Photo Source: Christopher Moscatiello
JEFF FAVRE
PRODUCTION:
The Girl Who Would Be King, Absolute Theatre, El Centro Theatre;
The Glass Menagerie, Center Theatre Group, Mark Taper Forum;
Leap of Faith, Center Theatre Group, Ahmanson Theatre;
Road to Saigon, East West Players, David Henry Hwang Theater;
Something Happened, Pacific Stages;
The Subject Was Roses, Center Theatre Group, Mark Taper Forum;
Thurgood, Geffen Playhouse, Geffen Playhouse.
PLAYWRITING:
Jan O'Connor, The Girl Who Would Be King;
George Stevens Jr., Thurgood;
L. Trey Wilson, Something Happened.
MUSICAL SCORE:
Alan Menken, Leap of Faith.
DIRECTION:
Maria Aitken, The 39 Steps, Center Theatre Group, Ahmanson Theatre;
Wilson Milam, The Lieutenant of Inishmore, Center Theatre Group, Mark Taper Forum;
Neil Pepe, The Subject Was Roses;
Richard Tatum, The Girl Who Would Be King.
CHOREOGRAPHY:
Toby Sedgwick and Christopher Bayes, The 39 Steps.
SCENIC DESIGN:
John Arnone, Nightmare Alley, Geffen Playhouse, Geffen Playhouse;
David Korins, The Pee-wee Herman Show, Scott Sanders Productions, Club Nokia.
LIGHTING DESIGN:
Donald Holder, South Pacific, Center Theatre Group, Ahmanson Theatre.
COSTUME DESIGN:
Ann Closs-Farley, The Pee-wee Herman Show.
PERFORMANCE IN A STRAIGHT PLAY:
Riley Rose Critchlow, The Girl Who Would Be King;
Laurence Fishburne, Thurgood;
Judith Ivey, The Glass Menagerie;
Martin Sheen, The Subject Was Roses.
PERFORMANCE IN A MUSICAL PRODUCTION:
Raúl Esparza, Leap of Faith.
HOYT HILSMAN
PRODUCTION:
Autumn Garden, The Antaeus Company, Deaf West Theatre;
Good Woman of Setzuan, Open Fist Theatre;
Neighbors, Matrix Theatre;
Shaheed, Off-Chance Productions;
Skylight, Metis Productions, The Fremont Centre Theatre;
Speak of Me as I Am, The Caribbean American Repertory Theatre, West.
PLAYWRITING:
Branden Jacobs-Jenkins, Neighbors;
Anna Khaja, Shaheed.
DIRECTION:
Jeffrey Anderson-Gunter, Speak of Me as I Am;
Larry Biederman, Autumn Garden;
Heather deMichelle, Shaheed;
Charles Otte, Good Woman of Setzuan;
Bartlett Sher, South Pacific, Ahmanson Theatre.
MUSIC DIRECTION:
Dean Mora, Good Woman of Szechuan.
SCENIC DESIGN:
Richard Hoover, Good Woman of Szechuan.
LIGHTING DESIGN:
Carrie LaFerle, Shaheed.
COSTUME DESIGN:
Tina Jones, Autumn Garden;
Christina Wright, Good Woman of Setzuan.
PERFORMANCE IN A STRAIGHT PLAY:
Dawn Didawick, Autumn Garden;
Anna Khaja, Shaheed;
Lauren Lovett, Good Woman of Setzuan;
Jan Monroe, Good Woman of Setzuan;
Jeffrey Nordling, Autumn Garden;
Erin Shaver, Skylight;
Kurtwood Smith, Autumn Garden;
Benny Wills, Good Woman of Setzuan.
PERFORMANCE IN A MUSICAL PRODUCTION:
Constance Hauman, Souvenir, Falcon Theatre;
K.B. Solomon, Speak of Me as I Am.
ENSEMBLE PERFORMANCE:
Good Woman of Setzuan;
Neighbors.
TRAVIS MICHAEL HOLDER
PRODUCTION:
The Language Archive, South Coast Repertory in association with Roundabout Theatre Company, South Coast Repertory;
The Lieutenant of Inishmore, Center Theatre Group, Mark Taper Forum;
Oedipus El Rey, the National New Play Network and the Theatre @ Boston Court, Boston Court Performing Arts Center;
The Story of My Life, Havok Theatre Company, Lillian Theatre;
The Twentieth-Century Way, Theatre @ Boston Court.
PLAYWRITING:
Tom Jacobson, The Twentieth-Century Way;
Eric Patterson, Sick, Playwrights Arena in association with the Latino Theatre Company, Los Angeles Theatre Center;
Susan Rubin, Above the Line, Indecent Exposure Theatre Company in association with the Bootleg Theatre, Bootleg Theatre;
Bernardo Salano, Langston & Nicolás, Towne Street Theatre Company, Stella Adler Theatre.
