Ticketholder Awards 2010 (2 of 2)

THE 20th ANNUAL TICKETHOLDER AWARDS, 2010 – Part Two 

02.02.tha2010

[ Read Part 1 ]

Here’s the second part of my 20th edition of my TicketHolder Awards and again I lament I cannot in all faith include my colleagues who joined me to create the world premiere of Moby Pomerance’s brilliant The Good Book of Pedantry and Wonder at the Boston Court Performing Arts Center this spring and summer, but at least now I can congratulate the amazing Brian Sidney Bembridge for his Ovation Award win last Monday for Best Set Design for the production. Well, well deserved, Mr. B and the whole team who fashioned one of the most spectacular spaces on which I have ever had the privilege to perform. I was honored to be a castmember of such a spectacular production, not to mention Terry Duddy and Ted Ott’s inventive ever-extended environmental The House of Besarab, in which I began appearing in the fall of 2009 and kept right on staking that nasty ol’ Count Dracula as Dr. Van Helsing nightly well into 2010.

I was thankful to be able to honor two dear friends in Part One, Taylor Gilbert and Alice Ripley, who were awarded, respectively, Best Actress in a Play and in a Musical, and here I am excited to blow trumpets for another pair of amazingly talented pals, giving dual solo nods to Larry Fishburne and Stephanie Zimbalist, two important people in my life who have both provided wonderful support to me in the past years. I am also still thrilled that my muse Peter Musante and his incredible performing partner Summer Shapiro brought their multiple award-winning performance piece Legs and All here to the Powerhouse this fall after receiving kudos and standing ovations in its debut last year at the San Francisco Fringe Festival and earlier this year off-off-Broadway, where Peter’s day (night?) job continues as a third of the Blue Man Group, although he is currently on a break from Astor Place while traveling the country on BMG’s first national tour.

I also am pleased to offer some overlooked recognition to Josh Strickland, Broadway’s Tarzan, for his spectacular job as the resident crooner in the flimsy tits-and-ass revue Peepshow in Las Vegas. That Strickland could be so good and keep a straight face working opposite former Playmate and Girls Next Door castmember Holly Madison is alone worthy of an award, even if he wasn’t a knockout performer regardless.

As I begin the New Year having joined the faculty at the west coast campus of the New York Film Academy at Universal Studios, I am looking forward to what lies ahead for us all in the coming year. Above all, may it be peaceful, profitable, finally provide equal rights to everyone and, if we’re all lucky, see one former Governor of Alaska holster her guns and maybe even suffer from permanent laryngitis. 

BEST SOLO PERFORMANCE

Laurence Fishburne, Thurgood, Geffen Playhouse

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Stephanie Zimbalist, Tea at Five, Falcon Theatre

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NEW DISCOVERY 2010

Will Bradley, The Twentieth-Century Way, Theatre @ Boston Court; Camelot, Pasadena Playhouse; Bell, Book and Candle, Colony Theatre

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RUNNERS-UP: Jeffrey Dolenar, Kiss Me, Kate, Glendale Centre Theatre; Coby Getzug, The Lieutenant of Inishmore, CTG, Taper; Quinton Lopez, Sick, Playwrights Arena / Latino Theatre Co; John Pinto Jr., South Pacific, CTG/Ahmanson; Matthew Thompson, A Prayer for My Daughter, Crown City

 

BEST PLAYWRIGHT

Julia Cho, The Language Archive, South Coast Repertory

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RUNNERS-UP: Thomas Babe, A Prayer for My Daughter, Crown City; Neil Bartram (Lyrics) and Brian Hill (Book), The Story of My Life, Lillian; Christopher Hampton, Tales from Hollywood, Odyssey Theatre Ensemble; Tom Jacobson, The Twentieth-Century Way, Boston Court; David Jette, Wednesday Night at the Home of Michel Leiris: a Reading of the Play ‘Desire Caught by the Tail’ by the Painter Pablo Picasso; Rajiv Joseph, Bengal Tiger at the Baghdad Zoo, Taper; Martin McDonagh, The Lieutenant of Inishmore, CTG, Taper; Eric Patterson, Sick, Playwrights Arena / Latino Theatre Company; JT Rogers, Madagascar / White People, Road; Susan Rubin, Above the Line, Indecent Exposure at the Bootleg; Bernardo Solano, Langston & Nicolás, Towne Street Theatre; George Stevens Jr., Thurgood, Geffen; Michael Vukadinovich, Trog & Clay, LA Theatre Ensemble; Brian Yorkey, Next to Normal, CTG, Ahmanson

