Cinder Edna returns to Olympia Family Theater

Olympia Family Theater brings back a local legend

by Alec Clayton

Published in the Weekly Volcano

from left: Justin Valdez as Prince Rupert and Mandy Ryle as Cinder Edna, photo by Alexis Sarah

Olympia Family Theater premiered Cinder Edna five years ago, almost to the day, and now they’re bringing it back with some revisions and a larger cast. A local actor not involved in either production called it a legend and wondered if it was too soon to bring it back. I think not. I think the time is just right.

Based on the children’s picture book by Ellen Jackson and adapted for the stage by local actor and writer Ted Ryle, with music by Ryle and Miriam Sterlin and arrangements by Mark Thome, Cinder Edna offers a wise modern version of the Cinderella story that, among other delightful twists, points out that marrying a prince might not be the best thing a young maiden can aspire to.

from left: Mark Alford as Prince Randolph and Mandy Ryle as Cinder Edna, photo by Alexis Sarah

Cinder Edna (Mandy Ryle) is Cinderella’s next-door neighbor. Both are poor step children who slave for their heartless step mothers (who, in this modernized version of the fairy tale spend all their time on their cell phones as do their other daughters). That’s where the similarity ends. Unlike her pitiful neighbor, Cinder Edna is a budding young entrepreneur who cooks delicious dishes and sells them, with the cooking and the sales transpiring behind her clueless step mother’s back. While Cinderella (Corissa DeVerse) wears her glass slipper’s and a beautiful gown to the Prince’s ball, transported in the magical pumpkin coach (a sweet nod to magical tradition), Cinder Edna wears a sensible dress and loafers and catches a bus to the ball.

And there are two princes, one for each of the Cinders. Prince Randolph (Mark Alford) is a narcissist in love with his image in the looking glass. Prince Rupert (Justin Valdez) is the practical brother who runs a recycling business.

The arrival of the pumpkin coach — in sections that are danced in by actors — is a magical moment that could rival any big-stage production even though it is simply painted cut cardboard.

There are lines that are hilarious because they are so true, such as when it is pointed out that the glass slipper is just a shoe that would easily fit at least a quarter of the women in the kingdom.

The ensemble cast is great. DeVerse was a great choice for Cinderella. She has an outstanding voice. Valdez is a likeable Prince Rupert. In an amazing range of roles from Johnny in American Idiot at Lakewood Playhouse to Kyle in OFT’s Fishnapped, Alford’s acting ability continues to amaze. He is captivating as Prince Randolph, but this prince is too one-dimensional for an actor of Alford’s statue, and his preening and looking-glass gazing becomes a little too often repeated by the middle of the second act. Other actors in supporting roles stand out, notably Jesse Morrow as Edna’s step sister and Jennifer Cariaso as the fairy godmother. And, of course, there is the title role of Edna, played marvelously by Ryle. She brings this made-up character to life and makes her real, down-to-earth, big-hearted and lovable. And she sings up a storm.

Finally, a big shout-out to director Jen Ryle, choreographer Vanessa Postil, and set designer Jill Carter.

Cinder Edna, 7 p.m. Friday, 2 p.m. Saturday-Sunday, through June 3, $19 adults, $16 military, $13 youth, http://olyft.org/tickets, 612 4th Ave E, Olympia, 360-570-1638.

Cinder Edna: A World Premiere at Olympia Family Theater

 

Cinderella’s (Ingrid Pharris Goebel) coach arrives to take her to the ball. Photo by David Nowitz.

What a feat! What a coup! For the second time Olympia Family Theater is presenting a world premiere musical written by a local playwright. And it is fabulous!

Playwright and composer Ted Ryle adapted the play from the children’s picture book by Ellen Jackson. Guitarist Rich Sikorski, composer Miriam Sterlin and Ryle’s daughter Mandy Ryle all pitched in to help with the music.

Ryle says the project began more than 15 years ago when he and his wife, Jen (OFT co-founder) read the book Cinder Edna to their daughters, who are now all grown. It is a labor of love pulled together with a Kickstarter campaign and the help of many dedicated Olympia theater folk.

The favored son, Prince Randolph, (Xander Layden) can't imagine anyone finer than himself. Photo by Dinea DePhoto.

