#Howard Suiter

[nevinslibrary]

Mystery/Thriller Monday

Cleo Ray, a fitness coach and social media influencer, and Beck Alden go out on a mountain lake in a canoe. Then, an hour later, Beck is found dead, and Cleo at that point was also missing. Questions start coming. The obvious ones, like, was it an accident or murder. As Cleo goes on trail there are more questions, who is Beck to Cleo, and who is Cleo to Beck?

Apparently this was inspired by the classic mystery novel “An American Tragedy” that was first published in 1925 (which apparently was based on the real disappearance in 1906 of Grace Mae Brown). But, of course, updated and changed for the present. It was presented really coolly too. Sort of like one of the investigative documentary serieses on Netflix or A&E/Discovery. And the twists. Whew…. A great read.

You may like this book If you Liked: None of This is True by Lisa Jewell, Girl, 11 by Amy Suiter Clarke, or 56 Days by Catherine Ryan Howard Ryan

The Anatomy of Desire by L.R. Dorn

[if-you-fan-a-fire]

"ZOOT SUIT RIOT SEEN AT BEACH," Hamilton Spectator. August 16, 1943. Page 9. --- Young Man Accused Not Involved, However - Airmen Attacked ---- John Olejnik, 18, of 42 Earl street, was acquitted in magistrate's court of a charge of creating a disturbance at Hamilton Beach after it was established that he was not implicated in the disturbance.

The arrest of the youth took place after a recent alleged zoot suit fracas which occurred at station 18.

Two airmen took the stand and testified that the zoot-suiters had hurled insults at them, using obscene language, and declaring that they "wouldn't wear such a uniform."

Evidence was heard which revealed that the free-for-all ensued after one of the airmen was struck by a member of a large gang of zoot-suiters present.

Chief Howard Nickling, who investigated the fracas, testified that a crowd of 500 people had been attracted to the scene of the pitched battle.

George Hills, 35 Douglas street. and Percy Able, R.R. No. 1. West Flamboro, both charged with reckless driving and driving while intoxicated, were granted adjournments to August 20. Crown Attorney Harvey McCulloch told his honour that it was alleged both men were involved in an accident and were intoxicated at the time. Bail was granted the accused.

[brandonraykirk]

J. Green McNeely: Logan County Preacher (1937)

J. Green McNeely: Logan County Preacher (1937) #WV #Appalachia #preachers #history

On May 26, 1937, the Logan Banner of Logan, WV, profiled one of the county’s more renowned preachers: J. Green McNeely.

Rev. J. Green McNeely: One of County’s Most Beloved Ministers Will Soon Round Out Half Century Of Service; Has Married Approximately 3,000 Couples; Conducted 3,500 Funerals, And Is Still “Going Strong”

One of the county’s most loved and best known ministers will soon round out a…

[nshoward-blog]

Robbing Hood.

A twist on the story or Robin Hood. This adult-themed story describes the battle for affection of Princess Kaylyn by Robin Hood and the Sheriff of Nottingham.

When you’re looking for love, beware; it may be wearing a disguise or might be right in front of you. Princess Kaylyn falls for the Prince of Thieves, also known as the master of disguises.

Extasy: https://www.extasybooks.com/ns-howard/robbing-hood/

Amazon https://www.amazon.com/Robbing-Hood-NS-Howard-ebook/dp/B01FQ3ZIUM/

Chapter One

Princess Kaylyn paced around her bedroom. Such pacing was done with anger attached to each step. Her father, the king, had ordered her confined to her bedroom until he had time to deal with her. It was as if she was still a child and could be punished for trying to do adult things. All she had done was to have a few drinks with his special reserved wine, party with the stable boys and somehow lose some of her clothes. She was of the opinion it wasn’t any biggie, but the queen and king acted as if she committed treason. 

Kaylyn didn’t have a problem attracting men. With a nicely curved figure, a pretty face with full lips and long, curly raven-coloured hair, she was often the centre of attention at the castle balls and socials. However, despite her looks, she had trouble spending time with men. Would-be suiters had to received royal permission to visit her and only in the company of a chaperone. Her parents had determined she needed help in picking a proper husband, and more often than not, he did not meet their exacting standards. She sometimes wondered if she was going to end up like her older sister, engaged to a duke who possessed all their requirements. Unfortunately, the duke didn’t have what Kaylyn considered to be equally critical, namely taller than herself and having a handsome face. 

The frustrations of not having a social engagement in weeks led her to resorting to quietly sneaking out in the middle of the night to enjoy partying with a few young men. The party was not as quiet as she thought, and suddenly, the P royal guards were escorting her to her room. 

