Search this database to review over 52 years of OBIE Awards, including such past recipients as Samuel Beckett and Anna Deavere Smith.
year | category | winner | play |
---|---|---|---|
2013 | Music And Lyrics | The Ross Wetzsteon Award | Clubbed Thumb |
2013 | Performance | Shuler Hensley | The Whale |
2013 | Direction | Ruben Santiago-Hudson | The Piano Lesson |
2013 | Performance | Paul Thureen | Blood Play |
2013 | Special Citations | Nature Theater of Oklahoma | Life and Times: Episodes 1-4 |
2013 | Performance | Matthew Maher | Sustained Excellence |
2013 | Lifetime Achievement | Lois Smith | |
2013 | Best New American Play (tie) | Lisa D'Amour | Detroit |
2013 | Direction | Lear deBessonet | The Good Person Of Szechuan |
2013 | Design | Laura Jellinek | Sustained excellence of Set Design |
2013 | Best New American Play (tie) | Julia Jarcho | Grimly Handsome |
2013 | Direction | John Rando | All In The Timing |
2013 | Obie Grant | Half Straddle | |
2013 | Obie Grant | Fulcrum Theater | |
2013 | Lifetime Achievement | Frances Sternhagen | |
2013 | Direction | Eric Ting | We Are Proud To Present A Presentation... |
2013 | Performance | Eisa Davis | Sustained Excellence |
2013 | Special Citations | David Levine and Marsha Ginsberg | HABIT |
2013 | Music And Lyrics | David Byrne & Fatboy Slim | Here Lies Love |
2013 | Special Citations | Dave Malloy and Rachel Chavkin | Natasha, Pierre & The Great Comet of 1812 |
2013 | Design | Clint Ramos | Sustained excellence of Costume Design |
2013 | Performance | Brandon J. Dirden | The Piano Lesson |
2013 | Playwriting | Ayad Akhtar | Disgraced |
2013 | Playwriting | Annie Baker | The Flick |
2012 | The Ross Wetzsteon Award | Youngblood | |
2012 | Obie Grant | The Debate Society | |
2012 | Obie Grant | The Bushwick Starr | |
2012 | Performance | Susan Pourfar | Tribes |
2012 | Special Citation | Steven Hoggett, Martin Lowe, and John Tiffany | Once |
2012 | Performance | Steven Boyer | Hand to God |
2012 | Performance | Santino Fontana | Sons of the Prophet |
2012 | Direction | Richard Maxwell | Early Plays |
2012 | Sustained Excellence of Set Design | Mimi Lien | |
2012 | Sound Design | Matt Tierney and Ben Williams | The Select (The Sun Also Rises) |
2012 | Special Citation | Mark Bennett, Denis O'Hare, Lisa Peterson, and Stephen Spinella | An Iliad |
2012 | Sustained Excellence of Lighting Design | Mark Barton | |
2012 | Performance | Linda Lavin | The Lyons |
2012 | Playwriting | Kristen Greenidge | Milk Like Sugar |
2012 | Ensemble Performance | Jon DeVries, Shuler Hensley, Maryann Plunkett, Laila Robbins, Jay O. Sanders, J. Smith-Cameron | Sweet and Sad |
2012 | Sustained Excellence of Performance | Jim Fletcher | |
2012 | Direction | Jay Scheib | World of Wires |
2012 | Performance | Gabriel Ebert and Mary Louise Wilson | 4000 Miles |
2012 | Special Citation | Ethan Lipton & His Orchestra | No Place to Go |
2012 | Special Citation | Erin Courtney and Ken Rus Schmoll | A Map of Virtue |
2012 | Special Citation | Elevator Repair Service | |
2012 | Special Citation | Daniel Kitson | It's Always Right Now, Until It's Later |
2012 | Performance | Cherise Boothe | Milk Like Sugar |
2012 | Lifetime Achievement | Caridad Svich | |
2012 | Best New American Play | Amy Herzog | 4000 Miles |
2011 | Special Citations | Young Jean Lee | WE’RE GONNA DIE! |
2011 | Obie Grant | Wakka Wakka | |
2011 | Performance | Thomas Sadoski | OTHER DESERT CITIES |
2011 | Best New American Play | THE ELABORATE ENTRANCE OF CHAD DEITY by Kristoffer Diaz | |
2011 | Special Citation, Sound | Stephen Dobbie | SLEEP NO MORE |
2011 | Performance | Scott Shepherd | GATZ |
2011 | Playwriting | Samuel D. Hunter | A BRIGHT NEW BOISE |
2011 | Directing | Roger Rees | PETER AND THE STARCATCHER |
2011 | Lifetime Achievement | Rene Buch, Repertorio Espanol | |
2011 | Performance | Michael Chernus | IN THE WAKE |
2011 | Obie Grant | Metropolitan Playhouse | |
2011 | Special Citation, Choreography | Maxine Doyle | SLEEP NO MORE |
2011 | Special Citation, Design | Livi Vaughan | SLEEP NO MORE |
2011 | Directing | Leigh Silverman | IN THE WAKE, GO BACK TO WHERE YOU ARE |
2011 | Special Citation, Directing | Leah C. Gardiner | BORN BAD |
2011 | Performance | Laurie Metcalf | THE OTHER PLACE |
2011 | Playwriting | Jonas Hassen Khemiri | INVASION! |
2011 | Sustained Excellence of Sound Design | Jill BC DuBoff | |
2011 | Performance | Hamish Linklater | SCHOOL FOR LIES |
2011 | Special Citation, Design | Felix Barrett | SLEEP NO MORE |
2011 | Sustained Excellence of Performance | F. Murray Abraham | |
2011 | Special Citation, Lighting | Euan Maybank | SLEEP NO MORE |
2011 | Performance | Ethan Hawke | BLOOD FROM A STONE |
2011 | Sustained Excellence of Set Design | Donyale Werle | |
2011 | Special Citation, Playwriting | Debbie Tucker Green | BORN BAD |
2011 | Special Citation, Costumes | David Israel Reynoso | SLEEP NO MORE |
2011 | Performance | Charlayne Woodard | THE WITCH OF EDMONTON |
2011 | Performance | Brenda Wehle | THE INTELLIGENT HOMOSEXUAL’S GUIDE |
2011 | Ross Wetzsteon Award | Belarus Free Theatre | |
2011 | Special Citation, Design | Beatrice Minns | SLEEP NO MORE |
2011 | Directing | Austin Pendleton | THE THREE SISTERS |
2011 | Performance | Andre Braugher | THE WHIPPING MAN |
2011 | Directing | Alex Timbers | PETER AND THE STARCATCHER |
2010 | Sustained Excellence of Performance | Wendell Pierce | |
2010 | Obie Grant | Vampire Cowboys | |
2010 | Sustained Excellence of Lighting Design | Tyler Micoleau | |
2010 | Performance | Tracee Chimo | Circle Mirror Transformation |
2010 | Special Citations | The Ohio Theatre | |
2010 | Design/Music | Steven Dufala | Machines Machines Machines Machines Machines Machines Machines Machines Machines |
2010 | Design/Music | Stephin Merritt | Coraline |
2010 | Directing | Sam Gold | Circle Mirror Transformation, The Aliens |
2010 | Sustained Excellence | Rocco Sisto | |
2010 | Performance | Reed Birney | Circle Mirror Transformation |
2010 | Performance | Peter Friedman | Circle Mirror Transformation |
2010 | Directing | Pam MacKinnon | Clybourne Park |
2010 | Obie Grant | Ontological Incubator | |
2010 | Design/Music | Neil Murray | Brief Encounter |
2010 | Performance | Marc Damon Johnson | The Brother/Sister Plays |
2010 | Design/Music | Malcom Rippeth | Brief Encounter |
2010 | Performance | Laurie Metcalf | A Lie of the Mind |
2010 | Performance | Juliet Rylance | As You Like It |
2010 | Performance | Jonathan Hammond | The Boys in the Band |
2010 | Design/Music | John Driscoll | Brief Encounter |
2010 | Performance | Heidi Schreck | Circle Mirror Transformation |
2010 | Obie Grant | Harlem School of the Arts | |
2010 | Design/Music | Gemma Carrington | Brief Encounter |
2010 | The Ross Wetzsteon Award | Foundry Theatre | |
2010 | Playwriting | Enda Walsh | The New Electric Ballroom |
2010 | Performance | Deirdre O'Connell | Circle Mirror Transformation |
2010 | Sustained Achievement | David Greenspan | |
2010 | Performance | Dane deHaan | The Aliens |
2010 | Special Citations | Chris Wells | |
2010 | Design/Music | Billy Blaise Dufala | Machines Machines Machines Machines Machines Machines Machines Machines |
2010 | Special Citations | Ariane Mnouchkine and Theatre du Soleil | |
2010 | Best New American Play | Annie Baker | Circle Mirror Transformation and The Aliens |
2010 | Special Citations | Three Pianos -- Hoi Polloi | |
2010 | Special Citations | The Lily's Revenge -- Taylor Mac | |
2010 | Special Citations | Les Ephemeres | |
2010 | Special Citations | L'Effet de Serge -- Philippe Quesne and Gaëtan Vourc’h | |
2009 | Design | Toni-Leslie James sustained excellence of costume design (with special reference to WIG OUT, Vineyard Theatre) |
|
2009 | Obie Grant | The Classical Theatre of Harlem | |
2009 | Obie Grant | The Chocolate Factory | |
2009 | Music And Lyrics | Stephen Sondheim (Public Theater) |
ROAD SHOW |
2009 | Special Citations | Sarah Benson (director) and Louisa Thompson (set designer) (Soho Rep) |
BLASTED |
2009 | Performance | Saidah Arrika Ekulona (Manhattan Theatre Club) |
RUINED |
2009 | Performance | Sahr Ngaujah (37 Arts) |
FELA! |
2009 | Performance | Russell Gebert Jones (Manhattan Theatre Club) |
RUINED |
2009 | Performance | Quincy Tyler Bernstine (Manhattan Theatre Club) |
RUINED |
2009 | Best New American Play | Lynn Nottage Manhattan Theatre Club (includes a cash prize of $1,000) |
RUINED |
2009 | Performance | Lorenzo Pisoni (Manhattan Theatre Club) |
HUMOR ABUSE |
2009 | Obie Grant | Lark Play Development Center ($10,000 divided equally among three theaters) |
|
2009 | Performance | Kevin T. Carroll sustained excellence of performance |
|
2009 | Directing | Ken Rus Schmoll (Foundry Theatre) |
TELEPHONE |
2009 | Directing | Katie Mitchell (National Theatre of Great Britain / Lincoln Center Great Performances "New Visions" Series) |
THE WAVES |
2009 | Performance | Jonathan Groff PRAYER FOR MY ENEMY (Playwrights Horizons) and THE SINGING FOREST (Public Theater) |
|
2009 | Performance | John Douglas Thompson (Theatre for a New Audience) |
OTHELLO |
2009 | Performance | James Sugg (Pig Iron Theatre Company) |
CHEKHOV LIZARDBRAIN |
2009 | Ross Wetzsteon Award | HERE Arts Center (includes a cash prize of $2,000) |
|
2009 | Performance | Francois Battiste (Public Theater) |
THE GOOD NEGRO |
2009 | Lifetime Achievement | Earle Hyman | |
2009 | Design | David Korins sustained excellence of set design (with special reference to WHY TORTURE IS WRONG, AND THE PEOPLE WHO LOVE THEM, Public Theater) |
|
2009 | Special Citations | David Esbjornson (director) and Christian Camargo (actor) (Theatre for a New Audience) |
HAMLET |
2009 | Directing | David Cromer (Barrow Street Theatre) |
OUR TOWN |
2009 | Performance | Birgit Huppuch (Foundry Theatre) |
TELEPHONE |
2009 | Performance | Aaron Monaghan (Atlantic Theater Co.) |
THE CRIPPLE OF INISHMAAN |
2008 | Performance | Veanne Cox | Sustained Excellence of Performance |
2008 | Obie Grant | Theater of a Two-Headed Calf $5,000 |
|
2008 | Design | Takeshi Kata, Set - Keith Parham, Lighting Design | Adding Machine |
2008 | Best New Theater Piece | Stew, Heidi Rodewald, Annie Dorsen $1,000 |
Passing Strange |
2008 | Performance | Sean McNall Sustained Excellence of Performance |
|
2008 | Performance | Rebecca Wisocky | Amazons and Their Men |
2008 | Design | Peter Ksander, Scenic Design | Untitled Mars (This Title May Change) |
2008 | Special Citations | Nature Theater of Oklahoma | No Dice |
2008 | Performance | LisaGay Hamilton | The Ohio State Murders |
2008 | Direction | Krzysztof Warlikowski | Krum |
2008 | Obie Grant | Keen Company $5,000 |
|
2008 | Performance | Kate Mulgrew | Iphigenia 2.0 |
2008 | Performance | Joel Hatch | Adding Machine |
2008 | Design | Jane Greenwood Sustained Excellence of Costume Design |
|
2008 | Playwriting | Horton Foote | Dividing The Estate |
2008 | Performance | Heidi Schreck | Drum Of The Waves Of Horikawa |
2008 | Performance | Francis Jue | Yellow Face |
2008 | Performance | Ensemble (De'Adre Aziza, Daniel Breaker, Eisa Davis, Colman Domingo, Chad Goodridge, Rebecca Naomi Jones, Stew) |
Passing Strange |
2008 | Design | David Zinn Sustained Excellence of Costume and Set Design |
|
2008 | Playwriting | David Henry Hwang | Yellow Face |
2008 | Special Citations | David Greenspan | The Argument |
