<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" > <channel> <title>The Sound Inside Archives - Cultural Attaché</title> <atom:link href="https://culturalattache.co/tag/the-sound-inside/feed/" rel="self" type="application/rss+xml" /> <link>https://culturalattache.co/tag/the-sound-inside/</link> <description>The Guide to Arts and Culture events in and around Los Angeles</description> <lastBuildDate>Thu, 14 Sep 2023 21:10:19 +0000</lastBuildDate> <language>en-US</language> <sy:updatePeriod> hourly </sy:updatePeriod> <sy:updateFrequency> 1 </sy:updateFrequency> <generator>https://wordpress.org/?v=6.7.2</generator> <item> <title>Amy Brenneman Listens to The Sound Inside…</title> <link>https://culturalattache.co/2023/09/14/amy-brenneman-listens-to-the-sound-inside/</link> <comments>https://culturalattache.co/2023/09/14/amy-brenneman-listens-to-the-sound-inside/#respond</comments> <dc:creator><![CDATA[Craig Byrd]]></dc:creator> <pubDate>Thu, 14 Sep 2023 21:10:17 +0000</pubDate> <category><![CDATA[Featured]]></category> <category><![CDATA[Performers: Close-Up]]></category> <category><![CDATA[What's Hot]]></category> <category><![CDATA[Adam Rapp]]></category> <category><![CDATA[Amy Brenneman]]></category> <category><![CDATA[Anders Keith]]></category> <category><![CDATA[Cameron Watson]]></category> <category><![CDATA[David Foster Wallace]]></category> <category><![CDATA[Mary Louise Parker]]></category> <category><![CDATA[Pasadena Playhouse]]></category> <category><![CDATA[The Sound Inside]]></category> <guid isPermaLink="false">https://culturalattache.co/?p=19104</guid> <description><![CDATA[<p>"Fiction only lives in our imagination and in our minds. But the body is living in a much more elemental, grounded way."</p> <p>The post <a href="https://culturalattache.co/2023/09/14/amy-brenneman-listens-to-the-sound-inside/">Amy Brenneman Listens to The Sound Inside…</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p> ]]></description> <content:encoded><![CDATA[ <p>Actress Amy Brenneman is probably best-known for two long-running television series: <em>Judging Amy</em> and <em>Private Practice</em>. But she’s spent quite a bit of time on stage. One of her earliest stage roles was as Elizabeth in Shakespeare’s <em>Measure for Measure</em> in 1983. She’s appeared in <em>Rapture, Blister, Burn</em> and <em>The Power of Sail</em> at the Geffen Playhouse more recently.</p> <div class="wp-block-image"> <figure class="alignleft size-medium"><img fetchpriority="high" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-and-Anders-Keith-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-300x169.jpg" alt="" class="wp-image-19109" srcset="https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-and-Anders-Keith-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-and-Anders-Keith-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-and-Anders-Keith-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-and-Anders-Keith-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-and-Anders-Keith-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-and-Anders-Keith-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-and-Anders-Keith-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-and-Anders-Keith-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Amy Brenneman and Anders Keith in “The Sound Inside” (Photo by Mike Palma/Courtesy Pasadena Playhouse)</figcaption></figure></div> <p>Brenneman is currently appearing in Adam Rapp’s <a href="https://www.pasadenaplayhouse.org/event/the-sound-inside/?tribe-bar-date=2023-10"><em>The Sound Inside</em> </a>at the Pasadena Playhouse. She plays Bella, a 50-something university professor battling cancer who strikes up an unconventional relationship with one of her writing students (Anders Keith). This isn’t an exploration of sexual dynamics the way David Mamet did in <em>Oleanna</em>. Rather it is the gradual revealing of layers about who these two people are and what they need/want from life at this exact given moment in time.