A Tasty Wine for Republicans, Democrats and the Undecided

Los Angeles: October 14, 2012

Just in time for the Presidential elections in November comes a great new, you might say bi-partisan wine that is available along political party lines. Called Elephant Wine (for Republicans) and Donkey Wine for those of us more democratically inclined, this delicious libation is the brainchild of Leah Canon, a Los Angeles based wine promoter.

Ms. Canon was racking her brain to come up with a quality wine that tastes great and could be a unique concept that may inspire people to vote. Something that could be sold at large events. And what was the biggest event Ms. Canon could think of? The 2012 National Presidential Election.

Springing into action, she partnered up with entrepreneur, Peter Porreca and the pair soon raised the required funding to go into production. But they still needed a name for their new enterprise. While searching the web for available company names Peter turned to Leah and jokingly asked, ‘‘Want schmor wine?’’ And thus Schmor Wines Distributors was born.

Bottles have been flying off the shelves with Americans from both political parties ordering cases for their upcoming events.

Even the recent Presidential Debate has had an influence, claims Ms. Canon. After Mitt Romney was largely touted as the winner of the first debate, sales of the Elephant Wine saw an upswing. Is it possible Schmor Wines can predict the next President of the United States?

While all this may sound like pure novelty, it’s not. This wine is well worth the price and can be enjoyed alone or with your favorite meal.

Having recently sampled a glass of Donkey, I can report that the wine is primarily a blend of 2009 Central Coast Merlot and Syrah. There’s approximately 10% of nicely aged French Oak Cabernet Sauvignon and Cabernet Franc, with a tiny amount of Petit Verdot and Petite Sirah. These add a hint of austerity and structure to the flavor. A few drops of fruity 2010 Voignier from Santa Maria smoothes out any rough tannins and adds a floral note. The warmer climate Merlot and Syrah creates a fruit salad of red plum and raspberry notes. The Cabs add dark blackberry notes with hints of vanilla and dark chocolate from the barrel aging. This wine is decadent and clings to your challis.

But these wines don’t just please your palate. They come complete with their own wine-ties that speaks to you when you press their buttons. Red of course for the Elephant wine and a blue tie for the Donkey. These certainly add a touch of humor to experience and the otherwise serious side of listening to politics and debates.
Elephant and Donkey wines are available individually, by the case or in a gift pack. They are a limited edition and commemorative of the 2012 political season as well as a wonderful gift to any lover of politics or a keepsake for your own wine collection.

To PURCHASE or for more information go to: www.schmorwine.com

“AVATAR” AND “THE HURT LOCKER” LEAD ACADEMY AWARD NOMINATIONS WITH 9 EACH

The 2009 Academy Award nominations were announced this morning in Hollywood by Academy President Tom Sherak and 2008 Oscar-nominated actress Anne Hathaway.

The mega hit Avatar received nine nominations, matching that of The Hurt Locker. Perhaps for the first time in the Oscar’s history, ex husband and wife James Cameron and Catherine Bigelow are going head to head in the best director competition.

The Cohen Brothers disturbing sixties family drama, A Serious Man received a best a-serious-manpicture nomination despite performing somewhat poorly at the box office. Perhaps the biggest surprise was the nominations of fan favorite, The Blind Side starring Sandra Bullock who was also nominated as Best Actress. Invictus was snubbed for best picture and best director but received recognition for it’s two star, Matt Damon and Morgan Freeman, who each got acting nominations.

The unwatchable musical Nine was saved from complete humiliation with the nomination of Penélope Cruz as Best Supporting Actress.

Missing from the list all together is the movie The Hangover that many said would be the first raunchy comedy to get a nod. Seems the Academy’s aging voters didn’t see it that way. Also absent from the best film list is the beautifully shot and well acted film, A Single Man, that saw it’s star Colin Firth receive recognition as a Best Actor nominee.

500 Days of Summer was also 500_days_of_summerignored, with the somewhat over-rated Up in the Air carrying the ball in the romantic dramedy catagory.