She continued her irritated marching, which took several minutes to complete in the bedroom. Past the walk-in closet, past the washroom, past the room with the large soaker tub, past the fireplace, past the balcony, past the maid’s quarters and long steps around a bed that could sleep ten. Her boudoir wasn’t as large as her older sister’s and didn’t approach the size of the suite of her older brother, but still, she liked her cozy bedroom. 

A knock on the door finally broke her sulking. She flung open the door, at least as well as any princess could fling open a four hundred-pound door, and stared at a man, wearing the regal red and gold of the royal guards. 

“Well? What do you want?” She gave him an icy stare, letting the tall, handsome guard know he did not impress her. Although, truth to be told, she was. 

“His Majesty will see you now.” 

“Great. Let’s get this over with.” 

She decided not to put up a fuss when the guard used his hand on her elbow to guide her down the long, wide hallway. She wondered if the guard really thought she was going to try to escape or that she didn’t know the way to the throne room. They went down the long hallway; in fact, it was long enough to develop small wind currents around the various doors and adjacent hallways. Down the stairs they went. The stairs were wide enough to accommodate ten soldiers walking abreast and, indeed, on occasion, that was the case. However, now the size of the stairs made Kaylyn feel rather small and increased her anxiety as they neared the final destination. When they reached the throne room, Kaylyn was compelled to stand at the entrance until another guard summoned her in. This one was older, not as tall, and she felt she had been downgraded in the guard department. 

The throne room was imposing with high, decorated walls, a domed ceiling and a red carpet that ran down the centre up to the raised platform. There, in a pair of oversized chairs sat the king and queen, looking regal and very annoyed as Kaylyn entered the room. The guard continued to guide her down the red carpet, and with a hand on her shoulder, convinced her to kneel. 

The king used his fist to pound the chair arm, scowling at her. 

Kaylyn put on her best pouty face. “Sorry, Daddy.” 

The guard gave a small cough. 

“I mean sorry, your Royal Highness.” 

“What the blazes were you thinking? Partying with stable boys? Being seen undressed by half the royal servants?” He stood. The regal, fur-trimmed cloak framed his impressive bulk. With his height and full red beard, he was a king who impressed even other kings. “You need to learn that there are responsibilities associated as a member of the royal family.” 

The queen spoke up in a soft voice that matched her body—gentle curves with a soft complexion. “In my day, royal daughters did not remove any clothing except in the privacy of their own bed chambers. Even the king didn’t see me naked until we were married for over a year.” 

Thanks for sharing. “I said I was sorry. It won’t happen again.” 

“That may well be. However, to help you remember your promise, you’re grounded until the Royal Spring Gala” 

“That’s not for a week! I’ll die of old age by then.” 

“I hardly think you’ll die of old age by the tender age of twenty-one. Guard, take her to her room where she shall remain until dinner.” 

Kaylyn sat on her bed, leafing through scrolls of Hot Beauty Tips, Castlepollitan and Damsels’ Digest. With a heavy sigh, one only princesses could do with an exclamation mark, she walked over to the balcony and looked down on the streets three stories below. 

The streets were busy with people and horse-drawn carts. No one seemed in a particular hurry, and a few enterprising individuals took advantage of the wide cobblestone road to set up a cart to sell produce and occasionally birds, both dead and alive. A pair of royal guards on horseback slowly made their way through the crowd, their presence discouraging would-be thieves and other no-gooders. 

She found the street scene boring, with most of those passing by wearing drab colours. One would think they would wear something to stand out a bit more from the crowd. They may be peasants, but surely, they must have some fashion sense. 

Her attention was drawn to the front of the castle where a large banner draped with gold-coloured cloth proclaimed the Royal Spring Gala. Maybe there will be some handsome man, two would be better, that will take me away from all this drudgery. 

Across the street, a stable boy standing in the second story loft of the livery waved at her. Straw flew in the air from his arms, glistening in the sunlight. She finally noticed him and gave him a wave back. He was cute, although a bit young for her. The other stable boys were older, and she enjoyed being the centre of their attention yesterday. Now, she reflected that partying with them was not the best decision she had made. Nor drinking all that wine. Losing her clothing was also perhaps a minor error.

[thesinglesjukebox]

DISCLOSURE FT. FATOUMATA DIAWARA - ULTIMATUM [6.89] British electronic duo get a leg up from Mali...