</p> <p><a href="https://culturalattache.co/2017/12/15/director-cameron-watson-wants-believe-kris-kringle-santa-claus/">Cameron Watson</a> directs the play which continues at the Pasadena Playhouse through October 1st.</p> <p>In one of the last weeks of rehearsals, I spoke with Brenneman about the play, her approach to Bella and the role of fiction in all of our lives. What follows are excerpts from that conversation that have been edited for length and clarity.</p> <p>Q: The title of the play comes from a line that Bela writes over and over again, “Listen to the sound inside.” What does that title mean to you?<em> </em></p> <p><strong>The circumstances of my life are very different from Bella’s and I don’t have the decisions that she has to make. But I feel a lot of kinship with her. I feel like at a certain point in life, or maybe always, the most difficult thing for me to do is to hear my own voice and hear my own instinct. We are bombarded by other people’s opinions when we’re growing up, our parents’ voices in our heads, what other friends are doing and now with social media. It’s quite difficult. But I think that is the way forward with authenticity for individuals – certainly for myself. So when I get to that part in the play, I cheat. Well, she takes me on a ride the whole time. I just go on this magic carpet ride. But literally at that moment, I try to listen to my next impulse.</strong></p> <p>Something we should probably all do on a more regular basis than we do.<em> </em></p> <p><strong>Exactly. There’s always moments, and certainly this is the circumstance of this play, when we are out of bounds of anything we’ve known before. Or there’s no rules, there’s no clear path. What am I supposed to do? Well, you can do this, you can do that. But you have to listen to your own truth and it does take practice.</strong></p> <p>Adam Rapp gave an interview where he talked about how another actress had been going down this path with him before <em>The Sound Inside</em> was ever produced, but when she saw the “sea of words” that were in front of her, she stopped instantaneously because of the sheer volume of it. What are the challenges for you and how do you tackle this sea of words that Adam Rapp has given you?</p> <div class="wp-block-image"> <figure class="alignleft size-medium"><img decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1-300x169.jpg" alt="" class="wp-image-19111" srcset="https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2023/09/Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Amy Brenneman in “The Sound Inside” (Photo by Mike Palma/Courtesy Pasadena Playhouse)</figcaption></figure></div> <p><strong>First of all, they’re great words.<em> </em>It’s a well-written play. When I have an underwritten or poorly written role, I have to put on my writer’s hat even if I don’t change the words. How to make it work. How to make it palatable. It’s the opposite. There’s an abundance. I literally said to my husband this morning, it just keeps unfolding. It’s like this Christmas tree where there’s more and more gifts. Rather than thinking it’s my role, how do I make it mine?</strong></p> <p><strong>In terms of the actual memorization, it’s a bear, but it’s all I need to move my body. That’s the other thing. I record the whole thing myself, just reading it, and then I just listen to it over and over. There are chunks to her story that are pretty distinctive, but it’s a supremely articulate play because she’s a very articulate person and I get very inspired by those kinds of words.</strong></p> <p>And you speak, at times, directly to the audience.</p> <p><strong>I love breaking the fourth wall. I feel really confident and excited about creating a relationship with each audience. I love it. As a person that’s lucky enough to go back and forth in different acting mediums, I’m always thinking what can this medium do that that medium can’t do, right? The main juicy thing that we get to do is establish a living connection with the audience and just say, I’m on stage. You’re in the audience. Hello? And Bella literally does that </strong>[in]<strong> the first line of the play. So I find just the meta of that absolutely delicious.