Another surprise was the nomination of the little seen The Messenger as Best Film and and  it’s star, Woody Harrelson nominated as Best Supporting Actor. Most will agree that Christoph Waltz has a lock in that catagory for his brilliant turn as a a memorable Nazi villain in Quentin Tarantino’s compelling war thriller,inglourious_basterds_xl_03-film-a Inglourious Basterds. Waltz, an veteran Austrian actor hardly known outside Europe until last year, won the Golden Globes and SAG best actor awards last month.

The 2010 Academy Awards ceremony will take place on Sunday, March 7, 2010, at Kodak Theatre in Hollywood Los Angeles.

Complete List of Oscar Nominations 2010:

Best Picture

“Avatar” James Cameron and Jon Landau, Producers

“The Blind Side” Nominees to be determined

“District 9″ Peter Jackson and Carolynne Cunningham, Producers

“An Education” Finola Dwyer and Amanda Posey, Producers

“The Hurt Locker” Nominees to be determined

“Inglourious Basterds” Lawrence Bender, Producer

“Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels, Sarah Siegel-Magness and Gary Magness, Producers

“A Serious Man” Joel Coen and Ethan Coen, Producers

“Up” Jonas Rivera, Producer

“Up in the Air” Daniel Dubiecki, Ivan Reitman and Jason Reitman, Producers

Directing

“Avatar” James Cameron

“The Hurt Locker” Kathryn Bigelow

“Inglourious Basterds” Quentin Tarantino

“Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels

“Up in the Air” Jason Reitman

Actor in a Leading Role

Jeff Bridges in “Crazy Heart”

George Clooney in “Up in the Air”

Colin Firth in “A Single Man”

Morgan Freeman in “Invictus”

Jeremy Renner in “The Hurt Locker”

Actor in a Supporting Role

Matt Damon in “Invictus”

Woody Harrelson in “The Messenger”

Christopher Plummer in “The Last Station”

Stanley Tucci in “The Lovely Bones”

Christoph Waltz in “Inglourious Basterds”

Actress in a Leading Role

Sandra Bullock in “The Blind Side”

Helen Mirren in “The Last Station”

Carey Mulligan in “An Education”

Gabourey Sidibe in “Precious: Based on the Novel ‘Push’ by Sapphire”

Meryl Streep in “Julie & Julia”

Actress in a Supporting Role

Penélope Cruz in “Nine”

Vera Farmiga in “Up in the Air”

Maggie Gyllenhaal in “Crazy Heart”

Anna Kendrick in “Up in the Air”

Mo’Nique in “Precious: Based on the Novel ‘Push’ by Sapphire”

Animated Feature Film

“Coraline” Henry Selick

“Fantastic Mr. Fox” Wes Anderson

“The Princess and the Frog” John Musker and Ron Clements

“The Secret of Kells” Tomm Moore

“Up” Pete Docter

Art Direction

“Avatar” Art Direction: Rick Carter and Robert Stromberg; Set Decoration: Kim Sinclair

“The Imaginarium of Doctor Parnassus” Art Direction: Dave Warren and Anastasia Masaro; Set Decoration: Caroline Smith

“Nine” Art Direction: John Myhre; Set Decoration: Gordon Sim

“Sherlock Holmes” Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer

“The Young Victoria” Art Direction: Patrice Vermette; Set Decoration: Maggie Gray

Cinematography

“Avatar” Mauro Fiore

“Harry Potter and the Half-Blood Prince” Bruno Delbonnel

“The Hurt Locker” Barry Ackroyd

“Inglourious Basterds” Robert Richardson

“The White Ribbon” Christian Berger

Costume Design

“Bright Star” Janet Patterson

“Coco before Chanel” Catherine Leterrier

“The Imaginarium of Doctor Parnassus” Monique Prudhomme

“Nine” Colleen Atwood

“The Young Victoria” Sandy Powell

Documentary (Feature)

