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Today, the Boston Theater Critics Association have announced the nominees and five awards for visiting productions in the New England Area. The awards will take place Monday, June 1, 2026 at 7pm at the Huntington Theatre.
In addition to the nominees, the 2026 Elliot Norton Prize for Sustain Excellence goes to producer Bill Hanney for his work with the North Shore Music Theatre and Theatre By The Sea. Special Citations will be awarded to Commonwealth Shakespeare Company in honor of its 30th Anniversary Season, Blue Man Group for its 30-year residency in Boston, and to arts administrators Temple Gill and Jim Torres for their decades of service to the arts community.
The full list of nominees are below.
Visiting Awardees
Outstanding Visiting Play
“Our Class,” Arlekin
Outstanding Visiting Musical
“Suffs,” Broadway In Boston
Outstanding Performance in a Visiting Musical
Sam Tutty, “Two Strangers (Carry a Cake Across New York),” American Repertory Theater
Outstanding Performance in a Visiting Play
Chulpan Khamatova, “Our Class,” Arlekin
Outstanding Visiting Solo Performance
Eddie Izzard, “The Tragedy of Hamlet,” Boch Center
Nominations
Outstanding Play, Large
“Don’t Eat the Mangos,” The Huntington
“The Hills of California,” The Huntington in association with Berkeley Repertory Theatre
“Misery,” Merrimack Repertory Theatre
“We Had a World,” The Huntington
“What You Are Now,” Merrimack Repertory Theatre
Outstanding Play, Midsize
“The Garbologists,” Gloucester Stage
“The Glass Menagerie,” Gloucester Stage
“Jaja’s African Hair Braiding,” SpeakEasy Stage
“The Moderate,” a Catalyst Collaborative@MIT Production, presented by Central Square Theater
“Our Town,” Lyric Stage Boston
Outstanding Play, Small
“the beautiful land I seek (la linda tierra que busco yo),” Teatro Chelsea
“Is This a Room,” Apollinaire Theatre Company
“The Meeting Tree,” Company One Theatre in collaboration with Front Porch Arts Collective
“Mother Mary,” Boston Playwrights’ Theatre
“The Mountaintop,” Front Porch Arts Collective in collaboration with The Suffolk University Modern Theatre
Outstanding Musical
“Crowns,” Moonbox Productions
“Fun Home,” The Huntington
“The Light in the Piazza,” The Huntington
“Rent,” North Shore Music Theatre
“tick, tick…BOOM!,” The Umbrella Stage Company
Outstanding Lead Performance in a Play, Large
Will Conard, “We Had a World,” The Huntington
Nora Eschenheimer, “As You Like It,” Commonwealth Shakespeare Company
Karen MacDonald, “Misery,” Merrimack Repertory Theatre
Jessica Pimentel, “Don’t Eat the Mangos,” The Huntington
Allison Jean White, “The Hills of California,” The Huntington in association with Berkeley Repertory Theatre
Outstanding Lead Performance in a Play, Midsize
Thomika Marie Bridwell, “The Garbologists,” Gloucester Stage
Josephine Moshiri Elwood, “Job,” SpeakEasy Stage
Paul Melendy, “Featherbaby,” Greater Boston Stage Company
Paul Melendy, “The Garbologists,” Gloucester Stage
Nael Nacer, “The Moderate,” a Catalyst Collaborative@MIT Production, presented by Central Square Theater
Outstanding Lead Performance in a Play, Small
Adriana Alvarez, “Mother Mary,” Boston Playwrights’ Theatre
Dominic Carter, “The Mountaintop,” Front Porch Arts Collective in collaboration with The Suffolk University Modern Theatre
Tara Forseth, “Mother Mary,” Boston Playwrights’ Theatre
Parker Jennings, “Is This a Room,” Apollinaire Theatre Company
Nathaniel Justiniano, “the beautiful land I seek (la linda tierra que busco yo),” Teatro Chelsea
