Now dive in!

* * * * * * * * *

Since my official retirement from Between The Lines and EncoreMichigan.com in late 2014 – yes, I know, I was resurrected a couple of times since then, but stick with me here – I’ve been slowly pulling myself away from the theater community. Yes, I still see some shows (but not nearly as many as I did last year, for example) and I share my mostly brief thoughts about them on Facebook or on this blog as a way of helping theaters get some sorely lacking publicity. But unless I have an occasional lunch with an industry insider, chat with folks after a show or open an unexpected email, I’m pretty disengaged from day-to-day industry news.

What this means, then, is that I’ve paid little attention to The Wilde Awards since I last hosted the affair in 2016 and served as head wrangler in determining the nominations and winners the following year. And as deference to the new team taking over as producers and hosts, I declined all requests to attend the ceremony after my departure as host.

So while I spent 15 years nurturing the event (which was probably one or two years too many, in my honest appraisal), I’m of two thoughts on the matter of its cancellation.

The first is this: Once the awards were turned over to other caretakers, my emotional attachment to the event dissipated over time. It was now for others to guide, to grow, to change, or do with as they pleased. My only hope was they took it as seriously as I did and treated it just as well. In that regard, I was no different from a teacher whose students moved to the next level or a business owner who sold their pride and joy to another: I have fond memories of it, wish it well, but I moved on with no regrets.

Except for one. And here’s my other thought.

While The Wilde Awards were created to honor the best work produced by Michigan’s professional theaters, Jan Stevenson, Susan Horowitz and I had a second, equally important goal when we created the event – and that was to offer the professional theater community a night shared with the LGBT community in which rivalries could be put aside, old friendships could be re-established, new relationships could be forged and a fun time could be had by all. And to set the tone, my co-host its first two years was an up-and-coming young drag performer who wowed the audience (while at the same time re-establishing relationships with Detroit’s Mosaic Youth Theatre, which provided our mid-show entertainment).

While I was always fully aware that some people within the theater community didn’t take the awards seriously and couldn’t have cared less what I thought or what my fellow critics thought of their work, that didn’t matter. Our goal was to produce One Wilde Night for the community, and for the most part, I believe we succeeded more often than not, and sometimes we even surpassed it.

That became even more important as other media-related awards and awards shows bit the dust. We were the last awards standing for Metro Detroit thespians.

Now, with the cancellation of this year’s ceremony, yet another sad chapter in the history of our industry has ended. And that’s a damn shame.

And the cause? If you believe some of what I’ve read on Facebook and heard through other means, this week’s brouhaha was the result of nothing more than (in my very humble opinion, a poor excuse of) a review (that never should have seen the light of day). As an editor, I would never have allowed it to run as published.

But that’s not the reason for all the turmoil.

And for the record, there’s no innocent victim here, either.

Rather, the review was the spark that ignited a long-simmering reaction by a members of the community that for the past couple of years has felt disrespected by the words and actions of the critic.

So – let me emphasize this point for the skimmers out there – it was never about the review. There was no single event that led to the launching of the bomb that followed; it was simply the culmination of several events over a period of time – and the artists involved decided they’d had enough. If you want to know the details, ask participants on both sides; you won’t find them here.

To be honest, I found some of the initial reactions and responses to the review to be quite creative. They were cryptic and fun and they tried to make delicious lemonade out of the published lemon. (In fact, many who responded to the posts hadn’t a clue what precipitated them, as names were never mentioned nor was the review or where it was published.)

But as usually the case in such situations, reactions became overreactions and tempers flared.

Then, once the open letter appeared, others with grudges piled on and the discussion got downright nasty. Equally predictably, misunderstandings occurred and things were said that shouldn’t have been. And a downright despicable text message was sent.

However, as I mentioned above, there are no innocents here: Defending yourself while calling the production reviewed a “shite musical” doesn’t do much to heal wounds, solve problems or move those trying to remain neutral to your side. Nor do snarky replies made from all sides of the debate.

Quite frankly, the result was a cluster fuck of a magnitude I haven’t seen in a long while. And unfortunately in situations like this, people chose sides without knowing all the details, which further added to the destruction.

So now that the damage is done and the carnage is being picked over by all sides of the debate, what happens now?

How about this, for starters; the rest is up to the industry:

#1: After a short cooling down period, how about both sides sit down and have an open, honest and emotion-free discussion to resolve their issues and disagreements. It won’t be easy or comfortable – and only two or maybe three representatives at most from the aggrieved theaters should participate. But there are real and important matters that need to be resolved, and the quicker this happens, the better.