2008 | Direction | David Cromer | Adding Machine |
2008 | Ross Wetzsteon Award | Cherry Lane Theatre Mentor Project $2,000 |
|
2008 | Design | Ben Katchor, Drawings; John Findlay & Jeff Sugg, Set & Projection | The Slug Bearers Of Kayrol Island |
2008 | Lifetime Achievement | Adrienne Kennedy | |
2007 | Obie Grant | Young Jean Lee ($1,000) Emerging Playwright Grants |
|
2007 | Obie Grant | Transport Group | |
2007 | Special Citations | Tim Crouch | An Oak Tree |
2007 | Obie Grant | The Play Company | |
2007 | Special Citations | The Living Theatre, ensemble and director Judith Malina (Ensemble: Johnson Anthony, Gene Ardor, Kesh Baggan, Steven Scot Bono, Gary Brackett, Brent Bradley, Brad Burgess, John Kohan, Albert Lamont, Peter Lester, Jeff Nash, Josh Roberts, Bradford Rosenbloom, Jade Rothman, Isaac Scranton, Morteza Tavakoli, Evan True, Antwan Ward, Louis Williams; Steve Ben Israel, ensemble director) |
The Brig |
2007 | Obie Grant | Synapse Productions | |
2007 | Performance | Roslyn Ruff | Seven Guitars |
2007 | Performance | Ron Cephas Jones Sustained Excellence of Performance |
|
2007 | Design | Robert Kaplowitz Sustained Excellence in Sound Design |
|
2007 | Ross Wetzsteon Award | Rattlestick Theatre | |
2007 | Design | Rae Smith Set and Costume Design |
Oliver Twist |
2007 | Obie Grant | Peculiar Works Project | |
2007 | Performance | Nina Hellman | Trouble in Paradise |
2007 | Performance | Nilaja Sun | No Child |
2007 | Performance | Nancy Opel | My Deah |
2007 | Performance | Michael Stuhlbarg | The Voysey Inheritance |
2007 | Music | Michael Friedman Sustained Excellence in Music |
|
2007 | Voice Judges | Michael Feingold | |
2007 | Direction | Matthew Maguire | Abandon |
2007 | Direction | Lou Bellamy | Two Trains Running |
2007 | Music | Lin-Manuel Miranda music and lyrics |
In the Heights |
2007 | Voice Judges | Kirsten Childs | |
2007 | Voice Judges | Jeremy McCarter | |
2007 | Performance | James Saito | Durango |
2007 | Performance | Harris Yulin | Frank's Home |
2007 | Performance | Ensemble (Winsome Brown, Michael Ray Escamilla, Tracey A. Leigh, Leo Marks, Diane Rodriguez, Ed Vassallo, Heather Woodbury) |
Tale of 2Cities |
2007 | Obie Committee | Elizabeth Lawler | |
2007 | Direction | Eirik Stubo | The Wild Duck |
2007 | Special Citations | Edward Hall & Propeller | Taming of the Shrew |
2007 | Performance | Donna Lynne Champlin | The Dark at the Top of the Stairs |
2007 | Performance | David Greenspan | Faust and Some Men |
2007 | Special Citations | Daniel Beaty writing and performance Emergence-SEE |
|
2007 | Direction | Chay Yew | Durango |
2007 | Music | Bill T. Jones choreography |
Spring Awakening |
2007 | Performance | Betsy Aidem Sustained Excellence of Performance |
|
2007 | Design | Beowulf Boritt Sustained Excellence in Set Design |
|
2007 | Direction | Anne Kauffman | |
2007 | Voice Judges | Anne Dennin | |
2007 | Performance | Andre De Shields Sustained Excellence of Performance |
|
2007 | Lifetime Achievement | Alvin Epstein | |
2007 | Voice Judges | Alexis Soloski | |
2007 | Voice Judges | Ain Gordon | |
2007 | Performance | Ain Gordon | Stories Left to Tell |
2007 | Voice Judges | Adam Rapp | |
2007 | Playwriting | Adam Bock | The Thugs |
2006 | Ross Wetzsteon Award | Soho Repertory Theater $2,000 |
|
2006 | Performance | Sherie Rene Scott | Landscape of the Body |
2006 | Performance | Scott Shepherd | Poor Theater: A Series of Simulacra |
2006 | Performance | S. Epatha Merkerson | Birdie Blue |
2006 | Playwriting | Rolin Jones | Intelligent Design of Jenny Chow |
2006 | Special Citations | Robert O'Hara | In the Continuum |
2006 | Emerging Theater Grants | Rinne Groff $1,000 |
|
2006 | Special Citations | Ricky Ian Gordon | Orpheus and Euridyce |
2006 | Performance | Reed Birney Sustained Excellence of Performance |
|
2006 | Emerging Theater Grants | Red Bull Theater $3,000 |
|
2006 | Performance | Peter Francis James | Stuff Happens |
2006 | Design | NTUSA | Abacus Black Strikes Now |
2006 | Special Citations | Nikkole Salter | In the Continuum |
2006 | Emerging Playwright Grants | Neena Beber $1,000 |
|
2006 | Performance | Michael Cumpsty | Hamlet |
2006 | Special Citations | Michael Berresse | [title of show] |
2006 | Performance | Meg MacCary | What Then |
2006 | Playwriting | Martin McDonagh | The Lieutenant Of Inishmore |
2006 | Performance | Marin Ireland | Cyclone |
2006 | Performance | Lois Smith | The Trip to Bountiful |
2006 | Performance | Julie White | The Little Dog Laughed |
2006 | Special Citations | Jon Nakagawa | Orpheus and Euridyce |
2006 | Direction | John Clancy Sustained Excellence of Direction |
|
2006 | Special Citations | Jeff Bowen | [title of show] |
2006 | Special Citations | Jane Moss | Orpheus and Euridyce |
2006 | Special Citations | Hunter Bell | [title of show] |
2006 | Performance | Gary Wilmes | Red Light Winter |
2006 | Performance | Euan Morton | Measure for Pleasure |
2006 | Lifetime Achievement | Eric Bentley $1,000 |
|
2006 | Performance | Edwin Lee Gibson | The Seven |
2006 | Emerging Theater Grants | Edge Theater Company $3,000 |
|
2006 | Special Citations | Doug Varone | Orpheus and Euridyce |
2006 | Direction | Daniel Sullivan | Stuff Happens |
2006 | Special Citations | Danai Gurira | In the Continuum |
2006 | Performance | Dana Ivey | Mrs. Warren's Profession |
2006 | Performance | Christine Ebersole | Grey Gardens |
2006 | Performance | Byron Jennings | Stuff Happens |
2006 | Emerging Theater Grants | Billie Holiday Theatre $3,000 |
|
2006 | Performance | Ari Fliakos | Poor Theater: A Series of Simulacra |
2006 | Design | Anita Yavich Sustained Excellence of Costume Design |
|
2006 | Design | Allen Moyer Sustained Excellence of Set Design |
|
2006 | Special Citations | Adam Rapp | Red Light Winter |
2005 | Design | Willa Kim costume design |
Woman Before A Glass |
2005 | Performance | Vivienne Benesch | Going to St. Ives |
2005 | Design | Thomas Lynch set design |
Woman Before A Glass |
2005 | Special Citations | The Imagine Festival of Arts, Issues & Ideas | |
2005 | Special Citations | Sin: A Cardinal Deposed | |
2005 | Design | Rui Rita lighting design |
Engaged |
2005 | Performance | Rosemary Allen | Good Samaritans |
2005 | Design | Phil Monat lighting design |
Woman Before A Glass |
2005 | Ross Wetzsteon Award | New Dramatists | |
2005 | Performance | Mercedes Ruehl | Woman Before A Glass |
2005 | Obie Grant | Margo Skinner Memorial Acting Scholarship ($1000) |
|
2005 | Playwriting | Lynn Nottage | Fabulation |
2005 | Obie Grant | Little Theater at Tonic $3000 |
|
2005 | Performance | Larry Bryggman | Romance |
2005 | Performance | LaChanze | Dessa Rose |
2005 | Performance | L. Scott Caldwell | Going to St. Ives |
2005 | Performance | Kieran Culkin | After Ashley |
2005 | Playwriting | John Patrick Shanley | Doubt |
2005 | Design | John Lee Beatty set design |
Engaged |
2005 | Sustained Achievement | John Guare | |
2005 | Performance | Jeremy Shamos | Engaged |
2005 | Performance | Jason Butler Harner | Hedda Gabler |
2005 | Design | Jan Versweyveld set design |
Hedda Gabler |
2005 | Direction | Ivo van Hove | Hedda Gabler |
2005 | Special Citations | Hell Meets Henry Halfway | |
2005 | Obie Grant | Gina Gionfriddo Distinguished Emerging Playwright ($1000) |
|
2005 | Obie Grant | Epic Theatre Company $3000 |
|
2005 | Performance | Elizabeth Marvel | Hedda Gabler |
2005 | Direction | Doug Hughes sustained excellence of direction |
|
2005 | Performance | Deidre O'Connell sustained excellence of performance |
|
2005 | Design | David Van Tieghem sound design |
Woman Before A Glass |
2005 | Direction | Dan Wackerman | Counsellor-At-Law |
2005 | Playwriting | Christopher Shinn | Where Do We Live |
2005 | Performance | Cherry Jones | Doubt |
2005 | Design | Catherine Zuber costume design |
Engaged |
2005 | Playwriting | Caryl Churchill | A Number |
2005 | Design | Aural Fixation Sound & Music sound design |
Engaged |
2005 | Obie Grant | 13P $3000 |
|
2004 | Performance | Zilah Mendoza | Living Out |
2004 | Performance | Viola Davis | Intimate Apparel |
2004 | Performance | Tonya Pinkins | Caroline, or Change |
2004 | Special Citations | Tony Kushner | Caroline, or Change |
2004 | Design | The design team of Bug Lauren Helpern (sets), Tyler Micoleau (lights), Brian Ronan (sound), Kim Gill (costumes), Faye Armon (props) |
Bug |
2004 | Obie Grant | The Civilians | |
2004 | Special Citations | The Builders Association and motiroti | Alladeen |
2004 | Performance | The acting company of Small Tragedy Ana Reeder, Mary Shultz, Rob Campbell, Daniel Eric Gold, Lee Pace, Rosemarie DeWitt |
Small Tragedy |
2004 | Performance | The acting company of Bug Shannon Cochran, Michael Shannon, Michael Cullen, Amy Landecker, Reed Birney |
Bug |
2004 | Obie Grant | THAW (Theaters Against War) | |
2004 | Special Citations | Terry Nemeth Play Publishing, TCG |
|
2004 | Ross Wetzsteon Award | St. Ann's Warehouse Susan Feldman, artistic director |
|
2004 | Special Citations | Soho Rep | Molly's Dream |
2004 | Performance | Sarah Jones | Bridge & Tunnel |
2004 | Music | Robert Een | Hiroshima Maiden |
2004 | Special Citations | Pieter-Dirk Uys | Foreign AIDS |
2004 | Obie Grant | Musicals Tonight | |
2004 | Direction | Moises Kaufman | I Am My Own Wife |
2004 | Performance | Maude Mitchell | Mabou Mines dollHouse |
2004 | Special Citations | Martin Moran | The Tricky Part |
2004 | Lifetime Achievement | Mark Russell | |
2004 | Performance | Lisa Emery | Iron |
2004 | Performance | Lili Taylor | Aunt Dan and Lemon |
2004 | Direction | Lee Breuer | Mabou Mines dollHouse |
2004 | Special Citations | Kyle Jarrow | A Very Merry Unauthorized Children's Scientology Pageant |
2004 | Performance | Jefferson Mays | I Am My Own Wife |
2004 | Special Citations | Jeanine Tesori | Caroline, or Change |
2004 | Performance | Jayne Houdyshell | Well |
2004 | Special Citations | George C. Wolfe For his stewardship of the Public Theater |
|
2004 | Design | Derek McLane Set design |
I Am My Own Wife |
2004 | Design | Derek McLane Set design |
Aunt Dan and Lemon |
2004 | Design | Derek McLane set design |
Intimate Apparel |
2004 | Best New American Play | Craig Lucas | Small Tragedy |
2004 | Performance | Brian F. O'Byrne | Frozen |
2004 | Special Citations | Alex Timbers | A Very Merry Unauthorized Children's Scientology Pageant |
2003 | Performance | Valerie Mahaffey | Talking Heads |
2003 | Performance | Ty Jones | The Blacks: A Clown Show |
2003 | Special Citations | Tina Shepard | Talking Band's Painted Snake in a Painted Chair |
2003 | Obie Grant | The Immigrant Theatre Project | |
2003 | Special Citations | Steven Rattazzi | Talking Band's Painted Snake in a Painted Chair |
2003 | Performance | Stephen Mellor | Bitter Bierce or, The Friction We Call Grief |
2003 | Ross Wetzsteon Award | Soho Think Tank's Ice Factory series at the Ohio Theatre | |
2003 | Performance | Simon Russell Beale | Uncle Vanya |
2003 | Performance | Rosemary Harris | All Over |
2003 | Special Citations | Ron Domingo | The Romance of Magno Rubio |
2003 | Special Citations | Randolph Curtis Rand | Talking Band's Painted Snake in a Painted Chair |
2003 | Special Citations | Ramon de Ocampo | The Romance of Magno Rubio |
2003 | Special Citations | Ralph B. Pena | The Romance of Magno Rubio |
