pulitzer prize for drama

In the year 2009, a musical came to life that changed the way we view theatre. It was a very witty, and yet very serious take on the way mental illness can affect not just one person, but an entire family. That show was called Next to Normal, and it was the eighth musical ever to win a Pulitzer Prize for Drama. It did not win Best Musical at the Tony Awards. That show has been very important to me throughout a large portion of my life, and I have always been slightly hurt that it did not receive the award. I truly believe that it was so groundbreaking, the community at large was not prepared for such a show. Fast forward to 2015, and a new show opens. It is called Dear Evan Hansen. Being that they are both directed by Michael Greif, of course I had high hopes. It went beyond anything I could’ve expected. This was the first time that a show, to me, ever compared to Next to Normal. Tonight, I had to honor to see Ben Platt win best actor for this musical. I have also seen Dear Evan Hansen win best musical at the Tony Awards. A lot of people may not understand why this is so significant for me, and I have trouble explaining it myself. The Broadway community has always done so much for me, and has been the place where I can fit in. Dear Evan Hansen winning tonight brings so much joy to my heart, and I feel like the community has come a long way since 2009. You will be found.

why you need to watch next to normal

next to normal is a rock musical about a woman with bipolar disorder and how it and her attempts to heal affect her and her family. other themes in this musical include: learning how to grieve and cope with a loss, suicide, drug abuse, undiagnosed mental illness, doubting reality, and the ethics in modern psychiatry

and here’s why next to normal is so special, without giving away any spoilers:

  • it treats mental illnesses with respect and it doesn’t dance around anything. she is bipolar and that’s what the show is about
  • her family members all also have their own issues and each of them learn how to start healing and ask for/accept help and not cut themselves off from each other and that admitting you have a mental illness is not by any means a sign of weakness
  • her psychiatrist is not a villain. he’s just a doctor trying his best to help her with the methods available. an actual quote the psychiatrist says about the main character’s bipolar disorder: “you have a chronic illness. like diabetes or hypertension, if you leave it untreated, it could be catastrophic.”
  • it won the pulitzer prize for drama and is only eighth musical to ever do so (winners average out to one musical per decade; the last winner was rent back in 1996. was next to normal the best musical of the 2000’s? who’s to say)
  • this show is brutal and intense and deals with a lot of dark stuff and if you can’t handle the themes mentioned up above please do not watch it (but it’s also very funny and just. real. if you have a mental illness or disorder there’ll be a lot of moments where you’re like “same”)

here’s where you can watch next to normal. prepare to be fucked up

Happy Birthday to playwright, screenwriter and novelist Suzan-Lori Parks!
Born: May 10, 1963 (age 54 years), Fort Knox, KY
Suzan-Lori Parks was encouraged by author James Baldwin to become a playwright, later penning award-winning works like “Venus.” She won the Pulitzer Prize for Drama—becoming the first female African-American writer to do so—in 2002, for “Topdog/Underdog.” A novelist and screenwriter as well, Parks has also helmed the innovative “365 Days/365 Plays” and a re-launch of “Porgy and Bess.”

Editing Drinking Game:

Editing a first draft can be horrifying. So let’s dull the pain with a good ol’ drinking game!

Originally posted by televandalist

1. Drink every time you use the same word too many times in one sentence. 

His hand gripped the handyman’s hand, which was a warm hand, a firm hand, a sensuous hand, the king hand of all the hands – and to be honest a bit of a handsy handful of a hand.

2. Drink when you’ve forgotten what a period is and find a sentence that runs on into infinity and beyond.

3. Drink every time you’re required to hold down the backspace button for longer than it takes to top off your drink of choice.

4. Drink every time you use several adjectives/adverbs that mean the same thing to describe a single thing. 

He was beautifully gorgeous in a pretty kind of way.

5. Drink when you discover a metaphor you may have already used in several other stories, but it sounds soooo artsy fartsy and sooooo smart you wonder if any readers will notice if you reuse and recycle a perfectly good piece of religious symbolism.

