Lorraine Kelly dressed up as a poo and shouted 'I'm a jobby' as she took part in Race for Life to raise money for Dame Deborah James.
19.05.2023 - 19:13 / deadline.com
Broadway’s Leopoldstadt and Some Like It Hot took two of the top honors at today’s 2023 Drama League Awards, the former named Best Production of a Play and the latter Best Production of a Musical.
Jamie Lloyd’s A Doll’s House starring Jessica Chastain was named Outstanding Revival of a Play, and Lear deBessonet’s Into the Woods took Outstanding Revival of a Musical.
In the performance category, Annaleigh Ashford won the Distinguished Performance Award for her work in Sweeney Todd: The Demon Barber of Fleet Street.
Anne Kauffman took home the Outstanding Direction of a Play award for The Sign in Sidney Brustein’s Window and deBessonet won Outstanding Direction of a Musical for Into the Woods. DeBessonet was also honored with the Founders Award for Excellence in Directing.
First awarded in 1922 and formalized in 1935, The Drama League Awards are the oldest theatrical honors in America. The awards recognize both Broadway and Off Broadway productions; this year, Broadway’s Kimberly Akimbo was not eligible due its consideration last year for its Off Broadway staging. The Off Broadway staging of the revival of Merrily We Roll Along, which is transferring to Broadway in the fall, postponed consideration until next year.
The full list of nominees can be found at the Drama League website.
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Lorraine Kelly dressed up as a poo and shouted 'I'm a jobby' as she took part in Race for Life to raise money for Dame Deborah James.
Some of Broadway’s brightest were recognized at the 2023 Drama Desk Awards!
Brent Lang Executive Editor As Matthew López prepared for the London debut of “The Inheritance,” his epic drama about the AIDS epidemic and its painful aftershocks, he was simultaneously outlining a first draft of “Some Like It Hot,” an effervescent re-imagining of the classic Billy Wilder film. The two shows could not have been more radically different. But López enjoyed toggling between comedy and tragedy. “I like working in extremes,” he says. “I like working in different modes.” Plus, he thinks that both productions benefitted from their author’s double act. “I got to live in both worlds at once,” López argues. “One helped the other. Doing the shows at the same time kept both projects in check. It prevented ‘The Inheritance’ from getting too dour and kept ‘Some Like It Hot’ from getting too lightweight. It brought some gravity to ‘Some Like It Hot’ and some levity to ‘The Inheritance.'”
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