Outstanding Featured Performance in a Play, Large
Sonnie Brown, “What You Are Now,” Merrimack Repertory Theatre
Kate Fitzgerald, “The Hills of California,” The Huntington in association with Berkeley Repertory Theatre
Evelyn Howe, “Don’t Eat the Mangos,” The Huntington
Eva Kaminsky, “We Had a World,” The Huntington
Amy Resnick, “We Had a World,” The Huntington
Outstanding Featured Performance in a Play, Midsize
Liza Giangrande, “The Glass Menagerie,” Gloucester Stage
De’Lon Grant, “The Glass Menagerie,” Gloucester Stage
Josephine Moshiri Elwood, “Our Town,” Lyric Stage Boston
Patrick O’Konis, “The Glass Menagerie,” Gloucester Stage
Jules Talbot, “The Moderate,” a Catalyst Collaborative@MIT Production, presented by Central Square Theater
Outstanding Featured Performance in a Play, Small
Sehnaz Dirik, “A View from the Bridge,” Apollinaire Theatre Company
Nicholas Papayoanou, “You Are Cordially Invited to the End of the World!,” Company One Theatre
Jacqui Parker, “The Meeting Tree,” Company One Theatre in collaboration with Front Porch Arts Collective
Kiera Prusmack, “The Mountaintop,” Front Porch Arts Collective in collaboration with The Suffolk University Modern Theatre
Adrian Roberts, “The Ceremony,” CHUANG Stage in partnership with Boston Playwrights’ Theatre and Boston University College of Fine Arts, School of Theatre
Outstanding Lead Performance in a Musical
Sehnaz Dirik, “Blood Brothers,” Theater UnCorked
Liza Giangrande, “The Spitfire Grill,” The Umbrella Stage Company
Didi Romero, “Rent,” North Shore Music Theatre
Johnny Shea, “tick, tick…BOOM!,” The Umbrella Stage Company
Emily Skinner, “The Light in the Piazza,” The Huntington
Outstanding Featured Performance in a Musical
Aaron Arnell Harrington, “Rent,” North Shore Music Theatre
Vanessa Calantropo, “tick, tick…BOOM!,” The Umbrella Stage Company
Joshua Grosso, “The Light in the Piazza,” The Huntington
Sarah-Anne Martinez, “The Light in the Piazza,” The Huntington
Lyla Randall, “Fun Home,” The Huntington
Outstanding Choreography
Rachel Bertone, “Evita,” Reagle Music Theatre
Briana Fallon, “The Wizard of Oz,” North Shore Music Theatre
Hallie Nowicki, “Sweeney Claus: The Demon Father of Sleet Street,” Gold Dust Orphans
Ilyse Robbins, “tick, tick…BOOM!,” The Umbrella Stage Company
Marcos Santana, “Rent,” North Shore Music Theatre
Outstanding Director, Large
Logan Ellis, “Fun Home,” The Huntington
Loretta Greco, “The Hills of California,” The Huntington in association with Berkeley Repertory Theatre
Loretta Greco, “The Light in the Piazza,” The Huntington
David Mendizábal, “Don’t Eat the Mangos,” The Huntington
Marcos Santana, “Rent,” North Shore Music Theatre
Outstanding Director, Midsize
Doug Lockwood, “The Glass Menagerie,” Gloucester Stage
Jared Mezzocchi, “The Moderate,” a Catalyst Collaborative@MIT Production, presented by Central Square Theater
Ilyse Robbins, “tick, tick…BOOM!,” The Umbrella Stage Company
Regine Vital, “Crowns,” Moonbox Productions
Summer L. Williams, “Jaja’s African Hair Braiding,” SpeakEasy Stage
Outstanding Director, Small
Danielle Fauteux Jacques, “Is This a Room,” Apollinaire Theatre Company
David R. Gammons, “A View from the Bridge,” Apollinaire Theatre Company
Maurice Emmanuel Parent, “The Mountaintop,” Front Porch Arts Collective in collaboration with The Suffolk University Modern Theatre
Armando Rivera, “the beautiful land I seek (la linda tierra que busco yo),” Teatro Chelsea