The story is about Cinderella’s next door neighbor, Edna, who, like Ella, is a maid. But there’s a big difference between the two young women surviving degrading servitude and poverty. While Ella (Ingrid Goebel) is a self-pitying whiner who cries a lot and dreams that someday her prince will come, Edna (Carolyn Willems-Van Dijk) is a go-getter, an entrepreneur who bakes and sells casseroles and revels in telling jokes that are as silly as they are funny. And there is more than one prince, oh yeah. Prince Randolph (Xander Layden) is the most narcissistic character since Narcissus himself. He prances and preens and spends a whole lot of time looking at his most gorgeous reflection in the mirror. Prince Rupert (Harrison Fry) is the misfit in the royal family. He runs a recycling business, wears clothes pieced together from recycled materials and loves puns. And he may be the only person in the kingdom who thinks Edna’s jokes are funny.

Now matter how hard Cinder Edna's (Carolyn Fry) stepsisters (Meghan Goodman and Priscilla Zal) try, they just can't seem to make her life miserable. Photo by Dinea DePhoto.

Everyone knows what happens when Ella goes to the ball. What’s not quite so well known is that Edna also goes to the ball, and she meets and falls in love with Prince Rupert.

It is a delightful children’s story played for adult laughs too with lots of topical humor and with 23 original songs, mostly done in styles reminiscent of pop songs from the 1950s, played by a six-piece band which provides scene transitions with perfectly-chosen pop standards like “I Could Have Danced All Night” and “Some Day My Prince Will Come,” and the wedding march at just the right moment.

Kate Ayers’ direction is spot-on. The set by Jill Carter is and gorgeous, with beautifully painted backdrops marvelously bathed in pastel colors — magical lighting also designed by Carter.

Cinder Edna (Carolyn Fry) and Prince Rupert (Harrison Fry) discover a true happy ending doesn't require uncomfortable footwear. Photo by Dinea DePhoto.

Goebel and Willems-Van Dijk turn in outstanding performances as Ella and Edna. They’re both good comic actors and both sing well — and nobody cries like Goebel. Fry and Layden each make their characters absurdly believable.  

In supporting roles, Amanda Stevens and Priscilla Zal stand out. Stevens, who plays the queen and the fairy godmother and other roles has a great voice, and she achieves haughtily disdainful looks with style. Zal plays the voice and puppeteer for a smart-alecky parrot, and her expressively screechy parrot voice is hilarious.

Cinder Edna is a show for children and adults that fits beautifully in the intimate space of the Washington Center’s black box but could play equally well on a major stage. I can imagine it being a hit at Seattle’s 5^th Avenue or Paramount. I’d love to see it go forward to productions in other venues, but don’t wait for that to happen. See it now while you can. You’ll love it.

Performances May 30 and 31 at 7 and 9 p.m. and June 1 at 1, 3, 4:30 and 6 p.m., The Washington Center, 512 Washington St. SE, Olympia. Tickets online at http://olyft.org/tickets/ or at the box office. 360.753.8586

Cinder Edna One-Acts

Cinderella’s (Ingrid Pharris Goebel) coach arrives to take her to the ball. Photo by David Nowitz.

A one-act version of Ted Ryles’ delightful musical “Cinder Edna” will be performed at the Olympia Family Theatre Playspace two nights only, Saturday and Sunday, Aug. 17 and 18.

The play by local playwright Ted Ryles tells the tale of Cinderella’s next door neighbor Cinder Edna, whose life parallels that of her neighbor in many ways but with a few enjoyable twists. It premiered this past May. Now Ryles is trying out a one-act version.

It is not a ticketed event. Donations will be accepted at the door. Folks can call Ryles at 360-481-6538 to reserve seats. The approximate one-hour production starts at 7:30 p.m. with schmoozing and snacking provided before and after. The performance space is at 112 State Ave., Olympia.

Ryles said, “This will be a premier presentation of a one-act version of the play, with minimal props and costumes. It is not an OFT production. We, the writers, are renting the OFT space for this presentation, in part to workshop the one-act, and in part to raise funds for national marketing efforts.” 

Read my review of the original full-length Cinder Edna.

Olympia Family Theater’ Award of Excellence

For young audiences and anyone who has ever been a kid

by Alec Clayton

Published in the Weekly Volcano, Aug. 30, 2018

from left: Jill Barnes, Samantha Chandler, Jen Ryle and WCPA Board Chair Alex Bunn, photo by Kathy Strauss Media

At the Washington Center for the Performing Arts’ third annual Center Stage Awards & Gala in July, 232 guests cheered as Olympia Family Theater was presented with an Award of Excellence for “achievement in the arts.” An Award of Excellence was also presented to James L. This for “commitment to the arts.”