ADAPTATION:
Luis Alfaro, Oedipus El Rey;
Patrick Barlow, The 39 Steps, Center Theatre Group, Ahmanson Theatre;
Jonathan Brielle, Nightmare Alley, Geffen Playhouse;
Janus Cercone and Glenn Slater, Leap of Faith, Center Theatre Group, Ahmanson Theatre;
Prince Gomolvilas, Mysterious Skin, East West Players in association with the L.A. Gay and Lesbian Center and Center for the Pacific Asian Family, David Henry Hwang Theatre at the Union Center for the Arts.
MUSICAL SCORE:
Neil Bartram, The Story of My Life;
Jonathan Brielle, Nightmare Alley ;
Tom Kitt and Brian Yorkey, Next to Normal ;
Alan Menken and Glenn Slater, Leap of Faith.
DIRECTION:
Mark Brokaw, The Language Archive;
Michael Michetti, The Twentieth-Century Way;
Jon Lawrence Rivera, Oedipus El Rey;
Diane Rodriguez, Sick.
CHOREOGRAPHY:
Rob Ashford, Leap of Faith;
Kay Cole, Nightmare Alley;
Mark Knowles, Kiss Me, Kate, Glendale Center Theatre.
MUSICAL DIRECTION:
Brent Crayon, Jacques Brel Is Alive and Well and Living in Paris, Colony Theatre Company;
Brent-Alan Huffman, Leap of Faith;
Michael Paternostro, The Story of My Life;
Gerald Sternbach, Nightmare Alley.
SCENIC DESIGN:
John H. Binkley, Oedipus El Rey;
Michael Wendland, Next to Normal;
Sibyl Wickersheimer, Lascivious Something, Circle X Theatre Company, [Inside] the Ford.
LIGHTING DESIGN:
Adam Blumenthal, Jacques Brel Is Alive and Well and Living in Paris;
Daniel Ionazzi, Nightmare Alley;
Mark McCullough, The Language Archive;
Steven Young, The Story of My Life.
COSTUME DESIGN:
E.B. Brooks, Blithe Spirit, A Noise Within, A Noise Within;
Christina Haatainen Jones, Nightmare Alley, Geffen Playhouse, Geffen Playhouse;
Rachel Myers, The Language Archive, South Coast Repertory in association with Roundabout Theatre Company, South Coast Repertory;
Dana Peterson, See What I Wanna See, Blank Theatre Company, 2nd Stage Theatre;
Nancy Renee, Langston & Nicolás, Towne Street Theatre Company, Stella Adler Theatre.
MAKEUP DESIGN:
Monica Lisa Sabedra, Blithe Spirit, A Noise Within.
SOUND DESIGN:
Steven Cahill, The Language Archive, South Coast Repertory in association with Roundabout Theatre Company, South Coast Repertory;
Drew Dalzell, The Story of My Life;
Mic Pool, The 39 Steps;
Dennis Yen, Sick, Playwrights Arena in association with the Latino Theatre Company, Los Angeles Theatre Center;
John Zalewski, Lascivious Something, Circle X Theatre Company, [Inside] the Ford.
PERFORMANCE IN A STRAIGHT PLAY:
Will Bradley, The Twentieth-Century Way;
Judy Jean Burns, The Unexpected Man, Bright Eyes Productions, Lounge Theatre 2;
Alana Dietze, Lascivious Something;
Mark Doerr, White People, Road Theatre Company, Lankershim Arts Center;
David Huynh, Mysterious Skin;
Laurence Fishburne, Thurgood, Geffen Playhouse;
Matt Foyer, Kings of the Kilburn High Road, Theatre Banshee Theatre Company, Theatre Banshee;
Taylor Gilbert, Madagascar, Road Theatre Company, Lankershim Arts Center;
Matthew Thompson, A Prayer for My Daughter, Crown City Theatre Company, St. Matthews Church;
Stephanie Zimbalist, Tea at Five, Falcon Theatre, Falcon Theatre.
PERFORMANCE IN A MUSICAL PRODUCTION:
James Barbour, Nightmare Alley;
Ryder Bach, Harps and Angels, Center Theatre Group, Mark Taper Forum;
Nicholas Barasch, Leap of Faith;
Chad Borden, The Story of My Life;
Jarrod Emick, Leap of Faith;
Raul Esparza, Leap of Faith;
Emma Hunton, Next to Normal;
Kendra Kassebaum, Leap of Faith;
Alice Ripley, Next to Normal;
Robert J. Townsend, The Story of My Life.
ENSEMBLE PERFORMANCE:
Blithe Spirit, A Noise Within: Gibby Brand, Jacque Lynn Colton, Abby Craden, Alison Elliott, Scott Lowell, Jane Macfie, and Jill Van Velzer;
The Glass Menagerie, Long Wharf Theatre and Center Theatre Group, Mark Taper Forum: Patch Darragh, Judith Ivey, Keira Keeley, and Ben McKenzie.