 

BEST ADAPTATION OR TRANSLATION

Luis Alfaro, Oedipus El Rey, Theatre @ Boston Court

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RUNNERS-UP: Patrick Barlow, The 39 Steps, Ahmanson; Jonathan Brielle, Nightmare Alley, Geffen Playhouse; Janus Cerone and Glenn Slater, Leap of Faith, CTG, Ahmanson; Prince Gomolvilas, Mysterious Skin, East West Players; Jack Viertel, Harps and Angels, CTG, Taper

BEST DIRECTION OF A PLAY

Gordon Edelstein, The Glass Menagerie, Center Theatre Group, Mark Taper Forum

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Jon Lawrence Rivera, Oedipus El Rey, Theatre @ Boston Court

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RUNNERS-UP: Maria Aitken, The 39 Steps, Ahmanson; Alan Alarr, A Prayer for My Daughter, Crown City; Mark Brokaw, The Language Archive, South Coast Rep; Douglas Clayton, White People, Road; Tim Dang, Mysterious Skin, East West Players; Nancy Cheryll Davis, Langston & Nicolás, Towne Street Theatre; Brendon Fox, Madagascar, Road; Moises Kaufman, Bengal Tiger at the Baghdad Zoo, Taper; Chase McKenna, Romeo and Juliet, HALT; Michael Michetti, The Twentieth-Century Way, Boston Court; Wilson Milam, The Lieutenant of Inishmore, CTG, Taper; Damaso Rodriguez, Blithe Spirit, A Noise Within; Diane Rodriguez, Sick, Playwrights Arena / Latino Theatre Company; David Robinson, The Unexpected Man, Lounge; Jenny Sullivan, Tea at Five, Falcon

 

BEST DIRECTION OF A MUSICAL

Michael Greif, Next to Normal, Center Theatre Group, Ahmanson Theatre

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RUNNERS-UP: Rob Ashford, Leap of Faith, CTG, Ahmanson; Gil Cates, Nightmare Alley, Geffen Playhouse; Nick DeGruccio, The Story of My Life, Lillian; Daniel Henning, See What I Wanna See, Blank; Arthur Laurents, West Side Story, Pantages; Jon Lawrence Rivera, Jacques Brel Is…, Colony; Bartlett Sher, South Pacific, CTG, Ahmanson; Jerry Zaks, Harps and Angels, CTG, Taper 

 

BEST MUSICAL SCORE

Jonathan Brielle, Nightmare Alley, Geffen Playhouse

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RUNNERS-UP: Neil Bartram, The Story of My Life, Lillian; Alan Menken and Glenn Slater, Leap of Faith, CTG, Ahmanson; Dane Diamond, Langston & Nicolás, Towne Street Theatre; Tom Kitt and Brian Yorkey, Next to Normal, CTG, Ahmanson; Michael John LaChiusa, See What I Wanna See, Blank; Mark Sparling, Extropia, Collaborator at King King 

 

BEST MUSICAL DIRECTION

David O, See What I Wanna See, Blank Theatre 

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RUNNERS-UP: Brent Crayon, Jacques Brel Is…, Colony; Brent-Alan Huffman, Leap of Faith, CTG, Ahmanson; Michael Paternostro, The Story of My Life, Lillian; Michael Roth, Harps and Angels, CTG, Taper; Mark Sparling, Extropia, Collaborator at King King; Gerald Sternbach, Nightmare Alley, Geffen Playhouse 

 

BEST CHOREOGRAPHY

Rob Ashford, Leap of Faith, Center Theatre Group, Ahmanson Theatre

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RUNNERS-UP: Kay Cole, Nightmare Alley, Geffen Playhouse; Christopher Gattelli, South Pacific, CTG/Ahmanson; Mark Knowles, Kiss Me, Kate, GCT