Elaine Vaan Hogue, “Mother Mary,” Boston Playwrights’ Theatre
Outstanding Scenic Design, Large
Andrew Boyce, “The Light in the Piazza,” The Huntington
Andrew Boyce and Se Hyun Oh, “The Hills of California,” The Huntington in association with Berkeley Repertory Theatre
Ryan M. Howell, “The Wizard of Oz,” North Shore Music Theatre
Tanya Orellana, “Don’t Eat the Mangos,” The Huntington
Tanya Orellana, “Fun Home,” The Huntington
Outstanding Scenic Design, Midsize or Small
Janie E. Howland, “Jaja’s African Hair Braiding,” SpeakEasy Stage
Ben Lieberson and Pamela Hersch, “The Mountaintop,” Front Porch Arts Collective in collaboration with The Suffolk University Modern Theatre
Jenna McFarland Lord, “The Glass Menagerie,” Gloucester Stage
Cristina Todesco, “The Meeting Tree,” Company One Theatre in collaboration with Front Porch Arts Collective
Sibyl Wickersheimer and Jared Mezzocchi, “The Moderate,” a Catalyst Collaborative@MIT Production, presented by Central Square Theater
Outstanding Lighting Design, Large
Christopher Akerlind, “The Light in the Piazza,” The Huntington
Bradley King, “Wonder,” American Repertory Theater
Jack Mehler, “The Wizard of Oz,” North Shore Music Theatre
Philip Rosenberg, “Fun Home,” The Huntington
Cha See, “Don’t Eat the Mangos,” The Huntington
Outstanding Lighting Design, Midsize or Small
Amanda Fallon, “The Glass Menagerie,” Gloucester Stage
Kevin Fulton, “The Moderate,” a Catalyst Collaborative@MIT Production, presented by Central Square Theater
Brian Lilienthal, “The Mountaintop,” Front Porch Arts Collective in collaboration with The Suffolk University Modern Theatre
Elmer Martinez, “Macbeth,” Actors’ Shakespeare Project
Eduardo M. Ramirez, “Silent Sky,” a Catalyst Collaborative@MIT Production, presented by Central Square Theater
Outstanding Costume Design, Large
Miranda Giurleo, “As You Like It,” Commonwealth Shakespeare Company
Rebecca Glick, “Rent,” North Shore Music Theatre
Alex Jaeger, “The Light in the Piazza,” The Huntington
Celeste Jennings, “Fun Home,” The Huntington
Jennifer von Mayrhauser, “The Hills of California,” The Huntington in association with Berkeley Repertory Theatre
Outstanding Costume Design, Midsize or Small
Seth Bodie, “A Midsummer Night’s Dream,” Actors’ Shakespeare Project
Danielle Domingue Sumi, “Jaja’s African Hair Braiding,” SpeakEasy Stage
Chloe Moore, “The Ceremony,” CHUANG Stage in partnership with Boston Playwrights’ Theatre and Boston University College of Fine Arts, School of Theatre
E. Rosser, “Crowns,” Moonbox Productions
Nia Safarr Banks, “The Glass Menagerie,” Gloucester Stage
Outstanding Sound Design, Large
Alex Berg, “Rent,” North Shore Music Theatre
Megumi Katayama, “The Light in the Piazza,” The Huntington
David Remedios, “Misery,” Merrimack Repertory Theatre
Jake Rodriguez with Alexandra Buschman-Román and Jason Stamberger, “Don’t Eat the Mangos,” The Huntington
David Van Tieghem, “The Hills of California,” The Huntington in association with Berkeley Repertory Theatre
Outstanding Sound Design, Midsize or Small
Julian Crocamo, “The Garbologists,” Gloucester Stage
Aubrey Dube, “The Glass Menagerie,” Gloucester Stage
Christian Frederickson, “The Moderate,” a Catalyst Collaborative@MIT Production, presented by Central Square Theater
Joshua Jackson, “The Mountaintop,” Front Porch Arts Collective in collaboration with The Suffolk University Modern Theatre
Joseph Lark-Riley, “Is This a Room,” Apollinaire Theatre Company
Outstanding Solo Performance
Kevin Kling, “Kevin Kling: Unraveled,” Merrimack Repertory Theatre