The Language Archive: Tony Amendola, Betsy Brandt, Linda Gehringer, Laura Heisler, and Leo Marks;
The Lieutenant of Inishmore: Ian Alda, Andrew Connolly, Coby Getzug, Sean G. Griffin, Kevin Kearns, Zoe Perry, Chris Pine, and Brett Ryback;
Oedipus El Rey: Carlos Acuna, Leandro Cano, Daniel Chacon, Marlene Forte, Justin Huen, Winston J. Rocha, and Michael Uribes.
MISCELLANEOUS:
Edgar Landa, fight choreography, Oedipus El Rey;
Matthew W. Mungle and Waldo Warshaw, special effects and special prosthetic effects, The Lieutenant of Inishmore;
Marc I. Rosenthal, projection design, Harps and Angels;
Tony Sedgwick and Christopher Bayes, movement, The 39 Steps.
ERIC MARCHESE
PRODUCTION:
Backwards in High Heels, International City Theatre;
The Goat, or Who Is Sylvia?, Chance Theater;
1776, Musical Theatre West, Carpenter Center;
The Who's Tommy, Chance Theater;
True Love Lies, Monkey Wrench Collective.
PLAYWRITING:
Johnna Adams, Sans Merci, Hunger Artists Theatre Company;
Lynnette Barkley and Christopher McGovern, Backwards in High Heels;
Adam Gwon, Ordinary Days, South Coast Repertory;
Mark Ravenhill, pool (no water), Monkey Wrench Collective;
Eli Simon, Clownzilla, Illegal Aliens, Monkey Wrench Collective.
ADAPTATION:
Dave Barton, The Revenger's Tragedy, Monkey Wrench Collective.
MUSICAL SCORE:
Sammy Joe, The Hanging of Mary Surratt, Mysterium Theater;
Jim Ragland and Gregory Cruz, The Goat, or Who Is Sylvia?.
DIRECTION:
Dave Barton, The Revenger's Tragedy;
Nick DeGruccio, 1776, Musical Theatre West, Carpenter Center;
Marya Mazor, The Goat, or Who Is Sylvia?;
Jeff Maynard, The Tale of the Allergist's Wife, McCoy Rigby Entertainment and La Mirada Theatre for the Performing Arts, La Mirada Theatre for the Performing Arts;
Oanh Nguyen, The Who's Tommy.
CHOREOGRAPHY:
Rob Barron, Backwards in High Heels;
Melissa Giattinoy, Backwards in High Heels;
Karen Nowicki, Brigadoon, FCLO Music Theatre, Plummer Auditorium;
Kelly Todd, Merrily We Roll Along, The Chance Theater.
MUSIC DIRECTION:
Darryl Archibald, Backwards in High Heels, International City Theatre;
Lee Kreter, Brigadoon;
Matthew Smedal, 1776;
Gerald Sternbach, Hello Dolly, 3-D Theatricals, O.C. Pavilion;
Mike Wilkins, The Who's Tommy.
SCENIC DESIGN:
Bruce Goodrich, The Tale of the Allergist's Wife;
Wally Huntoon, Jane Eyre, FCLO Music Theatre, Plummer Auditorium;
Starlet Jacobs, Jesus Hates Me, Chance Theater, South Coast Repertory;
Bradley Kaye, The Goat, or Who Is Sylvia?;
Dwight Richard Odle, Backwards in High Heels.
LIGHTING DESIGN:
Christina L. Munich, Brigadoon;
KC Wilkerson, Jesus Hates Me;
KC Wilkerson, Merrily We Roll Along;
Steven Young, 1776.
COSTUME DESIGN:
Sharell Martin, Hello Dolly;
Sharell Martin, 1776;
David Kay Mickelson, In the Next Room or the vibrator play, South Coast Repertory;
Erika C. Miller, The Who's Tommy;
Katie Schmidt, Merrily We Roll Along.
MAKEUP DESIGN:
Taylor Tanaka, The Hobbit, Maverick Theater.
SOUND DESIGN:
David Chorley and Ryan O'Melia, The Woman in Black, Stages Theatre;
Barney Evans, The Miracle Of Mary Mack's Baby, Stages Theatre;
Casey Long, The Who's Tommy;
Jim Ragland, In the Next Room or the vibrator play;
RJ Romero, The Revenger's Tragedy.
PERFORMANCE IN A STRAIGHT PLAY:
Caroline Aaron, The Tale of the Allergist's Wife;
Michael Cavinder, The Woman in Black;
Juanita Jennings, Fences, South Coast Repertory;
Rick Kopps, True Love Lies, Monkey Wrench Collective;
Jonathon Lamer, The Goat, or Who Is Sylvia?;
Jennifer Pearce, Sans Merci;
Ryan Shively, The Tragedie of King Lear;
Eileen T'Kaye, The Tale of the Allergist's Wife;
Karen Webster, The Goat, or Who Is Sylvia?.