Will Rivitz: Disclosure continues their trend away from the percussive, poppy house music they perfected on Settle towards the more chordally fleshed-out Boiler Room fare they've pursued more frequently since Caracal, their sophomore slump. However, though tracks like "Holding On" and "Omen" lacked the addictive punch of the best of Settle, they were still pleasant enough, and "Ultimatum" is more of the same. Velveteen, immersive, floating, and more than a little insubstantial, it's not quite the return to form I would have hoped from one of my favorite artists, but it's nice nonetheless. [7]

Julian Axelrod: The brothers Lawrence provide their usual skittering H&M-core synth step, but the real story is Fatoumata Diawara's exultant vocals. I'm torn: On one hand, this is one of the most engrossing Disclosure-adjacent vocal performances since Lorde on "Magnets." On the other, there's more than a whiff of appropriation here. Maybe Guy and Howard just got into Sun-El Musician, or maybe their next album will be Graceland for the Sahara tent crowd. The song has no time for such semantics; it just keeps moving, leaving any worries in its wake. [6]

Thomas Inskeep: Lovely, deep house with vocals from Malian singer Diawara: kind of trance-like, and definitely movin', akin to the best Chic records (though not near them, mind). [8]

Alfred Soto: I'm a sucker for this brand of kinetic anonymity, not that Fatoumata Diawara fades into the background. When the keyboards disappear, the Malian singer does her best to forget they were ever there. [7]

Anna Suiter: For the longest time, the only song I thought of when I thought of Disclosure was "Latch," and just assumed that they didn't do much else. But it's been a long time since "Latch," and Ultimatum is nothing like it. In this case that's a good thing, though, and Ultimatum comes together as a song that sounds "global" without being kitschy or seeming overly fetishistic. Diawara's vocals fit well as an "instrument" over the track, but the lyrics (a demand for the truth) act as a contrast to the jazzy production. But either way, Disclosure are back, and maybe it's time for me to backtrack too. [7]

Ashley John: The sample is doing most of the work here, and actually that's where Disclosure tends to shine. Fatoumata Diawara's voice is bright and bouncy but with a range that keeps your brain from checking out. [6]

Tim de Reuse: Rambling, dense, crunchy, full of lovely texture and tasteful 303s; best appreciated as something that hangs in the air for five minutes, rotating slowly through all its different permutations, never really going anywhere because it doesn't really need to. [7]

Katherine St Asaph: Tasteful Disclosure is the Disclosure that survives -- which is still better than another "Bang That," another goddamn Sam Smith track, or probably something with Anne-Marie. [7]

Ramzi Awn: "Ultimatum" seamlessly blends open space with a tight hook. Diawara allows the keyboard to take center stage when it needs to, and the track is practically begging for a dance floor peppered with neon lights. If it's a decision she wants, then it's a decision she's going to get: I'm going dancing. [7]

[Read, comment and vote on The Singles Jukebox ]

[dmsblogs19]

Digital Astroturfing and the Use of Social Bots

With the growth and ease of engagement in political discourse online, the relative ease to undermine or use it to negative effect also grows with it. This has uncovered a phenomenon known as ‘Astroturfing’ which Kovic et al. (2018; p.3) define, in the digital sense, as “the dissemination of deceptive opinions by imposters posing as autonomous individuals on the internet with the intention of promoting a specific agenda”. Although astroturfing predates the internet as a political technique, campaigners, activists, businesses and politicians have utilised the speed, low cost and near infinite reach afforded by the internet to manipulate discourse in a different way, done to increase commercial awareness and advance their political ideals. This blog highlights a specific component of digital astroturfing, the use of social bots, and the implications and potential threat they may have on democratic political decision making.  

Bots are an automated software agent that can gather information, make decisions, and both interact and imitate real internet users (Wooley, 2016). However, Hwang & Yoon (2012) note that social bots go beyond the simple human-bot interaction and are able to manipulate public opinion on social media sites such as Facebook and Twitter. Chu et al. (2013) noted that political groups have turned to purchasing massive amounts of social bots to significantly boost follower numbers who are then able to flood newsfeeds with political scam. This has shown to be particularly influential with negative campaigning. The Brexit referendum employed actively aggressive bots in the Leave campaign, the Syrian civil war saw bots preventing journalists from using Twitter to track ground events and in Venezuela bots were used by the far right in the 2016 presidential elections (Forelle et al., 2015; Howard & Kollanyi, 2016).   

Leiser (2016) highlights that as humans we rely on mental shortcuts to assess the credibility of information, and its repetition across different platforms can lead to a common knowledge effect; the more people report a claim, the higher its credibility. Ratkiewicz et al. (2011) note that in 2010 researchers from Indiana University found bots to have even staged public discussions with each other which supported Republican candidate John Boehner, often providing links to his website, Facebook page and blogs. With the rapid sharing of information online, campaigners use the bot strategy to direct people to their agendas. Ultimately however, this is done by spreading falsehoods about how popular they and their messages are. Munger (2017) also highlights that bots also have a normative influence on how people express their opinions and their willingness to speak online. Actors on the opposite side to the bots are less likely to express their opinion because they perceive the opinion climate has been distorted, altering their likelihood to respond in fear of being criticised by other users.  