"This was an extraordinary evening of generosity and love for the arts," said Washington Center Executive Director Jill Barnes.

Founded a dozen years ago by Samantha Chandler and current Artistic Director Jen Ryle, OFT has produced more than 50 theatrical shows for and by children and adults since their first show in October 2006, and the company continues to offer educational programs for youth from infancy through high school. OFT has also premiered locally written plays such as Cinder Edna, adapted by Ted Ryle; Fishnapped by Amy Fisher and Andrew Gordon with music and lyrics by Daven Tillinghast; and 3 Impossible Questions by Christian Carvajal.

At the awards ceremony, Ryle and Chandler told stories about OFT’s 12 years of theater. Ryle said, “OFT is helping raise a new generation that loves the performing arts by providing quality theatrical productions for young audiences and for anyone who has ever been a kid. It's wonderful to be recognized for something that is so close to my heart. I am truly living my dream, seeing Olympia Family Theater introduce new generations of kids to plays and musicals designed especially with them in mind. So many people have helped us to reach this point; amazing local actors, designers, technicians, musicians, writers, donors, and volunteers. We at OFT are all so proud and honored to be recognized by our friends at the Washington Center.  Some of our early years were spent at the Washington Center's Black Box so it felt a little like going home to be back for this amazing event.”

Barnes said, “For 12 years, Olympia Family Theater has put local performers to work and provided quality theatrical programming to even the youngest of theater patrons. The artists know that some audience members might be wiggly, giggly and rambunctiously responsive, and that is totally okay. They offer an up-close theater experience that is rare, opening the door for a lifetime of artistic appreciation. These are just a few of the reasons that Olympia Family Theater received the Achievement for the Arts Award.”

OFT's 2018-2019 season opens with an adaptation of the popular children's book, Corduroy. Other main stage shows to fill out the season will include Tiny Tim's Christmas, Flora & Ulysses, The Hundred Dresses, and Go, Dog, Go!

James L. This was co-founder of Opus Seventy-One, and through the Capital Area Association of the Performing Arts secured the initial funding for the building of the Washington Center. He produced and directed musicals at Abbey Theater, Olympia Little Theatre and Capital High School, and helped in the founding of Harlequin Productions.

Coyduroy, 7 p.m. Friday, 2 p.m. Saturday-Sunday, Sept. 28 to Oct. 21, $20 adults, $16 military, $15 youth, http://olyft.org/tickets, 612 4th Ave E, Olympia, https://olyft.org/, 360-570-1638.

A Year with Frog and Toad

Published in the Weekly Volcano, May 19, 2016

Kate Ayers as Toad, Harrison Fry as Frog. Photo by David Nowitz

Olympia Family Theater’s A Year with Frog and Toad is so joyous that watching it should banish all thoughts of election season politicking. For more than an hour all worries about war and poverty and climate change should go away.

It is the show Olympia Family Theater opened its first season with, and has become the company’s every-five-year anniversary show. This year marks the 10^th season for this most enjoyable children’s theater.

Based on the books by Arnold Lobel and directed by Jen Ryle, Frog and Toad is a celebration of friendship, following a year in the life of these best of friends. Kate Ayers is Toad. Toad is neurotic, often fearful and excitable. Harrison Fry is Frog. Frog is as different from Toad as different can be. He is calm and caring, a voice of reason, and he will do anything for his friend Toad.

Ayers and Fry are wonderfully matched. As Ayers has proven in so many performances — Alexander and the Terrible, Horrible, No Good, Very Bad Day; Lyle the Crocodile; Busytown; The Monster Under the Bed; and more — she is among the most expressive of actors on South Sound stages, with broad facial expressions and wonderfully exaggerated physical moves. Plus she sings with a clear and lovely voice. Fry, who has been outstanding in everything from The 25^th Annual Putnam County Spelling Bee to Prince Rupert in Cinder Edna, is thoroughly loveable as Frog. He is the sweet calm in the storm.