PERFORMANCE IN A MUSICAL PRODUCTION:
Melissa Lyons Caldretti, Jane Eyre;
Tami Tappan Damiano, 1776;
Cynthia Ferrer, Backwards in High Heels;
T. Eric Hart, Jane Eyre;
Norman Large, Sweeney Todd, Musical Theatre West, Carpenter Center;
Jennifer Mathews, Brigadoon;
Debbie Prutsman, Sweeney Todd;
Virgina Weber, Hello Dolly;
Anna Aimee White, Backwards in High Heels.
ENSEMBLE PERFORMANCE:
Altar Boyz, 3-D Theatricals, O.C. Pavilion;
The Clean House;
Jesus Hates Me;
The Marvelous Wonderettes, Musical Theatre West, Carpenter Center;
True Love Lies.
MISCELLANEOUS:
Roger Bean and Brian William Baker, musical vocal arrangements, The Marvelous Wonderettes;
Michael Borth, orchestrations, The Marvelous Wonderettes;
Hershey Felder, solo performance, George Gershwin Alone, Laguna Playhouse;
Melanie Gable, solo performance, The Fever, Monkey Wrench Collective;
Robert Ladd, technical direction, The Hanging of Mary Surratt;
Ted Leib, rock videos, Altar Boyz;
Jeff Lisenby and five on-stage musicians, Ring of Fire, FCLO Music Theatre, Plummer Auditorium;
Nathan Makaryk, fight choreography, The Hobbit;
Nathan Makaryk, puppet design and construction, The Hobbit;
Christopher Scott Murillo, scenic and projection designs, Merrily We Roll Along;
Brian Newell, original video/film clips, The Manchurian Candidate, Maverick Theater;
Jim Ragland, original music, In the Next Room or the vibrator play;
Eric A. Wahl, visual media design, The Revenger's Tragedy;
KC Wilkerson, video design, The Who's Tommy.
DANY MARGOLIES
PRODUCTION:
King Lear, The Antaeus Company at Deaf West Theatre;
The Good Book of Pedantry and Wonder, Circle X Theatre Company and Theatre @ Boston Court at Theatre @ Boston Court.
PLAYWRITING:
Moby Pomerance, The Good Book of Pedantry and Wonder.
ADAPTATION:
Luis Alfaro, Oedipus el Rey, The Theatre @ Boston Court;
John Farmanesh-Bocca, Titus Redux, Circus Theatricals and Not Man Apart Physical Theatre Ensemble at Kirk Douglas Theatre.
MUSICAL SCORE:
Bonfire Madigan Shive, Sophocles' Elektra, the J. Paul Getty Museum at the Barbara and Lawrence Fleischman Theatre, Getty Villa.
DIRECTION:
Bart DeLorenzo, King Lear;
Matt Shakman, Forgiveness, The Black Dahlia;
Ron Sossi, The Arsonists, The Odyssey Theatre;
August Viverito, Amadeus, The Production Company at The Chandler Studio Theatre.
CHOREOGRAPHY:
Mark Knowles, Kiss Me Kate, Glendale Center Theatre.
FIGHT CHOREOGRAPHY:
John Farmanesh-Bocca, Titus Redux;
TJ Marchbank, King Lear.
MUSIC DIRECTION:
Darryl Archibald, How to Succeed in Business Without Really Trying, Reprise Theatre Company at the UCLA Freud Playhouse.
SCENIC DESIGN:
Brian Sidney Bembridge, The Good Book of Pedantry and Wonder;
Frederica Nascimento, The Clean House, The Odyssey Theatre;
Michael Lorre, The Mystery of Irma Vep, Celebration Theatre and Deconstructed Productions at and in association with Space916.
LIGHTING DESIGN:
John Eckert, The Autumn Garden, The Antaeus Company at Deaf West Theatre;
Kathi O'Donohue, The Ballad of Emmett Till, The Fountain Theatre.
COSTUME DESIGN:
Tina Haatainen-Jones, The Autumn Garden;
Kevin Remington, The Mystery of Irma Vep;
Allison Leach, Katie the Curst, the Actors' Gang at Media Park.
SOUND DESIGN:
Sean Kozma, The Arsonists;
David B. Marling, Sidhe, Road Theater;
John Zalewski, Futura, The Theatre @ Boston Court.
PERFORMANCE IN A PLAY:
John Getz, The Good Book of Pedantry and Wonder;
Harry Groener, King Lear;
Pamela Reed, Sophocles' Elektra;
Patrick Stafford, Amadeus;
Peter Swander, Amadeus.
PERFORMANCE IN A MUSICAL:
Simon Helberg, How to Succeed in Business Without Really Trying.
ENSEMBLE PERFORMANCE:
The Language Archive, South Coast Repertory:
Tony Amendola, Betsy Brandt, Linda Gehringer, Laura Heisler, and Leo Marks;
The Mystery of Irma Vep:
Michael Lorre and Kevin Remington.
DINK O'NEAL
PRODUCTION:
Chess in Concert, Musical Theatre of Los Angeles, The Met Theatre;
The Good Book of Pedantry and Wonder, The Theatre@Boston Court;
The Hasty Heart, Glendale Centre Theatre, Glendale Centre Theatre;
1776, Musical Theatre West, Carpenter Performing Arts Center.