“Burma VJ” Anders Østergaard and Lise Lense-Møller

“The Cove” Nominees to be determined

“Food, Inc.” Robert Kenner and Elise Pearlstein

“The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers” Judith Ehrlich and Rick Goldsmith

“Which Way Home” Rebecca Cammisa

Documentary (Short Subject)

“China’s Unnatural Disaster: The Tears of Sichuan Province” Jon Alpert and Matthew O’Neill

“The Last Campaign of Governor Booth Gardner” Daniel Junge and Henry Ansbacher

“The Last Truck: Closing of a GM Plant” Steven Bognar and Julia Reichert

“Music by Prudence” Roger Ross Williams and Elinor Burkett

“Rabbit à la Berlin” Bartek Konopka and Anna Wydra

Film Editing

“Avatar” Stephen Rivkin, John Refoua and James Cameron

“District 9″ Julian Clarke

“The Hurt Locker” Bob Murawski and Chris Innis

“Inglourious Basterds” Sally Menke

“Precious: Based on the Novel ‘Push’ by Sapphire” Joe Klotz

Foreign Language Film

“Ajami” Israel

“El Secreto de Sus Ojos” Argentina

“The Milk of Sorrow” Peru

“Un Prophète” France

“The White Ribbon” Germany

Makeup

“Il Divo” Aldo Signoretti and Vittorio Sodano

“Star Trek” Barney Burman, Mindy Hall and Joel Harlow

“The Young Victoria” Jon Henry Gordon and Jenny Shircore

Music (Original Score)

“Avatar” James Horner

“Fantastic Mr. Fox” Alexandre Desplat

“The Hurt Locker” Marco Beltrami and Buck Sanders

“Sherlock Holmes” Hans Zimmer

“Up” Michael Giacchino

Music (Original Song)

“Almost There” from “The Princess and the Frog” Music and Lyric by Randy Newman

“Down in New Orleans” from “The Princess and the Frog” Music and Lyric by Randy Newman

“Loin de Paname” from “Paris 36″ Music by Reinhardt Wagner Lyric by Frank Thomas

“Take It All” from “Nine” Music and Lyric by Maury Yeston

“The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart” Music and Lyric by Ryan Bingham and T Bone Burnett

Short Film (Animated)

“French Roast” Fabrice O. Joubert

“Granny O’Grimm’s Sleeping Beauty” Nicky Phelan and Darragh O’Connell

“The Lady and the Reaper (La Dama y la Muerte)” Javier Recio Gracia

“Logorama” Nicolas Schmerkin

“A Matter of Loaf and Death” Nick Park

Short Film (Live Action)

“The Door” Juanita Wilson and James Flynn

“Instead of Abracadabra” Patrik Eklund and Mathias Fjellström

“Kavi” Gregg Helvey

“Miracle Fish” Luke Doolan and Drew Bailey

“The New Tenants” Joachim Back and Tivi Magnusson

Sound Editing

“Avatar” Christopher Boyes and Gwendolyn Yates Whittle

“The Hurt Locker” Paul N.J. Ottosson

“Inglourious Basterds” Wylie Stateman

“Star Trek” Mark Stoeckinger and Alan Rankin

“Up” Michael Silvers and Tom Myers

Sound Mixing

“Avatar” Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson

“The Hurt Locker” Paul N.J. Ottosson and Ray Beckett

“Inglourious Basterds” Michael Minkler, Tony Lamberti and Mark Ulano

“Star Trek” Anna Behlmer, Andy Nelson and Peter J. Devlin

“Transformers: Revenge of the Fallen” Greg P. Russell, Gary Summers and Geoffrey Patterson

Visual Effects

“Avatar” Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones

“District 9″ Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken

“Star Trek” Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton

Writing (Adapted Screenplay)

“District 9″ Written by Neill Blomkamp and Terri Tatchell

“An Education” Screenplay by Nick Hornby

“In the Loop” Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche

“Precious: Based on the Novel ‘Push’ by Sapphire” Screenplay by Geoffrey Fletcher

