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From left,&nbsp;<em>Mississippi Goddamn</em>&nbsp;director vickie washington, actor Tyrees Allen and playwright Jonathan Norton

Jonathan Norton and Samuel D. Hunter are Steinberg Finalists

Two plays that originated in Dallas, Mississippi Goddamn and Clarkston, are finalists for the Harold and Mimi Steinberg/ATCA New Play Award.



published Friday, March 11, 2016

Photo: Danielle Deraleau/TheaterJones
Jonathan Norton's Mississippi Goddamn at the South Dallas Cultural Center

 

Two plays that premiered in Dallas in 2015, Jonathan Norton's Mississippi Goddamn and Samuel D. Hunter's Clarkston, are among the six finalists for the Harold and Mimi Steinberg/ATCA New Play Award, which is selected by the American Theatre Critics Association. The winners will be announced in the final weekend of the Humana Festival of New American Plays at the Actor's Theatre of Louisville, on April 9.

The winner will receive $25,000; and two runners-up get $7,500 each. There will also be a winner of the M. Elizabeth Osborn Award, which acknowledges an emerging playwright who hasn't had New York or major regional productions yet. Playwrights eligible for the Osborn include names that didn't make the final six.

Those two titles were among 28 plays and musicals recommended for the award by members of the American Theatre Critics Association. Eligible plays did not premiere in New York, and they can't have had a full production in New York in the nomination year. Also, the original production had to be professional.

A committee of 19 critics from around the country, including TheaterJones' Mark Lowry, read the plays and spent weeks debating them, narrowing the field down to six finalists.

Mississippi Goddamn, which focuses on a black family living on the same street as Civil Rights activist Medgar Evers in 1963 in Jackson, Miss., premiered at the South Dallas Cultural Center in February 2015. It received several notices from the Dallas-Fort Worth Theater Critics Forum, including Best New Play, and made several critics' year-end lists. Here's our original interview with Norton about the play, and our review of the production. It was directed by vickie washington. Norton is also one of three local playwrights who have been commissioned for new work by the Dallas Theater Center.

Clarkston premiered at the Dallas Theater Center in the Wyly Theater Sixth Floor Studio in December 2015. Samuel D. Hunter is a MacArthur Genius winner whose plays include The Whale and A Bright New Boise. A companion piece to Clarkston, called Lewiston, premieres at Connecticut's Long Wharf Theatre in April. Here's our interview with Hunter, and our review of Clarkston. Davis McCallum directed.

 

Below is the press release with more about the six finalists and the Steinberg award, which you can also see on ATCA's website.


Photo: Robert Hart/TheaterJones
Samuel D. Hunter

ATCA has selected six finalists for the Harold and Mimi Steinberg/American Theatre Critics Association New Play Award, recognizing playwrights for the best scripts that premiered professionally outside New York City during 2015.

The top award of $25,000 and two citations of $7,500 each, plus commemorative plaques, will be presented April 9 at Actors Theatre of Louisville during the Humana Festival of New American Plays. At $40,000, Steinberg/ATCA is the largest national new play award program of its kind.

 

This year’s finalists, in alphabetical order, are:

Steven Dietz, Bloomsday 

Samuel D. HunterClarkston

Qui NguyenVietgone

Jonathan NortonMississippi Goddamn

Lynn NottageSweat

Jen SilvermanThe Dangerous House of Pretty Mbane


In 1977, ATCA began to honor new plays produced at regional theaters outside New York City, where there are many awards. No play is eligible if it has gone on to a New York production within the award year. Since 2000, the award has been generously funded by the Harold and Mimi Steinberg Charitable Trust. 

Steven Dietz, Bloomsday – “Tender, beautiful, and heartbreaking,” said one panelist about Dietz’s tale of four—well, actually two—characters meeting on the streets of Dublin. A brief encounter between Cathleen, a guide on a tour of locations from James Joyce’s Ulysses, and Robbie, an American who never read the book, is complicated and enhanced by visits from their 35-years-later selves. Yes, we’ve all seen what-might-have-been stories on stage, but in the words of other panelists, this “artful and elegant,” “lovely and thoughtful” play with its “slightly supernatural sparkle” had an ending that’s “a genuine epiphany.” Bloomsday received its world premiere at ACT Theatre in Seattle.

Samuel D. Hunter, Clarkston – “Deftly entwining a love story with a classic tale,” according to one panelist, Clarkston, set in a nondescript town in eastern Washington, “expresses the sorrows and yearnings of working class people who have heavy burdens and few options.” It’s about the bridging of a divide between a pair of Costco employees, one seriously ill. Although one is a distant relationship of Meriwether Lewis, these two are on very different journeys of discovery in this story that is “told simply with no razzmatazz, just quiet power and characters you care about,” a panelist commented. Clarkston had its world premiere at Dallas Theater Center.

Qui Nguyen, Vietgone  – “A sexy comedy about culture-shocked, grieving Vietnamese refugees who fled to the U.S. after the fall of Saigon? Where everyone is really speaking Vietnamese, but we’re hearing it as slangy, cheeky English? I marveled at what this playwright was bringing off,” commented one panelist about Vietgone, “a very entertaining, fresh tale that slyly reveals its darker contours.” Others noted that the play offers “a vivid, specific voice, a wonderful sense of humor and compelling stakes” and that Nguyen “does great things with fine sensibility, language and structure, along with the right mix of lunacy” in style that “is as fresh as the content.” Vietgone premiered at South Coast Repertory in Costa Mesa, Calif.