#2: And how about anyone else with a valid concern do likewise? If one side is open to talk, the other must step up to the plate or shut the fuck up. And maybe if everyone approaches this like intelligent adults, everyone can move on and create great theater (and theater criticism) together!

#3: Personally, I love the idea discussed in multiple threads on Facebook about a pot-luck event for the community. However, in my now-45 years working in, consulting for and professionally observing Southeast Michigan’s professional theater community, I can honestly say it’s always been a fractious and fractured one – and this incident only serves to reinforce my view. So what I hope is this; take it for what it’s worth or ignore it, I’m fine either way:

(A) That a pot luck does take place, and it’s open to the entire industry, not to just a select few. Companies large and small, Equity and non-Equity alike should be invited, from all over the Metro Detroit-Lansing-Jackson-Ann Arbor corridor. It should be held in a central location that’s easy (relatively speaking, of course) for everyone to get to. And for heaven’s sake, include the improv community! Make this as diverse a party as you possibly can!

(B) If the pot luck does happen, anyone who reviews shows or is in the media should stay the hell away. Let this be a time where industry members can let down their collective hair without us vultures nosing around. The wall between us should be a tall and thick as reasonably possible.

(C) Don’t wait too long to have it. Based on personal experience, the end of August is the latest it should occur, as once the theater season gets underway, it becomes nearly impossible to get a large group of thespians together to do anything but stage a play. And, as one person noted on a Facebook thread earlier today, there IS a certain date that industry folk now have open! So get busy!

(D) And finally, have fun at the party! Forget all the shit that transpired this week, put rivalries aside, re-establish old friendships, forge new ones, party like there’s no tomorrow – and then go out and create a new season of innovative and exciting theater, no matter if there’s an award next year with your name on it or not.

* * * * * * * * *

CORRECTION: When my post initially appeared, it included a sentence about a special 2017 Wilde Award I won and how I had never received the plaque. (I didn’t attend the ceremony.) I made light of it by admitting to the fact I still had in my possession a plaque for a winner the previous year, noting it was a long story why. Well, guess what I found? The award – placed two years ago in a box full of materials I prepared for that year’s critics meeting. (The award was given to me following lunch a short time after the ceremony.) To avoid tripping over the box, I placed it in my office closet with the intention of going through it “in a day or two” to decide what to keep and what to toss. You can probably assume what happened: Other stuff got piled on top of it, and it was never given another thought. Until this evening when questioned about it. So, yes, it’s probably a good thing I’m not reviewing anymore! In all seriousness, I sincerely apologize to everyone involved – participants and readers alike - for this regrettable error. Now I’ll go hang the plaque.

Life Sucks (but the play surely doesn't)

Arriving this past Friday night at Trenton's Open Book Theatre for a performance of "Life Sucks," which runs through Sept. 30, there was one thing I knew for sure: that actress Linda Rabin Hammell would give yet another excellent performance in whatever role she was about to portray. Even if the play sucked, I thought, she would at the very least be its high point.

Well, the play didn't suck. Far from it. In fact, it was quite entertaining and thought provoking. Heck, even the lighting design by 2015 Wilde Award winner Harley Miah generated numerous raves from theatergoers as they first walked in to the black box performance space - from me included.

As such, Hammell didn't have to bear the weight of the show on her shoulders. With seven Wilde Awards nominations and one win under her belt since 2006 (which places her in the elite top two-percent of all nominees over the past 16 years), Hammell is known for creating an amazing array of totally believable and fully realized (yet often-quirky) characters. She can now add her performance as Babs to her ever-growing list of memorable accomplishments.

But she wasn't alone.

Jonathan Davidson - a young actor whose stare could intimidate the devil, and who I once described to a friend as someone who "gleefully lurks around the dark corners of the stage" - is a more-recent favorite. As he's matured both in age and stage experience, so too have his performances, and as Dr. Aster, it shows. He's another whose work I try to catch whenever our schedules match.

And then I couldn't help but smile when I saw Mandy Logsdon's name in the program. Appearing more recently on my radar, she's what I'd call an "acting chameleon," as she easily morphs between loud, boisterous and bigger-than-life scene stealers who delightfully chew and spit out the scenery, to adorable young girls and women who ooze sweet tenderness. With but a simple glance or an almost-imperceptible change in facial expressions, Logsdon can warm or break your heart with equal skill. She does both in the role of Pickles.