2003 | Special Citations | Paul Zimet | Talking Band's Painted Snake in a Painted Chair |
2003 | Special Citations | Orlando Pabotoy | The Romance of Magno Rubio |
2003 | Special Citations | Nic Ularu | Talking Band's Painted Snake in a Painted Chair |
2003 | Performance | Mos Def | Fucking A |
2003 | Special Citations | Morgan Jenness Longtime Support of Playwrights |
|
2003 | Lifetime Achievement | Mac Wellman | |
2003 | Performance | Lynn Redgrave | Talking Heads |
2003 | Special Citations | Loy Arcenas | The Romance of Magno Rubio |
2003 | Special Citations | Louise Smith | Talking Band's Painted Snake in a Painted Chair |
2003 | Special Citations | Lonnie Carter | The Romance of Magno Rubio |
2003 | Special Citations | Lisa D'Amour | Nita and Zita |
2003 | Design | Kimberly Glennon costume design |
The Blacks: A Clown Show |
2003 | Special Citations | Kiki Smith | Talking Band's Painted Snake in a Painted Chair |
2003 | Design | Kenneth Posner sustained excellence of lighting design |
|
2003 | Special Citations | Katie Pearl | Nita and Zita |
2003 | Special Citations | Kathy Randels | Nita and Zita |
2003 | Performance | Kathleen Chalfant | Talking Heads |
2003 | Special Citations | Karinne Keithley | Talking Band's Painted Snake in a Painted Chair |
2003 | Special Citations | Jojo Gonzalez | The Romance of Magno Rubio |
2003 | Special Citations | John Kani and Winston Ntshona | The Island |
2003 | Performance | Jim Norton | Dublin Carol |
2003 | Performance | Jason Petty | Hank Williams: Lost Highway |
2003 | Performance | J. Kyle Manzay | The Blacks: A Clown Show |
2003 | Special Citations | Gary Brownlee | Talking Band's Painted Snake in a Painted Chair |
2003 | Obie Grant | Galapagos | |
2003 | Performance | Fiona Shaw | Medea |
2003 | Special Citations | Erika Munk Editorship of Theater |
|
2003 | Direction | Emily Mann | All Over |
2003 | Special Citations | Ellen Maddow | Talking Band's Painted Snake in a Painted Chair |
2003 | Performance | Edward Norton | Burn This |
2003 | Special Citations | Diane Beckett | Talking Band's Painted Snake in a Painted Chair |
2003 | Performance | Denis O'Hare | Take Me Out |
2003 | Direction | Deborah Warner | Medea |
2003 | Special Citations | David Greenspan | She Stoops to Comedy |
2003 | Performance | Daniel Davis | Talking Heads |
2003 | Obie Grant | Collapsable Hole | |
2003 | Performance | Christine Ebersole | Talking Heads |
2003 | Special Citations | Carol Mullins | Talking Band's Painted Snake in a Painted Chair |
2003 | Special Citations | Brooklyn Academy of Music International Programming | |
2003 | Performance | Brenda Wehle | Talking Heads |
2003 | Performance | Barry Del Sherman | The Mystery of Attraction |
2003 | Special Citations | Art Acuna | The Romance of Magno Rubio |
2003 | Design | Anthony Ward set design |
Uncle Vanya |
2003 | Design | Anne Lommel mask design |
The Blacks: A Clown Show |
2003 | Special Citations | "Blue" Gene Tyranny | Talking Band's Painted Snake in a Painted Chair |
2002 | Performance | Yvette Ganier | Breath, Boom |
2002 | Design | Whit MacLaughlin sound design for The Fab 4 Reach the Pearly Gates |
|
2002 | Playwriting | Tony Kushner | Homebody/Kabul |
2002 | Special Citations | The Wooster Group | To You, the Birdie! |
2002 | Obie Grant | Salt Theater Company | |
2002 | Performance | Reg E. Cathey, Karen Kandel, John Seitz, James Himelsbach, Anthony Mackie, Maria Tucci (ensemble) | Talk |
2002 | Performance | Raul Esparza | Tick, Tick...Boom! |
2002 | Ross Wetzsteon Award | PS 122 | |
2002 | Performance | Peter Frechette and Reg Rogers | The Dazzle |
2002 | Playwriting | Melissa James Gibson | (sic) |
2002 | Direction | Mary Zimmerman | Metamorphoses |
2002 | Performance | Martha Plimpton | Hobson's Choice |
2002 | Design | Marilys Ernst video for Talk |
|
2002 | Obie Grant | Ma-Yi Theater Company | |
2002 | Performance | Linda Emond | Homebody/Kabul |
2002 | Design | Kevin Adams Sustained Excellence of Lighting Design |
|
2002 | Performance | Juliana Francis | Maria del Bosco |
2002 | Performance | Jeffrey Wright | Topdog/Underdog |
2002 | Special Citations | Ingmar Bergman and the Royal Dramatic Theatre of Sweden | The Ghost Sonata |
2002 | Direction | George C. Wolfe | Topdog/Underdog |
2002 | Special Citations | Elaine Stritch Elaine Stritch at Liberty |
|
2002 | Special Citations | Daniel MacIvor | In on It |
2002 | Special Citations | Daniel Aukin and Louisa Thompson direction and set design of (sic) |
|
2002 | Performance | Christopher Donahue | Monster |
2002 | Special Citations | Charles L. Mee and Les Waters playwriting and direction of Big Love |
|
2002 | Sustained Achievement | Caryl Churchill | |
2002 | Performance | Bill Camp | Homebody/Kabul |
2002 | Design | Angela Moore and Michael Schmelling set and lighting design of Drummer Wanted |
|
2002 | Special Citations | A.R.T./NY for support of Off-Broadway theater |
|
2001 | Ross Wetzsteon Award | Theatre For A New Audience | |
2001 | Performance | Stephanie Berry | The Shaneequa Chronicles |
2001 | Obie Grant | Soho Rep | |
2001 | Special Citations | Ruben Santiago-Hudson | Lackawanna Blues |
2001 | Special Citations | Rinde Eckert | And God Created Great Whales |
2001 | Performance | Pamela Isaacs | Newyorkers |
2001 | Best Play | Pamela Gien | The Syringa Tree |
2001 | Set Design | Neil Patel | War of the Worlds, Resident Alien, Race, I Will Bear Witness |
2001 | Obie Grant | Mint Theater | |
2001 | Direction | Michael Greif | Dogeaters |
2001 | Book And Lyrics | Mark Hollmann | Urinetown |
2001 | Sustained Achievement | Marian Seldes Sustained Achievement |
|
2001 | Music | Kirsten Childs Music and Lyrics |
The Bubbly Black Girl Sheds Her Chameleon Skin |
2001 | Special Citations | Justin Bond and Kenny Mellman | Kiki and Herb: Jesus Wept |
2001 | Design | Julia Wolfe, Laurie Olinder, Bill Morrison, Fred Tietz, Cynthia Hopkins, Howard S. Thies, Pilar Limosner, Tim Schellenbaum, Ruth Pongstaphone, Matthew Tierney | Jennie Richee |
2001 | Performance | Judy Kuhn, Mandy Gonzalez, Anika Noni Rose, Ronnell Bey | Eli's Comin' |
2001 | Playwriting | José Rivera | References To Salvador Dali Make Me Hot |
2001 | Performance | John Ortiz | References to Salvador Dali Make Me Hot |
2001 | Choreography | John Carrafa | Urinetown |
2001 | Performance | Janie Dee | Comic Potential |
2001 | Performance | Jackie Hoffman | The Book of Liz |
2001 | Book And Lyrics | Greg Kotis | Urinetown |
2001 | Performance | George Bartenieff | I Will Bear Witness |
2001 | Music | Ed Kleban Music and Lyrics |
A Class Act |
2001 | Set Design | Douglas Stein | Texts for Nothing and Saved |
2001 | Music | Diedre Murray Vocal and Instrumental Arrangement |
Eli's Comin' |
2001 | Direction | Craig Lucas | Saved or Destroyed |
2001 | Obie Grant | Clubbed Thumb | |
2001 | Obie Grant | Classical Theater of Harlem | |
2001 | Performance | Brian Murray | The Play About the Baby |
2001 | Performance | Brian d'Arcy James | The Good Thief |
2001 | Direction | Bob McGrath | Jennie Richee |
2001 | Music | Bill Sims, Jr. | Lackawanna Blues |
2001 | Performance | Bette Bourne | Resident Alien |
2000 | Ross Wetzsteon Award | The Foundry | |
2000 | Performance | The Cast of Jitney Excellence of Ensemble Performance |
|
2000 | Special Citations | The Builders Association and Diller + Scofidio | Jet Lag |
2000 | Design | Susan Hilferty Sustained Excellence Costume Design |
|
2000 | Special Citations | Sarah E. Johnson | Lava Love |
2000 | Sustained Achievement | Ping Chong Sustained Achievement |
|
2000 | Voice Judges | Michael Feingold, James Hannaham, Alisa Solomon | |
2000 | Design | Mark Dendy Choreography for The Wild Party |
|
2000 | Direction | Marion McClinton | Jitney |
2000 | Special Citations | Maria Irene Fornes | Letters From Cuba |
2000 | Performance | Lynne Thigpen | Jar the Floor |
2000 | Performance | Lola Pashalinski | Gertrude and Alice |
2000 | Special Citations | Joe Mantello and Marc Wolf | Another American: Asking and Telling |
2000 | Special Citations | Jesusa Rodriguez and Liliana Felipe | Las Horas de Belen -- A Book of Hours |
2000 | Special Citations | Jan Lauwers / Needcompany | Morning Song |
2000 | Design | Jan Hartley Sustained Excellence Projection Design |
|
2000 | Guest Judges | Holly Hughes, Jo Bonney, Neil Patel, Mac Wellman | |
2000 | Playwriting | Harley Granville Barker | Waste |
2000 | Obie Grant | Five Myles | |
2000 | Performance | Elizabeth Marvel | A Streetcar Named Desire |
2000 | Performance | Eileen Heckart | The Waverly Gallery |
2000 | Performance | Eddie Korbich | Taking a Chance on Love |
2000 | Performance | Dominique Dibbell | Jet Lag |
2000 | Performance | Debra Monk | The Time of the Cuckoo |
2000 | Special Citations | Deb Margolin Sustained Excellence of Performance |
|
2000 | Design | David Gallo Sustained Excellence Set Design |
|
2000 | Performance | Cynthia Hopkins | Another Telepathic Thing |
2000 | Performance | Colm Meaney | The Cider House Rules: Part One, Here in St. Cloud's |
2000 | Obie Grant | Circus Amok | |
2000 | Performance | Christopher Evan Welch | A Streetcar Named Desire |
2000 | Design | Christopher Akerlind Sustained Excellence Lighting Design |
|
2000 | Asst. To Committee | Charles McNulty | |
2000 | Performance | Charlayne Woodard | In the Blood |
2000 | Performance | Byron Jennings | Waste |
2000 | Chairman | Brian Parks | |
2000 | Special Citations | Bill Talen | The Reverend Billy |
2000 | Obie Grant | Big Dance Theater | |
2000 | Best Production | Ben Katchor, Michael Gordon, David Lang, Julia Wolfe, Bob McGrath | The Carbon Copy Building |
1999 | Sustained Achievement | Wynn Handman | |
1999 | Playwrighting | W. David Hancock | The Race of the Ark Tattoo |
1999 | Performance | Viola Davis | Everybody's Ruby |
1999 | Design | Thomas Lynch Sustained Excellence of Set Design |
|
1999 | Best Production | The Wooster Group House/Lights |
|
1999 | Obie Grant | The Point, CDC | |
1999 | Performance | Swoosie Kurtz | The Mineola Twins |
1999 | Special Citations | Ronnie Burkett | Tinka's New Dress |
1999 | Special Citations | Richard Maxwell | House |
1999 | Performance | Randall Duk Kim Sustained Excellence of Performance |
|
1999 | Special Citations | Peggy Shaw | Menopausal Gentleman |
1999 | Direction | Nicholas Martin | Betty's Summer Vacation |
1999 | Obie Grant | National Asian American Theater 674 President Street Brooklyn, NY 11215 Mia Katigbak, Artistic/Producing Director |
|
1999 | Performance | Mina Bern Sustained Excellence of Performance |
|
1999 | Design | Michael Chybowski Sustained Excellence of Lighting Design |
|
1999 | Direction | Melia Bensussen | The Turn of the Screw |
1999 | Performance | Matthew Maher | The Race of the Ark Tattoo |
1999 | Design | Martin Pakledinaz | Costume Design for The Misanthrope |
1999 | Voice Judges | Liz Diamond, Dael Orlandersmith, Mark Russell, Una Chaudhuri, Michael Feingold, Alisa Solomon, Brian Parks, Charles McNulty, Eileen Phelan | |
1999 | Special Citations | Lisa Kron | 2.5 Minute Ride |
1999 | Performance | Liev Schreiber | Cymbeline |
1999 | Performance | Kristine Nielson | Betty's Summer Vacation |
1999 | Special Citations | Kim Hughes | Sakina's Restaurant |
1999 | Performance | Kathleen Chalfant | Wit |
1999 | Direction | Jim Simpson | Benten Kozo |