The sheer amount of information online has made it difficult for many people to cross-check facts and distinguish the autonomous from the real. As such, this allows campaigners to present information that immediately caters to emotions over logic (Suiter, 2016). Astroturfing and the use of bots can help political campaigners by fuelling feelings of anger, anxiety or disappointment with issues they may not fully understand. This then, in my opinion, surely has profound implications on democratic discourse and the democratic decision making process.  

Word Count: 541

References 

Chu, Z., Gianvecchio, S., Koehl, A., Wang, H., & Jajodia, S. (2013). Blog or block: Detecting blog bots through behavioral biometrics. Computer Networks, 57(3), 634-646. 

Forelle, M., Howard, P., Monroy-Hernández, A., & Savage, S. (2015). Political bots and the manipulation of public opinion in Venezuela. arXiv preprint arXiv:1507.07109. 

Howard, P. N., & Kollanyi, B. (2016). Bots,# StrongerIn, and# Brexit: computational propaganda during the UK-EU referendum. Available at SSRN 2798311. 

Hwang, C. L., & Yoon, K. (2012). Multiple attribute decision making: methods and applications a state-of-the-art survey (Vol. 186). Springer Science & Business Media.  

Kovic, M., Rauchfleisch, A., Sele, M., & Caspar, C. (2018). Digital astroturfing in politics: Definition, typology, and countermeasures. Studies in Communication Sciences, (1). 

Leiser, M. (2016). “AstroTurfing, ‘CyberTurfing’ and other online persuasion campaigns”, European Journal of Law and Technology, 7 

Munger, K. (2017). Tweetment effects on the tweeted: Experimentally reducing racist harassment. Political Behavior, 39(3), 629-649. 

Ratkiewicz, J., Conover, M. D., Meiss, M., Gonçalves, B., Flammini, A., & Menczer, F. M. (2011, July). Detecting and tracking political abuse in social media. In Fifth international AAAI conference on weblogs and social media. 

Suiter, J. (2016). Post-truth politics. Political Insight, 7(3), 25-27.

Woolley, S. C. (2016). Automating power: Social bot interference in global politics. First Monday, 21(4).

[newyorktheater]

Below is the complete list of the  70th Annual Outer Critics Circle Awards Honorees. This year all the shows and artists listed  in each of the 27 categories are winners. Multiple honorees include David Henry Hwang (Soft Power book and score) and Michael R. Jackson (A Strange Loop book and score) The titles are linked to my reviews.

OUTSTANDING NEW BROADWAY PLAY

Grand Horizons Written by Bess Wohl Produced by Second Stage Theater Developed in association with Williamstown Theatre Festival

The Height of the Storm Written by Florian Zeller Translated by Christopher Hampton Produced by Manhattan Theatre Club, Simon Friend, Mark Goucher, Harold Panter, and Scott Landis

The Inheritance Written by Matthew Lopez Produced by Tom Kirdahy, Sonia Friedman Productions, Hunter Arnold, Elizabeth Dewberry & Ali Ahmet Kocabiyik, 1001 Nights Productions, Robert Greenblatt, Mark Lee, Peter May, Scott Rudin, Richard Winkler, Bruce Cohen, Mara Isaacs, Greg Berlanti & Robbie Rogers, Brad Blume, Burnt Umber Productions, Shane Ewen, Greenleaf Productions, Marguerite Hoffman, Oliver Roth, Joseph Baker/Drew Hodges, Stephanie P. McClelland, Broadway Strategic Return Fund, Caiola Productions, Mary J. Davis, Kayla Greenspan, Fakston Productions, FBK Productions, Sally Cade Holmes, Benjamin Lowy, MWM Live, Lee & Alec Seymour, Lorenzo Thione, Sing Out, Louise! Productions, AB Productions/Julie Boardman, Adam Zell & Co./ZKM Media, Jamie deRoy/Catherine Adler, DeSantis-Baugh Productions/Adam Hyndman, Gary DiMauro/Meredith Lynsey Schade, John Goldwyn/Silva Theatrical Group, Deborah Green/Christina Mattsson, Cliff Hopkins/George Scarles, Invisible Wall Productions/Lauren Stein, Sharon Karmazin/Broadway Factor NYC, Brian Spector/Madeleine Foster Bersin, Undivided Productions/Hysell Dohr Group, UshkowitzLatimer Productions/Tyler Mount, and The Young Vic

Linda Vista Written by Tracy Letts Produced by Second Stage Theater and Steppenwolf Theatre Company, in association with Center Theatre Group