Valyn Lyric Turner, “No Child…,” Gloucester Stage
Outstanding New Script
Sam Chanse, “What You Are Now,” Merrimack Repertory Theatre
B. Elle Borders, “The Meeting Tree,” Company One Theatre in collaboration with Front Porch Arts Collective
KJ Moran Velz, “Mother Mary,” Boston Playwrights’ Theatre
David Templeton, “Featherbaby,” Greater Boston Stage Company
Ken Urban, “The Moderate,” a Catalyst Collaborative@MIT Production, presented by Central Square Theater
Outstanding Ensemble
“Crowns,” Moonbox Productions
“Don’t Eat the Mangos,” The Huntington
“The Hills of California,” The Huntington in association with Berkeley Repertory Theatre
“Jaja’s African Hair Braiding,” SpeakEasy Stage
“The Light in the Piazza,” The Huntington
“The Meeting Tree,” Company One Theatre in collaboration with Front Porch Arts Collective
“The Moderate,” a Catalyst Collaborative@MIT Production, presented by Central Square Theater
“Our Town,” Lyric Stage Boston
“Rent,” North Shore Music Theatre
“Sweeney Claus: The Demon Father of Sleet Street,” Gold Dust Orphans
I’ve not seen the namesake documentary on which Lindsey Ferrentino’s play The Fear of 13 is based, but reviews of the 2015 film note its “intriguing mystery” (Time Out) and the “riveting” (The Times), “labyrinthine journey [...] about the art of storytelling” (The Guardian) it crafts in telling the tale of Nick Yarris, a Philadelphia native who spent 22 years on death row for a gruesome crime he did not commit. As directed by David Cromer in rare disjointed form, the production which opened at the James Earl Jones Theatre has none of that going for it, save for two game lead performances by Adrien Brody and Tessa Thompson, making their Broadway debuts.
Yarris’ biography is set for classic melodrama: He filled his youth with petty crimes before escalating to car-jacking and attacking a police officer while under the influence. When a woman turns up dead nearby, why shouldn’t a jury think the 20-year-old boy is crying innocent wolf? We, of course, know he’s innocent, though Ferrentino spends an inordinate amount of time letting him charm us through the direct audience addresses that take up most of the production’s two-hour runtime.
Brody is expectedly watchable and uber-committed, though the white-boy-swag vibe he loves to affect becomes grating in the wandering play, whose first 80 minutes or so are mostly just Yarris/Brody doing his thing while the plot assembles in the background. If that structure is meant to reflect destiny’s quietly uncaring machinations, the script is not nearly meaty enough to uphold it. Nick eventually falls for, and marries, Jacki (Thompson) a kind-hearted prison volunteer. It’s only when the two start to feel the weight of time on their relationship, in a skillfully rendered scene where his path to freedom locks into a regressive pattern through a series of procedural blunders, that the play finally takes on a painful immediacy and stance against the inefficiencies of our justice system.
If this sounds like a two-hander, it probably should have been. There’s a solid cast surrounding the leads, including Joel Marsh Garland as a prison guard – the only other fixed role in a production that fumbles the split between its featured performers (Michael Cavinder, Eddie Cooper, Victor Cruz, Jeb Kreager and Ephraim Sykes) and its ensemble (Eboni Flowers, Jared Wayne Gladly, Joe Joseph and Ben Thompson), all of whom play various parts, none very important.