Davidson and Logsdon, it should be noted, earned their first Wilde Awards nominations this year (with Davidson winning for best supporting actor in a play),* which means the show's acting credentials were quite impressive before the house even opened. But since producer Krista Schafer Ewbank is also a smart director, she doubled down and added a handful of other strong and talented actors to the mix - many of whom, I suspect, will be on critics' radar for future acknowledgement.

Not surprisingly, then, the entire cast was quite adept at and comfortable bringing to life a rather unusual, sometimes-oddly-fourth-wall-breaking adaptation of Anton Chekov's "Uncle Vanya." It's not an easy play to stage (or interpret), as one is never quite sure whether "Life Sucks" is a comedy or a drama. (With absurdist theater, it's rarely easy to tell.) And since patrons are initially caught off guard with the show's sprinkles of audience participation, it also leaves the actors vulnerable to the ever-changing whims and foibles of theatergoers who may or may not be comfortable being drawn into the act. (That's when improv skills come in mighty handy!)

So with talented actors, a smart director, excellent support by the technical designers and a tough, but intriguing script by Aaron Posner, my Friday night at the theater was quite an enjoyable one. And it reinforced an earlier observation that Open Book is a theater to be taken seriously by patrons and industry participants alike. I'm eagerly looking forward to watching as Ewbank and her young company continue to mature and assume a significant voice in our ever-changing theater scene.

The Bottom Line: Does life suck? Maybe. Maybe not; that's for you to decide. What surely does NOT suck, however, is Open Book Theatre's delightful opening show of its fourth season.

For complete show details, CLICK HERE.

For more about Open Book Theatre, CLICK HERE.

Photo credits:

TOP PHOTO
Center: Joshua Brown as Vanya. Clockwise from Bottom Left: Jonathon Davidson as Aster, Taylor Morrow as Sonia, Dale Dobson as Professor, Caitlin Morrison as Ella, Linda Rabin Hammell as Babs and Mandy Logsdon as Pickles. Photo: Krista Schafer Ewbank

BOTTOM PHOTO:
Foreground: Linda Rabin Hammel; Background: Taylor Morrow.


* CORRECTION: Since I'm the guy who managed the process to determine this year's Wilde Awards nominations and wins, you'd think I'd have gotten this sentence correct. Or at least made it clear who was nominated and who won. But, no: After moving a few sentences around a couple of times and rewriting a few others (and then forgetting to go back and update the rest), the initial version of this sentence led my readers down the wrong path. The information is correct now - and I offer my humblest apologies to one and all.

It's getting close to curtain time...

Haircut?  Check.

Plaques packed and ready for transport? Check.

Last-minute changes to the script?  Check.

Last minute photos for the Power Point presentation sent to Eric? Check!

Tux ready to pick up?  Check.

Munchies and bottles of water in the gym bag? Check.

Car gassed and ready to go (it was almost on empty)? Check.

I'm ready - and that's the only thing in my ability to control at this point. So after lunch, I'll be on my way to The Berman Center for the Performing Arts to co-host The 2015 Wilde Awards!

Will I see you there?

Nominations: The 2015 Wilde Awards

Best Comedy

Around the World in 80 Days, Travis W. Walter, director; Meadow Brook Theatre

Driving Miss Daisy, John Manfredi, director; Performance Network Theatre

The Kiss of the Sun for Pardon, Leah Smith, director; Detroit Repertory Theatre

Leaving Iowa, Beth Torrey, director; Tipping Point Theatre

A Lovely Sunday for Creve Coeur, Kate Peckham, director; Tipping Point Theatre

Best Drama

Annapurna, Guy Sanville, director; The Purple Rose Theatre Company

Buried Child, Greg Bailey, director; The Abreact

The Glass Menagerie, D. Terry Williams; director, Farmers Alley Theatre

1984, Randy Wolfe, director; What A Do Theatre

Sugarhill, Christopher Bremer, director; The Jewish Ensemble Theatre Company

Best Musical

And the World Goes Round, Stephen Brotebeck, director; Farmers Alley Theatre

Beehive, Kurt Stamm, director; Mason Street Warehouse

The Secret Garden, Kathy Mulay, director; Farmers Alley Theatre

Spamalot, Thalia V. Schramm, director; The Encore Musical Theatre Company

Violet, Steve DeBruyne, director; The Dio - Dining & Entertainment

Best Opera

Elektra, Nicholas Muni, director; Michigan Opera Theatre

Faust, Bernard Uzan, director; Michigan Opera Theatre

Frida, Jose Maria Condemi, director; Michigan Opera Theatre

Madame Butterfly, Bernard Uzan, director; Michigan Opera Theatre

The Merry Widow, Kelly Robinson, director; Michigan Opera Theatre

Best of the Bard

All's Well that Ends Well, The Ensemble, director; Pigeon Creek Shakespeare Company