Photo: Robert Hart/TheaterJones
Jonathan Norton

Jonathan Norton, Mississippi Goddamn – Norton takes us to the house next door to Civil Rights leader Medgar Evers in this drama about a family making tough decisions in a tumultuous time. “He may have used Nina Simone’s song as his title, but the play’s content isn’t borrowed at all,” one panelist commented. Others added that the “fast-moving, dramatic, and revelatory” play with a “truly explosive, molten core” includes “nothing PC or sentimental.” The play has, according to another, “a raw quality that actually benefits the tense ‘desperate hours’ scenario of neighbors and families divided by the insidious pressures of racism.” Mississippi Goddamn premiered at the South Dallas Cultural Center.

Lynn Nottage, Sweat – Disappearing jobs impact a group of friends in a play that features “great storytelling” with “a rich gallery of characters” and “a compelling story arc,” according to panelists. In the great tradition of bar-set plays, “One could say ‘Sweat’ is about the ways the national economy is shifting away from manufacturing jobs. One could also say it’s about parents and children, about how skin color separates in ways we can’t/don’t often articulate, and about how business decisions made by unseen people in power can destroy lives.” It’s “an extraordinary play” that “grabs at the beginning and packs a wallop in the end.” Sweat premiered at the Oregon Shakespeare Festival.

Jen Silverman, The Dangerous House of Pretty Mbane – A soccer star is drawn back home in search of her lover, who runs a safe house for women, in this “smart, stunning, excellent” play. It is, according to one panelist, “an illuminating political play that uses memorable, flawed characters to tell a powerful and personal story.” Another added that the play is “an assured, fascinating window into the abuse of women in South Africa, but also much more – a lyrical love story, a probe of how media can help and hurt when drawing attention to violence, the conundrum of deciding whether to live in a foreign country where you can be safe and prosper or remain at your own peril in your tumultuous native land.” The Dangerous House of Pretty Mbane was first staged by Philadelphia’s InterAct Theatre.

These six finalists were selected from eligible scripts recommended by ATCA members from around the country. They were evaluated by a committee of theater critics, led by Lou Harry of the Indianapolis Business Journal/IBJ.com.

Other committee members are Kathleen Allen, freelance (Tucson, AZ); Misha Berson, Seattle Times; Bruce Burgun, freelance (New Orleans, LA.); Lindsay Christians, The Capital Times (Madison, WI); Evans Donnell, Nashvilleartscritic.com (Nashville, TN); Pam Harbaugh, BrevardCulture.com, florida.theatreonstage.com (Indialantic, FL); Michael P. Howley, theatremontgomery.blogspot.com (Montgomery, AL); Erin Keane, culture editor, Salon.com (Louisville, KY); Jerry Kraft, www.SeattleActor.com (Port Angeles, Wash.); Mark Lowry, TheaterJones.com and Fort Worth Star-Telegram (Dallas, TX); Julius Novick, veteran critic and professor (New York City); Kathryn Osenlund, CurtainUp, Phindie (Philadelphia); Wendy Parker, freelance (Midlothian, Va); Frank Rizzo, Variety (New Haven, CT); David Sheward,ArtsinNY.com, Theaterlife.com, CulturalWeekly.com (Jackson Heights, NY); Martha Wade Steketee, Howlround.com, TDF Stages, UrbanExcavations.com (New York, NY); Herb Simpson, artesmagazine.com, and totaltheater.com (Geneseo, N.Y.); and Perry Tannenbaum, Creative Loafing, CVNC.org, Charlotte, NC).

“It isn’t just a privilege, it’s an honor to have the opportunity to experience the work of these theater artists and to passionately debate with such learned colleagues,” said committee chair Lou Harry. “These are six plays the American theatre can take great pride in—plays that deserve long lives and multiple productions.”

Since the inception of ATCA’s New Play Award, honorees have included Lanford Wilson, Marsha Norman, August Wilson, Arthur Miller, Mac Wellman, Adrienne Kennedy, Donald Margulies, Moises Kaufman, Craig Lucas, and Robert Schenkkan. Last year’s honoree was Rebecca Gilman’s Luna Gale. For a full list of all of our winners and runners-up, go to www.americantheatrecritics.org and click on Steinberg-ATCA under Awards.

The Harold and Mimi Steinberg Charitable Trust was created in 1986 by Harold Steinberg on behalf of himself and his late wife. Pursuing its primary mission to support the American theater, it has provided grants totaling millions of dollars for new productions of American plays and educational programs for those who may not ordinarily experience live theater.

ATCA was founded in 1974 and works to raise critical standards and public awareness of critics’ functions and responsibilities. The only national association of professional theater critics, with several hundred members working for newspapers, magazines, radio and television stations and websites, ATCA is affiliated with the International Association of Theatre Critics, a UNESCO-affiliated organization that sponsors seminars and congresses worldwide.

ATCA also presents the M. Elizabeth Osborn Award, honoring emerging playwrights. It also administers the $10,000 Francesca Primus Prize, funded by the Francesca Ronnie Primus Foundation, honoring outstanding contributions to the American theater by female artists who have not yet achieved national prominence. Annually, ATCA makes a recommendation for the Regional Theatre Tony Award presented by the American Theatre Wing/Broadway League and votes on inductions into the Theater Hall of Fame. Thanks For Reading





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Jonathan Norton and Samuel D. Hunter are Steinberg Finalists
Two plays that originated in Dallas, Mississippi Goddamn and Clarkston, are finalists for the Harold and Mimi Steinberg/ATCA New Play Award.
by Mark Lowry

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