The Sound Inside Written by Adam Rapp Produced by Jeffrey Richards, Lincoln Center Theater, Rebecca Gold, Evamere Entertainment, Eric Falkenstein, Salman Vienn Al-Rashid, Spencer Ross, Filmnation Entertainment/Faliro House, Iris Smith, Jane Bergère, Caiola Productions, Mark S. Golub and David S. Golub, Ken Greiner, Gemini Theatrical Investors, LLC, Scott H. Mauro, Jayne Baron Sherman, Czekaj Productions, Wendy Morgan-Hunter, Kristin Foster, Brian Moreland, Sonia Mudbhatkal, Jacob Soroken Porter, and Williamstown Theatre Festival); Associate Producer: Haley McIntosh

OUTSTANDING NEW BROADWAY MUSICAL

Jagged Little Pill Music by Alanis Morissette and Glen Ballard Lyrics by Alanis Morissette Book by Diablo Cody Produced by Vivek J. Tiwary, Arvind Ethan David, Eva Price, Caiola Productions, Level Forward & Abigail Disney, Geffen Playhouse-Tenenbaum-Feinberg, James L. Nederlander, Dean Borell Moravis Silver, Stephen G. Johnson, Concord Theatricals, Bard Theatricals, M. Kilburg Reedy, 42nd.club, Betsy Dollinger, Sundowners, The Araca Group, Jana Bezdek, Len Blavatnik, BSL Enterprises, LLC, Burnt Umber Productions, Darren DeVerna & Jeremiah Harris, Daryl Roth, Susan Edelstein, FG Productions, Sue Gilad & Larry Rogowsky, Harmonia, John Gore Theatrical Group, Melissa M. Jones & Barbara H. Freitag, Stephanie Kramer, Lamplighter Projects, Christina Isaly Liceaga, David Mirvish, Spencer B. Ross, Bellanca Smigel Rutter, Iris Smith, Jason Taylor & Sydney Suiter, Rachel Weinstein, W.I.T. Productions/Gabriel Creative Partners, Independent Presenters Network, Jujamcyn Theaters, and The American Repertory Theatre

Moulin Rouge! Book by John Logan Based on the 2001 Twentieth Century Fox Motion Picture written by Baz Luhrmann and Craig Pearce Produced by Carmen Pavlovic, Gerry Ryan, Global Creatures, Bill Damaschke, Aaron Lustbader, Hunter Arnold, Darren Bagert, Erica Lynn Schwartz/Matt Picheny/Stephanie Rosenberg, Adam Blanshay Productions/Nicolas & Charles Talar, Iris Smith, Aleri Entertainment, CJ ENM, Sophie Qi/Harmonia Holdings, Baz & Co./Len Blavatnik, AF Creative Media International Theatre Fund, Endeavor Content, Tom & Pam Faludy, Gilad-Rogowsky/InStone Productions, John Gore Organization, MEHR-BB Entertainment GmbH, Spencer Ross, Nederlander Presentations/IPN, Eric Falkenstein/Suzanne Grant, Jennifer Fischer, Peter May/Sandy Robertson, Triptyk Studios, Carl Daikeler/Sandi Moran, DeSantis-Baugh Productions, Red Mountain Theatre Company/42nd.club, Candy Spelling/Tulchin Bartner, Roy Furman and Jujamcyn Theaters; By special arrangement with Buena Vista Theatrical

Tina: The Tina Turner Musical Book by Katori Hall With Frank Ketelaar and Kees Prins Produced by Stage Entertainment, James L. Nederlander, Tali Pelman, Feste Investment B.V., David Mirvish, Nattering Way, TEG Dainty, Katori Hall, Mark Rubinstein LTD, Warner Chappell, Peter May, Eva Price, No Guarantees, Caiola Productions, Jamie deRoy, Wendy Federman, Roy Furman, Independent Presenters Network, John Gore Organization, Marc Levine, Carl Moellenberg, Al Nocciolino, Catherine Adler, Tom Perakos, Iris Smith, Candy Spelling, Anita Waxman, Daryl Roth, Sony/ATV Music Publishing and Universal Music Publishing Group; Produced in association with Tina Turner

OUTSTANDING NEW OFF-BROADWAY PLAY

Cambodian Rock Band Written by Lauren Yee Produced by Signature Theatre Company

Greater Clements Written by Samuel D. Hunter Produced by Lincoln Center Theatre

Halfway Bitches Go Straight to Heaven+ Written by Stephen Adly Guirgis Produced by Atlantic Theater Company and LAByrinth Theater Company

Make Believe Written by Bess Wohl Produced by Second Stage Theatre

Seared Written by Theresa Rebeck Produced by MCC Theater

OUTSTANDING NEW OFF-BROADWAY MUSICAL

Darling Grenadine Book, Music, and Lyrics by Daniel Zaitchik Produced by Roundabout Theatre Company