6. Drink every time you need to open dictionary.com because you’re not quite sure you used that word correctly. Does the word ‘dog’ really mean what you think it does??

7. Drink every time you use the wrong tense. 

“This sucks,” she said. Then she climbs the tree and grabs a coconut. She had thrown it at the robot’s head.

8. Drink when you find an all too convenient plot device. 

Protagonist finds a pot of gold at the end of the rainbow to pay off all her debts just as she was considering filing for bankruptcy!

9. Drink every time you’ve clearly abused the use of commas and dashes. 

And, then, she ran – into the blissfully dark night, the shadows enveloping her – but, then, she tripped. She tripped over her own feet – what a clumsy thing she was – and then, a rock – fuck, that hurt – a dog – sorry dog –, a pothole – when would they fix that goddamn, awful thing, dang it – and the gruesome, yet blissful, tragic, grief that weighed down her soul,,,.

10. Drink every time your writing makes you cringe with embarrassment and you begin to wonder whether this pile of nonsense can ever become a half coherent plot.

Congratulations! You are now drunk and everything you write sounds like Pulitzer Prize winning material! You are an editing boss!

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James Earl Jones, Mary Alice, & Courtney B. Vance in August Wilson’s 1987 Broadway play ‘Fences’

Synopsis: Set in 1950s Pittsburgh, the drama follows Troy Maxson, a former baseball player in the Negro Leagues, now reduced to collecting trash. Troy must deal with his headstrong football-player son, who has a chance to go so much further than he did; and with his wife, who reevaluates their marriage when Troy comes home with the baby he fathered with another woman. Winner of the 1985 Pulitzer Prize for drama.

Original Run: March 26, 1987 - June 26, 1988, 46th Street Theatre (Broadway)

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Want to Catch ‘Hamilton’? Try the Central Park Softball Fields (NYT):

No, you do not need tickets and no, sadly, Lin-Manuel Miranda, who created and stars in the musical, does not play.

But other performers do, including Christopher Jackson, who plays George Washington onstage and third base on the ball field.

He bats cleanup, right after Anthony Ramos, an outfielder, who in the Broadway production plays John Laurens as well as Alexander Hamilton’s son Philip.

The team’s left-fielder and fleet-footed leadoff batter is Ephraim Sykes, who is part of the ensemble, and also plays George Eacker.

Alysha Deslorieux, a standby performer for the roles of the Schuyler sisters, starts at second base and brings the team mascot to the games: Max, her dachshund-poodle mix.

They play in the Broadway Show League, where teams are made up of the cast, crew, musicians, ushers and other theater employees from different productions.

The notoriously sold out “Hamilton,” which is nominated for a record 16 Tony Awards this year, is also mopping up on the field.

Five games into the season they are undefeated. All of the victories have been decisive, if not blowouts.

They shut out the team from “Beautiful” by a score of 5-0, beat “Kinky Boots” and “Phantom of the Opera” by seven runs each, and blew out the combined team from “Fiddler on the Roof” and “Finding Neverland,” 19 to 0.

On Thursday, they routed “Les Misérables” by 10 runs, putting them at 5-0 and at the top of the standings with “Matilda.”

“Hey, we’re ‘Hamilton,’ we try to win everything,” said the team’s co-manager Sandy Paradise, poking fun at the show’s seemingly boundless success, which also includes Drama Desk awards and the Pulitzer Prize for drama.

Ms. Paradise, who operates the spotlight onstage, was penciling in the starting lineup before Thursday’s game, on Field 2, near the Central Park carousel.

She gathered the players and pointed across the infield at their opponents from “Les Misérables” — like “Hamilton,” a revolution-themed musical — and urged her players to kick some “French Revolutionary” posterior.

She led the pregame shout — “To the Revolution!” — and it was time to play ball.

The performers, who on the stage wear period costumes like frock coats and ornate dresses, take the field wearing black-and-yellow uniforms with the show’s name. The caps bear the “Hamilton” logo and the phrase, “Raise a Bat to Freedom,” a variant of a line from the song “The Story of Tonight” in the musical.