“Up in the Air” Screenplay by Jason Reitman and Sheldon Turner

Writing (Original Screenplay)

“The Hurt Locker” Written by Mark Boal

“Inglourious Basterds” Written by Quentin Tarantino

“The Messenger” Written by Alessandro Camon & Oren Moverman

“A Serious Man” Written by Joel Coen & Ethan Coen

“Up” Screenplay by Bob Peterson, Pete Docter, Story by Pete Docter, Bob Peterson, Tom McCarthy

Alice Checks Out Shutters

alice_small

One Pico at Shutters on the Beach: Escaping LA

by Alice Greczyn

“Have you been to Shutters?” my date asked me, spur of the moment after finding out our restaurant of choice had been unexpectedly closed. Hunger crazed, I shook my head. “Oh,” he smiled, “you’re going to love this place!”

Once I stepped inside the fire-lit lobby, I was smitten. Hotel guests sipped champagne and nibbled on cheese, a happy hour of sorts. We walked through the lobby and up the stairs to the restaurant, One Pico. I was dazzled, hoping desperately there would be seating available for us. Fortunately there was. Walking to coast-shutters-6our table, I took in the child-size row boats that hung from the ceiling, and the sand in the glass hurricane vases cradling candles that cast a golden flicker throughout the space. The walls seemed to be entirely windows, and huge glass lanterns hung from the ceiling.

As my date and I sat in the elegant blue chairs, I indulged in the wonderful simplicity of crusty French bread and butter. It struck me that not many restaurants offer this complimentary appetizer anymore. Most have been reduced to dry breadsticks, or nothing at all, hoping to make more money from guests ordering starters off the menu. The occasional fine Italian establishment might serve warm bread, but often with olive oil and balsamic vinegar. I adore olive oil, but the nostalgia and flavor of creamy butter on white bread is, as I stated, simply wonderful. Especially while watching the sun set, painting the clouds colors of sherbet above the horizon. The black outline of the palm trees swayed against the sky.

Braised beef ravioli is not something I would typically order at a seafood restaurant, but for some reason sounded just the ticket. I like the word “braised”. It makes me think slow-simmered and seasoned, strings of beef stuck together in their juices and wrapped in the delicate dough of ravioli. They were indeed savory and delicate. The Truffled Cavatelli Gratin, a fancy version of macaroni and cheese, had tiny mushrooms floating throughout, centering me with their earthy flavor, swimming in my mouth alongside bites of cheddar and the soft texture of split noodles.

Dessert was miniature doughnuts, served with cold vanilla custard. I fought with my date over who got to have the last finger-swoop of custard from the bowl, heavily peppered with clumps of cinnamon-sugar that had fallen off the doughnuts when dunked. We had very carefully tried to be equals in this battle over dessert, so I’d sliced the fifth doughnut ball in half, and we each took a turn dipping the bite sized fluffs into a thick, creamy heaven. I admit, I dipped deeper than he did, but justified it because hadn’t he said something about watching his figure for a shirtless scene coming up? Only in LA…

Shutters Hotel has a gift shop, which we perused through while digesting our dinner. Amidst plush towels and buttercream-scented body souflees, I found a tall book with a glossy cover over it, that read “The Summertime Anytime Cookbook”. What luck! It had the recipes from One Pico inside it, by author and executive chef Dana Slatkin. It was my favorite kind of cookbook, full of simple, concise recipes with almost all of them printed next to a photograph of the finished outcome. I like seeing what a dish is supposed to look like before I attempt making it, and photographs of food are always inspiring to flip through when trying to decide what to make for a dinner party. I had to have it, and my date knew that when he saw me smiling at the cover. What a lucky girl I am that he said he wanted to buy it for me.