Octet Book, Music, and Lyrics by Dave Malloy Produced by Signature Theatre Company

The Secret Life of Bees Book by Lynn Nottage Music by Duncan Sheik Lyrics by Susan Birkenhead Based on the novel by Sue Monk Kidd Produced by Atlantic Theater Company

Soft Power Book and Lyrics by David Henry Hwang Music and Additional Lyrics by Jeanine Tesori Produced by the Public Theater and Center Theatre Group

A Strange Loop Book, Music, and Lyrics by Michael R. Jackson Produced by Playwrights Horizons in association with Page 73 Productions

OUTSTANDING REVIVAL OF A PLAY

(Broadway or Off-Broadway)

Betrayal Written by Harold Pinter Produced by Ambassador Theatre Group, Benjamin Lowy Productions, Gavin Kalin Productions, Glass Half Full Productions, Annapurna Theatre, Hunter Arnold, Burnt Umber Productions, Rashad V. Chambers, Eilene Davidson Productions, KFF Productions, Dominick LaRuffa Jr., Antonio Marion, Stephanie P. McClelland, Richard Winkler/Alan Shorr, and The Jamie Lloyd Company

Fires in the Mirror Written by Anna Deavere Smith Produced by Signature Theatre

For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf Written by Ntozake Shange Produced by the Public Theater

Frankie and Johnny in the Clair de Lune Written by Terrence McNally Produced by Hunter Arnold, Debbie Bisno, Tom Kirdahy, Elizabeth Dewberry & Ali Ahmet Kocabiyik, Broadway Strategic Return Fund, Caiola Productions, FedermanGold Productions, Invisible Wall Productions, John Gore Organization, Mike Karns, Kilimanjaro Theatricals, Peter May, Tyler Mount, Seriff Productions, Silva Theatrical Group, Cliff Bleszinski/GetterLazarDaly, Jamie deRoy/Gary DiMauro, Suzi Dietz & Lenny Beer/Sally Cade Holmes, Barbara H. Freitag/Ken Davenport, Barry & Kimberly Gowdy/Mabee Family Office, Kayla Greenspan/Jamie Joeyen-Waldorf, John Joseph/Broadway Factor, Tilted Windmills/John Paterakis, and The Shubert Organization

A Soldier’s Play Written by Charles Fuller Produced by Roundabout Theatre Company

OUTSTANDING REVIVAL OF A MUSICAL

(Broadway or Off-Broadway)

Little Shop of Horrors Book and Lyrics by Howard Ashman Music by Alan Menken Produced by Tom Kirdahy, Robert Ahrens, Hunter Arnold, Mickey Liddell, Caiola Productions, Curt Cronin, John Joseph, DDM Productions, DeSantis-Baugh Productions, Elizabeth Dewberry & Ali Ahmet Kocabiyik, Wendy Federman, Roy Furman, Deborah Green, Kayla Greenspan, Marguerite Hoffman, Sally Cade Holmes, Latitude Link, Seriff Productions, Silva Theatrical Group, Eric Gelb/Oliver Roth

The Unsinkable Molly Brown Music and Lyrics by Meredith Willson Book and New Lyrics by Dick Scanlan Based on the Original Book by Richard Morris Music Adapted by Michael Rafter Produced by Transport Group

West Side Story Music by Leonard Bernstein Lyrics by Stephen Sondheim Book by Arthur Laurents Based on a Conception by Jerome Robbins Produced by Scott Rudin, Barry Diller, David Geffen, Eli Bush, Adam Rodner, and James L. Nederlander

JOHN GASSNER AWARD

(Presented for an American play, preferably by a new playwright)

Georgia Mertching Is Dead by Catya McMullen

Heroes of the Fourth Turning by Will Arbery

Our Dear Dead Drug Lord by Alexis Scheer

Paris by Eboni Booth

OUTSTANDING BOOK OF A MUSICAL (Broadway or Off-Broadway)

Diablo Cody, Jagged Little Pill

David Henry Hwang, Soft Power

Michael R. Jackson, A Strange Loop

Lynn Nottage, The Secret Life of Bees

Mark Saltzman, Romeo and Bernadette

OUTSTANDING NEW SCORE

(Broadway or Off-Broadway)

Susan Birkenhead and Duncan Sheik, The Secret Life of Bees

Ross Golan, The Wrong Man

Michael R. Jackson, A Strange Loop

Dave Malloy, Octet

Jeanine Tesori and David Henry Hwang, Soft Power

OUTSTANDING DIRECTOR OF A PLAY

David Cromer, The Sound Inside

Stephen Daldry, The Inheritance

Kenny Leon, A Soldier’s Play

Jamie Lloyd, Betrayal

John Ortiz, Halfway Bitches Go Straight to Heaven

OUTSTANDING DIRECTOR OF A MUSICAL

Stephen Brackett, A Strange Loop

Michael Mayer, Little Shop of Horrors

Diane Paulus, Jagged Little Pill

Alex Timbers, Moulin Rouge!