Also a pure delight is Ted Ryle as Snail with the mail. Every time he walks across the stage the kids in the audience go wild. So do a lot of the adults. Who remembers Arte Johnson as the dirty old man on “Laugh In”? Every time Ryle carries the mail with his hurried-slow shuffle it is like Arte Johnson when Ruth Buzzi hits him on the head with her purse. It’s hilarious.

The set, props, and special effects are preciously cheesy-cheap. Admittedly “cheesy” and “cheap” are not usually complimentary terms, but in this show they apply purposefully and perfectly. Everyone knows the seeds in the box are going to sprout into flowers, and kids in the audience stand up and crane their necks in anticipation of seeing it. The snowy slope Frog and Toad sled down is nothing up a white sheet draped over some makeshift construction, but what they do with it is magical and ridiculously funny. And then there’s the puppet Large and Terrible Frog, and Toad’s puppet legs — you have to see it to believe it (credit scenic designer Steve Bylsma, scenic engineer David Nowitz, prop artist Rachel Ikehara-Martin, and puppet artist Sarah Lykins).

Also playing a huge role in the success of this play is the band: keyboardists Stephanie Claire and David Lane, bassist Matt Fearon, and drummer Theresa McKenzieSullivan.

The choreography by Amy Shephard is lot of fun and the costumes by Mishka Navarre are delightful, especially the colorful birds’ dresses, which make the quartet of singing birds look like a psychedelic girl group from 1962.

A Year with Frog and Toad is a show for children of all ages; i.e., parents will love it as well.

A Year with Frog and Toad,  Fri., 7 p.m., Sat.-Sun. at 2 p.m.  through June 5, pay what you can June 20, $13-$19,  http://olyft.org/tickets, 612 4th Ave E, Olympia, 360-570-1638

Peter Rabbit and Me

Olympia Family Theater Does Beatrix Potter

Carolyn Willems Van Dijk as Peter Rabbit and Rich Young as Mr. McGregor. Photo by Alexis Sarah.

Peter Rabbit and Me at Olympia Family Theater, written by Aurand Harris, is a delightfully joyful play for young children. It’s also as energetic a show as you’re likely to see anytime soon, with a lot running and jumping (hopping, to be more precise).

In a wonderfully inventive and educational twist on the popular children’s book The Tale of Peter Rabbit, we see unfolding not only the tale of how the irascible Peter Rabbit sneaks in to Mr. McGregor’s garden to eat vegetables until he’s sick, we see acted out in a joyful way the story of how Beatrix Potter wrote and illustrated her stories.

Two tales of Peter Rabbit—his first dangerous venture into the garden in the first act and his daring return in the second act—alternate with scenes of the young Beatrix at home with her brother, Bertum, and their governess, Miss Hammond. As the two scene alternate, actors double up to play two or more characters each.

Carolyn Willems Van Dijk plays Beatrix Potter and Peter Rabbit.
Rich Young plays Beatrix’s father Potter and Mr. McGregor.
Stephanie Kroschel plays Miss Hammond and Mother Rabbit (mother to Flopsy, Mopsy, Cotton-tail and Peter).
Jared Greene is a ton of characters, including Bertum, Cotton-tail, the baker’s boy, and Mr. Mouse (he has to change ears and tails frequently).
Hannah Eklund plays an unnamed girl, a bird, and Flopsy.
And finally, Katrina Groen plays the other girl, bird, and Mopsy.

Naturally, Beatrix or Peter are in every scene. There’s hardly a moment when one or the other is not the center of attention, meaning Van Dijk has to do a lot of quick costume changes and believably and entertainingly portray two very different characters—a lovely and loving girl who adores her many pets and is determined to become a great writer and artist. Her big eyes, huge smile and terrific repertoire of expressions make both Beatrix and Peter characters kids love. Regulars at OFT will remember Van Dijk from her so-fun performance as Cinder Edna in the play of the same name by Ted Ryle, in which she worked with director Kate Ayers, who also directs this play.

Young is ideally cast as Mr. McGregor. He is a retired school teacher who has recently returned to theater after a long absence. He creates the put-upon farmer as a character who is absolutely as we imagine him, meaning the hapless and constantly frustrated target of Peter’s shenanigans and the “bad guy” who is really nice. Good job, Rich Young.

The rest of the cast is equally good in their many roles.

The set design by Jeannie Beirne is effective and decorative, and the lighting by Jill Carter is up to her usual excellent standards.

This one runs three weeks only, so don’t let your chance to bring the kids slip by.