PLAYWRITING:
Norman P. Dixon, Becoming Norman, C. Raul Espinoza, It's in the Cards and the NoHo Arts Centre Ensemble, NoHo Arts Center;
Michael John LaChiusa, See What I Wanna See;
The Blank Theatre Company, 2nd Stage Theatre;
Moby Pomerance, The Good Book of Pedantry and Wonder.
ADAPTATION:
Matt Walker, A Wither's Tale, The Troubadour Theater Company, Falcon Theatre.
MUSICAL SCORE:
Roger Bellon, Influence, The Katselas Theatre Company, The Skylight Theatre;
Jonathan Byram, The Hasty Heart;
Norman P. Dixon, Becoming Norman.
DIRECTION:
Amick Byram, The Hasty Heart;
Douglas Clayton, White People, The Road Theatre Company, Lankershim Arts Center;
Nick DeGruccio, 1776;
Daniel Henning, See What I Wanna See;
John Langs, The Good Book of Pedantry and Wonder;
Robert Marra, Chess In Concert;
Paul Stroili, Of Grapes and Nuts, SeaGlass Theatre, The Little Vic Theatre;
August Viverito, Amadeus, The Production Company, Chandler Studio Theatre.
CHOREOGRAPHY:
Orlando Alexander, The Will Rogers Follies, Glendale Centre Theatre;
Ameenah Kaplan, A Wither's Tale;
Tania Possick, Chess in Concert.
MUSICAL DIRECTION:
Steven Applegate, The Will Rogers Follies;
Greg Haake, Chess in Concert;
Matthew Smedal, 1776.
SCENIC DESIGN:
Brian Sidney Bembridge, The Good Book of Pedantry and Wonder;
Kurt Boetcher, Much Ado About Nothing, A Noise Within;
Tom Buderwitz, Cousin Bette, The Antaeus Company, Deaf West Theatre;
Stephen Gifford, Celadine, The Colony Theatre;
Helen Harwell, Madagascar, The Road Theatre Company, Lankershim Arts Center.
LIGHTING DESIGN:
Leigh Allen, Cousin Bette;
Tim Dietlein, The Will Rogers Follies;
Jeremy Pivnick, See What I Wanna See;
Steven Young, 1776;
Christian Epps, White People.
COSTUME DESIGN:
Sharon McGunigle, A Wither's Tale;
Sharon McGunigle, CHiPS The Musical, The Troubadour Theater Company, Falcon Theatre;
Jeffrey Schoenberg, Cousin Bette.
SOUND DESIGN:
Bruno Louchouarn, The Good Book of Pedantry and Wonder;
David B. Marling, Madagascar, The Road Theatre Company, Lankershim Arts Center;
Cricket S. Myers, Grace & Glorie, The Colony Theatre.
PERFORMANCE IN A STRAIGHT PLAY:
Robert Cicchini, Influence;
JD Cullum, Much Ado About Nothing, A Noise Within;
Pamela Daly, How I Learned To Drive, Collaborative Arts Ensemble, The Raven Playhouse;
Apollo Dukakis, Much Ado About Nothing;
Dan Hildebrand, One Man, Two Plays, Larry Minion, Sidewalk Studio Theatre;
Robert Ross, How I Learned to Drive;
Kevin Stidham, The Hasty Heart;
Peter Swander, Amadeus;
Stephanie Zimbalist, Tea at Five, Falcon Theatre.
PERFORMANCE IN A MUSICAL PRODUCTION:
Blake McIver Ewing, Chess in Concert;
Richard Gould, 1776;
Rick Lawrence, The Will Rogers Follies;
Kathryn Lounsbery, That's What She Said, The Los Angeles Women's Theatre Project, Stella Adler Theatre;
Danny Michaels, The Will Rogers Follies;
Victoria Strong, The Will Rogers Follies;
Amy Turner, That's What She Said;
Peter Welkin, Chess in Concert.
ENSEMBLE PERFORMANCE:
Chess in Concert;
The Good Book of Pedantry and Wonder;
The Hasty Heart;
1776.
MELINDA SCHUPMANN
PRODUCTION:
Fences, South Coast Repertory.
PLAYWRITING:
Jordan Harrison, Futura, Boston Court Theatre.
ADAPTATION:
David Lee, Camelot, Pasadena Playhouse.
DIRECTION:
Nguyen, Oanh, The Who's Tommy, Chance Theatre.
CHOREOGRAPHY:
Andy Blankenbuehler, In the Heights, Center Theatre Group, Ahmanson Theatre;
Marcia Milgrom Dodge, How to Succeed in Business Without Really Trying, Reprise Theatre Company;
Peggy Hickey, A Funny Thing Happened on the Way to the Forum, Reprise Theatre Company;
Ameenah Kaplan, The Ballad of Emmett Till, The Fountain Theatre.
MUSIC DIRECTION:
Steve Orich, A Funny Thing Happened on the Way to the Forum;
Don Rebic, Uptown Downtown, Pasadena Playhouse;
Mike Wilkins, The Who's Tommy.