Ivo van Hove, West Side Story

OUTSTANDING CHOREOGRAPHER

Sidi Larbi Cherakoui, Jagged Little Pill

Raja Feather Kelly, A Strange Loop

Sonya Tayeh, Moulin Rouge!

Anthony Van Laast, Tina: The Tina Turner Musical

Travis Wall, The Wrong Man

OUTSTANDING ORCHESTRATIONS

Tom Kitt, Jagged Little Pill

Alex Lacamoire, The Wrong Man

Justin Levine, with Matt Stine, Katie Kresek, and Charlie Rosen, Moulin Rouge!

Christopher Nightingale, A Christmas Carol

Duncan Sheik and John Clancy, The Secret Life of Bees

OUTSTANDING ACTOR IN A PLAY

Ian Barford, Linda Vista

Edmund Donovan, Greater Clements

Raúl Esparza, Seared

Tom Hiddleston, Betrayal

Will Hochman, The Sound Inside

Jonathan Pryce, The Height of the Storm

OUTSTANDING ACTRESS IN A PLAY

Eileen Atkins, The Height of the Storm

Judith Ivey, Greater Clements

Joaquina Kalukango, Slave Play

April Matthis, Toni Stone

Mary-Louise Parker, The Sound Inside

Portia, Stew

OUTSTANDING FEATURED ACTOR IN A PLAY

David Alan Grier, A Soldier’s Play

John Benjamin Hickey, The Inheritance

Paul Hilton, The Inheritance

Samuel H. Levine, The Inheritance

John-Andrew Morrison, Blues for an Alabama Sky

Chris Perfetti, Moscow Moscow Moscow Moscow Moscow Moscow

OUTSTANDING FEATURED ACTRESS IN A PLAY

Liza Colón-Zayas, Halfway Bitches Go Straight to Heaven

Montego Glover, All the Natalie Portmans

Marsha Mason, Little Gem

Krysta Rodriguez, Seared

Lois Smith, The Inheritance

Jennifer Van Dyck, The Confession of Lily Dare

OUTSTANDING SOLO PERFORMANCE

David Cale, We’re Only Alive For a Short Amount of Time

Laura Linney, My Name Is Lucy Barton

Aedin Moloney, Yes! Reflections of Molly Bloom

Deirdre O’Connell, Dana H.

Michael Benjamin Washington, Fires in the Mirror

OUTSTANDING ACTOR IN A MUSICAL

Jonathan Groff, Little Shop of Horrors

Joshua Henry, The Wrong Man

Adam Kantor, Darling Grenadine

Larry Owens, A Strange Loop

Isaac Powell, West Side Story

Aaron Tveit, Moulin Rouge!

OUTSTANDING ACTRESS IN A MUSICAL

Beth Malone, The Unsinkable Molly Brown

Janelle McDermoth, We’re Gonna Die

Karen Olivo, Moulin Rouge!

Shereen Pimentel, West Side Story

Elizabeth Stanley, Jagged Little Pill

Adrienne Warren, Tina: The Tina Turner Musical

OUTSTANDING FEATURED ACTOR IN A MUSICAL

Christian Borle, Little Shop of Horrors

Danny Burstein, Moulin Rouge!

Gus Halper, Sing Street

OUTSTANDING FEATURED ACTRESS IN A PLAY

Liza Colón-Zayas, Halfway Bitches Go Straight to Heaven

Montego Glover, All the Natalie Portmans

Marsha Mason, Little Gem

Krysta Rodriguez, Seared

Lois Smith, The Inheritance

Jennifer Van Dyck, The Confession of Lily Dare

OUTSTANDING SOLO PERFORMANCE

David Cale, We’re Only Alive For a Short Amount of Time

Laura Linney, My Name Is Lucy Barton

Aedin Moloney, Yes! Reflections of Molly Bloom

Deirdre O’Connell, Dana H.

Michael Benjamin Washington, Fires in the Mirror

OUTSTANDING ACTOR IN A MUSICAL

Jonathan Groff, Little Shop of Horrors

Joshua Henry, The Wrong Man

Adam Kantor, Darling Grenadine

Larry Owens, A Strange Loop

Isaac Powell, West Side Story

Aaron Tveit, Moulin Rouge!

OUTSTANDING ACTRESS IN A MUSICAL

Beth Malone, The Unsinkable Molly Brown

Janelle McDermoth, We’re Gonna Die

Karen Olivo, Moulin Rouge!