It’s likely a matter of navigating contracts and understudies and, sure, Cooper gets more to do than Joseph, but Cromer assigns roles with a shocking dearth of strategy. There’s a flashback Sykes exits as one of Nick’s old friends before returning, some 45 seconds later, as his lawyer. Since his entrance is set up as bad news for Nick’s upcoming trial, a few audience members at the performance I attended laughed upon Sykes’ reemergence, thinking the lead’s crime buddy had made a sudden career pivot. Surely someone else could have taken that part. (Sykes is otherwise innocent, if largely wasted, and the couple of songs he performs seem a tacit acknowledgement, by Ferrentino or Cromer, that they don’t have much to work with.)
The Broadway production, which aside from Brody has enlisted an entirely different team from the play’s 2024 premiere in London, is nicely noirish. Arnulfo Maldonado’s unfussy prison set is evocative and effective, with somber brick walls flanking a back wall stacked with jail cells imposingly lit by Heather Gilbert. But this too makes the brief excursions, like a mid-show appearance of Jacki’s well-appointed home feel like an unnecessary attempt to keep things fresh.
Ferrentino, whose musical adaptation of the 2012 documentary The Queen of Versailles opened earlier this season, has a good eye for true stories ripe for dramatization, but again fails to land a consistent tone. Much of this, as in Versailles, is due to the multiplicity of voices she admits into her storytelling; a keystone of documentaries’ allowance of real people to say their piece, but a tactic that typically muddles dramatic coherence. It’s noble to grant Jacki the same chance to share her side with us – and it’s basically 70% of what the underutilized Thompson, who can channel deep currents of sympathy with a single tilt of the head, gets to do – but there’s nothing she adds that Nick couldn’t have handled himself. It is, after all, his life on the line.
The Fear of 13 is in performance through July 12, 2026 at the James Earl Jones Theatre on West 48th Street in New York City. For tickets and more information, visit here.
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In an era where regional theatre seasons are looking bleaker and bleaker, the Huntington in Boston has come out strong with a bold 2026/2027 season including new world premieres putting Boston on the map.
Next April will see the world premiere of Unorthodox based on the best-selling memoir written by Deborah Feldman. Three Broadway heavy hitters are healming the new musical including composer Benj Pasek (EGOT winner, Dear Evan Hansen, La La Land, Only Murders in the Building); composer Shaina Taub (two-time Tony winner for Suffs); and playwright Joshua Harmon (Tony nominated for Prayer for the French Republic). Jordan Fein, who’s daring Into The Woods at London’s Bridge Theatre turned into one of my favorite performances this year, is set to direct.
Deep in the heart of Brooklyn, Devoiri, just seventeen, enters an arranged marriage in the Hasidic Satmar community. Sixty years earlier, her grandmother Fraida arrives in America at roughly the same age, alone, to begin a new life. In parallel journeys, one woman decides to join this devout world, while another awakens to the realization that she wants to try and leave. Based on the best-selling memoir, Unorthodox is an intimate and emotionally resonant new musical about the impossible choices we face trying to do what is right for our children – and ourselves.
“We are close friends who had been searching for something to write together. When we discovered this story, we knew it was the one we wanted to tell, as it's full of complex characters in extraordinary circumstances making impossible choices. Collaborating on this show has been a genuine joy, we are grateful to The Huntington for the chance to see it realized, and eager to share it with audiences,” said Pasek and Taub.
The season also includes another musical world premiere with the joyous finale to Mfoniso Udofia’s nine-play Ufot Family Cycle, a final chapter two years in the making.
Audiences can also look forward to regional premieres of internationally acclaimed titles, like Aaron Sorkin’s (The West Wing, A Few Good Men) soaring adaptation of Harper Lee’s To Kill a Mockingbird and Branden Jacobs-Jenkins (Appropriate) Tony- and Pulitzer-winning play Purpose, as well as a new comedy from Massachusetts-raised playwright Talene Monahon.