SCENIC DESIGN:
Christopher Barreca, In a Garden, South Coast Repertory;
David Farley, Daddy Long Legs, Rubicon Theatre and La Mirada Theatre for the Performing Arts;
Christopher Scott Murillo, The Who's Tommy;
Frederica Nascimento, Opus, The Fountain Theatre.
LIGHTING DESIGN:
Ken Booth, Opus;
Lap Chi Chu, In a Garden;
Rand Ryan, Dr. Cerberus, South Coast Repertory;
Jared A. Sayeg, Backwards in High Heels, International City Theatre.
COSTUME DESIGN:
Naila Aladdin-Sanders, The Ballad of Emmett Till, The Fountain Theatre;
Kate Bergh, A Funny Thing Happened on the Way to the Forum;
Osa Danam, Lady Lancing, or The Importance of Being Earnest, Ark Theatre Company;
Erika Miller, The Who's Tommy;
Holly Victoria, The Imaginary Invalid, Parson's Nose Productions.
SOUND DESIGN:
Peter Bayne, Opus;
Drew Dalzell and Mark Johnson, Yellow, The Coast Playhouse;
Paul Fabre, Backwards in High Heels.
PERFORMANCE IN A STRAIGHT PLAY:
Lance Davis, The Imaginary Invalid;
Mark Harelik, In a Garden;
Matt Letscher, In a Garden;
Dakin Matthews, Misalliance, South Coast Repertory;
Charlie Robinson, Fences.
PERFORMANCE IN A MUSICAL PRODUCTION:
Annie Abrams, A Funny Thing Happened on the Way to the Forum;
Mark Bartlett, The Who's Tommy;
Eric Bergen, A Funny Thing Happened on the Way to the Forum;
Anderson Davis, South Pacific, Center Theatre Group, Ahmanson Theatre;
Megan McGinnis, Daddy Long Legs;
Ruth Williamson, A Funny Thing Happened on the Way to the Forum;
Leslie Uggams, Uptown Downtown, Pasadena Playhouse.
ENSEMBLE PERFORMANCE:
The Who's Tommy.
MADELEINE SHANER
PRODUCTION:
Neighbors, The Matrix Theatre Company at Matrix Theatre;
Supernova, Elephant Theatre Company at the Elephant Space.
PLAYWRITING:
Branden Jacobs-Jenkins, Neighbors, Matrix Theatre;
Timothy McNeil, Supernova, Elephant Theatre Company at the Elephant Space.
ADAPTATION:
John Farmanesh-Bocca, Titus Redux, Circus Theatricals and Not Man Apart at the Kirk Douglas Theatre;
Max Frish, The Arsonists, Odyssey Theatre;
Dakin Matthews, Liberty Inn, Andak Stage Company.
DIRECTION:
Nataki Garrett, Neighbors;
Ron Sossi, The Arsonists, Odyssey Theatre.
CHOREOGRAPHY:
Ayana Cahrr, Neighbors;
John Farmanesh-Bocca, Titus Redux;
Ameenah Kaplan, The Ballad of Emmett Till, The Fountain Theatre.
SCENIC DESIGN:
John Iacovelli, Neighbors;
Frederica Nascimento, Opus, The Fountain Theatre;
Jeff McLaughlin, The Train Driver, The Fountain Theatre;
Robert Steinberg, Yellow, JD3atrical Productions at the Coast Playhouse.
LIGHTING DESIGN:
Ken Booth, Opus;
Ken Booth, The Train Driver;
J. Kent Inasy, Neighbors;
Kathi O'Donohue, Yellow.
COSTUME DESIGN:
Naila Aladdin Sanders, The Ballad of Emmett Till;
Dean Cameron, Liberty Inn;
Sharon McGunigle, A Wither's Tale, The Troubadour Theater Company at the Falcon Theatre;
Jeffrey Schoenberg, Cousin Bette, The Antaeus Company at Deaf West Theatre.
SOUND DESIGN:
David B. Marling, The Train Driver, The Fountain Theatre;
Cricket S. Myers, Cousin Bette;
Keith Stevenson, Becky's New Car, Pacific Resident Theatre.
PERFORMANCE IN A STRAIGHT PLAY:
Orson Bean, A Song at Twilight, The Odyssey Theatre;
Leith Burke, Neighbors;
Julia Campbell, Neighbors;
Bonnie McNeil, Supernova;
Nan McNamara, Wit, Actors Co-op at the Crossley Terrace Theatre;
Cameron Meyer, More Lies About Jerzy, Circus Theatricals at the Hayworth Theatre;
Norbert Weiser, The Arsonists.
ENSEMBLE:
Cousin Bette;
The Arsonists;
The Boys in the Band.
LES SPINDLE
PRODUCTION:
Next to Normal, Center Theatre Group at the Ahmanson Theatre;
The Glass Menagerie, Center Theatre Group at the Mark Taper Forum.