“There is still so much buzz around our show, and it translates onto the field,” said Chris Robinson, who operates the light board for the show, and is a utility player on the team.

While some teams have trouble fielding a full squad, more than 50 cast and crew members signed up for the “Hamilton” team, creating a roster “as big as the Bible,” said the team’s other co-manager, Angelo Gonzalez, who played first base on Thursday.

As the doorman at the stage door, Mr. Gonzalez makes sure things go smoothly when the cast exits to the swarms of fans awaiting them nightly.

While it’s fabulous to be in a show that has taken the theater world by storm, “the problem is, everyone expects us to win,” said Sean Quinn, the theater’s chief engineer and one of the team’s pitchers.

more fun photos in the article – also a nice shout-out to fans. (check out more about the Broadway Show League or watch Angelo the Stage Door Guy’s ham4ham performance!)

I’ll Cover You-Rent {S.M}

imagine two from broadway series// imagine based off of I’ll Cover You from Rent, the 1996 Tony award for best musical and Pulitzer Prize for Drama winner! 

author’s note// I LOVE THIS SONG AND THIS MUSICAL SO MUCH OH MY GOSH PLEASE GO WATCH THE MOVIE ON NETFLIX EVEN THO THE BROADWAY SHOW IS BETTER!!!!!!

broadway series masterlist || regular masterlist

“Let’s go for a walk.” You skipped into the living room of Shawn’s. He was drinking coffee out of your mug that said “No day but today” in black calligraphy. “After you finish drinking coffee from my mug.” You scurried over to the couch, wrapping your arms around his shoulders, giving him a quick peck on the cheek. 

“The mug I got you.” Shawn shot back turning his head around and kissing you on the cheek. You let out a small laugh, resting your head in the crook of his neck. 

“Yes, yes that one. Now can we go for a walk.” You kissed his neck just a little bit. “The weather is nice and I wanna. It’ll be fun.” You murmur. He sighed, placing his coffee cup on the coffee table. 

“Y/n, I let you live in my house in New York…” He groans jokingly rolling his head back, his brown eyes looking deep into yours. 

“I pay you back with thousands of kisses.” Your hands held onto his face, feeling the stubble on his chin. A thin smile spread across his face. 

“Well, I am not arguing about that.” He mumbled, lifting his head up a little to meet your lips. It was an awkward position, honestly. It was kinda weird, since you were basically kissing one another upside down. 

“Come on, lover, let’s go.” You laughed a little, squeezing his shoulders and walking around the back of the couch to Shawn. He was picking up his coffee again, obviously not planning on getting up and doing on a walk with you. “Come on.” You grabbed the coffee mug out of his hand and placed it back on the coaster, and the grabbed both of his arms attempting to pull him up. “Babe.” You groaned louder, not able to lift up his body that was much taller and much more built than yours. When you were about to let go, Shawn grabbed onto your wrists and pulled you into his lap, so that you were straddling him, your knees on either side of him. 

“Or we could stay here.” His hands move from your wrists to your waist, his lips pressing against your neck lightly. 

“I wanna take a walk.” You pulled your neck away, and put your hands on his chest. You were leaning back, and if Shawn’s arms weren’t firmly wrapped around your hips you would fall back onto the dark wooden coffee table. 

“I know.” He grumbled, lifting your hips up only slightly so you slid off of his lap and onto the couch. He stood up and ran his palms over his jeans, fixing the collar of his grey sweater. He turned back for a moment, looking at you with a small smile. “Well, are you coming?” You smile huge and bit your bottom lip as you hopped up. You ran over to the front door of Shawn’s apartment and grabbed your brown boots that were by the door. You slid them on your feet as Shawn’s hands slid onto your waistline. 

“You are gonna have to pay me with more kisses, babe.” His lips find his favorite spot on your neck again. 