</strong></p> <p>Bella describes herself as the equivalent of “a collector’s plate mounted on a wall.” You learn that she has far more than that over the course of the play. But if that’s one of the first hints as to who this woman is, what does that give you as a launchpad for the arc that you can build with this character? </p> <p><strong>She described herself as mediocre. She described herself as unremarkable. She is a world of all sorts of things. But then she has the cover, right? She has this job. She has students. It’s hashtag MeToo. She has to keep herself fairly restrained for lots of different reasons. So I think one way to look at the story is she just becomes less restrained. She lets her outsides begin to match her insides and she just kind of glows from within over the course of the story. </strong></p> <p>There are multiple references to different books and different authors that are built into <em>The Sound Inside</em> including David Foster Wallace. I found a quote from him that I thought was apropos of this play. He said, “Fiction is one of the few experiences where the loneliness can be both confronted and relieved.” It almost sounds like he’s talking about this play.</p> <p><strong>That is an element of Bela that I don’t practice in my day-to-day life. I have a pretty populated life. Although, weirdly enough, literally this month I’m now an empty nester in my house for the first time ever. I’m not a big novel reader. I know what it is to love. If you find anybody in the world, a novelist, a movie moviemaker, who you feel understands you, it’s like, Oh, I’m not alone in the world. And it is alleviating.</strong></p> <p><strong>But that person is not in the room with you. Bella, and probably Christopher, feel like I know I’m able to connect emotionally, right? I’m able to feel like I’m not alone because of these works of art. Then the next thing is to be with a flesh and blood human next to you and trusted.</strong></p> <div class="wp-block-image"> <figure class="alignleft size-medium"><img decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2023/09/Anders-Keith-and-Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-300x169.jpg" alt="" class="wp-image-19110" srcset="https://culturalattache.co/wp-content/uploads/2023/09/Anders-Keith-and-Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/09/Anders-Keith-and-Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/09/Anders-Keith-and-Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/09/Anders-Keith-and-Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2023/09/Anders-Keith-and-Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/09/Anders-Keith-and-Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/09/Anders-Keith-and-Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2023/09/Anders-Keith-and-Amy-Brenneman-in-22The-Sound-Inside22-Photo-by-Mike-Palma-Courtesy-Pasadena-Playhouse_.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Anders Keith and Amy Brenneman in “The Sound Inside” (Photo by Mike Palma/Courtesy Pasadena Playhouse)</figcaption></figure></div> <p>Mary-Louise Parker, who originated the role of Bella, was doing some press for this play when it was on Broadway. She said “Apparently it’s a thriller” as if that was that wasn’t part of her thinking about what the play was. Then she said everybody has a different theory as to what happened. Is that how you view this play? Is <em>The Sound Inside</em> a thriller?