1999 | Ross Wetzsteon Award | Ellie Covan Dixon Place |
|
1999 | Design | Diedre Murray | Score for Running Man |
1999 | Direction | Declan Donnellan | Le Cid |
1999 | Special Citations | David Cale | Lillian |
1999 | Performance | Darius de Haas | Running Man |
1999 | Playwrighting | Dare Clubb | Oedipus |
1999 | Performance | Daniel Gerroll Sustained Excellence of Performance |
|
1999 | Playwrighting | Christopher Durang | Betty's Summer Vacation |
1999 | Special Citations | Carmelita Tropicana | |
1999 | Special Citations | Basil Twist | Symphonie Fantastique |
1999 | Special Citations | Aasif Mandvi | Sakina's Restaurant |
1998 | Performance | Yvette Freeman | Dinah Was |
1998 | Obie Grant | Victoria McElwaine, Housing Works Theater Project | |
1998 | Performance | Tim Hopper | More Stately Mansions |
1998 | Special Citations | Target Margin Theater | Mamba's Daughters |
1998 | Guest Judges | Suzan-Lori Parks, Marian Seldes, Polly Pen, Steven Samuels | |
1998 | Special Citations | Stephen Trask | Hedwig And The Angry Inch |
1998 | Best Play | Richard Foreman | Pearls For Pigs and Benita Canova |
1998 | Special Citations | Philim McDermott, Lee Simpson, Julian Crouch, Guy Dartnell, Ben Park, Steve Tiplady for the creators of 70 Hill Lane |
|
1998 | Design | Mimi Jordan Sherin for her lighting design |
Bob |
1998 | Performance | Matthew Maguire | I Don't Know Who He Was And I Don't Know What He Said |
1998 | Performance | Mary Testa | On the Town and From Above |
1998 | Special Citations | Mark Bennett sustained excellence of sound design |
|
1998 | Performance | Marie Mullen | The Beauty Queen of Leenane |
1998 | Performance | Lea DeLaria | On The Town |
1998 | Performance | Kate Valk sustained excellence of performance |
|
1998 | Special Citations | Karen Finley | The American Chestnut |
1998 | Performance | Joseph Wiseman | I Can't Remember Anything |
1998 | Performance | Joan MacIntosh | More Stately Mansions |
1998 | Direction | Jo Bonney sustained excellence of direction |
|
1998 | Sustained Achievement | Jennifer Tipton | |
1998 | Voice Judges | James Hannaham, Michael Feingold | |
1998 | Performance | J. Smith Cameron | As Bees In Honey Drown |
1998 | Direction | Ivo van Hove | More Stately Mansions |
1998 | Performance | Heather Gillespie | Mamba's Daughters |
1998 | Direction | Evan Yionoulis | Three Days of Rain |
1998 | Performance | Elizabeth Marvel | Therese Raquin and Misalliance |
1998 | Ross Wetzsteon Award | Doug Aibel and The Vineyard Theater for sustained support of artists and creativity in the theater |
|
1998 | Performance | David Patrick Kelly sustained excellence of performance |
|
1998 | Special Citations | David Herskovits, Thomas Cabaniss, Lenore Doxsee, Erika Belsey, David Zinn, Tim Schellenbaum, John Cameron Mitchell | Hedwig And The Angry Inch |
1998 | Direction | David Esbjornson | Therese Raquin |
1998 | Design | Darron L. West for his soundscape |
Bob |
1998 | Obie Grant | Caught in the Act annual one-act festival presented by Threshold Theater Co. | |
1998 | Special Citations | Buzz Cohen distinguished stage management |
|
1998 | Performance | Brian Murray sustained excellence of performance |
|
1998 | Special Citations | Alan Johnson sustained excellence of musical direction |
|
1998 | Performance | Adriane Lenox | Dinah Was |
1997 | Sustained Achievement | Woodie King Jr. | |
1997 | Performance | Tsai Chin | Golden Child |
1997 | Special Citations | Tap Dogs | |
1997 | Obie Grant | St.Paul's Community Baptist Church Drama Ministry | |
1997 | Design | Shirley Prendergast sustained excellence of lightning design |
|
1997 | Performance | Sharon Shruggs | The Trojan Woman |
1997 | Chairman | Ross Wetzsteon | |
1997 | Special Citations | Roger Guenveur Smith & Mark Anthony Thompson | A Huey P. Newton Story |
1997 | Performance | Ray Anthony Thomas | Volunteer Man |
1997 | Playwriting | Paula Vogel | How I Learned to Drive |
1997 | Best Play | Naomi Wallace | One Flea Spare |
1997 | Voice Judges | Michael Feingold, Alisa Solomon | |
1997 | Performance | Mary-Louise Parker | How I Learned to Drive |
1997 | Direction | Mark Brokaw | How I Learned to Drive |
1997 | Playwriting | Lanford Wilson | Sympathetic Magic |
1997 | Guest Judges | Karen Kandel, Craig Lukas,Robert Marx, Eugene Nesmith | |
1997 | Performance | Karen Kandel | Peter and Wendy |
1997 | Special Citations | Joanne Camp sustained excellence of performance |
|
1997 | Performance | Jennifer Dundas | Good as New |
1997 | Special Citations | Jeanine Tesori music for Violet |
|
1997 | Special Citations | James Hatch & Camille Billops | |
1997 | Special Citations | Howard Crabtree & creators of When Pigs Fly | |
1997 | Obie Grant | Great Small Works | |
1997 | Playwriting | Eve Ensler | The Vagina Monologues |
1997 | Special Citations | Dona Ann McAdams | |
1997 | Design | Derek McLane sustained excellence of set design |
|
1997 | Performance | David Morse | How I Learned to Drive |
1997 | Playwriting | David Henry Hwang | Golden Child |
1997 | Performance | David Greenspan | The Boys in the Band |
1997 | Performance | Ching Valdes-Aran | Flipzoids |
1997 | Asst. To Committee | Charles McaNulty | |
1997 | Design | Catherine Zuber sustained excellence of costume design |
|
1997 | Special Citations | Arthur French sustained excellence of performance |
|
1997 | Performance | Andre Braugher | Henry V |
1997 | Performance | Albert Macklin | June Moon |
1997 | Best Production | Peter and Wendy | |
1996 | Performance | Virginia Rambal | Troya De America and La Dama Duende |
1996 | Sustained Achievement | Uta Hagen | |
1996 | Performance | Tom McGowan | The Food Chain |
1996 | Obie Grant | The TEBA Group | |
1996 | Special Citations | The Acting Ensemble | Rent |
1996 | Performance | Terri Klausner | Bed And Sofa |
1996 | Playwriting | Suzan-Lori Parks | Venus |
1996 | Performance | Steven Skybell | Antigone In New York |
1996 | Best New American Play | Sleep Deprivation Chamber with Adam Kennedy |
Sleep Deprivation Chamber |
1996 | Special Citations | Scott Elliott and The Acting Ensemble |
Curtains |
1996 | Special Citations | Savion Glover Choreography and Dance |
Bring in 'da Noise/Bring in 'da Funk |
1996 | Performance | Rose The Dog (Julie Archer and Barbara Pollitt) | Epidog |
1996 | Performance | Rocco Sisto | Quills |
1996 | Music | Polly Pen | Bed And Sofa |
1996 | Special Citations | New Voices at Repertorio Espanol | |
1996 | Obie Grant | New Georges | |
1996 | Design | Neil Patel Sustained Excellence of Set Design |
|
1996 | Special Citations | Michael Greif Director |
Rent |
1996 | Performance | Mary Louise Wilson | Full Gallop |
1996 | Special Citations | Marty Pottenger | City Water Tunnel #3 |
1996 | Performance | Mark Nelson | Picasso At The Lapin Agile |
1996 | Performance | Lisa Gay Hamilton | Valley Song |
1996 | Special Citations | Kathleen Chalfant Sustained Excellence of Performance |
|
1996 | Best New American Play | June And Jean In Concert | June And Jean In Concert |
1996 | Special Citations | Jonathan Larson Composer/Writer |
Rent |
1996 | Design | Jeffrey S. Koger Sustained Excellence of Lighting Design |
|
1996 | Performance | James Urbaniak | The Universe |
1996 | Special Citations | Ingmar Bergman Sustained Excellence of Direction |
|
1996 | Special Citations | Henry Stram Sustained Excellence of Performance |
|
1996 | Performance | Gerry Bamman | Nixon's Nixon |
1996 | Playwriting | Doug Wright | Quills |
1996 | Direction | Doug Hughes | The Grey Zone |
1996 | Playwriting | Donald Margulies | The Model Apartment |
1996 | Performance | Derek Smith | The Green Bird |
1996 | Music | David Van Tieghem Sustained Excellence of Music |
|
1996 | Music | Bruce Coughlin and Adam Guettel | Floyd Collins |
1996 | Playwriting | Ain Gordon | Wally's Ghost |
1996 | Best New American Play | Adrienne Kennedy | Adrienne Kennedy |
1996 | Performance | Adina Porter | Venus |
1996 | Obie Committee | Village Voice: Michael Feingold, Alisa Solomon |
|
1996 | Obie Committee | Guests: Holly Hill, Karen Kandel, Alberto Minero, Jim O'Quinn |
|
1996 | Obie Committee | Assistant: Charles McNulty |
|
1996 | Obie Committee | Chairman: Ross Wetzsteon |
|
1995 | Design | Wendall K. Harrington Sustained excellence of projection |
|
1995 | Special Citations | Vernel Bagneris & Morten Gunnar Larsen | Jelly Roll |
1995 | Playwriting | Tony Kushner | Slavs! |
1995 | Special Citations | The New Group | Ecstasy |
1995 | Special Citations | The Five Lesbian Brothers | The Secretaries |
1995 | Performance | The Cast and Director Joe Mantello |
Love! Valour! Compassion! |
1995 | Playwriting | Terrence McNally | Love! Valor! Compassion! |
1995 | Direction | Susan Schulman | Merrily We Roll Along |
1995 | Playwriting | Susan Miller | My Left Breast |
1995 | Performance | Ron Liebman | The Merchant Of Venice |
1995 | Direction | Robert Falls | SubUrbia |
1995 | Performance | Paul Calderon | Blade To The Heat |
1995 | Obie Grant | Nada | |
1995 | Sustained Achievement | Ming Cho Lee | |
1995 | Performance | Mary Beth Peil | The Naked Truth, Missing Persons & A Cheever Evening |
1995 | Performance | Malcolm Gets | Merrily We Roll Along & Two Gentlemen Of Verona |
1995 | Performance | Linda Lavin | Death Defying Acts |
1995 | Performance | Kristine Nielsen | Dog Opera |
1995 | Performance | Joanna Adler | The Boys In The Basement |
1995 | Design | Jennifer von Mayrhauser Sustained excellence of costume design |
|
1995 | Performance | Felicity Huffman | Cryptogram |
1995 | Performance | Eileen Atkins & Vanessa Redgrave | Vita And Virginia |
1995 | Direction | Don Scardino | A Cheever Evening |
1995 | Best Play | David Mamet | Cryptogram |
1995 | Playwriting | David Hancock | The Convention Of Cartography |
1995 | Special Citations | Dael Orlandersmith | Beauty's Daughter |
1995 | Performance | Camryn Manheim | Missing Persons |
1995 | Obie Grant | Blueprint Series at Ontologic-Hysteric Theatre | |
1995 | Performance | Barbara Eda Young | Slavs |
1995 | Obie Grant | Archives at LaMama | |
1995 | Special Citations | Amy & David Sedaris | One Woman Shoe |
1995 | Obie Committee | Ross Wetzsteon, Chairman |
|
1995 | Obie Committee | Laura Ross, Assistant |
|
1995 | Obie Committee | Michael Feingold, Lisa Kennedy, Voice Judges |
|
1995 | Obie Committee | JoAnne Akalaitis, Michael Sommers, Lynne Thigpen, Guest Judges |
|
1994 | Special Citations | Tom Noonan | Wifey |
1994 | Performance | Tom Nelis | The Medium |
1994 | Special Citations | STOMP | |
1994 | Performance | Robert Stanton | All in the Timing |
1994 | Special Citations | Ricky Jay | Ricky Jay and His 52 Assistants |
1994 | Performance | Peter Francis James | The Maid |
1994 | Performance | Myra Carter | Three Tall Women |
1994 | Performance | Michael Potts | The America Play |
1994 | Special Citations | Michael John LaChiusa | First Lady Suite and Hello Again |
1994 | Design | Kyle Chepulis Sustained Excellence of Set Design |
|
1994 | Performance | Judith Ivey | The Moonshot Tape |
1994 | Special Citations | John Moran and Bob McGrath | |
1994 | Performance | Jefferson Mays | Orestes |
1994 | Playwriting | Howard Korder | The Lights |
1994 | Special Citations | Holly Hughes | |
1994 | Obie Grant | Here | |
1994 | Performance | Gail Grate | The America Play |
1994 | Playwriting | Eric Bogosian | Pounding Nails in the Floor With My Forehead |
