“Downstate” is a searing Bruce Norris play that argues, in essence, that sex offenders should be seen as complex individuals. “Six” is an exuberant, concert-style musical that re-imagines the six wives of the British monarch Henry VIII as pop stars who love ballads of feminist empowerment.
These two wildly different shows — one at the Steppenwolf Theatre Company, one from Chicago Shakespeare Theater and both expected in New York in 2020 — won top honors at the 2019 Joseph Jefferson Awards, to be held at the Drury Lane Theatre in Oakbrook Terrace on Monday night.
“Downstate” won both best new play and best production honors, a rare double victory for a company with a famously contentious relationship with the Jeff Committee.
The all-volunteer Jeff Committee divides Chicago’s Actors’ Equity-affiliated theaters into large and midsized categories. In the latter section, top Jeffs went to the Remy Bumppo Theatre Company staging of “Frankenstein” (one of several last season) and to the production of the 2003 Tony Kushner/Jeanine Tesori musical “Caroline, or Change” staged by Firebrand Theatre with TimeLine Theatre Company.
Given Chicago’s reputation as an ensemble town, the best ensemble award is traditionally coveted. This year’s best acting ensembles were deemed to be the cast of the Court Theatre production of Ntozake Shange’s “For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf” and the cast of “Six.”
Directors walking away with Jeffs included Vanessa Stalling (for “Photograph 51” at Court Theatre), Ian Frank (for “Frankenstein”), Jim Corti (for “The Producers” at the Paramount Theatre in Aurora) and Lili-Anne Brown (for “Caroline, or Change”).
Honored actors in principal roles included Janet Ulrich Brooks (for “Master Class” at Timeline Theatre), Chaon Cross (for “Photograph 51”), E. Faye Butler (for “Gypsy,” at Porchlight Music Theatre) and Barbara E. Robertson (for “Queen of the Mist” at Firebrand).
The Jeff Awards for performing are no longer segregated by gender, resulting in no principal male actors with Jeffs in 2019, although Joe Foust won a best solo performance award for “The Absolute Brightness of Leonard Pelkey” at American Blues Theater.
The Jeff Committee handed out best new musical Jeffs to both David Cale’s autobiographical “We’re Only Alive for A Short Amount of Time,” co-produced by the Goodman Theatre and the New York Public Theater, and to “Miracle,” the commercial musical at the Royal George Theatre celebrating the world-series run of the Chicago Cubs, as penned by Michael Mahler and Jason Brett and produced by William Marovitz and Arny Granat.
As previously announced, Teatro Vista received a special Jeff Award at the ceremony, scheduled to be hosted by Steven Strafford. The Jeff Committee said it judged 112 Equity productions this year, produced by 43 different organizations.
2019 Equity Jeff Award winners:
Production – play – large: “Downstate,” Steppenwolf Theatre Company
Production – play – midsize: “Frankenstein,” Remy Bumppo Theatre Company
Production – musical – large: “Six,” Chicago Shakespeare Theater
Production – musical – midsize: “Caroline, or Change,” Firebrand Theatre in partnership with TimeLine Theatre Company
Production – revue: “You Can’t Fake the Funk: A Journey Through Funk Music,” Black Ensemble Theater
Ensemble – play: “For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf,” Court Theatre
Ensemble – musical or revue: “Six,” Chicago Shakespeare Theater
New work – play: Bruce Norris, “Downstate,” Steppenwolf Theatre Company
New work – musical: David Cale, “We’re Only Alive for A Short Amount of Time,” Goodman Theatre in co-production with The Public Theater; “Miracle,” Michael Mahler, Jason Brett, William A. Marovitz and Arny Granat
Director – play – large: Vanessa Stalling, “Photograph 51,” Court Theatre
Director – play – midsize: Ian Frank, “Frankenstein,” Remy Bumppo Theatre Company; Jonathan Wilson, “The Recommendation,” Windy City Playhouse
Director – musical – large: Jim Corti, “The Producers,” Paramount Theatre
Director – musical – midsize: Lili-Anne Brown, “Caroline, or Change,” Firebrand Theatre in partnership with TimeLine Theatre Company
Performer in a principal role – play: Janet Ulrich Brooks, “Master Class,” TimeLine Theatre Company; Chaon Cross, “Photograph 51,” Court Theatre
Performer in a principal role – musical: E. Faye Butler, “Gypsy,” Porchlight Music Theatre; Barbara E. Robertson, “Queen of the Mist,” Firebrand Theatre
Solo performance: Joe Foust, “The Absolute Brightness of Leonard Pelkey,” American Blues Theater
Performer in a supporting role – play: K. Todd Freeman, “Downstate,” Steppenwolf Theatre Company; Brian Keys, “The Recommendation,” Windy City Playhouse
Performer in a supporting role – musical: Donica Lynn, “Ghost The Musical,” Theatre at the Center; Nat Zegree, “Million Dollar Quartet,” Marriott Theatre
Performer in a revue: Robin DaSilva, “Mahalia Jackson: Moving Thru the Light,” Black Ensemble Theater
Scenic design – large: Arnel Sancianco, “Photograph 51,” Court Theatre
Scenic design – midsize: Lauren Nigri, “The Recommendation,” Windy City Playhouse
Costume design – large: Rueben Echoles, “You Can’t Fake the Funk,” Black Ensemble Theater
Costume design – midsize: Jeff Hendry, “A Gentleman’s Guide to Love & Murder,” Porchlight Music Theatre
Sound design – large: Rick Sims, “Mary Shelley’s Frankenstein,” Lookingglass Theatre Company
Sound design – midsize: Christopher Kriz, “Frankenstein,” Remy Bumppo Theatre Company
Lighting design – large: William C. Kirkham, “Mary Shelley’s Frankenstein,” Lookingglass Theatre Company
Lighting design – midsize: Mike Durst, “Frankenstein,” Remy Bumppo Theatre Company
Choreography: Brenda Didier, “The Producers,” Paramount Theatre
Original music: Andre Pluess and Amanda Dehnert, “The Steadfast Tin Soldier,” Lookingglass Theatre Company
Music direction: Roberta Duchak and Joe Beighton, “Six,” Chicago Shakespeare Theater
Fight choreography: Jon Beal, “Cardboard Piano,” TimeLine Theatre Company
Puppet design: Chicago Puppet Studio, “The Steadfast Tin Soldier,” Lookingglass Theatre Company
Projection design: Rasean Davonte Johnson, “Frankenstein,” Court Theatre
Artistic specialization: Kristy Leigh Hall, makeup design, “Frankenstein,” Remy Bumppo Theatre Company; Cassy Schillo and Wendy A. Huber, properties design, “All Childish Things,” First Folio Theatre
Chris Jones is a Tribune critic.