
Off-Broadway's Bold Voices Take Center Stage At The Lucille Lortel Awards
Andrew Scott. His show, Vanya, won a Lucille Lortel Award for Outstanding Solo Show
Since 1986, the Lucille Lortel Awards have been celebrating excellence in Off-Broadway theater. Named for visionary producer Lucille Lortel, who was called 'Queen of Off Broadway,' the awards honor her legacy.
In her seven-decade career, Lortel was known for nurturing new playwrights, actors, directors and designers. She bolstered talents like Adrienne Kennedy, Terrence McNally, David Mamet and Wendy Wasserstein. She presented productions of lesser-known plays by Tennessee Williams, Edward Albee and Ionesco. She took risks and championed daring new works that others would not champion. Producing over 500 productions, she gave artists a creative home.
Lortel's legacy was front and center at the 40th Annual Lucille Lortel Awards, where the Off-Broadway community gathered to honor this year's productions. Off-Broadway casts and creatives filled the theater at NYU Skirball Center to celebrate awards in 16 categories. 'Off Broadway has always been a home for bold voices, new ideas and fearless creativity,' said George Forbes, executive director of the Lucille Lortel Theatre.
Before the packed crowd, Casey York, president of the Off-Broadway League, offered her reflections on the state of Off-Broadway and the power it holds. 'By gathering here tonight, we are not just witnessing history,' said York, who is also managing director of Playwrights Horizons. 'We are hoping to shape it.'
While York reflected on challenges, she shared how vital it is to keep going—that performing, producing and supporting Off-Broadway requires courage. Especially now, when people and organizations are being threatened. 'I hope you continue to lean on each other, to step forward instead of retreating and to stand firm in your convictions. We need your vision, your persistence, your voice,' added York. 'Let's also reaffirm our commitment to building a community where differences are celebrated, empathy triumphs over division and creativity drives change.'
That sense of community was echoed by this year's nominees and presenters, who reflected on how Off-Broadway shaped their lives. 'Off-Broadway is where A Chorus Line started over 50 years ago with Michael Bennett and Joe Papp,' said Donna McKechnie, who was instrumental in the show's creation and originated the role of Cassie, inspired by her own life. 'Michael found a safe place to create under his vision with the luxury of time and Joe Papp as our champion.'
Lauren Patten, a nominee for the Lonely Few, shared her first Off-Broadway memory performing in Sarah DeLappe's exhilarating play, the Wolves. 'It was a very insular experience, learning how to be a soccer team together and electric,' said Patten. 'I remember buying Samuel French plays when I was a teenager and this was the first time I saw one with my name in it.'
Nominee Whitney White, who directed Bess Wohl's play Liberation, spoke about Off-Broadway's intimacy. 'Off-Broadway is so raw. It's easier to feel closer to the audience. It's about the performers and the people you touch and you can't get that anywhere else,' said White. Liberation actor Susannah Flood shared how Off-Broadway inspires connection and community. 'There is a lot of fear out there,' said the Lortel-nominated performer. 'People want a place to go to think about these topics and issues.'
The evening was also a moving tribute to the pioneers who paved the way. Throughout the night, special honors were presented to groundbreaking playwright Alice Childress, beloved producer and managing director, Carol Fishman, and New Federal Theatre, which was founded by Woodie King Jr. in 1970 to be a creative incubator for Black artists, amplifying stories of marginalized communities.
Since then, New Federal Theatre has produced hundreds of plays and helped launch the careers of countless artists, including Ruby Dee, Denzel Washington and Ruben Santiago-Hudson, who presented the lifetime achievement award to Woodie King Jr. and the theater's producing artistic director, Elizabeth Van Dyke. 'Woody provided a place where we could walk around and know that we belonged,' said Santiago-Hudson.
Childress, who passed away in 1994, was posthumously inducted into the Playwrights Sidewalk. Located in front of the Lucille Lortel Theatre, the walk of fame immortalizes Off Broadway's great playwrights by embossing their names into the sidewalk pavement.