 

BEST SET DESIGN

Neil Patel, The Language Archive, South Coast Repertory

02.12.02.LanguageArchive4

RUNNERS UP: John Arone, Nightmare Alley, Geffen Playhouse; Nathaniel Bellamy, Langston & Nicolás, Towne Street Theatre; John H. Binkley, Oedipus El Rey, Boston Court; Kurt Boetcher, Blithe Spirit, A Noise Within; Helen Harwell, Madagascar / White People, Road; Laura Fine Hawkes, The Lieutenant of Inishmore, CTG, Taper; Alan E. Muraoka, Mysterious Skin, East West Players; Neil Prince, Tea at Five, Falcon; Mark Wendland, Next to Normal, CTG, Ahmanson; Sybil Wickersheimer, Lascivious Something, Circle X at [Inside] the Ford

 

BEST COSTUME DESIGN

E.B. Brooks, Blithe Spirit, A Noise Within

02.13.02.BlitheSpirit2 

RUNNERS-UP: Marcy Froehlich, Tea at Five, Falcon; Christina Haatainen Jones, Nightmare Alley, Geffen Playhouse; William Ivey Long, Leap of Faith, CTG, Ahmanson; Rachel Myers, The Language Archive, South Coast Rep; Martin Pakledinaz, The Glass Menagerie, Taper; Dana Peterson, See What I Wanna See, Blank; Nancy Renee, Langston & Nicolás, Towne Street Theatre; Stephanie Kerley Schwartz, Harps and Angels, CTG, Taper 

BEST LIGHTING DESIGN

Daniel Ionazzi, Nightmare Alley, Geffen Playhouse

02.14.02.NightmareAlley3 

RUNNERS-UP: Kevin Adams, The 39 Steps, Ahmanson; Nathaniel Bellamy, Langston & Nicolás, Towne Street Theatre; Adam Blumenthal, Jacques Brel Is…, Colony; Tim Dietlein, Kiss Me, Kate, GCT; Christian Epps, Madagascar / White People, Road; Brian Gale, The Lieutenant of Inishmore, CTG, Taper; Donald Holder, Leap of Faith, CTG, Ahmanson; J. Kent Inasy, Tea at Five, Falcon; David Lander, Bengal Tiger at the Baghdad Zoo, Taper; Mark McCullough, The Language Archive, South Coast Rep; Tom Ontiveros, Lascivious Something, Circle X at [Inside] the Ford; Jeremy Pivnik, Oedipus El Rey, Boston Court; Jeremy Pivnik, See What I Wanna See, Blank; James P. Taylor, Blithe Spirit, A Noise Within; Steven Young, The Story of My Life, Lillian

BEST SOUND DESIGN

John Zalewski, Lascivious Something, Circle X at [Inside] the Ford

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RUNNERS-UP: Steven Cahill, The Language Archive, South Coast Rep; Drew Dalzell, The Story of My Life, Lillian; Forrest Gardner / 3AMSOUND, Langston & Nicolás, Towne Street Theatre; Brian Hsieh, Nightmare Alley, Geffen Playhouse; David B. Marling, Madagascar / White People, Road; Cricket S. Myers, Jacques Brel Is…, Colony; Cricket S. Myers, The Lieutenant of Inishmore, CTG, Taper; Doug Newell / Zipline Sound, Blithe Spirit, A Noise Within; Robert Oriel, Oedipus El Rey, Boston Court; Mic Pool, The 39 Steps, Ahmanson; John Shivers, Leap of Faith, CTG, Ahmanson

 

BEST FIGHT CHOREOGRAPHY

Edgar Landa, Oedipus El Rey, Theatre @ Boston Court

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BEST CGI / VIDEO DESIGN

Marc I. Rosenthal, Harps and Angels, Center Theatre Group, Mark Taper Forum

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RUNNERS-UP: Adam Flemming, Tales from Hollywood, Odyssey Theatre Ensemble; Elaine J. McCarthy, Thurgood, Geffen

 

SPECIAL EVENTS and PERFORMANCES

 Dancing Ensemble, West Side Story, Pantages Theatre

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Josh Strickland, Peepshow, Planet Hollywood, Las Vegas