Shereen Pimentel, West Side Story

Elizabeth Stanley, Jagged Little Pill

Adrienne Warren, Tina: The Tina Turner Musical

OUTSTANDING FEATURED ACTOR IN A MUSICAL

Christian Borle, Little Shop of Horrors

Danny Burstein, Moulin Rouge!

Gus Halper, Sing Street

Jay Armstrong Johnson, Scotland, PA

Francis Jue, Soft Power

Daniel J. Watts, Tina: The Tina Turner Musical

OUTSTANDING FEATURED ACTRESS IN A MUSICAL

Eisa Davis, The Secret Life of Bees

Kathryn Gallagher, Jagged Little Pill

LaChanze, The Secret Life of Bees

Judy McLane, Romeo & Bernadette

Lauren Patten, Jagged Little Pill

Saycon Sengbloh, The Secret Life of Bees

OUTSTANDING SCENIC DESIGN

(Play or Musical)

Rob Howell, A Christmas Carol

Tim Mackabee, Seared

Derek McLane, Moulin Rouge!

Clint Ramos, Grand Horizons

Anthony Ward, The Height of the Storm

OUTSTANDING COSTUME DESIGN

(Play or Musical)

Vanessa Leuck, Emojiland

Jeff Mahshie, Bob & Carol & Ted & Alice

Mark Thompson, Tina: The Tina Turner Musical

Rachel Townsend & Jessica Jahn, The Confession of Lily Dare

Catherine Zuber, Moulin Rouge!

OUTSTANDING LIGHTING DESIGN

(Play or Musical)

Isabella Byrd, Heroes of the Fourth Turning

Heather Gilbert, The Sound Inside

Justin Townsend, Moulin Rouge!

Hugh Vanstone, A Christmas Carol

Hugh Vanstone, The Height of the Storm

OUTSTANDING PROJECTION DESIGN

(Play or Musical)

Luke Halls, West Side Story

Brad Peterson, Broadway Bounty Hunter

Lisa Renkel and Possible Productions, Emojiland

Aaron Rhyne, The Sound Inside

Hannah Wasileski, Fires in the Mirror

OUTSTANDING SOUND DESIGN

(Play or Musical)

Simon Baker, A Christmas Carol

Mikhail Fiksel, Dana H.

Peter Hylenski, Moulin Rouge!

Lee Kinney and Sanae Yamada, Is This A Room

Daniel Kluger, The Sound Inside

Productions with Multiple Honors

11: Moulin Rouge!

8: Jagged Little Pill

7: The Secret Life of Bees, The Sound Inside

5: The Inheritance, The Height of the Storm, A Strange Loop, Tina: The Tina Turner Musical, West Side Story

4: A Christmas Carol, Little Shop of Horrors, Seared, Soft Power, The Wrong Man

3: Greater Clements, Fires in the Mirror

2: Betrayal, The Confession of Lily Dare, Dana H., Darling Grenadine, Grand Horizons, Halfway Bitches Go Straight to Heaven, Heroes of the Fourth Turning, Linda Vista, Octet, Romeo and Bernadette, The Unsinkable Molly Brown

Artists with Multiple Honors:

David Henry Hwang (Soft Power book and score)

Michael R. Jackson (A Strange Loop book and score)

Hugh Vanstone (lighting for A Christmas Carol and The Height of the Storm)

Bess Wohl (Grand Horizons, Make Believe)

…

Outer Critics Circle 2020 Honorees (not nominees) Below is the complete list of the  70th Annual Outer Critics Circle Awards Honorees. This year all the shows and artists listed  in each of the 27 categories are winners.

[notyourgrammasgramma]

Strangely Compelling Film

Wakefield is a tour de force for Brian Cranston and a nice turn by Jennifer Garner as his more than attractive and competent  wife.  Howard Wakefield is an accomplished and established working stiff.  He is a success at work and almost invisible at home.  He solves that problem by actually becoming invisible at home.  One night, after his commuter train stalls, he hides out in the attic where he can actually view his family and neighbors without being seen himself.(Remarkable achievement when you think about it...)  He somehow survives more than one night and then more than one week and then more than one month...A crucial element--his best friend and his wife’s former suiter is the turning point for Wakefield in the beginning and at the end of the film.  I had second thoughts about actually watching this movie even when I had the disc in hand but I am so glad we did.  Brian Cranston is a masterful dramatic actor.  His skills are revealed and watch him reveal them we did.  And watch.  And watch.  What skill would he pull out of his actor’s bag next.  The repertoir was endless and marvelous.  Bravo Brian.  The story and the plot, though, extremely improbable.  Part of the fun, actually.