Writing, performing and producing plays for four decades, Childress was the first African American woman to receive an Obie Award and devoted her life to the theater. (In fact, the latest production of her play, Wine in the Wilderness, presented by Classic Stage Company, was nominated for two Lortel awards this year, including Outstanding Revival.)
LaChanze, who performed in Childress' play Trouble In Mind and directed Wine in the Wilderness, presented the honor to the late playwright's niece, Dedrienne McKenzie and grandniece, Nicara McKenzie, who accepted on her behalf. 'Please continue to live in your power,' said Nicara McKenzie. 'Walk in your light. And speak to your originality—just like my great aunt Alice did.'
From left: Dedrienne McKenzie, Nicara McKenzie and LaChanze at the 40th Annual Lucille Lortel Awards
Helen J. Shen, a nominee for the Lonely Few
The cast and creatives from Here There Are Blueberries. The show won two awards, including ... More Outstanding Play and Outstanding Director
From left: Ruben Santiago-Hudson with New Federal Theatre's producing artistic director Elizabeth ... More Van Dyke and founder Woodie King, Jr.
The cast and creatives from Our Class, which won four awards, including Outstanding Revival.
Nominee Qween Jean, the costume designer for Liberation
Lea DeLaria with Alaska Thunderfuck, who starred in Drag: The Musical, which received six Lortel ... More nominations. The duo co-hosted with Kandi Burruss, Jay Ellis, Stephanie Nur, J. Harrison Ghee, Ilana Glazer and Maya Hawke
Co-host Ilana Glazer
The cast and director of Three Houses, which won Outstanding Musical
From left: Drew Elhamalawy, Rotana Tarabzouni, Nadina Hassan and Ali Louis Bourzgui. Some of the ... More cast members from We Live in Cairo nominated for Outstanding Ensemble, along with John El-Jor and Michael Khalid Karadsheh
Co-hosts Jay Ellis and Stephanie Nur. This summer they will star in Duke & Roya at the Lucille ... More Lortel Theatre
Michael Rishawn, who won Outstanding Featured Performer in a Play for Table 17
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Vogue
5 hours ago
- Vogue
All the Winners at the 2025 Drama Desk Awards
This Sunday, June 1, marked the 69th Annual Drama Desk Awards, celebrating the greatest shows, actors, and creative teams across Broadway, off-Broadway, and off-off-Broadway this season. Taking the stage at NYU Skirball, in downtown Manhattan, were the ceremony's hosts, Debra Messing and Tituss Burgess (the latter, due to return to Broadway for a six-week encore engagement in Cole Escole and Sam Pinkleton's Oh, Mary! this summer), as well as a heavy-hitting lineup of presenters, including Escola, Victoria Clark, Darren Criss, Brandon Victor Dixon, Andrew Durand, Tom Francis, Jonathan Groff, Sarah Hyland, Jeremy Jordan, Jinkx Monsoon, Bebe Neuwirth, Lily Rabe, Nicole Scherzinger, and Jennifer Simard. (Adding to the evening's star power? Performances by Joshua Henry—set to star in a Broadway revival of Ragtime this fall—Norm Lewis, Lesli Margherita, and the cast of Dead Outlaw.) So, who walked away with trophies? (And will we see any repeat winners at next weekend's Tony Awards?) See all the victors at this year's Drama Desk Awards—benefitting the Entertainment Community Fund—right here. Outstanding Play WINNER: Purpose, by Branden Jacobs-Jenkins Blood of the Lamb, by Arlene Hutton Deep Blue Sound, by Abe Koogler Grangeville, by Samuel D. Hunter John Proctor is the Villain, by Kimberly Belflower Liberation, by Bess Wohl Outstanding Musical WINNER: Maybe Happy Ending BOOP! The Musical Death Becomes Her Just in Time Music City Outstanding Revival of a Play WINNER: Eureka Day Garside's Career Home Wine in the Wilderness Yellow Face Outstanding Revival of a Musical WINNER: Gypsy Cats: 'The Jellicle Ball' Floyd Collins Once Upon a Mattress See What I Wanna See Sunset Blvd. Outstanding Lead Performance in a Play WINNER: Laura Donnelly, The Hills of California WINNER: Sarah Snook, The Picture of Dorian Gray Betsy Aidem, The Ask Patsy Ferran, A Streetcar Named Desire Danny J. Gomez, All of Me Doug Harris, Redeemed Patrick Keleher, Fatherland Louis McCartney, Stranger Things: The First Shadow Lily Rabe, Ghosts Jay O. Sanders, Henry IV (Theatre for a New Audience) Paul Sparks, Grangeville Olivia Washington, Wine in the Wilderness Outstanding Lead Performance in a Musical WINNER: Audra McDonald, Gypsy WINNER: Jasmine Amy Rogers, BOOP! The Musical