Come to One Pico at Shutters on the Beach for sunsets, ocean breezes, buttered bread, fresh fish, candlelight, and spacious elegance. Doughnuts just make it even more appealing, and a cookbook to make it all happen at home says something about the generosity of the owners. I highly recommend One Pico to anyone planning a special date or anniversary, or to anyone who wants to feel like they’ve escaped from LA if only for an evening. Make it a true mini-vacation by booking a night at the Shutters Hotel, so you can unwind after dinner in the comfort of your breezy, ocean-inspired bedroom overlooking the sea.

One Pico is located at, you guessed it, 1 Pico Blvd, Santa Monica, CA 90405. Their phone number is 310-458-0030, and to check out the hotel and see pictures of the restaurant, visit http://www.shuttersonthebeach.com/.

Alice Checks Out The Larchmont Grill

Larchmont Grill: The Casually Romantic Retreat

by Alice Greczyn

My ever-hardworking mom was just in town visiting, helping me pack boxes for my upcoming move. To our horror we realized that in the two weeks she had been in LA we had dined out at a restaurant only once. Well, I suppose we did overdo Yogurtland just a little bit, but does that count as dining? As refreshing as a cup of frozen pistachio yogurt is on a hot spring day, it’s not the same as being waited on, feasting until gorged of hot, new food. Mom needed some food-pampering, and I was happy to take a break from paperwork.

At the recommendation of a friend of mine, we decided to try out Larchmont Grill. We 3037757022_923ced59f6both were skeptical of the name–was it a noisy sports pub, or a bland restaurant catered to the rich and elderly? Lucky for us, it was neither. Larchmont Grill is full of charm and indulgence, with an accommodating staff and relatively fair prices.

We chose to sit upstairs, not on the balcony, but inside a beautiful room that made me feel as if I were in a 16th century tapestry. I pretended I was Marie Antoinette in a French conservatory that served food. Fresh flowers were in bunches everywhere, along with candles and lovely fabrics. While the setting was elegant, jeans seemed to be welcome and common attaire. The big band jazz music warmed the atmosphere, as did our lively waitress. When I asked her how the sweet corn ravioli with roasted pepper sauce was, she turned her eyes heavenward and breathed out, “They’re trying to make me fat, adding that to the menu!” My eyes also turned heavenward with the first bite. If I were a waitress here, I’d probably question the chef’s buttery motives myself.

Besides the ravioli, we also ordered filet mignon and mac n’ cheese, which came served in a skillet with chunks of bacon floating throughout. Toasted parmesan slivers lay sprinkled on top, adding a soft crunch to the otherwise gooey texture. I felt like a cowboy eating out of the wrought-iron pan. A Marie Antoinette cowboy in an indoor garden. The filet mignon was smothered with a black cherry merlot reduction that felt naughty, like it should be coating ice cream instead of sizzling meat. The cherries were tender and soaked, the tinges of wine barely detectable. The creamy smashed potatoes were thick, the sauteed shiitake mushrooms firm and meat-like.

For dessert, Mom and I debated between the flourless chocolate mocha espresso cake and the citrus ricotta cheesecake. The cheesecake won, filling our mouths with creamy fluff and berries. The orange rind was delicately laced throughout, adding the zing of upcoming summer.

Beyond satiated, the tension of moving having left our bodies, we reclined in our chairs and procrastinated paying the check. The idea of returning to my box-filled and messy apartment seemed dreadful after so lovely a dinner.

Larchmont Grill is located at 5750 Melrose Ave., Los Angeles, CA 90038. Their phone number is 323-464-4277. They are open for lunch Monday-Friday, and dinner every night but Monday. For more information and to see their ample specialty days and nights, go to www.larchmontgrill.com

Tony Loves “Billy Elliot” “Rock of Ages” — and “Hair”

The Tony Nominations were announced today and the musical, “Billy Elliot” swept the musical nods, (15), and also tied the Tonys record, which was set by “The Producers” in 2001.

Other musicals getting Tony recognition hair70_71were “Next to Normal,” “Shrek” and “Rock of Ages”.

The rock musical, “Hair” was also recognized with a nod as “Best Revival.”