</p> <p><strong>I love that she said it. I completely agree. I didn’t see her performance. I tread lightly on reading too much about past productions. But certainly it’s like a thriller. It’s a taut thriller. I did have a moment </strong>[when]<strong> I said to Cameron, our director, “Should I be playing this a little bit more noir? And he’s like, “Oh, get that out of your head.” I think it’s a thriller in as much as these very heightened things are discussed; things get pushed quite to the edge. You don’t actually know what’s going to happen, do you think? I know when I read it, I thought it was going to go in a certain way. Never did. So I think in that way it’s a thriller, but I think it’s more of a a beautiful unfolding.<em> </em></strong></p> <p>I’m going to paraphrase something that Jesse Green of the <span style="text-decoration: underline;">New York Times</span> said in his beautiful review of this play when it was on Broadway. What is the role of fiction “both the kind we read and the kind we live in our world today?”</p> <p><strong>I think, in this moment of alternate truth and alternate reality, people are spinning lots of stories all the time. We’re in a time of constant storytelling and remaking and rebranding. To the point where it’s like what is the truth? We’re in this moment. </strong></p> <p><strong>Bella starts the whole story with her memory of helping her mother die. I’ve suffered three illnesses. I have not had cancer, nor did I really look at mortality in the eye, but I was sick. And I think that the body is the truth, right? I think Bella is in her body, which is failing her, and she can tell all sorts of stories to herself. But she knows what’s going to happen. She lived it. So what I love to ponder is that fiction only lives in our imagination and in our minds. But the body is living in a much more elemental, grounded way. </strong></p> <p>Main Photo: Amy Brenneman in <em>The Sound Inside</em> (Photo by Mike Palma/Courtesy Pasadena Playhouse)</p> <p>The post <a href="https://culturalattache.co/2023/09/14/amy-brenneman-listens-to-the-sound-inside/">Amy Brenneman Listens to The Sound Inside…</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p> ]]></content:encoded> <wfw:commentRss>https://culturalattache.co/2023/09/14/amy-brenneman-listens-to-the-sound-inside/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>This Year’s Tony Award Nominations</title> <link>https://culturalattache.co/2020/10/15/this-years-tony-award-nominations/</link> <comments>https://culturalattache.co/2020/10/15/this-years-tony-award-nominations/#respond</comments> <dc:creator><![CDATA[Craig Byrd]]></dc:creator> <pubDate>Thu, 15 Oct 2020 19:30:21 +0000</pubDate> <category><![CDATA[Featured]]></category> <category><![CDATA[Musicals: 5-6-7-8]]></category> <category><![CDATA[The Play's The Thing]]></category> <category><![CDATA[A Soldier's Play]]></category> <category><![CDATA[Audra McDonald]]></category> <category><![CDATA[Betrayal]]></category> <category><![CDATA[Derek Klena]]></category> <category><![CDATA[Frankie and Johnny in the Clair de Lune]]></category> <category><![CDATA[Grand Horizons]]></category> <category><![CDATA[Ian Barford]]></category> <category><![CDATA[Jagged Little Pill]]></category> <category><![CDATA[Moulin Rouge! The Musical]]></category> <category><![CDATA[Sea Wall/A Life]]></category> <category><![CDATA[Slave Play]]></category> <category><![CDATA[The Inheritance]]></category> <category><![CDATA[The Sound Inside]]></category> <category><![CDATA[The Tony Awards]]></category> <category><![CDATA[Tina: The Tina Turner Musical]]></category> <category><![CDATA[Tony Award Nominations]]></category> <guid isPermaLink="false">https://culturalattache.co/?p=11207</guid> <description><![CDATA[<p>A full list of the 2020 Tony Award nominees</p> <p>The post <a href="https://culturalattache.co/2020/10/15/this-years-tony-award-nominations/">This Year’s Tony Award Nominations</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p> ]]></description> <content:encoded><![CDATA[ <p>Cultural Attaché congratulates all the nominees named in this year’s Tony Award nominations.