PLAYWRITING:
Lisa Kron, The Wake, Center Theatre Group and Berkeley Repertory Theatre at the Kirk Douglas Theatre;
Martin McDonagh, The Lieutenant of Inishmore, Center Theatre Group at the Mark Taper Forum;
Timothy McNeil, Supernova, Elephant Theatre Company at the Elephant Space.
MUSICAL SCORE:
Tom Kit (music) and Brian Yorkey (lyrics), Next to Normal, Center Theatre Group at the Ahmanson Theatre.
DIRECTION:
David Fofi, Parasite Drag, Elephant Theatre Company at the Elephant Space.
CHOREOGRAPHY:
Rod Barron, Backwards in High Heels, FCLO Music Theatre at Plummer Auditorium;
Allison Bibicoff, The Who's Tommy, Chance Theater.
MUSIC DIRECTION:
John Glaudini, Sweeney Todd:
The Demon Barber of Fleet Street, Musical Theatre West at the Carpenter Performing Arts Center;
Greg Haake, Chess in Concert, Musical Theatre of Los Angeles at the Met Theatre.
SCENIC DESIGN:
Michael Yeargan, South Pacific, Center Theatre Group at the Ahmanson Theatre.
LIGHTING DESIGN:
Donald Holder, South Pacific;
Peter Kaczorowski, Ruined, Intiman Theatre and Geffen Playhouse;
Peter McKintosh, The 39 Steps, Center Theatre Group at the Ahmanson Theatre.
COSTUME DESIGN:
Stephanie Kurley Schwartz, The Lieutenant of Inishmore, Center Theatre Group at the Mark Taper Forum;
Peter McKintosh, The 39 Steps;
Catherine Zuber, South Pacific.
PERFORMANCE IN A PLAY:
Ellen Geer, Master Class, Theatricum Botanicum;
Rob Herring, The Diviners, The Production Company;
Judith Ivey, The Glass Menagerie;
Luke McClure, Yellow, JD3atrical Productions at the Coast Playhouse;
Bonnie McNeil, Supernova;
Chris Pine, The Lieutenant of Inishmore;
Edward Tournier, Supernova.
PERFORMANCE IN A MUSICAL:
Doug Carpenter, See What I Wanna See, Blank Theatre Company at the 2nd Stage Theatre;
Luca Ellis, Hoboken to Hollywood:
A Journey Through the Great American Songbook, Reasoner Production at the Edgemar Center for the Arts;
Cynthia Ferrer, Backwards in High Heels;
Lin-Manuel Miranda , In the Heights, Broadway/LA at the Pantages Theatre;
Alice Ripley, Next to Normal;
Leslie Uggams, Uptown Downtown, Pasadena Playhouse.
NEAL WEAVER
PRODUCTION:
Take Me Out, Celebration Theatre;
The Limitations of Genetic Engineering, Theatre of Note;
The Twentieth-Century Way, Theatre @ Boston Court.
PLAYWRITING:
Shem Bitterman, Influence, Circus Theatricals, The Hayworth Theatre;
Michael Hollister, Opus, The Fountain Theatre;
Tom Jacobson, The Twentieth-Century Way.
ADAPTATION:
Dakin Matthews, Liberty Inn, Andak Stage Company.
MUSICAL SCORE:
Matt McKenzie, The Lieutenant of Inishmore, Center Theatre Group, Mark Taper Forum;
B. T. Ryback, Liberty Inn.
DIRECTION:
Michael Matthews, Take Me Out, Celebration Theatre, Celebration Theatre;
Michael Michetti, The Twentieth-Century Way;
Jon Lawrence Rivera, Oedipus El Rey, Theatre @ Boston Court.
CHOREOGRAPHY:
Andy Blankenbuehler, In the Heights, Broadway/LA, Pantages Theatre.
SCENIC DESIGN:
Kurt Boetcher, Take Me Out, Celebration Theatre;
Jeff McLaughlin, Influence, Circus Theatricals, The Hayworth Theatre;
David Potts, Free Man of Color, Colony Theatre;
James Spencer, Stage Door, The Open Fist Theatre.
LIGHTING DESIGN:
Tim Swiss, Take Me Out;
Howell Binkley, In the Heights.
COSTUME DESIGN:
Julie Keen, Awake and Sing!, A Noise Within;
Shon LeBlanc, Stage Door;
Stephanie Kerley Schwartz, The Lieutenant of Inishmore;
Schoenberg, Free Man of Color.
MAKEUP DESIGN:
Monica Lisa Sabedra, Awake and Sing!.
SOUND DESIGN:
Peter Bayne, Opus;
Veronica J. Lancaster, Take Me Out;
Cricket A. Meyers, Free Man of Color;
John Zalewski, Neighbors, The Matrix.
PERFORMANCE IN A STRAIGHT PLAY:
Tom Costello, Take Me Out;
Justin Huen, Oedipus El Rey;
Mason Marzac, Take Me Out;
Garrett Matheson, Take Me Out;
Nan McNamara, Wit, Actors' Co-op, Crossley Terrace Theatre;
Mason Marzac, Take Me Out.