Hamlet, Bailey Boudreau and Steve Xander Carson, directors; Slipstream Theatre Initiative

The Winter's Tale, Bailey Boudreau, director; Slipstream Theatre Initiative

King Lear, Frannie Shepherd-Bates, director; Shakespeare in Detroit

Julius Caesar, Katherine Mayberry, director; Pigeon Creek Shakespeare Company

Best Theatre for Young Audiences

The Crane Maiden, Igor Gozman, director; PuppetART

The Diary of Anne Frank, Jeremy Winchester, director; Flint Youth Theatre

Sleeping Beauty, Igor Gozman, director; PuppetART

Treasure Island, Hilary Cohen, director; Wild Swan Theater

Turtle Island, Luda Mikheyenko, director; PuppetART

Best Touring Production

Beauty and the Beast, Rob Roth, director; Miller Auditorium

Kinky Boots, Jerry Mitchell, director; Broadway in Detroit: Fisher Theatre

Once, John Tiffany, director; Wharton Center for the Performing Arts

Pippin, Diane Paulus, director; Wharton Center for the Performing Arts

Wicked, Joe Mantello, director; Broadway in Detroit: Fisher Theatre

Best Performance, Actress - Comedy

Connie Cowper, Kimberly Akimbo; Open Book Theatre Company

Lydia Hiller, A Lovely Sunday for Creve Coeur; Tipping Point Theatre

Terry Heck, Vanya and Sonia and Masha and Spike; Tipping Point Theatre

Nancy-Elizabeth Kammer, Driving Miss Daisy; Performance Network Theatre

Janet Maylie, Vanya and Sonia and Masha and Spike; Tipping Point Theatre

Emily Sutton-Smith, Miracle on South Division Street; Williamston Theatre

Best Performance, Actress - Drama

Averi Beck, Anne of Green Gables; What A Do Theatre

Ellen Finch, On Golden Pond; The Encore Musical Theatre Company

Linda Rabin Hammell, The Best of Enemies; UDM Theatre Company

Michelle Mountain, Annapurna; The Purple Rose Theatre Company

Sharon Williams, The Glass Menagerie; Farmers Alley Theatre

Inga R. Wilson, Sugarhill; The Jewish Ensemble Theatre Company

Best Performance, Actress – Musical

Mahalia Greenway, Violet; The Dio - Dining & Entertainment

Madison Hertel , The Secret Garden; Farmers Alley Theatre

Denene Mulay Koch , The Secret Garden; Farmers Alley Theatre

Katherine Kujala, Mary Poppins; Riverbank Theatre

Thalia Schramm, Home for the Holidays; The Dio - Dining & Entertainment

Best Performance, Actor - Comedy

Miles Boucher, Boeing Boeing; Hilberry Theatre

James Bowen, Driving Miss Daisy; Performance Network Theatre

Sebastian Gerstner, Buyer & Cellar; Theatre Nova

Todd Hissong, The Kiss of the Sun for Pardon; Detroit Repertory Theatre

Brandy Joe Plambeck, Boeing Boeing; Hilberry Theatre

John Seibert, Vanya and Sonia and Masha and Spike; Tipping Point Theatre

Best Performance, Actor - Drama

Joe Dely, 1984; What A Do Theatre

Thomas D. Mahard, On Golden Pond; The Encore Musical Theatre Company

Mike McGettigan, Buried Child; The Abreact

Richard McWilliams, Annapurna; The Purple Rose Theatre Company

Phil Powers, The Value of Names; The Jewish Ensemble Theatre Company

Sineh Wurie, Topdog/Underdog; Ixion

Best Performance, Actor – Musical

Steve DeBruyne, Home for the Holidays; The Dio - Dining & Entertainment

Sebastian Gerstner, Spamalot; The Encore Musical Theatre Company

Keith Kalinowski, Spamalot; The Encore Musical Theatre Company

Jeremy Koch, The Secret Garden; Farmers Alley Theatre

David Moan, Evil Dead: The Musical; Olympia Entertainment: City Theatre & The Ringwald Theatre