</p> <p>Sadly I wasn’t able to see all the shows, but I’m thrilled that <em>Slave Play</em>, <em>Betrayal</em> and <em>Moulin Rouge! The Musical</em> were acknowledged. In the case of <em>Slave Play</em>, Jeremy O. Harris and the company have set a new record for the most nominations ever for a single play.</p> <p>Here are the Tony Award Nominations:</p> <p><strong>Best Play</strong><br><em>Grand Horizons</em> by <a href="https://culturalattache.co/2018/01/10/playwright-bess-wohl-plenty-say-small-mouth-sounds/" target="_blank" rel="noreferrer noopener">Bess Wohl</a><br><em>The Inheritance</em> by Matthew Lopez<br><em>Sea Wall/A Life </em>by Simon Stephens and Nick Payne<br><em>Slave Play</em> by Jeremy O. Harris<br><em>The Sound Inside </em>by Adam Rapp</p> <p><strong>Best Revival of a Play</strong><br><em>Betrayal</em><br><em>Frankie and Johnny in the Clair de Lune</em> by <a href="https://culturalattache.co/2013/09/25/playwright-terrence-mcnally-talks-about-taking-risks-l-a-theater-and-the-state-of-broadway/" target="_blank" rel="noreferrer noopener">Terrence McNally</a><br><em>A Soldier’s Play</em> by Charles Fuller</p> <p><strong>Best Musical</strong><br><em>Jagged Little Pill</em><br><em>Moulin Rouge! The Musical</em><br><em>Tina: The Tina Turner Musical</em></p> <p><strong>Best Performance by an Actress in a Leading Role in a Play</strong><br>Joaquina Kalukango, <em>Slave Play</em><br>Laura Linney, <em>My Name is Lucy Barton</em><br><a href="https://culturalattache.co/2013/10/23/broadway-star-audra-mcdonald-returns-to-la-opera-for-one-night/" target="_blank" rel="noreferrer noopener">Audra McDonald</a>, <em>Frankie and Johnny in the Clair de Lune</em><br>Mary-Louise Parker, <em>The Sound Inside</em></p> <p><strong>Best Performance by an Actor in a Leading Role in a Play</strong><br><a href="https://culturalattache.co/2019/01/23/linda-vista-actor-ian-barford-offers-a-not-so-pretty-view-of-his-character/" target="_blank" rel="noreferrer noopener">Ian Barford</a>, <em>Linda Vista</em><br>Andrew Burnap, <em>The Inheritance</em><br>Jake Gyllenhaal, <em>Sea Wall/A Life</em><br>Tom Hiddleston, <em>Betrayal</em><br>Tom Sturridge, <em>Sea Wall/A Life</em><br>Blair Underwood, <em>A Soldier’s Play</em></p> <p><strong>Best Performance by an Actress in a Leading Role in a Musical</strong><br>Karen Olivo, <em>Moulin Rouge!</em><br>Elizabeth Stanley, <em>Jagged Little Pill</em><br>Adrienne Warren, <em>Tina: The Tina Turner Musical</em></p> <p><strong>Best Performance by an Actor in a Leading Role in a Musical</strong><br>Aaron Tveit, <em>Moulin Rouge!</em></p> <p><em>Though the sole nominee, he must be voted on by 60% of all voters to win the award.</em></p> <p><strong>Best Performance by an Actor in a Featured Role in a Play</strong><br>Ato Blankson-Wood, <em>Slave Play</em><br>James Cusati-Moyer, <em>Slave Play</em><br>David Alan Grier, <em>A Soldier’s Play</em><br>John Benjamin Hickey, <em>The Inheritance</em><br>Paul Hilton, <em>The Inheritance</em></p> <p><strong>Best Performance by an Actress in a Featured Role in a Play</strong><br>Jane Alexander, <em>Grand Horizons</em><br>Chalia La Tour, <em>Slave Play</em><br>Annie McNamara, <em>Slave Play</em><br>Lois Smith,<em> The Inheritance</em><br>Cora Vander Broek, <em>Linda Vista</em></p> <p><strong>Best Performance by an Actor in a Featured Role in a Musical</strong><br>Danny Burstein, <em>Moulin Rouge!</em><br><a href="https://culturalattache.co/2019/08/08/derek-klenas-career-is-certainly-not-jagged/" target="_blank" rel="noreferrer noopener">Derek Klena</a>, <em>Jagged Little Pill</em><br>Sean Allan Krill, <em>Jagged Little Pill</em><br>Sahr Ngaujah, <em>Moulin Rouge!</em><br>Daniel J. Watts, <em>Tina: The Tina Turner Musical</em></p> <p><strong>Best Performance by an Actress in a Featured Role in a Musical</strong><br>Kathryn Gallagher, <em>Jagged Little Pill</em><br>Celia Rose Gooding, <em>Jagged Little Pill</em><br>Robyn Hurder, <em>Moulin Rouge!