Missing from the lineup are “9 to 5,” which led with the most drama desk nominations (15), and [title of show], which was a huge critical hit when it transferred from off-Broadway to the Lyceum Theatre last July before closing in October. The inclusion of “Rock of Ages” was a big surprise to most Tonys pundits, who had predicted that either “9 to 5″ or “[title of show]” would take the fourth slot.

The bid for “Rock of Ages” is great news for the L.A. theater scene since the jukebox musical about 1980s rocks bands on the Sunset Street originated at the King King Club in Hollywood before moving to Broadway.

Also snubbed by the Tonys were Daniel Radcliffe for his nude turn in “Equus”, Kristin Scott Thomas (“The Seagull”) and “Waiting for Godot” stars Bill Irwin and Nathan Lane.

Here is a complete list of nominees:

BEST PLAY
“Dividing the Estate”
“God of Carnage”
“Reasons to Be Pretty”
“33 Variations”

BEST MUSICAL
“Billy Elliot, The Musical”
“Next to Normal”
“Rock of Ages”
“Shrek the Musical”

BEST BOOK OF A MUSICAL
“Billy Elliot, the Musical,” Lee Hall
“Next to Normal,” Brian Yorkey
“Shrek the Musical,” David Lindsay-Abaire
“[title of show],” Hunter Bell

BEST ORIGINAL SCORE (MUSIC AND/OR LYRICS)
“Billy Elliot, the Musical” — music: Elton John, lyrics: Lee Hall
“Next to Normal” — music: Tom Kitt, lyrics: Brian Yorkey
“9 to 5: The Musical” — music & lyrics: Dolly Parton
“Shrek The Musical” — music: Jeanine Tesori, lyrics: David Lindsay-Abaire

BEST REVIVAL OF A PLAY
“Joe Turner’s Come and Gone”
“Mary Stuart”
“The Norman Conquests”
“Waiting for Godot”

BEST REVIVAL OF A MUSICAL
“Guys and Dolls”
“Hair”
“Pal Joey”
“West Side Story”

BEST SPECIAL THEATRICAL EVENT
“Liza’s at the Palace”
“Slava’s Snowshow”
“Soul of Shaolin”
“You’re Welcome America. A Final Night with George W. Bush”

BEST PERFORMANCE BY A LEADING ACTOR IN A PLAY
Jeff Daniels, “God of Carnage”
Raúl Esparza, “Speed-the-Plow”
James Gandolfini, “God of Carnage”
Geoffrey Rush, “Exit the King”
Thomas Sadoski, “Reasons to Be Pretty”

BEST PERFORMANCE BY A LEADING ACTRESS IN A PLAY
Hope Davis, “God of Carnage”
Jane Fonda, “33 Variations”
Marcia Gay Harden, “God of Carnage”
Janet McTeer, “Mary Stuart”
Harriet Walter, “Mary Stuart”

BEST PERFORMANCE BY A LEADING ACTOR IN A MUSICAL
David Alvarez, Trent Kowalik and Kiril Kulish‚ “Billy Elliot”
Gavin Creel, “Hair”
Brian d’Arcy James, “Shrek”
Constantine Maroulis, “Rock of Ages”
J. Robert Spencer, “Next to Normal”

BEST PERFORMANCE BY A LEADING ACTRESS IN A MUSICAL
Stockard Channing, “Pal Joey”
Sutton Foster, “Shrek”
Allison Janney, “9 to 5: The Musical”
Alice Ripley, “Next to Normal”
Josefina Scaglione, “West Side Story”

BEST PERFORMANCE BY A FEATURED ACTOR IN A PLAY
John Glover, “Waiting for Godot”
Zach Grenier, “33 Variations”
Stephen Mangan, “The Norman Conquests”
Paul Ritter, “The Norman Conquests”
Roger Robinson, “Joe Turner’s Come and Gone”