Best Performance – Opera

Matt Boehler, Faust; Michigan Opera Theatre

Christine Goerke, Elektra; Michigan Opera Theatre

Jason Graae, The Merry Widow; Michigan Opera Theatre

Amanda Squitieri, The Merry Widow; Michigan Opera Theatre

Russell Thomas, Faust; Michigan Opera Theatre

Best Performance – The Bard

Julia Garlotte, King Lear; Shakespeare in Detroit

Peter Knox, King Lear; Shakespeare in Detroit

Sarah Hawkins Moan, Romeo and Juliet; Hilberry Theatre

Best Performance – Theater for Young Audiences

Liza Bielby, Dreamtigers; PuppetART and The Hinterlands

Sarah Briggs, Beanstalk The Musical; Wild Swan Theater

Sam Carter, The Diary of Anne Frank; Flint Youth Theatre

Nicholas Pobutsky, Snow Queen; PuppetART

Barbara Scanlon, The Ugly Duckling; Wild Swan Theater

Best Teamwork

Tony Caselli and John Lepard, The Best Brothers; Williamston Theatre

Terry Heck and John Seibert, Sirens; Williamston Theatre

Andrew Huff and Wayne David Parker, Stones in His Pockets; Performance Network Theatre

Brandy Joe Plambeck and Michael Phillip Thomas, The 39 Steps; Hilberry Theatre

Madelyn Porter and Greg Trzaskoma, The Best of Enemies; UDM Theatre Company

Best New Script

Jeff Duncan & Brian E. Buckner, The Ugly Duckling; Wild Swan Theater

Jacqueline Frid, Poltergeist; Stark Turn Players

Linda Ramsay-Detherage, Sugarhill; The Jewish Ensemble Theatre Company

Laura Uzarski, Draw Me Out; Stark Turn Players

Joseph Zettelmaier, The Gravedigger: A Frankenstein Story; Williamston Theatre

Best Music Direction

Daniel Bachelis, Violet; The Dio - Dining & Entertainment

Brian E. Buckner, The Ugly Duckling; Wild Swan Theater

Tyler Driskill, Dracula The Musical; The Dio - Dining & Entertainment

R. Mackenzie Lewis, Spamalot; The Encore Musical Theatre Company

Chris Rayis, Christmas Caroled!; The Encore Musical Theatre Company

Best Choreography

Irina Baranovskaya and Igor Gozman, The Crane Maiden; PuppetART

Matthew Brennan, Spamalot; The Encore Musical Theatre Company

Stephen Brotebeck, And the World Goes Round; Farmers Alley Theatre

Kristi Davis, Christmas Caroled!; The Encore Musical Theatre Company

Jill Dion, Tender Napalm; The Ringwald Theatre

Best Design – Sound or Video

Matthew David Birchmeier, The Glass Menagerie, Farmers Alley Theatre

Tim Culver, Cameron Lake and Lauri Rowe, It's a Wonderful Life: A Radio Play; Great Escape Stage Company

Quintessa Gallinat, A Lovely Sunday for Creve Coeur; Tipping Point Theatre

Matt Lira, Sugarhill; The Jewish Ensemble Theatre Company

Will Myers, Sirens; Williamston Theatre

Best Design - Sets

Jeremy Barnett, Once on This Island; Meadow Brook Theatre

Bartley H. Bauer, Annapurna; The Purple Rose Theatre Company

Todd Engle, Beehive; Mason Street Warehouse

Monika Essen, Frida; Michigan Opera Theatre

Phill Harmer, Salvage; Performance Network Theatre

Czerton Lim, The Diary of Anne Frank; Flint Youth Theatre

Sarah Pearline, The Way of the World; Hilberry Theatre

Best Design - Props

Anne Donevan, Spamalot; The Encore Musical Theatre Company

Kristen Gribbin and Jen Price Fick; Around the World in 80 Days, Meadow Brook Theatre

Michelle Raymond, Miracle on South Division Street; Williamston Theatre

Danna Segrest, Annapurna; The Purple Rose Theatre Company

Diane E. Ulseth, Sugarhill; The Jewish Ensemble Theatre Company

Best Design - Lights

Michael Baumgarten, Madame Butterfly; Michigan Opera Theatre

Heather DeFauw, Romeo and Juliet; Hilberry Theatre

Jeromy Hopgood, The Rainmaker; Tipping Point Theatre

Reid G. Johnson, Luce; Meadow Brook Theatre

Harley Miah, Red; Open Book Theatre Company

Amy M. Schneider, The Way of the World; Hilberry Theatre

Best Design - Costumes

Monika Essen, Frida; Michigan Opera Theatre

Christianne Myers, Steel Magnolias; The Purple Rose Theatre Company

Colleen Ryan-Peters, A Lovely Sunday for Creve Coeur; Tipping Point Theatre

Anne Suchyta, The Way of the World; Hilberry Theatre

Suzanne Young, Treasure Island; Wild Swan Theater