1994 | Sustained Achievement | Edward Albee | |
1994 | Direction | David Warren | Pterodactyls |
1994 | Performance | Danny Hoch | Some People |
1994 | Special Citations | Claudia Shear | Blown Sideways Through Life |
1994 | Performance | Christopher McCann | The Lights |
1994 | Obie Grant | Changing Scenes | |
1994 | Performance | Carolee Carmello | Hello Again |
1994 | Design | Brian MacDevitt Sustained Excellence of Lighting Design |
|
1994 | Best Play | Anna Deavere Smith | Twilight: Los Angeles 1992 |
1994 | Direction | Andre Ernotte | Christina Alberta's Father |
1994 | Performance | Alice Playten | First Lady Suite |
1994 | Special Citations | Ain Gordon, David Gordon and Valda Setterfield | The Family Business |
1994 | Obie Committee | Ross Wetzsteon, Chairman |
|
1994 | Obie Committee | Michael Feingold, Alisa Solomon, Voice Judges |
|
1994 | Obie Committee | Anne Bogart, Ming Cho Lee, Jan Stuart, Guest Judges |
|
1993 | Special Citations | The International Festival of Puppet Theater | |
1993 | Obie Grant | Pearl Theater | |
1993 | Playwriting | Paul Rudnick | Jeffrey |
1993 | Obie Grant | Nuyorican Poets Cafe | |
1993 | Best New American Play | No award given | |
1993 | Performance | Miriam Colon Sustained Excellence of Performance |
|
1993 | Direction | Michael Maggio | Wings |
1993 | Design | Loy Arcenas Sustained Excellence of Set Design |
|
1993 | Performance | Linda Stephens | Wings |
1993 | Special Citations | Lincoln Center Serious Fun! | |
1993 | Playwriting | Larry Kramer | The Destiny of Me |
1993 | Playwriting | Jose Rivera | Marisol |
1993 | Performance | John Cameron Mitchell | The Destiny of Me |
1993 | Sustained Achievement | JoAnne Akalaitis | |
1993 | Performance | Jane Alexander | The Sisters Rosensweig |
1993 | Design | Howard Thies Sustained Excellence of Lighting Design |
|
1993 | Playwriting | Harry Kondoleon | The Houseguests |
1993 | Performance | Hallie Foote | The Roads to Home |
1993 | Performance | Giancarlo Esposito | Distant Fires |
1993 | Performance | Geoffrey C. Ewing | Ali |
1993 | Direction | Frederick Zollo | Aven 'U Boys |
1993 | Performance | Frances Conroy | The Last Yankee |
1993 | Special Citations | Ensemble Studio Theatre | One-Act Play Marathon |
1993 | Performance | Ellen Parker Sustained Excellence of Performance |
|
1993 | Performance | Edward Hibbert | Jeffrey |
1993 | Performance | David Drake | The Night Larry Kramer Kissed Me |
1993 | Special Citations | Cirque Du Soleil | |
1993 | Direction | Christopher Ashley | Jeffrey |
1993 | Performance | Bill Irwin | Texts for Nothing |
1993 | Special Citations | Betty Corwin New York Public Library Archives |
|
1993 | Special Citations | Ariane Mnouchkine | Les Atrides |
1993 | Obie Committee | Ross Wetzsteon, Chairman |
|
1993 | Obie Committee | Michael Feingold, Alisa Solomon, Voice Judges |
|
1993 | Obie Committee | Mary Alice, Jeremy Gerard, Guest Judges |
|
1992 | Special Citations | The Public Theater For the conception and design |
`Tis Pity She's a Whore |
1992 | Special Citations | The New York International Festival of the Arts For presenting the works of Ingmar Bergman, Tadeusz Kantor, and Eimuntas Nekrosius |
|
1992 | Obie Grant | Soho Repertory Company | |
1992 | Performance | S. Epatha Merkerson | I'm Not Stupid |
1992 | Special Citations | Ron Vawter | Roy Cohn/Jack Smith |
1992 | Playwriting | Romulus Linney Sustained Excellence |
|
1992 | Performance | Roger Rees | The End of the Day |
1992 | Best New American Play | Robbie McCauley (three-way tie) |
Sally's Rape |
1992 | Performance | Randy Danson Sustained Excellence of Performance |
|
1992 | Best New American Play | Paula Vogel (three-way tie) |
The Baltimore Waltz |
1992 | Performance | Ofelia Gonzales Sustained Excellence of Performance |
|
1992 | Playwriting | Neal Bell Sustained Excellence |
|
1992 | Performance | Nathan Lane Sustained Excellence of Performance |
|
1992 | Direction | Mark Wing-Davy | Mad Forest |
1992 | Design | Marina Draghici Sets and Costumes |
Mad Forest |
1992 | Performance | Lynne Thigpen | Boesman and Lena |
1992 | Performance | Laura Esterman | Marvin's Room |
1992 | Performance | Larry Bryggman Sustained Excellence of Performance |
|
1992 | Design | John Arnone Sustained Excellence of Set Design |
|
1992 | Special Citations | Jeff Weiss | Hot Keys |
1992 | Performance | James McDaniel | Before It Hits Home |
1992 | Special Citations | Gerard Alessandrini | Forbidden Broadway |
1992 | Obie Grant | Franklin Furnace | |
1992 | Obie Grant | Downtown Art Company | |
1992 | Best New American Play | Donald Margulies (three-way tie) |
Sight Unseen |
1992 | Performance | Dennis Boutsikaris | Sight Unseen |
1992 | Performance | Deborah Hedwall | Sight Unseen |
1992 | Special Citations | David Gordon | The Mysteries and What's So Funny |
1992 | Performance | Cherry Jones | The Baltimore Waltz |
1992 | Sustained Achievement | Athol Fugard | |
1992 | Direction | Anne Bogart | The Baltimore Waltz |
1992 | Special Citations | Anna Deavere Smith | Fires in the Mirror |
1992 | Obie Committee | Ross Wetzsteon, Chairman |
|
1992 | Obie Committee | C. Carr, Michael Feingold, Voice Judges |
|
1992 | Obie Committee | Alisa Solomon, Assistant |
|
1992 | Obie Committee | Max Ferra, Linda Winer, Guest Judges |
|
1991 | Design | William Ivey Long Sustained Excellence of Costume Design |
|
1991 | Best New American Play | Wallace Shawn | The Fever |
1991 | Performance | Tony Goldwyn | The Sum of Us |
1991 | Special Citations | Theater for the New City | Stop the War: A Festival for Peace in the Middle East |
1991 | Sustained Achievement | The Wooster Group | |
1991 | Performance | Stockard Channing | Six Degrees of Separation |
1991 | Performance | Ron Rifkin | The Subtance of Fire |
1991 | Special Citations | New York Theatre Workshop | |
1991 | Special Citations | New York Shakespeare Festival, 1990-91 Season | |
1991 | Performance | Michael Lombard | What's Wrong With This Picture? |
1991 | Direction | Michael Grief | Machinal |
1991 | Obie Grant | Mettawee River Theater Company | |
1991 | Design | Mark Beard Sustained Excellence of Set Design |
|
1991 | Playwriting | Mac Wellman | Sincerity Forever |
1991 | Special Citations | Lori Seid Stage management |
|
1991 | Direction | Lisa Peterson | Light Shining in Buckinghamshire |
1991 | Performance | Kathleen Widdoes | Tower of Evil |
1991 | Performance | John Leguizamo | Mambo Mouth |
1991 | Special Citations | John Kelly | Love of a Poet |
1991 | Playwriting | John Guare | Six Degrees of Separation |
1991 | Design | John Gromada Sound design |
Machinal |
1991 | Performance | Jodie Markell | Machinal |
1991 | Performance | Joan Copeland | The American Plan |
1991 | Performance | Jan Leslie Harding | Sincerity Forever |
1991 | Obie Grant | Hearts and Voices | |
1991 | Design | Frances Aronson Sustained Excellence of Lighting Design |
|
1991 | Obie Grant | En Garde Arts | |
1991 | Performance | Eileen Atkins | A Room of One's Own |
1991 | Special Citations | Blue Man Group | |
1991 | Performance | Bette Bourne, Precious Pearl, Peggy Shaw, and Lois Weaver Ensemble performance |
Belle Reprieve |
1991 | Special Citations | BACA Downtown | |
1991 | Performance | Anne Pitonia | Pygmalion |
1991 | Performance | Angela Goethals | The Good Times Are Killing Me |
1991 | Obie Committee | Ross Wetzsteon, Chairman |
|
1991 | Obie Committee | Michael Feingold, Robert Massa, Gordon Rogoff, Voice Judges |
|
1991 | Obie Committee | Alisa Solomon, Assistant to the committee |
|
1991 | Obie Committee | Margo Jefferson, Joan Macintosh, Guest judges |
|
1990 | Obie Grant | WOW Cafe | |
1990 | Best New American Play | Suzan-Lori Parks (three way tie) |
Imperceptible Mutabilities in the Third Kingdom |
1990 | Performance | Stephen Mellor | Terminal Hip |
1990 | Special Citations | San Francisco Mime Troupe | Seeing Double |
1990 | Performance | Ruth Maleczech | Lear |
1990 | Obie Committee | Ross Wetzsteon, Chairman | |
1990 | Obie Committee | Rene Buch, Margo Jefferson, Guest judges | |
1990 | Obie Grant | Pregones | |
1990 | Performance | Pamela Tyson | Imperceptible Mutabilities in the Third Kingdom |
1990 | Direction | Norman Rene | Prelude to a Kiss |
1990 | Sustained Achievement | Money awarded to ACT-UP for the fight against AIDS | |
1990 | Obie Committee | Michael Feingold, Erika Munk, Alisa Solomon, Voice Judges | |
1990 | Performance | Mary Shultz Sustained Excellence in Performance |
|
1990 | Performance | Marcia Jean Kurtz | The Loman Family Picnic and When She Danced |
1990 | Best New American Play | Mac Wellman (three way tie) |
"Bad Penny," "Crowbar," and "Terminal Hip" |
1990 | Direction | Liz Diamond | Imperceptible Mutabilities in the Third Kingdom |
1990 | Performance | Lillias White | Romance in Hard Times |
1990 | Performance | Karen Evans-Kandel | Lear |
1990 | Special Citations | Joseph Papp For his courageous stand against censorship |
|
1990 | Direction | Jim Simpson | Bad Penny |
1990 | Performance | Jean Stapleton | Mountain Language and The Birthday Party |
1990 | Performance | Isabell Monk | Lear |
1990 | Performance | Greg Mehrten | Lear |
1990 | Design | George Tsypin Sustained excellence of set design |
|
1990 | Direction | George C. Wolfe | Spunk |
1990 | Special Citations | Eric Bogosian | Sex, Drugs, Rock & Roll |
1990 | Performance | Elzbieta Czyzewska | Crowbar |
1990 | Obie Grant | Dixon Place | |
1990 | Performance | Danitra Vance | Spunk |
1990 | Design | Daniel Moses Schreler Sustained excellence of sound design |
|
1990 | Special Citations | Dan Hurlin | A Cool Million |
1990 | Best New American Play | Craig Lucas (three way tie) |
Prelude to a Kiss |
1990 | Performance | Courtney B. Vance | My Children! My Africa! |
1990 | Obie Grant | BACA New Works Project | |
1990 | Performance | Alec Baldwin | Prelude to a Kiss |
1990 | Obie Grant | 52nd Street Project | |
1989 | Performance | William Converse-Roberts | Love's Labor's Lost |
1989 | Performance | Will Patton | What Did He See? |
1989 | Performance | Tim McDonnell | Diary of a Madman |
1989 | Obie Grant | The Living Theater | |
1989 | Playwriting Workshop | The Frank Silva Workshop | |
1989 | Special Citations | The Dramatists Guild | for the Young Playwrights Festival |
1989 | Special Citations | Tamamatsu Yoshida | The Warrior Ant |
1989 | Design | Susan Young Sustained Excellence of Costume Design |
|
1989 | Obie Committee | Ross Wetzsteon, Chairman | |
1989 | Performance | Rocco Sisto | The Winter's Tale |
1989 | Direction | Rene Buch Sustained Excellence of Direction |
|
1989 | Special Citations | Rachel Rosenthal | Rachel's Brain |
1989 | Direction | Peter Stein | Falstaff |
1989 | Special Citations | Paul Zaloom | The House of Horror |
1989 | Performance | Paul Hecht | Enrico IV |
1989 | Best New American Play | No award given | |
1989 | Performance | Niall Buggy | Aristocrats |
1989 | Performance | Nancy Marchand | The Cocktail Hour |
1989 | Obie Committee | Martha Coigney, Margo Jefferson, Guest Judges | |
1989 | Performance | Mark Blum | Gus and Al |
1989 | Performance | Lonny Price | The Immigrant |
1989 | Special Citations | Leo Bassi | Nero's Last Folly |
1989 | Performance | Kathy Najimy and Mo Gaffney | The Kathy and Mo Show |
1989 | Special Citations | Janie Geiser | Stories From Here |