Yahoo
5 hours ago
- Yahoo
Patti Lupone apologizes for ‘disrespectful' comments made about fellow Broadway actors during New Yorker interview
Patti Lupone has issued an apology after making what she now describes as 'demeaning and disrespectful' comments about two fellow Broadway stars in an interview with the New Yorker last week. The 'Evita' star's apology comes after hundreds of performers from the Broadway and theater communities issued an open letter first published by Playbill and called for accountability in light of Lupone's 'deeply inappropriate and unacceptable public comments' about Broadway stars Kecia Lewis and Audra McDonald. In the interview, Lupone referred to Lewis as a 'b*tch' and said McDonald was 'not a friend,' prompting a wave of backlash against the notoriously thorny legend. Lupone had previously had public spats with both performers. 'I am deeply sorry for the words I used during The New Yorker interview, particularly about Kecia Lewis, which were demeaning and disrespectful,' Lupone wrote in a statement posted to her Instagram page Saturday. 'I regret my flippant and emotional responses during this interview, which were inappropriate, and I am devastated that my behavior has offended others and has run counter to what we hold dear in this community.' Lupone added that she hopes 'to have the chance to speak to' McDonald and Lewis personally to offer her 'sincere apologies.' The letter, which was issued to the American Theatre Wing and The Broadway League, also called upon the institutions to take action by not welcoming Lupone at 'industry events,' including the Tony Awards, which are presented by the two institutions. 'This language is not only degrading and misogynistic—it is a blatant act of racialized disrespect. It constitutes bullying. It constitutes harassment,' the letter stated. 'It is emblematic of the microaggressions and abuse that people in this industry have endured for far too long, too often without consequence.' The Tony Awards are set to take place June 8. In her apology on Saturday, Lupone wrote that she 'wholeheartedly' agreed with 'everything that was written' in the open letter. 'From middle school drama clubs to professional stages, theatre has always been about lifting each other up and welcoming those who feel they don't belong anywhere else,' Lupone wrote. 'I made a mistake, I take full responsibility for it, and I am committed to making this right. Our entire theatre community deserves better.' CNN has reached out to representatives for Lupone, Lewis and McDonald for comment. In the New Yorker interview, Lupone was asked about an incident that happened last year when Lewis posted a video to her Instagram page asking for an apology from Lupone after she had called 'Hell's Kitchen,' the stage production in which Lewis stars, 'too loud.' She said Lupone, who was at the time starring in 'The Roommate' in the theater next to 'Hell's Kitchen,' had requested that the latter's sound department make adjustments. In Lewis' video, she called herself and Lupone veterans in the industry and said Lupone's actions were 'offensive' and 'racially microaggressive.' When asked about the incident by the New Yorker, Lupone responded: 'Don't call yourself a vet, b*tch.' 'This is not unusual on Broadway. This happens all the time when walls are shared,' she added. Lupone also reacted to McDonald showing support for Lewis in the comments section of the video, telling the New Yorker she thought 'that's typical of Audra.' 'She's not a friend,' she said. McDonald was asked about Lupone's comments on 'CBS This Morning' on Thursday, but seemingly took the high road. 'If there's a rift between us, I don't know what it is,' she said. 'That's something that you'd have to ask Patti about.'