Peter Rabbit and Me, Fridays at 7 p.m., Sat.-Sun. at 2 p.m.  through April 3, pay what you can March 25, special 11 a.m. performance March 26, 612 4th Ave E, Olympia, 360-570-1638.

Lisistrata at New Muses

By Alec Clayton

Published in the Weekly Volcano, June 28, 2018

Cast of Lisistrata, Cassie Jo Fastabend as Lisistrata standing in center, courtesy New Muses Theatre

Well over 2,000 years ago the city of Athens, Greece was treated to a sexy and hilarious anti-war farce called Lisistrata by the writer Aristophanes. Now it is making its way to Tacoma’s Dukesbay Theater in an anonymous adaptation believed to have been by Oscar Wilde, directed by Niclas Olson and produced by New Muses Theatre.

Lisistrata — perhaps the first great feminist activist in history — rallies fellow Greek women to refuse sexual favors until their husbands end the Peloponnesian War. Aiding in her movement is the Spartan woman Lampito.

The title character will be played by Cassie Jo Fastabend, a veteran of many South Sound stages and a longtime teacher of youth arts. She has been seen in Macbeth and Lear at the Slate Theater in Seattle, Hamlet and A Streetcar Named Desire at University of Puget Sound, A Few Good Men, at Lakewood Playhouse.

Lampito is played by LaNita Walters, most recently seen in My Fair Lady at Tacoma Musical Playhouse. Walters is a teaching artist for the Broadway Center and choreographer and director for various plays and children camps. She is also the choreographer for this play.

Amber Sayman (Ismenia) was most recently in Olympia Family Theatre’s Cinder Edna. Kaylie Hussey (Corinna) was in The Servant of Two Masters and Doctor Faustus at New Muses and Macbeth and The Great Gatsby at Tacoma Little Theatre. Mason Quinn (Magistrate) was most recently in The Man Who Shot Liberty Valance at Tacoma Little Theatre. Nathaniel Walker (Cinesias) was recently in The Pillowman at TLT.

“Two years ago I was considering Lysistrata as a fun comedy, but fast forward to now, it is an important social piece with immediate cultural relevance. It interests, and saddens me that a 6000-year-old play can still be relevant to our current political and social climate,” Olson says. “Especially now, with women's rights bursting to the forefront of the national consciousness via the Women's March and the #MeToo movement, seeing Lysistrata is to experience a story about a whole lot more than a sex strike. I'm especially fascinated with the journey the women of Greece take as they become leaders of their society through the course of the play. On a lighter note, the play is a whole lot of fun. We have everything including comic fight scenes, witty banter, and anatomically correct prop/costume pieces.The cast keeps coming up with new stuff every day, and it's been a real pleasure for me to see the script take on a life of its own through the actors.”

As a final note, Olson warns: “The play is definitely not family friendly. We are using the traditional phalluses, and the cast spends a good portion of the show in their underwear.

Lisistrata, 8 p.m. Friday-Saturday, 2 p.m. Sunday, June 29-July 15, $10-$15, Dukesbay Theater, above the Grand Theater, 508 S. 6^th Ave., Tacoma https://www.newmuses.com/

Critic's Choice 2012-2013

Every summer since 2004 I have published my Critic’s Choice, my choices for the best in South Sound theater. This year I am going to do it differently. Since The News Tribune has cut back on the number of my theater reviews they publish, I have not reviewed as many plays in Tacoma and Lakewood as I used to, and I have had to completely stopped reviewing shows in smaller venues in places like Puyallup and Gig Harbor. I live in Olympia and cannot afford the commute for reviewing plays I don’t get paid for. I reviewed only 38 plays this season. In the not too distant past I typically reviewed 50 to 60 plays in a season.

Picking the best actor or best director would not be fair to the theaters whose performances I did not review. So, instead of ranking I am honoring those actors, directors, set designers and so forth whose work is worthy of special recognition.

Jana Tyrrell turned in an award-worthy performance in “Next to Normal” at Capital Playhouse, which was directed by her husband, Brian Tyrrell. This stylized and hard-hitting musical-drama was made surreally beautiful by Bruce Haasl’s set and lighting by Matt Lawrence.

Kristin Burch electrified audiences with her portrayals of Nancy in “Oliver” at Capital Playhouse and as Roxie Hart in “Chicago” at Tacoma Musical Playhouse.