1989 | Sustained Achievement | Irene Worth | |
1989 | Direction | Ingmar Bergman | Hamlet |
1989 | Playwriting Workshop | GRANT Intar Hispanic Playwrights-in-Residence Laboratory | |
1989 | Performance | Gloria Foster | The Forbidden City |
1989 | Design | Gabriel Berry Sustained Excellence of Costume Design |
|
1989 | Performance | Fyvush Finkel | Cafe Crown |
1989 | Performance | Everett Quinton | A Tale of Two Cities |
1989 | Obie Committee | Eileen Blumenthal, Michael Feingold, Robert Massa, Erika Munk, Julius Novick, Gordon Rogoff | |
1989 | Design | Donald Eastman Sustained Excellence of Set Design |
|
1989 | Special Citations | Dance Theater Workshop | |
1989 | Obie Grant | Cucaracha Warehouse Theater | |
1988 | Performance | Yvonne Bryceland | The Road to Mecca |
1988 | Performance | Victor Garber | Wenceslas Square |
1988 | Performance | Tina Shepard | The Three Lives of Lucie Cabrol |
1988 | Obie Grant | Theatre for a New Audience | |
1988 | Obie Committee | Ross Wetzsteon, Chairman | |
1988 | Sustained Achievement | Richard Foreman | |
1988 | Direction | Peter Brook | The Mahabharata |
1988 | Performance | Peggy Shaw | Dress Suits to Hire |
1988 | Best New American Play | Maria Irene Fornes | Abingdon Square |
1988 | Performance | Lauren Tom | American Notes |
1988 | Performance | Larry Bazzell | The Signal Season of Dummy Hoy |
1988 | Performance | Kathy Bates | Frankie & Johnny in the Clair de Lune |
1988 | Direction | Julie Taymor | Juan Darien |
1988 | Performance | John seitz | Abingdon Square |
1988 | Design | Huck Snyder Sustained Excellence of Scenic Design |
|
1988 | Performance | Gordana Rashovich | A Shayna Maidel |
1988 | Design | Eva Buchmuller Sustained Excellence of Stage Design |
|
1988 | Performance | Erland Josephson | The Cherry Orchard |
1988 | Special Citations | Elliot Goldenthal for Music |
"Juan Darien" |
1988 | Obie Committee | Eileen Blumenthal, Robert Massa, Erika Munk, Julius Novick, Gordon Rogoff, Voice Judges | |
1988 | Obie Grant | CSC Repertory | |
1988 | Obie Committee | Clinton Davis, Judith Malina, Guest Judges | |
1988 | Special Citations | Christopher Reeve for his courageous work on behalf of Chilean artists |
|
1988 | Best New American Play | Caryl Churchill | Serious Money |
1988 | Special Citations | B. H. Barry Sustained Excellence of Stage Combat Choreography |
|
1988 | Direction | Anne Bogart | No Plays No Poetry... |
1988 | Performance | Amy Irving | The Road to Mecca |
1987 | Special Citations | The Woza Afrika Foundation | |
1987 | Special Citations | The Non-Traditional Casting Project | |
1987 | Obie Grant | The New Theatre of Brooklyn | |
1987 | Special Citations | The La Mama Great Jones Repertory Company for the revival of this play |
"Fragments of a Greek Trilogy" |
1987 | Obie Grant | The Irish Arts Center | |
1987 | Obie Committee | Ross Wetzsteon, Chairman | |
1987 | Performance | Robin Bartlett | The Early Girl |
1987 | Design | Robert Israel Set and Costume Design |
The Hunger Artist |
1987 | Performance | Rob Besserer | The Hunger Artist |
1987 | Best New American Play | Richard Foreman | "The Cure" and "Film Is Evil, Radio Is Good" |
1987 | Performance | Philip Bosco Sustained Excellence of Performance |
|
1987 | Design | Paul Gallo Lighting Design |
The Hunger Artist |
1987 | Performance | Morgan Freeman | Driving Miss Daisy |
1987 | Performance | Laura Hicks | On the Verge |
1987 | Special Citations | Judith Malina | The Living Theatre Retrospectacle |
1987 | Performance | John Kelly | Pass the Blutwurst, Bitte (The Egon Schiele St) |
1987 | Design | James F. Ingalls Sustained Excellence of Lighting Design |
|
1987 | Performance | Gcina Mhlophe | Born in the RSA |
1987 | Direction | Garland Wright | On The Verge |
1987 | Obie Committee | Eileen Blumenthal, Robert Massa, Gordon Rogoff, Michael Feingold, Erika Munk, Julius Novick, Voice Judges | |
1987 | Special Citations | Dario Fo and Franca Rame | |
1987 | Performance | Dana Ivey | Driving Miss Daisy |
1987 | Performance | Clarice Taylor | Moms |
1987 | Sustained Achievement | Charles Ludlam and the Ridiculous Theatrical Company | |
1987 | Obie Grant | Brooklyn Arts and Cultural Association (BACA) | |
1987 | Performance | Black-eyed Susan Sustained Excellence of Performance |
|
1987 | Obie Committee | Billie Allen, Norris Houghton, Guest Judges | |
1987 | Performance | Bill Raymond | Cold Harbor |
1987 | Performance | Anthony Holland | The Hunger Artist |
1987 | Design | Andrew Jackness Sustained Excellence of Set Design |
|
1986 | Performance | Tom Cayler | A Matter of Life and Death |
1986 | Playwriting | Tadeusz Kantor | Let the Artists Die |
1986 | Best Performance | Swoosie Kurtz | The House of the Blue Leaves |
1986 | Obie Committee | Ross Wetzsteon, Chairman | |
1986 | Obie Committee | Rosalyn Drexler, Gautam Dasgupta, Guest Judges | |
1986 | Design | Rita Ryack Costume Design |
|
1986 | Direction | Richard Foreman | Largo Desolato |
1986 | For Distinguished | PLAYWRITING Wallace Shawn | Aunt Dan and Lemon |
1986 | Design | Paul Gallo Lighting Design |
|
1986 | Obie Grant | P.S. 122 | |
1986 | Performance | Norma Aleandro | About Love and Other Stories About Love |
1986 | Playwriting | Martha Clarke | Vienna: Lusthaus |
1986 | Sustained Achievement | Mabou Mines | |
1986 | Obie Grant | Mabou Mines | |
1986 | Playwriting | Lee Nagrin | Bird/Bear |
1986 | Performance | Kevin Kline Sustained Excellence of Performance |
|
1986 | Performance | Kathryn Pogson | Aunt Dan and Lemon |
1986 | Performance | Josef Sommer | Largo Desolato |
1986 | Playwriting | John Jesurun | Deep Sleep |
1986 | Performance | Jill Eikenberry | "Lemon Sky" and "Life Under Water" |
1986 | Performance | Helen Stenborg | Talley & Son |
1986 | Special Citations | Genji Ito for Music |
|
1986 | Performance | Farley Granger | Talley & Son |
1986 | Playwriting | Eric Bogosian | Drinking in America |
1986 | Performance | Elizabeth Wilson | Anteroom |
1986 | Performance | Elisabeth Welch | Time to Start Living |
1986 | Obie Committee | Eileen Blumenthal, Michael Feingold, Erika Munk, Julius Novick, Robert Massa, Gordon Rogoff, Voice Judges | |
1986 | Design | Edward T. Gianfrancesco Set Design |
|
1986 | Performance | Edward Herrmann Sustained Excellence of Performance |
|
1986 | Performance | Dylan Baker | Not About Heroes |
1986 | Obie Grant | Billie Holiday Theatre | |
1985 | Obie Committee | Woodie King, Margot Lewitin, Guest Judges | |
1985 | Playwriting | William M. Hoffman | As Is |
1985 | Design | Victor En Yu Tan for Lighting Design |
|
1985 | Obie Grant | The Split Britches Company | |
1985 | Special Citations | The Roy Hart Theater for Pagliacci | "An Evening with Ekkard Schall" |
1985 | Obie Grant | The Richard Allen Center | |
1985 | Obie Grant | The Production Company | |
1985 | Ensemble Performance | The cast of The Marriage of Bette and Boo | |
1985 | Special Citations | The Asia Society | |
1985 | Obie Grant | Spiderwoman Theatre | |
1985 | Special Citations | Spalding Gray | Swimming to Cambodia |
1985 | Obie Committee | Ross Wetzsteon, Chairman | |
1985 | Playwriting | Rosalyn Drexler | Transients Welcome |
1985 | Performance | Ron Vawter Sustained Excellence in Performance |
|
1985 | Music | Peter Gordon | Otello |
1985 | Special Citations | Penn and Teller | |
1985 | Sustained Achievement | Meredith Monk | |
1985 | Music | Max Roach | Shepardsets |
1985 | Best New American Play | Maria Irene Fornes | The Conduct of Life |
1985 | Design | Loren Sherman for Set Design |
|
1985 | Performance | Laurie Metcalf | Balm in Gilead |
1985 | Special Citations | Julie Taymor | |
1985 | Design | Judy Dearing for Costume Design |
|
1985 | Performance | Jonathan Hadary | As Is |
1985 | Performance | John Turturro | Danny and the Deep Blue Sea |
1985 | Direction | John Malkovich | Balm in Gilead |
1985 | Direction | Jerry Zaks | "The Foreigner" and "The Marriage of Bette and Boo" |
1985 | Obie Grant | Intar | |
1985 | Performance | Frances Foster Sustained Excellence of Performance |
|
1985 | Obie Committee | Eileen Blumenthal, Michael Feingold, Robert Massa, Erika Munk, Julius Novick, Voice Judges | |
1985 | Performance | Dennis Boutsikaris | The Nest of the Woodgrouse |
1985 | Playwriting | Christopher Durang | The Marriage of Bette and Boo |
1985 | Ensemble Performance | Charles Ludlam and Everett Quinton | The Mystery of Irma Vep |
1985 | Direction | Barbara Vann | Bound to Rise |
1985 | Performance | Anthony Heald | Henry V, The Foreigner and Digby |
1984 | Performance | Will Patton | Fool for Love |
1984 | Playwriting | Vaclav Havel | A Private view |
1984 | Playwriting | Ted Tally | Terra Nova |
1984 | Performance | Stephen McHattie | Mensch Meier |
1984 | Performance | Sheila Dabney | Sarita |
1984 | Playwriting | Samuel Beckett | "Ohio Impromptu," "What Where," "Catastrophe," "Pocket" |
1984 | Direction | Sam Shepard | Fool for Love |
1984 | Best New American Play | Sam Shepard | Fool For Love |
1984 | Performance | Ruth Maleczech | Through the Leaves |
1984 | Special Citations | Richard Peaslee | for his musical score for "The Garden of Earthly Delights" |
1984 | Performance | Richard Jordan | A Private View |
1984 | Special Citations | Percy Mtwa, Mbongeni Ngema and Barney Simon | for their production of "Woza Albert" |
1984 | Performance | Pamela Reed Sustained Excellence of Performance |
|
1984 | Sustained Achievement | Music-Theatre Group/Lenox Arts Center | |
1984 | Performance | Morgan Freeman | Gospel at Colonus |
1984 | Playwriting | Maria Irene Fornes | "The Danube," "Sarita," "Mud" |
1984 | Direction | Maria Irene Fornes | "The Danube," "Sarita," "Mud" |
1984 | Playwriting | Len Jenkin | Five of Us |
1984 | Best Musical | Lee Breuer and Bob Telson | Gospel at Colonus |
1984 | Direction | Lawrence Sacharow | Five of Us |
1984 | Obie Committee | Lanford Wilson, Guest Judge | |
1984 | Performance | Kathy Baker | Fool for Love |
1984 | Direction | JoAnne Akalaitis | Through the Leaves |
1984 | Special Citations | International Theatre Institute of the U.S., Inc | |
1984 | Performance | George Guidall | Cinders |
1984 | Performance | Frederick Neuman | Through the Leaves |
1984 | Playwriting | Franz Xaver Kroetz | `Through the Leaves," "Mensch Meier" |
1984 | Performance | F. Murray Abraham | Uncle Vanya |
1984 | Obie Committee | Eileen Blumenthal, Michael Feingold, Erika Munk, Julius Novick, Ross Wetzsteon | |
1984 | Performance | Ed Harris | Fool for Love |
1984 | Design | Douglas Stein | set design for "Through the Leaves" |
1984 | Performance | Dianne Wiest | "Serendaring Louie" and "Other Places' |
1984 | Design | Bill Stabile | set design for "Spookhouse" and "Damnee Hanon, Sacree Sandra" |
1984 | Design | Anne Militello Sustained Excellence of Lighting Design |
|
1984 | Special Citations | Ann and Jules Weiss for their tireless devotion to Off and Off-Off Broadway |
|
1984 | Design | Adrianne Lobel | set design for "The Vampires," "All Night Long" |
1983 | Playwriting | Tina Howe Distinguished Playwriting |
|
1983 | Special Citations | Theatre Development Fund for its Off-Off-Broadway voucher program |
|
1983 | Special Citations | The Zagreb theater Company | The Liberation of Skopje |
1983 | Ensemble Performance | The New York Shakespeare Festival cast of "Top Girls' | |
