BACK STAGE WEST
November 19, 1998
Ovations Honor Great Men and Women of the Theatre, Nos. 1-26.
by Rob Kendt
There's no people
like show people, and nothing proves it like their awards shows. The Tonys, for
instance, are an annual feast of insider indulgence and gypsy glamour, and now
the Ovations, though only five years old as a competitive awards show, is
settling into a comfortable niche as L.A. theatre's definitive yearly lovefest.
This year's show,
the third at the plush Shubert Theatre in Century City, stretched over three
long but well-orchestrated hours on Monday night, with host Nathan Lane adding
just the right touch of offhanded bitchy levity.
In a peculiarity
that's become a heartening Ovations tradition, voters--composed of volunteers
from each of Theatre L.A.'s 160-or-so member theatres--didn't allow any single
show to sweep the top awards. That meant that while The Cider House Rules at the Mark Taper Forum won the best
play, larger theatre award, it garnered only one other award (for featured
actor Tom Beyer), and while the Circle X Theatre Company's Great Men of
Science Nos. 21 & 22
won best play, smaller theatre, it won just two other design awards (for Gary
Smoot's set and M.E. Dunn's costumes). And the winningest musical, Bring in
Da Noise, Bring in Da Funk,
did not win the best musical award (Noise/Funk got nods for ensemble, choreography, and
lighting, while Chicago
nabbed the best musical, larger theatre award).
And there were no
huge slights in voters' choices--a la last year's fiasco of Showboat's Ned Beatty acing out Ragtime's Brian Stokes Mitchell--although the
Pacific Resident Theatre's Indiscretions was regrettably shut out and the much-nominated Geffen
Playhouse walked away with only a sound design award (Red Ramona for Old
Wicked Songs).
The only
noticeable "upset" was Tony Abatemarco's win for The Mystery of
Irma Vep, but it came as
a gratifying surprise, not a mortifying oversight. Though he was nominated
against heavy dramatic work by Sir Ian McKellen, Michael Winters, Josh
Hamilton, and Frank Langella, voters pleasingly honored this under-praised L.A.
stage veteran for his extraordinary comic chops.
Apart from an
embarrassing problem with the Shubert's sound system for the show's first hour
and a tendency for speeches to go long, the show--produced by Jeff Brown,
Farrell Hirsch, and Don Hill--moved along fleetly, in front of Bradley Kaye's
dazzlingly strange set pieces (constructed by Rick Goodwin), lit nicely by
Garrett Caine. Songs from the musical nominees were delivered rather
perfunctorily in a pair of non-medleys, with a too-brief turn by Jennifer Leigh
Warren (featured actress winner for Hello Again) standing out.
Presenters
represented theatre, and specifically L.A. theatre, a bit more appropriately
than some in previous years, with returning regulars John Rubinstein (this time
with his wife, Jane Lanier), Mariette Hartley, and Kathy Buckley, as well as
newcomers Tsai Chin, Annette Bening, Blythe Danner, David Hyde Pierce, Susan
Egan, Harry Groener, CCH Pounder, Stephen Schwartz, Lee Blessing, Joan Van Ark,
and Jane Carr.
If last year's
running theme seemed to be lifetime achievement honoree Stephen Sondheim's
comment that he wished New York had the kind of theatre community L.A.
evidenced at that awards show, this year's seemed to be support. Speech after
speech by winners from theatres small and large thanked parents, lovers,
friends, and colleagues for their support and patience with their crazy,
irrational, draining lives in the theatre.
"My family
doesn't know why I do this, but they totally support me," said Beyer, in
an early acceptance speech. Said Dunn, accepting her costuming award, "To
Mom & Dad: I promise I'll get a real job, but not tonight." World
premiere writing winner Pamela Forrest (for Valsetz) thanked her "wife" for being
the household breadwinner, and costume design, larger theatre winner Naomi
Yoshida Rodriguez (for Pacific Overtures) thanked her husband and child for providing her a stable
home to come back to "after all the craziness."