PERFORMANCE IN A MUSICAL PRODUCTION:
Anderson Davis, South Pacific, Center Theatre Group, Ahmanson Theatre;
John DeMita, Liberty Inn;
Mark Doerr, Liberty Inn;
Simon Helberg, How to Succeed in Business Without Really Trying, Reprise Theatre Company, UCLA Freud Playhouse.
ENSEMBLE PERFORMANCE:
Haram Iran, Celebration Theatre;
Opus;
Take Me Out.
JENNIE WEBB
PRODUCTION:
Fabulation, West Coast Ensemble, Lounge Theatre;
La Razón Blindada, Instituto de Cultura de Baja California, Mexico, and La Universidad Autonoma de Sinaloa, Mexico, and 24th Street Theatre;
Ruined, Geffen Playhouse.
PLAYWRITING:
Jennifer Haley, Neighborhood III, Sacred Fools Theater Company;
Velina Hasu Houston, Calligraphy, Playwrights' Arena, LATC;
Lynn Nottage, Ruined, Geffen Playhouse ;
L. Trey Wilson, Something Happened, Pacific Stages.
ADAPTATION:
Angela Berliner, Hamlet Prince of Puddles, L'Enfant Terrible, Bootleg Theater;
Tom Bryant and Amy Goldwasser, Bloody Red Heart, The Theatre Academy at LACC and Odyssey Theatre Ensemble ;
Robert Richmond and Louis Butelli, A Tale Told by an Idiot, Psittacus Productions, Son of Semele Ensemble.
MUSICAL SCORE:
Andrew Ingkavet, Slaughter City, Son of Semele Ensemble;
Dominic Kanza, Ruined.
DIRECTION:
Ben Campbell, Fabulation;
David Fofi, Exiles, Hayworth Theatre;
Charles Otte, The Good Woman of Setzuan, Open Fist Theatre Company;
Robert Richmond, A Tale Told by an Idiot.
CHOREOGRAPHY:
Ken Roht, Project Wonderland, Bootleg Theater.
MUSIC DIRECTION:
Rob Milburn and Michael Bodeen, Ruined;
Dean Mora, The Good Woman of Setzuan.
SCENIC DESIGN:
Kurt Boetcher, Boom, Furious Theatre Company , Pasadena Playhouse ;
Richard Hoover, The Good Woman of Setzuan, Open Fist Theatre Company;
John Iacovelli, Exiles, Hayworth Theatre;
Sarah Krainin, Slaughter City, Son of Semele Ensemble.
LIGHTING DESIGN:
Mark McCullough, The Language Archive, South Coast Repertory;
Jeremy Pivnick, Exiles;
Matt Richter, Neighborhood III;
Rick Zimmerman, The Diviners, The Production Company, Chandler Studio Theatre Center.
COSTUME DESIGN:
Megan Evers, State of the Union, Interact Theatre Company, NoHo Arts Center;
Val Miller, The Three Musketeers, Will Geer Theatricum Botanicum;
Teresa Shea, Project Wonderland, Bootleg Theater;
Christina Wright, The Good Woman of Setzuan, Open Fist Theatre Company.
SOUND DESIGN:
Cricket S. Meyers, Topdog/Underdog, Lillian Theatre;
Rob Milburn and Michael Bodeen, Ruined;
Doug Newell, Boom;
Matt Richter, Exiles;
Mark McClain Wilson, Neighborhood III.
PERFORMANCE IN A STRAIGHT PLAY:
Melody Butiu, Calligraphy;
Joanna Daniels, Becky's New Car, Pacific Resident Theatre;
Ellen Geer, Master Class, The Will Geer Theatricum Botanicum;
Anna Khaja, Shaheed, Off-Chance Productions, Open Fist Theatre (originally produced at The Stephanie Feury Studio Theatre);
Russell G. Jones, Ruined;
Lauren Lovett, The Good Woman of Setzuan;
Mama Nadi, Ruined;
Khary Payton, Exiles;
Adeye Sahran, Fabulation.
ENSEMBLE PERFORMANCE:
Topdog/Underdog:
M.D. Walton and AK. Murtadha;
Four Places, Rogue Machine, Theatre/Theater:
Tim Bagley, Anne Gee Byrd, Roxanne Hart, and Lisa Rothschiller;
Neighborhood III:
Eric Curtis Johnson, Lynn Odell, Amy Talebizadeh, and Adam Trent;
La Razón Blindada:
Jesús Castaños Chima and Tony Duran.
MISCELLANEOUS:
Janne Larsen, props (carcass) design, Slaughter City, Son of Semele Ensemble;
Lynn Jeffries, puppet design, Project Wonderland;
Joe Seely, mask design, The Good Woman of Setzuan. Matthew W. Mungle and Waldo Warshaw, special effects, The Lieutenant of Inishmore, Center Theatre Group, The Mark Taper Forum.