1983 | Special Citations | The musical production of The Mother of Us All | |
1983 | Special Citations | The musical performance of Poppie Nongena | |
1983 | Special Citations | The Big Apple Circus | |
1983 | Best New American Play: | See PLAYWRIGHTING | |
1983 | Performance | Ruth Maleczech | Hadd |
1983 | Obie Committee | Ross Wetzsteon, Chairman | |
1983 | Obie Committee | Robert Massa, Secretary | |
1983 | Performance | Ray Wise | the Tooth of Crime |
1983 | Special Citations | Performing Arts Journal publications | |
1983 | Special Citations | Michael Moschen, Fred Garbo, Bob Berky | `Foolsfire" |
1983 | Obie Committee | Maria Irene Fornes and John Guare, Guest Judges | |
1983 | Sustained Achievement | Lanford Wilson, Marshall Mason, and the Circle Repertory Company | |
1983 | Performance | John Malkovich | True West |
1983 | Performance | Jeff Daniels | Johnny Got His Gun |
1983 | Design | Heidi Landesman | "A Midsummer Night's Dream" and "Painting Churches" |
1983 | Playwriting | Harry Kondoleon Most Promising Young Playwright |
|
1983 | Direction | Gregory Mosher | Edmond |
1983 | Performance | Glenn Close | The Singular Life of Albert Nobbs |
1983 | Direction | Gary Sinise | True West |
1983 | Special Citations | Ethyl Eichelberger | Lucrezia Borgia |
1983 | Performance | Ernest Abuba | Yellow Fever |
1983 | Obie Committee | Eileen Blumenthal, Michael Feingold, Erika Munk, Julius Novick, Voice Judges | |
1983 | Special Citations | Dramatists Play Service for its commitment to new work |
|
1983 | Performance | Donald Moffat | Painting Churches |
1983 | Ensemble Performance | Director Max Stafford Clark and the Royal Court cast of "Top Girls" | |
1983 | Ensemble Performance | Director Kenneth Frankel and the Cast of "Quartermaine's Terms" | |
1983 | Playwriting | David Mamet (Howe, Kondoleon, and Mamet share the $1000 prize for best new American play.) |
Edmond |
1983 | Performance | Christine Baranski | A Midsummer Night's Dream |
1983 | Playwriting | Caryl Churchill | "Top Girls" |
1982 | Direction | Tommy Tune | Cloud 9 |
1982 | Best New American Play (tie) | tie) | Metamorphosis in Miniature |
1982 | Special Citations | Theatre Communications Group | |
1982 | Best Theater Piece | Tadeusz Kantor | "Wielopole, Wielopole" |
1982 | Obie Committee | Ross Wetzsteon, Chairman | |
1982 | Obie Committee | Robert Massa, Assistant to the committee | |
1982 | Playwriting | Robert Auletta | "Stops" and "Virgins," |
1982 | Performance | Ray Dooley | Peer Gynt |
1982 | Performance | Michael Gross | No End of Blame |
1982 | Sustained Achievement | Maria Irene Fornes | |
1982 | Distinguished Ensemble Performance | Lisa Banes, Brenda Currin, Elizabeth McGovern and Beverly May | May My Sister in This House |
1982 | Special Citations | La Mama | 20th anniversary celebration |
1982 | Performance | Kevin O'Connor | "Chucky's Hunch," "Birdbath," and "Crossing the Crab Nebula" |
1982 | Performance | Kevin Bacon | "Forty Deuce" and "Poor Little Lambs" |
1982 | Performance | Kenneth McMillan | Weekends Like Other People |
1982 | Performance | Josef Sommer | Lydie Breeze |
1982 | Design | Jim Clayburgh Sustained Excellence in Set Design |
|
1982 | Performance | James Barbosa | Soon Jack November |
1982 | Performance | Irene Worth | The Chalk Garden |
1982 | Special Citations | Harvey Fierstein | "Torch Song Trilogy," |
1982 | Obie Committee | Gus Edwards, Richard Gilman, Guest Judges | |
1982 | Obie Committee | Eileen Blumenthal, Michael Feingold, Erika Munk, Julius Novick, Voice Judges | |
1982 | Performance | E. Katherine Kerr | Cloud 9 |
1982 | Performance | Christine Estabrook | Pastorale |
1982 | Playwriting | Caryl Churchill | "Cloud 9," |
1982 | Performance | Carole Shelley | Twelve Dreams |
1982 | Design | Arden Fingerhut Sustained Excellence in Lighting Design |
|
1982 | Distinguished Ensemble Performance | Adolph Caesar, Larry Riley, and Denzel Washington | `A Soldier's Play" |
1982 | Best New American Play (tie) | Mr. Dead and Mrs. Free | |
1981 | Performance | William Sadler | Limbo Tales |
1981 | Direction | Wilford Leach | The Pirates of Penzance |
1981 | Direction | Toby Robertson | Pericles |
1981 | Performance | Timothy Near | Still Life |
1981 | Special Citations | Repertorio Espanol | |
1981 | Sustained Achievement | Negro Ensemble Company | |
1981 | Performance | Michele Shay | Meetings |
1981 | Performance | Meryl Streep | Alice in Concert |
1981 | Direction | Melvin Bernhardt | Crimes of the Heart |
1981 | Performance | Mary McDonnell | Still Life |
1981 | Performance | Mary Beth Hurt | Crimes of the Heart |
1981 | Design | Manuel L**Dutgenhorst and Douglas Ball | Request Concert |
1981 | Playwriting | Len Jenkin | Limbo Tales (script and direction) |
1981 | Performance | Kevin Kline | The Pirates of Penzance |
1981 | Design | Jun Maeda Sustained Excellence in Set Design |
|
1981 | Special Citations | Joseph Chaikin and the Winter Project | Tourists and Refuggees |
1981 | Performance | John Spencer | Still Life |
1981 | Performance | John Lone | "FOB" and "The Dance and the Railroad" |
1981 | Special Citations | JoAnne Akalaitis and Mabou Mines | Dead End Kids |
1981 | Performance | Giancarlo Esposito | Zooman and the Sign |
1981 | Best Production | Emily Mann | Still Life |
1981 | Obie Committee | Eileen Blumenthal, Michael Feingold, Terry Curtis Fox, Erika Munk, Julius Novick, Ross Wetzsteon, James Leverett, Edith Oliver | |
1981 | Design | Dennis Parichy Sustained Excellence in Lighting Design |
|
1981 | Best New American Play | David Henry Hwang | FOB |
1981 | Performance | Christopher Walken | The Sea Gulf |
1981 | Playwriting | Charles Fuller | Zooman and the Sign |
1981 | Special Citations | Bruce Myers | A Dybbuk for Two People |
1981 | Performance | Bob Gunton | How I Got That Story |
1981 | Design | Bloolips for costume design |
"Lust in Space" |
1981 | Special Citations | Bill Irwin for his inspired clowning |
|
1981 | Playwriting | Amlin Gray | How I Got That Story |
1980 | Special Citations | The Flying Karamazov Brothers | |
1980 | Special Citations | The Actors of Le Centre International de Creations Theatrales | for outstanding ensemble performance |
1980 | Best Ensemble Performance | See CITATIONS | |
1980 | Sustained Achievement | Sam Shepard | |
1980 | Design | Sally Jacobs | for the designs of "Conference of the Birds" |
1980 | Design | Ruth Maleczech and Julie Archer | for the design of "Vanishing Pictures" |
1980 | Playwriting | Romulus Linney | Tennessee |
1980 | Playwriting | Roland Muldoon | Full Confessions of a Socialist (script and direction) |
1980 | Special Citations | Ntozake Shange | for her adaptation of "Mother Courage" |
1980 | Performance | Morgan Freeman | "Mother Courage" and "Coriolanus" |
1980 | Performance | Michael Higgins | `Reunion" |
1980 | Performance | Michael Cristofer | Chinchilla |
1980 | Performance | Michael Burrell | Hess |
1980 | Performance | Madeleine le Roux | "La Justice" |
1980 | Performance | Lindsay Crouse | Reunion |
1980 | Playwriting | Lee Breuer | A Prelude to Death in Venice (script and direction) |
1980 | Design | Laura Crow | for the costumes for "Mary Stuart" |
1980 | Performance | Jon Polito for performances with Dodger Theatre Company and the BAM Theater Company |
|
1980 | Performance | John Heard | "Othello" and "Split" |
1980 | Playwriting | Jeff Weiss | That's How the Rent Gets Paid (Part Three) (script and direction) |
1980 | Performance | Hattie Winston | "Mother Courage" and "The Michigan" |
1980 | Special Citations | Ellen Stewart and La Mama E.T.C. | for contribution to the American theatre by the importation of foreign companies |
1980 | Direction | Elizabeth LeCompte | Point Judith |
1980 | Performance | Elizabeth Franz | "Sister Mary Ignatius Explains It All for You" |
1980 | Obie Committee | Eileen Blumenthal, Harold Clurman, Michael Feingold, Terry Curtis Fox, Erika Munk, Julius Novick, Ross Wetzsteon | |
1980 | Direction | Edward Cornell | Johnny on a Spot |
1980 | Performance | Dianne Wiest | The Art of Dining |
1980 | Special Citations | David Jones and Richard Nelson | for innovative programming at the BAM Theatre Company |
1980 | Playwriting | Christopher Durang | Sister Mary Ignatius Explains It All for You |
1980 | Performance | Bill Raymond | A Prelude to Death in Venice |
1980 | Design | Beverly Emmons for distinguished lighting design |
|
1980 | Direction | A.J. Antoon | The Art of Dining |
1979 | Design | Theatre X | A Fierce Longing, for sets and lighting |
1979 | Special Citations | The Negro Ensemble Company Sustained Excellence of Ensemble Acting |
|
1979 | Special Citations | The French Department of NYU for its Samuel Beckett Festival |
|
1979 | Special Citations | Tadeusz Kantor | The Dead Class |
1979 | Playwriting | Susan Miller | "Nasty Rumors" and "Final Remarks" |
1979 | Playwriting | Sam Shepard | Buried Child |
1979 | Obie Committee | Ross Wetzsteon, chairman | |
1979 | Playwriting | Rosalyn Drexler | The Writer's Opera |
1979 | Playwriting | Richard Nelson | Vienna Notes |
1979 | Performance | Philip Anglim | The Elephant Man |
1979 | Best New American Play | Michael McClure | Josephine |
1979 | Obie Committee | Michael Feingold, Terry Curtis Fox, Julius Novick, and Arthur Sainer, Voice theatre critics | |
1979 | Performance | Mary Alice | "Nongogo" and "Julius Caesar" |
1979 | Direction | Maria Irene Fornes | Eyes on the Harem |
1979 | Performance | Marcell Rosenblatt | Vienna Notes |
1979 | Performance | Judd Hirsch | Talley's Folly |
1979 | Performance | Joseph Buloff | The Price |
1979 | Special Citations | JoAnne Akalaitis, Ellen McElduff, and David Warrilow | Southern Exposure |
1979 | Design | Jennifer Tipton Public theatre, for sets and lighting |
|
1979 | Direction | Jack Hofsiss | The Elephant Man |
1979 | Special Citations | Gordon Chater, Richard Wherrett, and Steve J. Spears | The Elocution of Benjamin |
1979 | Performance | Fred Gwynne | Grand Magic |
1979 | Obie Committee | Erika Munk, Voice theatre editor | |
1979 | Obie Committee | Eric Bentley, Ruth Maylees, Guest Judges | |
1979 | Performance | Elizabeth Wilson | Taken in Marriage |
1979 | Performance | Constance Cummings | Wings |
1979 | Playwriting | Bernard Pomerance | The Elephant Man |
1979 | Sustained Achievement | Al Carmines | |
1978 | Special Citations | Winston Tong | |
1978 | Direction | Thomas Bullard | Statements After an Arrest Under the Immorality Act |
1978 | Performance | Swoosie Kurtz | Uncommon Women |
1978 | Special Citations | Stuart Sherman | |
1978 | Special Citations | Squat | |
1978 | Design | Robert Yodice | Museum |
1978 | Direction | Robert Allan Ackerman | Prayer for My Daughter |
1978 | Performance | Richard Bauer | "Landscape of the Body" and "The Dybbuk" |
1978 | Lifetime Achievement | Peter Schumann's Bread & Puppet Theatre | |
1978 | Playwriting | No award given | |
1978 | Performance | Nell Carter | Ain't Misbehavin' |
1978 | Obie Committee | Michael Feingold, Terry Curtis Fox, Erika Munk, Julius Novick, Arthur Sainer, Ross Wetzsteon, Richard Eder, Gordon Rogoff | |
1978 | Performance | Lee S. Wilkof | The Present Tense |
1978 | Best New American Play | Lee Breuer | Shaggy Dog Animation |
1978 | Performance | Kaiulani Lee | Safe House |
1978 | Special Citations | Joseph Dunn and Irja Koljonen | Preface |