“Eh, well I most certainly have plenty of those to spare.” You turned your head, hurting your neck just a little as you press your lips to his only for a few seconds. “Okay, let’s go!” You exclaimed, grabbing Shawn’s hand and intertwining your fingers with his as you basically dragged him out of the front door of the apartment, making your way down the hallway of the building and stepping into the elevator. 

“Yanno, I love you.” Shawn looked at you, giving you a firm squeeze with his fingers. “Like, a whole lot.” You looked over at him, your eyes meeting his. He looked so sincere and as if he was desperate for you to know that he was so in love with you. He possibly was. 

“I love you too, darling.” You leaned over to kiss his cheek, but his head quickly turned so your lips met. 

“Hey!” You squealed a little, hitting his arm just a little. He let out a light chuckle. 

“Just receiving my payment, my love.” 

author’s note// this was short but yanno, i liked it. didn’t need to be long! it is cute and i am happy with it!!!!! plus this series is basically my life okay love you guYz

anonymous asked:

Hamham

Hamilton: An American Musical is a sung-through musical about the life of American Founding Father Alexander Hamilton, with music, lyrics and book by Lin-Manuel Miranda.[1] The show, inspired by the 2004 biography Alexander Hamilton by historian Ron Chernow, achieved both critical acclaim and box office success.

The musical made its Off-Broadway debut at The Public Theater in February 2015, where its engagement was sold out.[2] The show transferred to Broadway in August 2015 at the Richard Rodgers Theatre. On Broadway, it received enthusiastic critical reception and unprecedented advance box office sales.[3] In 2016, Hamilton received a record-setting 16 Tony nominations, winning 11, including Best Musical, and was also the recipient of the 2016 Grammy Award for Best Musical Theater Album and the 2016 Pulitzer Prize for Drama. The prior off-Broadway production of Hamilton won the 2015 Drama Desk Award for Outstanding Musical as well as seven other Drama Desk Awards out of 14 total nominated categories.

The Chicago production of Hamilton opened at the PrivateBank Theatre in September 2016.[4] The first U.S. national tour of the show began performances in March 2017.[5] A production of Hamilton will open in the West End in November 2017 at the Victoria Palace Theatre.[6] A second U.S. tour is also set to begin performances in early 2018.[7]

On February 14, 2017, Miranda confirmed that a film adaptation based on the musical is in the works.

4

TODAY IN THEATRE HISTORY: In 1984, Stephen Sondheim and James Lapine spend Sunday in the Park with George as their new musical opens on Broadway at the Booth Theatre. The show, which brings the famous George Seurat painting to life, stars Mandy Patinkin and Bernadette Peters. It will go on to run for 604 performances, and win the Pulitzer Prize for Drama.

For more on the original Broadway production of Sunday in the Park with George, including a look inside an original Playbill from the show, visit PlaybillVault.com.

buzzfeed.com
"Hamilton" The Musical Just Won A Pulitzer Prize For Lin-Manuel Miranda
Passionately smashing every expectation.
By David Mack

Cementing his place in American theater history, Lin-Manuel Miranda was announced Monday as the winner of the 2016 Pulitzer Prize for Drama for his smash hit musical Hamilton.

The 36-year-old joins a list of celebrated American playwrights to have won the prestigious award that includes Tennessee Williams, Eugene O’Neill, Thornton Wilder, Tony Kushner, and Sam Shepard.

The 50 Most Nominated Shows in Tonys History (2016 Edition)

An update of this post from last year!

The following list takes into account every production of any piece that received any nomination from the Tony Awards. Keep in mind that several shows tie with others. Also, if there’s any confusion, they are ranked by nomination count, THEN win count. Obviously a show with fifteen nominations and twelve wins is more decorated than a show with fifteen nominations and six. 