BEST PERFORMANCE BY A FEATURED ACTRESS IN A PLAY
Hallie Foote, “Dividing the Estate”
Jessica Hynes, “The Norman Conquests”
Marin Ireland, “Reasons to Be Pretty”
Angela Lansbury, “Blithe Spirit”
Amanda Root, “The Norman Conquests”

BEST PERFORMANCE BY A FEATURED ACTOR IN A MUSICAL
David Bologna, “Billy Elliot”
Gregory Jbara, “Billy Elliot”
Marc Kudisch, “9 to 5″
Christopher Sieber, “Shrek”
Will Swenson, “Hair”

BEST PERFORMANCE BY A FEATURED ACTRESS IN A MUSICAL
Jennifer Damiano, “Next to Normal”
Haydn Gwynne, “Billy Elliot”
Karen Olivo, “West Side Story”
Martha Plimpton, “Pal Joey”
Carole Shelley, “Billy Elliot”

BEST SCENIC DESIGN OF A PLAY
Dale Ferguson, “Exit the King”
Rob Howell, “The Norman Conquests”
Derek McLane, “33 Variations”
Michael Yeargan, “Joe Turner’s Come and Gone”

BEST SCENIC DESIGN OF A MUSICAL
Robert Brill, “Guys and Dolls”
Ian MacNeil, “Billy Elliot”
Scott Pask, “Pal Joey”
Mark Wendland, “Next to Normal”

BEST COSTUME DESIGN OF A PLAY
Dale Ferguson, “Exit the King”
Jane Greenwood, “Waiting for Godot”
Martin Pakledinaz, “Blithe Spirit”
Anthony Ward, “Mary Stuart”

BEST COSTUME DESIGN OF A MUSICAL
Gregory Gale, “Rock of Ages”
Nicky Gillibrand, “Billy Elliot”
Tim Hatley, “Shrek”
Michael McDonald, “Hair”

BEST LIGHTING DESIGN OF A PLAY
David Hersey, “Equus”
David Lander, “33 Variations”
Brian MacDevitt, “Joe Turner’s Come and Gone”
Hugh Vanstone, “Mary Stuart”

BEST LIGHTING DESIGN OF A MUSICAL
Kevin Adams, “Hair”
Kevin Adams, “Next to Normal”
Howell Binkley, “West Side Story”
Rick Fisher, “Billy Elliot”

BEST SOUND DESIGN OF A PLAY
Paul Arditti, “Mary Stuart”
Gregory Clarke, “Equus”
Russell Goldsmith, “Exit the King”
Scott Lehrer and Leon Rothenberg, “Joe Turner’s Come and Gone”

BEST SOUND DESIGN OF A MUSICAL
Acme Sound Partners, “Hair”
Paul Arditti, “Billy Elliot”
Peter Hylenski, “Rock of Ages”
Brian Ronan, “Next to Normal”

BEST DIRECTION OF A PLAY
Phyllida Lloyd, “Mary Stuart”
Bartlett Sher, “Joe Turner’s Come and Gone”
Matthew Warchus, “God of Carnage”
Matthew Warchus, “The Norman Conquests”

BEST DIRECTION OF A MUSICAL
Stephen Daldry, “Billy Elliot”
Michael Greif, “Next to Normal”
Kristin Hanggi, “Rock of Ages”
Diane Paulus, “Hair”

BEST CHOREOGRAPHY
Karole Armitage, “Hair”
Andy Blankenbuehler, “9 to 5: The Musical”
Peter Darling, “Billy Elliot”
Randy Skinner, “White Christmas”

BEST ORCHESTRATIONS
Larry Blank, “Irving Berlin’s White Christmas”
Martin Koch, “Billy Elliot”
Michael Starobin and Tom Kitt, “Next to Normal”
Danny Troob and John Clancy, “Shrek”

* * *

Special Tony Award for lifetime achievement in the theater
Jerry Herman

Regional Theater Tony Award
Signature Theatre, Arlington, Va.

Isabelle Stevenson Award
Phyllis Newman

Tony honor for excellence in the theater
Shirley Herz