Bruce Haasl as Jesus in Jesus Christ Superstar at Harlequin Productions. Set by Linda Whitney

Bruce Haasl knocked my socks off four years ago as Judas in Jesus in Jesus Christ Superstar at Capital Playhouse, and did it again as Jesus in the same show at Harlequin. Put this guy on stage, any stage, and he owns it.

Jesus Christ Superstar at Harlequin and Next to Normal at Capital Playhouse both took South Sound musical theater to a higher level. (I’ve heard that the same can be said for Ragtime, now at Tacoma Musical Playhouse, but I did not get to see it.

Deya Ozburn is the South Sound’s Meryl Streep. She grabbed our hearts and wouldn’t let go as Martha in “The Children’s Hour” at Lakewood Playhouse.

The Children’s Hour at Lakewood Playhouse was as riveting and heartfelt as a drama can be. Teen actor Kira Zinck’s portrayal of the hateful Mary Tilford was breathtaking. Zinck is a young actor to watch for.

Kira Zinck and Carol Richmond in The Children's Hour. Photo by Dean Lapin

Joy Luck Club at Tacoma Little Theatre, directed by David Hsieh, was a wonderful show with a large ensemble cast and unique staging.

Ingrid Goebel’s comic stylings in The Somewhat True Tale of Robin Hood at Olympia Family Theatre clearly puts her in the rank of best comic actors.

Olympia Family Theatre is a new theater company that has taken big risks with world premieres of locally written plays and has blended professional-level adult and children’s theater in the most exciting and entertaining ways. Kudos to OFT for their hilarious The Somewhat True Tale of Robin Hood and their world premiere of Cinder Edna by playwright and composer Ted Ryle, adapted the play from the children’s picture book by Ellen Jackson, and their world premiere of The Abolitionist’s Wife by Sky Meyers and Barbara Gibson. Ryle, Meyers and Gibson are all local playwrights.

Kate Hayes’ knockout performance as The Artful Dodger in “Oliver” at Capital Playhouse puts her in the ranks of the best youth actors in the South Sound area if not anywhere.

The great Scott C. Brown proves that Fringe Theatre is still alive and vital in his disturbing portrayal a hostage in Lee Blessing's Two Rooms, which was performed in both Seattle and a one-night-only performance at Lakewood Playhouse.

Pug Bujeaud’s originality of vision as a director was something extraordinary in the presentation of not one but two versions of Quentin Tarantino’s Reservoir Dogs, with separate ensemble casts, one all-male and the other all-female.

Jon Douglas Rake beautifully cloned Bob Fosse’s choreography for Chicago at Tacoma Musical Playhouse.

Brie Yost turned in a masterful job of directing the excellent ensemble cast in a soul stirring The Laramie Project at Tacoma Little Theatre.

(From L to R Michael Cooper, Jeremy Thompson, Martin J. Mackenzie, Mark Peterson, Jefri Peters, Rachel Fitzgerald, Russ Coffey). Photo by Galen Wicks Photography

Linda Whitney is superlative in so many ways. Her set design and direction of Jesus Christ Superstar at Harlequin was phenomenal and was aided by outstanding lighting and video by Amy Chisman. The work of the tech gods on this production was comparable to that of much larger theaters with bigger budgets.

Special recognition goes to director Marilyn Bennett and the cast and crew of The Importance of Being Earnest for outstanding staging and ensemble acting.

Musical reviews, mostly bombastic rock shows have become standard fare at both Centerstage! Theatre in Federal Way and Harlequin in Olympia. This year’s It’s Only Rock and Soul at Centerstage with performances by DeWayne Andrews Jr., Bobby Barnts, Stacie Calkins, Trista Duvall, Jesse Smith, Ashanti Mangum, Meg McLynn and Zack Wheeler was the kind of musical event I wish I could have videotaped to enjoy regularly at home.

OK, I said I wasn’t going to do a “Best Of” this year, but how about the best musical to play at two different theaters. That honor goes to the smashingly delightful Legally Blonde at Tacoma Musical Playhouse and Capital Playhouse, starring Leah Wickstrom at TMP and Bailey Boyd at Capital.

The Israel Horovitz Award for outstanding drama goes to… Israel Horovitz for Gloucester Blue. Credit Scot Whitney for making Horovitz and honorary citizen of Olympia.

Congratulations to all for a stunning season!