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Summer Shapiro and Peter Musante, Legs and All, LA Theatre Ensemble, Powerhouse Theatre

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Viva Elvis!, Cirque du Soleil, Aria Hotel, Las Vegas

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SPECIAL ACHIEVEMENTS

 

Joey McKneely, recreation of Jerome Robbins’ original choreography for West Side Story, Pantages; Matthew W. Mungle and Waldo Warshaw, Special Effects and Special Prosthetic Effects, The Lieutenant of Inishmore, CTG, Taper; Monica Lisa Sabedra, Wigs, Hair and Make-up, Blithe Spirit, A Noise Within; Toby Sedgwick and Christopher Bayes, Movement, The 39 Steps, Ahmanson

 

TRAVIS’ ANNUAL QUOTE OF THE YEAR

This may not be theatrically oriented, but still, it’s just too good not to share for posterity: Overheard at dinner at Aroma from a group of six extremely loud lawyers outshouting one another about who among them attended the most cultural events (and how much tickets cost) and who had the most lavish European vacations (and how much they spent on them): “The clients who drive me craziest are the innocent ones… Damn, they NEVER leave you alone!”

Read Part 1 ]


TRAVIS MICHAEL HOLDER teaches acting and theatre/film history at the New York Film Academy’s west coast campus at Universal Studios. He has been writing about LA theatre since 1987, including 12 years for BackStage, a 23-year tenure as Theatre Editor for Entertainment Today, and currently for ArtsInLA.com. As an actor, he received the Los Angeles Drama Critics Circle Best Actor Award as Kenneth Halliwell in the west coast premiere of Nasty Little Secrets at Theatre/Theater and he has also been honored with a Drama-Logue Award as Lennie in Of Mice and Men at the Egyptian Arena, four Maddy Awards, a ReviewPlays.com Award, both NAACP and GLAAD Award nominations, and six acting nominations from LA Weekly. Regionally, he won the Inland Theatre League Award as Ken Talley in Fifth of July; three awards for his direction and performance as Dr. Dysart in Equus; was up for Washington, DC’s Helen Hayes honors as Oscar Wilde in the world premiere of Oscar & Speranza; toured as Amos “Mr. Cellophane” Hart in Chicago; and he has traveled three times to New Orleans for the annual Tennessee Williams Literary Festival, opening the fest in 2003 as Williams himself in Lament for the Moths and since returning to appear in An Ode to Tennessee and opposite Karen Kondazian as A Witch and a Bitch. Never one to suffer from typecasting, Travis’ most recent LA performance, as Rodney in The Katrina Comedy Fest, netted the cast a Best Ensemble Sage Award from ArtsInLA. He has also been seen as Wynchell in the world premiere of Moby Pomerance’s The Good Book of Pedantry and Wonder and Frank in Charles Mee’s Summertime at The Boston Court Performing Arts Center, Giuseppe “The Florist” Givola in Brecht’s The Resistible Rise of Arturo Ui for Classical Theatre Lab, Ftatateeta in Shaw’s Caesar and Cleopatra at the Lillian, Cheswick in One Flew Over the Cuckoo’s Nest at the Rubicon in Ventura, Pete Dye in the world premiere of Stranger at the Bootleg (LA Weekly Award nomination), Shelly Levene in Glengarry Glen Ross at the Egyptian Arena, the Witch of Capri in Williams’ The Milk Train Doesn’t Stop Here Anymore at the Fountain, and Dr. Van Helsing in The House of Besarab at the Hollywood American Legion Theatre. As a writer, he has also been a frequent contributor to several national magazines and five of his plays have been produced in LA. His first, Surprise Surprise, for which he wrote the screenplay with director Jerry Turner, became a feature film with Travis playing opposite John Brotherton, Luke Eberl, Deborah Shelton and Mary Jo Catlett. His first novel, Waiting for Walk, was completed in 2005, put in a desk drawer, and the ever-slothful, ever-deluded, ever-entitled Travis can’t figure out why no one has magically found it yet and published the goddam thing. www.travismichaelholder.com

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