The promotion of
theatre as a cultural force in L.A. wasn't absent, of course: Theatre L.A.
president Larry O'Connor (also the Shubert's general manager) and executive
director Alisa Fishbach made the obligatory pitch for their organization's many
marketing efforts, keeping it short and sweet, and this year's winner of the
James A. Doolittle Award for Leadership in local theatre, the Colony Studio
Theatre's Barbara Beckley, quoted the Arts Action Research study that suggested
L.A. should call itself "Theatre City, U.S.A."
Andrew J.
Robinson, who won for his direction of The Yield of the Long Bond, mused that the voters' embrace of such a
"dark" and heavy play shows that "we're really grown up here--we're
really serious about doing this shit!" And speaking from an L.A. theatre
outsider's perspective, Tom Hulce (accepting the Cider House best play award with the Taper's Gordon
Davidson) said, "It was really lonely at the Taper. We'd look outside and
the streets were empty. We said, "Where is the community?' I'm very glad
to see it's here tonight."
Perhaps Lifetime
Achievement Award honoree Terrence McNally put it best, in a taped acceptance
speech, when he spoke of a "national theatre" that's grown up in
cities and regions all over the U.S., and most gratifyingly in L.A. "The
theatre community is not in any one city anymore," he said. Indeed, this
year's Ovation winners included a good number of out-of-towners--there were the
usual New Yorkers, of course, but also a number of Northwesterners, as both
play winners, Cider House and Great Men, were loaded with Seattle-based or Seattle-originated talent.
But on the
evidence of these annual awards, L.A.'s large and persistent theatre scene
seems strong and vital enough to draw still greater strength and vitality from
such cross-pollination, and indeed may find its identity as the pre-eminent
place for such cross-pollination, not only across geographical boundaries but
across racial and film/TV industry divides, as well. The Ovations this year
were a vision of a vibrant L.A. theatre not at a crossroads but as a crossroads
for some of the best stage talent in the country.
And now, some
favorite quotes from the show:
Nathan Lane: "It's a beautiful award--sort of like a cross between Evita and Our Lady of Fatima."
Tom Beyer,
featured actor in The Cider House Rules: "Nine months ago in New York I was catering in these
pants."
Glen Berger,
playwright, Great Men of Science Nos. 21 & 22: "I didn't prepare a one-minute
acceptance speech, because as a writer I know it would take me two
months."
Jennifer Leigh
Warren, featured actress in Hello Again: "I'd like to thank [director] Daniel Henning and
[producer] Noah Wyle for recognizing that a short, brown-skinned woman can be
sexy."
Nathan again:
"If the Ovations are L.A.'s Tonys, where on the food chain are the Drama-Logue awards? I've heard there's a guy with a
Xerox machine at LAX, and he asks you as you get off the plane if you're going
to be appearing in a theatrical production in town. If you are, he gives you
your award and directs you to your luggage."
Dominique Kelley
of Noise/Funk,
accepting a choreography award for Derick K. Grant: "Being part of this
show is not only exciting, it's hard. So I'd like to thank Johnson &
Johnson, Dr. Sholls, Tiger Balm, and all the massage therapists across the
country."
Larry O'Connor,
president of Theatre L.A.: "...here at the Ovations Theatre... er, the
Shubert Theatre..."
Stephanie Faracy,
featured actress in Two Rooms at the Court Theatre: "This was definitely smaller theatre.
I feel like I could have run in that play for a year and not seen as many faces
as I see tonight."
Naomi Yoshida
Rodriguez, costume designer for Pacific Overtures: "Thank you to the actors of L.A. I
love dressing you."
Joe Stern of the
Matrix Theatre Company, presenting leadership award to Barbara Beckley:
"Without her tenacity and passion, 90 percent of what we know as L.A.
theatre would not exist."
Barbara Beckley:
"Theatre people are the most resilient people in the world."
A final Nathan:
"I'm going on tour with Judge Judy in Love Letters. So things are looking up."
Terrence McNally,
accepting his Lifetime Achievement Award: "To quote Ruth Gordon, 'This is
very encouraging.' "