</em><br>Lauren Patten,<em> Jagged Little Pill</em><br>Myra Lucretia Taylor, <em>Tina: The Tina Turner Musical</em></p> <p><strong>Best Book of a Musical</strong><br><em>Jagged Little Pill</em>, Diablo Cody<br><em>Moulin Rouge!,</em> John Logan<br><em>Tina: The Tina Turner Musical</em>, Katori Hall with Frank Ketelaar and Kees Prins</p> <p><strong>Best Original Score (Music and/or Lyrics) Written for the Theatre</strong><br><em>A Christmas Carol</em>, Christopher Nightingale<br><em>The Inheritance</em>, Paul Englishby<br><em>The Rose Tattoo</em>, Fitz Patton and Jason Michael Webb<br><em>Slave Play</em>, Lindsay Jones<br><em>The Sound Inside</em>, Daniel Kluger</p> <p><em>Note: Not a single musical is nominated in the Best Original Score category</em></p> <p><strong>Best Direction of a Play</strong><br>David Cromer, <em>The Sound Inside</em><br>Stephen Daldry, <em>The Inheritance</em><br>Kenny Leon, <em>A Soldier’s Play</em><br>Jamie Lloyd, <em>Betrayal</em><br>Robert O’Hara, <em>Slave Play</em></p> <p><strong>Best Direction of a Musical</strong><br>Phyllida Lloyd, <em>Tina: The Tina Turner Musical</em><br><a href="https://culturalattache.co/2019/04/25/director-diane-paulus-conjures-up-a-female-centric-cirque/" target="_blank" rel="noreferrer noopener">Diane Paulus</a>, <em>Jagged Little Pill</em><br>Alex Timbers, <em>Moulin Rouge!</em></p> <p><strong>Best Choreography</strong><br>Sidi Larbi Cherkaoui, <em>Jagged Little Pill</em><br>Sonya Tayeh, <em>Moulin Rouge!</em><br>Anthony van Laast, <em>Tina: The Tina Turner Musical</em></p> <p><strong>Best Orchestrations</strong><br>Tom Kitt, <em>Jagged Little Pill</em><br>Katie Kresek, Charlie Rosen, Matt Stine, and Justin Levine, <em>Moulin Rouge!</em><br>Ethan Popp, <em>Tina: The Tina Turner Musical</em></p> <p><strong>Best Scenic Design of a Play</strong><br>Bob Crowley, <em>The Inheritance</em><br>Soutra Gilmour, <em>Betrayal</em><br>Rob Howell, <em>A Christmas Carol</em><br>Derek McLane, <em>A Soldier’s Play</em><br>Clint Ramos, <em>Slave Play</em></p> <p><strong>Best Scenic Design of a Musical</strong><br>Riccardo Hernández and Lucy Mackinnon, <em>Jagged Little Pill</em><br>Derek McLane, <em>Moulin Rouge!</em><br>Mark Thompson and Jeff Sugg, <em>Tina: The Tina Turner Musical</em></p> <p><strong>Best Costume Design of a Play</strong><br>Dede Ayite, <em>Slave Play</em><br>Dede Ayite, <em>A Soldier’s Play</em><br>Bob Crowley, <em>The Inheritance</em><br>Rob Howell, <em>A Christmas Carol</em><br>Clint Ramos, <em>The Rose Tattoo</em></p> <p><strong>Best Costume Design of a Musical</strong><br>Emily Rebholz, <em>Jagged Little Pill</em><br>Mark Thompson, <em>Tina: The Tina Turner Musical</em><br>Catherine Zuber, <em>Moulin Rouge!</em></p> <p><strong>Best Lighting Design of a Play</strong><br>Jiyoun Chang, <em>Slave Play</em><br>Jon Clark, <em>The Inheritance</em><br>Heather Gilbert, <em>The Sound Inside</em><br>Allen Lee Hughes, <em>A Soldier’s Play</em><br>Hugh Vanstone, <em>A Christmas Carol</em></p> <p><strong>Best Lighting Design of a Musical</strong><br>Justin Townsend, <em>Jagged Little Pill</em><br>Justin Townsend, <em>Moulin Rouge!</em><br>Bruno Poet, <em>Tina: The Tina Turner Musical</em></p> <p><strong>Best Sound Design of a Play</strong><br>Paul Arditti and Christopher Reid, <em>The Inheritance</em><br>Simon Baker, <em>A Christmas Carol</em><br>Lindsay Jones, <em>Slave Play</em><br>Daniel Kluger, <em>Sea Wall/A Life</em><br>Daniel Kluger, <em>The Sound Inside</em></p> <p><strong>Best Sound Design of a Musical</strong><br>Jonathan Deans, <em>Jagged Little Pill</em><br>Peter Hylenski, <em>Moulin Rouge! The Musical</em><br>Nevin Steinberg, <em>Tina: The Tina Turner Musical</em></p> <p>No date has been announced for the awards ceremony.</p> <p>The post <a href="https://culturalattache.co/2020/10/15/this-years-tony-award-nominations/">This Year’s Tony Award Nominations</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p> ]]></content:encoded> <wfw:commentRss>https://culturalattache.co/2020/10/15/this-years-tony-award-nominations/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> </channel> </rss>