Los Angeles Times
10 hours ago
- Los Angeles Times
Broadway star Patti LuPone apologizes for ‘demeaning' and ‘disrespectful' comments
Twenty-five years ago, on a warm summer night in Los Angeles, Broadway stars Patti LuPone and Audra McDonald closed a show at the Hollywood Bowl with back-to-back encores of 'Get Happy'/'Happy Days Are Here Again.' Today, those happy days appear to be over for the two Tony Award winners. In a May 26 interview with the New Yorker, LuPone ignited a firestorm when she referred to McDonald as 'not a friend' and refused to comment on McDonald's celebrated performance in 'Gypsy.' (McDonald is nominated for a 2025 Tony Award in the category best actress in a leading role in a musical — its her 11th nomination.) LuPone also referred to Tony winner Kecia Lewis, who, like McDonald, is Black, as a 'bitch.' Speaking with Gayle King in a 'CBS Mornings' clip, McDonald sounded surprised by LuPone's comments. 'If there's a rift between us, I don't know what it is,' she said. 'That's something that you'd have to ask Patti about. I haven't seen her in about 11 years, just because I've been busy, just with life and stuff. I don't know what rift she's talking about. You'd have to ask her.' (A full interview is set to air this week, according to a 'CBS Mornings' Instagram post.) Following public backlash, however, LuPone did something she rarely does. The outspoken diva apologized. But that was not without some stage direction. In an open letter from her colleagues in the theater community dated May 30, more than 500 actors, including Tony-winning actors Wendell Pierce, James Monroe Iglehart and Maleah Joi Moon, called LuPone's language 'racialized disrespect,' 'bullying' and 'harassment.' They asked the American Theatre Wing and Broadway League to discourage those who disparage fellow artists, including LuPone, from attending industry events 'including the Tony Awards, fundraisers, and public programs.' (The 2025 Tony Awards are scheduled for June 8 in New York, and will air on CBS and stream on Paramount+.) On Saturday, LuPone responded to the criticism in a statement on her Instagram account: 'I am deeply sorry for the words I used during The New Yorker interview, particularly about Kecia Lewis, which were demeaning and disrespectful. I regret my flippant and emotional responses during this interview, which were inappropriate, and I am devastated that my behavior has offended others ...' She went on to write that she hopes to speak to McDonald and Lewis in person. LuPone is well-versed in calling people out herself, particularly audience members who text during her theater performances. Last year, she even complained about noise from the Alicia Keys musical 'Hell's Kitchen' when she was performing in 'The Roommate' with Mia Farrow next door. After LuPone asked the theater owner to fix the sound because she found it to be too loud, Lewis took offense and posted a video on Instagram, describing LuPone's actions as 'bullying,' 'racially microaggressive' and 'rude and rooted in privilege.' She also noted that 'calling a Black show loud dismisses it.' Last year, Lewis won a Grammy for best musical theater album and a Tony in the category best performance by an actress in a featured role in a musical for 'Hell's Kitchen.' Although flippant, LuPone's words only serve to hurt everyone during a turbulent time for the arts in America, the open letter said. 'Our industry is under threat. The arts are being defunded, theater programs are disappearing, and artists are being pushed to the margins. We need each other now more than ever. We need community. We need leadership. And we need accountability.' Humbled, LuPone agreed. 'I wholeheartedly agree with everything that was written in the open letter shared yesterday,' she wrote. 'From middle school drama clubs to professional stages, theatre has always been about lifting each other up and welcoming those who feel they don't belong anywhere else. I made a mistake, and I take full responsibility for it, and I am committed to making this right. Our entire theater community deserves better.'