01. Gypsy - 28 nominations, 6 wins (musical)
02. Cabaret - 27 nominations, 12 wins (musical)
03. The King and I - 25 nominations, 14 wins (musical)
04. La Cage aux Folles - 24 nominations, 11 wins (musical)
05. Follies - 24 nominations, 8 wins (musical)
06. Long Day’s Journey Into Night - 24 nominations, 7 wins (play)
07. South Pacific - 22 nominations, 18 wins (musical)
08. She Loves Me - 22 nominations, 3 wins (musical)
09. Death of a Salesman - 21 nominations, 13 wins (play)
10. Fiddler on the Roof - 21 nominations, 10 wins (musical)
11. How to Succeed in Business Without Really Trying - 20 nominations, 9 wins (musical)
11. Pippin - 20 nominations, 9 wins (musical)
13. Nine - 20 nominations, 7 wins (musical)
14. Into the Woods - 20 nominations, 5 wins (musical)
15. Sweeney Todd: The Demon Barber of Fleet Street - 19 nominations, 10 wins (musical)
16. Guys and Dolls - 19 nominations, 9 wins (musical)
16. Who’s Afraid of Virginia Woolf? - 19 nominations, 9 wins (play)
18. Anything Goes - 19 nominations, 6 wins (musical)
18. Chicago - 19 nominations, 6 wins (musical)
20. A View from the Bridge - 19 nominations, 5 wins (play)
21. Ragtime - 19 nominations, 4 wins (musical)
22. Sunday in the Park with George - 19 nominations, 2 wins (musical)
23. Candide - 18 nominations, 6 wins (musical)
23. Company - 18 nominations, 6 wins (musical)
23. The Music Man - 18 nominations, 6 wins (musical)
26. Kiss Me, Kate - 17 nominations, 10 wins (musical)
27. Sweet Charity - 17 nominations, 5 wins (musical)
28. 42nd Street - 17 nominations, 4 wins (musical)
29. Little Me - 17 nominations, 2 wins (musical)
30. Hamilton - 16 nominations, 11 wins (musical)*
31. Fences - 16 nominations, 7 wins (play)
31. A Little Night Music - 16 nominations, 7 wins (musical)
31. A Moon for the Misbegotten - 16 nominations, 7 wins (play)
34. The Mystery of Edwin Drood - 16 nominations, 5 wins (musical)
35. The Producers - 15 nominations, 12 wins (musical)*
36. Billy Elliot - 15 nominations, 10 wins (musical)*
36. A Chorus Line - 15 nominations, 10 wins (musical)
38. A Funny Thing Happened on the Way to the Forum - 15 nominations, 9 wins (musical)
39. Les Misérables - 15 nominations, 8 wins (musical)  
40. The Color Purple - 15 nominations, 3 wins (musical)
40. West Side Story - 15 nominations, 3 wins (musical)
42. Much Ado About Nothing - 15 nominations, 1 win (play)
43. The Book of Mormon - 14 nominations, 9 wins (musical)*
44. Spring Awakening - 14 nominations, 8 wins (musical)
45. Evita - 14 nominations, 7 wins (musical)
46. Dreamgirls - 14 nominations, 6 wins (musical)
47. On the Twentieth Century - 14 nominations, 5 wins (musical)
48. Monty Python’s Spamalot - 14 nominations, 3 wins (musical)*
49. Pacific Overtures - 14 nominations, 2 wins (musical)
50. Hello, Dolly! - 13 nominations, 10 wins (musical)

Some stray observations and statistics:

  • Obviously, the vast majority are musicals - 7 plays to 43 musicals. It’s a bit unfair, considering musicals actively compete in several more categories than plays do - score, book, choreography, orchestrations. Plays can technically be nominated for score and choreography, as we’ve seen in recent years, but it happens very infrequently. 
  • As of this year, with its seven new nominations and two new wins, Eugene O’Neill’s Long Day’s Journey Into Night becomes the most decorated play in Tonys history, usurping Arthur Miller’s Death of a Salesman
  • Any show marked with an asterisk (*) indicates that the nomination/win count comes exclusively from their original production–their one and only Tonys rodeo. 
  • Of the musicals on the list, 26 won Best Musical. Of the plays, 4 won Best Play. It’s worth noting that one of the remaining plays, Much Ado About Nothing, has never been eligible for Best Play. 
  • Stephen Sondheim has his name on 11 of the 50 shows: Gypsy (1), Follies (5), Into the Woods (14), Sweeney Todd (15), Sunday in the Park with George (22), Candide (23), Company (23), A Little Night Music (31), A Funny Thing Happened on the Way to the Forum (38), West Side Story (40), and Pacific Overtures (49). 
  • Additionally, Cy Coleman has 3 titles on the list. Leonard Bernstein, Jerry Bock, Fred Ebb, Oscar Hammerstein II, Sheldon Harnick, Jerry Herman, John Kander, Frank Loesser, Arthur Miller, Eugene O’Neill, Cole Porter, Richard Rodgers all have 2. Sondheim, Kander, and Ebb are the only authors with more than one title in the top ten. 
  • Since last year, four titles left the list and were replaced by three. Due to my own discrepancy, last year’s list actually had 51 titles on it. Additionally, I miscounted South Pacific’s total haul. The shows we said goodbye to were Big River, Damn Yankees, Hairspray, and My Fair Lady. In their place came Hamilton, The Color Purple, and Spring Awakening
  • Eight titles on the list won the Pulitzer Prize for Drama: Long Day’s Journey Into Night (1957), South Pacific (1950), Death of a Salesman (1949), How to Succeed in Business Without Really Trying (1962), Sunday in the Park with George (1985), Hamilton (2016), Fences (1987), and A Chorus Line (1976).
Lin’s won a Pulitzer Prize, Been nominated for two Drama League awards, Help Hamilton stay on the $10 bill and was just named one of Time’s 100 Most Influential people... That’s just this week people!

And I’ve literally been sitting on my rump all week

rollingstone.com
Lin-Manuel Miranda's 'Hamilton' Wins Pulitzer Prize for Drama
Broadway smash becomes ninth musical to win prestigious award.

Great to see a Puerto Rican win this award, and for such an incredible work!

“The Pulitzer is the latest of countless awards Hamilton and Miranda have won this season. The musical won the 2016 Grammy Award for Best Musical Theater Album. Miranda, Hamilton’s 35-year-old composer, also became the recipient of the 2015 MacArthur “Genius” Award. The musical has grossed more than $60 million at the box office and has been sold out for months, according to Fortune.“

Originally posted by iguessijustlikelikingthings

next to normal

the show: a woman with bipolar disorder struggles with different treatment methods as her family members (with their own undiagnosed mental illnesses) and psychiatrist (who is not presented as evil but instead as a doctor just trying his best) support her. won the pulitzer prize for drama. nominated for eleven tonys. considered by many mentally ill and disabled people to be an incredibly important and powerful piece of representation

the fandom: aaron tveit poledances and wears a tight t shirt and is So Sexy!!!!! watch it because aaron tveit is sexy!!!!! what is a bipolar

8

TODAY IN THEATRE HISTORY: In 2009, Alice Ripley plays a suburban woman battling mental illness in Tom Kitt and Brian Yorkey’s musical, Next to Normal, which opens on Broadway at the Booth Theatre. Directed by Michael Greif, the cast also includes J. Robert Spencer, Aaron Tveit and Jennifer Damiano. Ripley will win a Tony Award for her performance, and the musical will win the Pulitzer Prize for Drama.

For more on Next to Normal, including production photos and a look inside the show’s opening night Playbill, visit PlaybillVault.com.

The fact remains that Tony voters, like myself, are being asked to reward a community that has continually denied us access to the stage. For years, Broadway has operated with a built-in bias that un-self-consciously excludes the voices of writers based on race and gender.

In a year in which the Pulitzer Prize for drama was awarded to Annie Baker for “The Flick,” and the finalists, Lisa Kron, Jeanine Tesori and Madeleine George, were all women, it is absolutely appalling that Broadway remains such a segregated and closed community. It is dispiriting and quite frankly infuriating for those us who participate in the voting process.

It sometimes feels as if we’re being asked to assemble a guest list for a party to which we’re not invited.