1978 | Special Citations | Jerry Mayer | Taud Show |
1978 | Special Citations | James Lapine | Photograph |
1978 | Design | Garland Wright and John Arnone | K |
1978 | Special Citations | Eric Bentley | |
1978 | Direction | Elizabeth Swados | Runaways |
1978 | Performance | Bruce Myers | The Dybbuk |
1978 | Performance | Alma Cuervo | Uncommon Women |
1978 | Special Citations | Ain't Misbehavin' | |
1977 | Performance | William Hurt | My Life |
1977 | Playwriting | William Hauptmann | Domino Courts |
1977 | Special Citations | Theatre for the New City for Sustained Excellence |
|
1977 | Special Citations | The creators of "Nightclub Cantata" | |
1977 | Design | See CITATIONS | |
1977 | Best New American Play | Sam Shepard | Curse of the Starving Class |
1977 | Performance | Roberta Maxwell | Ashes |
1977 | Distinguished Productions | Poet Ntozake SHange, director Oz Scott, and the entire cast of "For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf" | |
1977 | Distinguished Productions | Playwright Eve Merriam, director Tommy Tune, costume designer Kate Carmel, and the entire cast of "The Club" | |
1977 | Special Citations | Ping Chong | Humboldt's Current |
1977 | Special Citations | Philip Glass | for the music for Einstein on the Beach |
1977 | Special Citations | New York Street Theatre Caravan for Sustained Excellence |
|
1977 | Obie Committee | Michael Feingold, Dan Isaac, Erika Munk, Julius Novick, Arthur Sainer, Marilyn Stasio, Ross Wetzsteon | |
1977 | Direction | Melvin Bernhardt | Children |
1977 | Performance | Martin Balsam | Cold Storage |
1977 | Performance | Marian Seldes | Isadora Duncan Sleeps with the Russian Navy |
1977 | Playwriting | Maria Irene Fornes | Fefu and Her Friends |
1977 | Performance | Margaret Wright | A Manoir |
1977 | Special Citations | Manhattan Theatre Club for Sustained Excellence |
|
1977 | Distinguished Productions | Mabou Mines | Dressed Like an Egg |
1977 | Performance | Lucinda Childs | Einstein on the Beach |
1977 | Performance | Lola Pashalinski | Der Ring Gott Farblonjet |
1977 | Performance | Joseph Maher | Savages |
1977 | Performance | John Heard | G.R. Point |
1977 | Performance | Jo Henderson | Ladyhouse Blues |
1977 | Performance | James Coco | The Transfiguration of Benno Blimpie |
1977 | Special Citations | Henry Millman and Edward M. Greenberg set and lighting |
"Domino Courts" |
1977 | Direction | Gordon Davidson | Savages |
1977 | Playwriting | David Rudkin | Ashes |
1977 | Playwriting | David Berry | G.R. Point |
1977 | Performance | Danny Aiello | Gemini |
1977 | Special Citations | Charles Ludlam | for the design of Der Ring Gott Farblonjet |
1977 | Special Citations | Carole Oditz, Douglas Schmidt, and Burl Hash costumes, set , and lighting |
"Crazy Locomotive" |
1977 | Performance | Brian Murray | Ashes |
1977 | Special Citations | Barbara Garson | The Dinosaur Door |
1977 | Performance | Anne DiSalvo | Gemini |
1977 | Playwriting | Albert Innaurato | "Gemini" and "The Transfiguration of Benno Blimpie" |
1976 | Special Citations | `Chile! Chile!" | |
1976 | Performance | Tony Lo Bianco | Yanks 3 Detroit 0 Top of the Seventh |
1976 | Special Citations | The Creators | of "A Chorus Line" |
1976 | Performance | T. Miratti | he Shortchanged Review |
1976 | Design | See Citations | |
1976 | Special Citations | Santo Loquasto sets and costumes |
"Comedy of Errors" |
1976 | Performance | Sammy Williams | A Chorus Line |
1976 | Performance | Roberts Blossom | Ice Age |
1976 | Performance | Robert Christian | Blood Brothers |
1976 | Best Theatre Piece | Richard Foreman | Rhoda in Potatoland |
1976 | Special Citations | Ralph Lee | The Halloween Parade |
1976 | Performance | Priscilla Smith | Good Woman of Setzuan |
1976 | Performance | Priscilla Lopez | A Chorus Line |
1976 | Special Citations | Philip Glass music for |
Mabou Mines |
1976 | Performance | Pamela Payton-Wright | Jesse and the Bandit Queen |
1976 | Special Citations | Neil Flanagan distinguished contribution to Off-Off-Broadway theatre |
|
1976 | Special Citations | Morton Lichter and Gordon Rogoff | Old Timers' Sexual Symphony |
1976 | Performance | Mike Kellin | American Buffalo |
1976 | Obie Committee | Michael Feingold, Francoise Kourilsky, Erika Munk, Julius Novick, Arthur Sainer, Carll Tucker, Ross Wetzsteon | |
1976 | Special Citations | Meredith Monk | Quarry |
1976 | Direction | Marshall Mason | "Knock Knock" and "Serenading Louie" |
1976 | Performance | Kate Manheim | Rhoda in Potatoland |
1976 | Performance | June Gable | Comedy of Errors |
1976 | Performance | Joyce Aaron | Academics |
1976 | Direction | JoAnne Akalaitis | "Cascando' |
1976 | Special Citations | Edward Bond in the Yale Repertory Theatre production |
Bingo |
1976 | Special Citations | Donald Brooks set design for |
"The Tempest |
1976 | Performance | David Warrilow | The Lost Ones |
1976 | Best New American Play | David Mamet | "American Buffalo" and "Sexual Perversity in Chicago" |
1976 | Performance | Crystal Field | Day Old Bread |
1975 | Playwriting | Wallace Shawn | Our Late Night |
1975 | Performance | Tovah Feldshuh | Yentl the Yeshiva Boy |
1975 | Special Citations | The Royal Shakespeare Company | Summerfolk |
1975 | Special Citations | The Henry Street Settlement | |
1975 | Special 20--year Obies | Ted Mann and the Circle in the Square | |
1975 | Performance | Tanya Berezin | The Mound Builders |
1975 | Performance | Stephen D. Newman | Polly |
1975 | Playwriting | Sam Shepard | Action |
1975 | Design | Robert U. Taylor distinguished set design |
Polly |
1975 | Performance | Reyno | The First Breeze of Summer |
1975 | Performance | Priscilla Smith | Trilogy |
1975 | Obie Grant | No award given | |
1975 | Performance | Moses Gunn | The First Breeze of Summer |
1975 | Direction | Marshall W. Mason | "Battle of Angels," "The Mound Builders" |
1975 | Special Citations | Mabou Mines | |
1975 | Best New American Play | Leslie Lee | The First Breeze of Summer |
1975 | Direction | Lawrence Konrfeld | Listen to Me |
1975 | Playwriting | Lanford Wilson | The Mound Builders |
1975 | Performance | Kevin McCarthy | Harry Outside |
1975 | Special 20--year Obies | Judith Malina and Julian Beck | |
1975 | Special 20--year Obies | Joseph Papp | |
1975 | Design | John Lee Beatty distinguished set design |
Down By River... Battle of Angels,The Mound Builders |
1975 | Performance | Ian Trigger | The True History of Squire Jonathan |
1975 | Direction | Gilbert Moses | The Talking of Miss Janie |
1975 | Special 20--year Obies | Ellen Stewart | "The Fantasticks" |
1975 | Playwriting | Ed Bullins | The Taking of Miss Janie |
1975 | Performance | Dick Latessa | Philemon |
1975 | Obie Committee: | Clive Barnes, Mel Gussow, Jack Kroll, Michael Feingold, Julius Novick | |
1975 | Performance | Christopher Walken | Kid Champion |
1975 | Special Citations | Charles Pierce | |
1975 | Special Citations | Charles Ludlam | Professor Bedlam's Punch and Judy Show |
1975 | Performance | Cara Duff-MacCormick | Craig's Wife |
1975 | Special Citations | Andrei Serban | Trilogy |
1974 | Distinguished Performances | Zipora Spaizman | Stempenyu |
1974 | Costumes | Theoni Aldredge (The Public Theatre) | |
1974 | Special Citations | The Brooklyn Academy of Music | The British Theatre Season |
1974 | Special Citations | The Bread & Puppet Theatre | |
1974 | Distinguished Plays | Terrence McNally | Bad Habits |
1974 | Special Citations | Robert Wilson | The Life and Times of Joseph Stalin |
1974 | Distinguished Direction | Robert Drivas | Bad Habits |
1974 | Distinguished Plays | Paul Carter Harrison | The Great MacDaddy |
1974 | Best American Play | Miguel Pinero | Short Eyes |
1974 | Distinguished Direction | Marvin Felix Camillo | Short Eyes |
1974 | Distinguished Plays | Mark Medoff | When You Comin' Back, Red Ryder? |
1974 | Distinguished Performances | Loretta Greene | The Sirens |
1974 | Distinguished Performances | Kevin Conway | When You Comin' Back, Red Ryder |
1974 | Distinguished Performances | Joseph Buloff | Hard to be a Jew |
1974 | Distinguished Direction | John Pasquin | Moonchildren |
1974 | Set Design | Holmes Easley (The Roundabout Theatre) | |
1974 | Distinguished Direction | Harold Prince | Candide |
1974 | Distinguished Direction | Hard to be a Jew | DAvid Light |
1974 | Distinguished Performances | Elizabeth Sturges | When You Comin' Back, Red Ryder |
1974 | Best Foreign Play | David Storey | The Contractor |
1974 | Special Citations | CSC Repertory Company | |
1974 | Distinguished Performances | Conchata Ferrell | The Sea Horse |
1974 | Obie Committee | Clive Barnes, Emory Lewis, Dick Brukenfeld, and Arthur Sainer | |
1974 | Set Design | Christopher Thomas | The Lady from the Sea |
1974 | Music | C.O.R.F.A.X. | |
1974 | Distinguished Performances | Barbara Montgomery | My Sister, My Sister |
1974 | Distinguished Performances | Barbara Barrie | The Killdeer |
1973 | Special Citations | Workshop of the Player's Art (WPA) | |
1973 | Distinguished Direction | William E. Lathan | What if it Had Turned Up Heads? |
1973 | Special Citations | The San Francisco Mime Troupe | "The Dragon Lady's Revenge" |
1973 | Distinguished Performances | Stacy Keach | Hamlet |
1973 | Best Foreign Play | Samuel Beckett | Not I |
1973 | Distinguished Performances | Sam Waterston | Much Ado About Nothing |
1973 | Distinguished Plays | Sam Shepard | The Tooth of Crime |
1973 | Distinguished Performances | Roxie Roker | The River Niger |
1973 | Distinguished Plays | Ronald Tavel | Bigfoot |
1973 | Special Citations | Richard Foreman (Ontological-Hysteric Theatre) | |
1973 | Best Foreign Play | Peter Handke | Kaspar |
1973 | Set Design | No award given | |
1973 | Music | No award given | |
1973 | Costumes | No award given | |
1973 | Obie Committee | Mel Gussow, Marilyn Stasio, and Michael Smith | |
1973 | Distinguished Direction | Marshall W. Mason | The Hot l Baltimore |
1973 | Distinguished Performances | Mari Gorman | The Hot l Baltimore |
1973 | Distinguished Performances | Lola Pashalinski | Corn |
1973 | Best American Play | Lanford Wilson | The Hot l Baltimore |
1973 | Best American Play | Joseph A. Walker | The River Niger |
1973 | Distinguished Performances | Jessica Tandy | Not I |
1973 | Distinguished Performances | James Hilbrandt | A Boy Named Dog |
1973 | Distinguished Direction | Jack Gelber | The Kid |
1973 | Distinguished Plays | J.E. Gaines | What if it Had Turned Up Heads? |
1973 | Distinguished Performances | Hume Cronyn | Krapp's Last Tape |
1973 | Distinguished Performances | Douglas Turner Ward | The River Niger |
1973 | Special Citations | City Center Acting Company | |
1973 | Distinguished Performances | Christopher Lloyd | Kaspar |
1973 | Distinguished Performances | Charles Ludlam | "Corn" and "Camille" |
1973 | Distinguished Performances | Alice Playten | Lemmings |
1972 | Distinguished Direction | Wilford Leach and John Braswell | The Only Jealousy of Emer |
1972 | Visual Effects | Video Free America | Kaddish |
1972 | Distinguished Direction | Tom Sydorick | 20th Century Tar |
1972 | Best Theatre Piece | The Open Theatre | "The Mutation Show" |
1972 | Distinguished Performances | Salome Bey | Love Me, Love My Children |
1972 | Distinguished Performances | Ron Faber | And They Put Handcuffs on Flowers |
1972 | Set Design | No award given | |
1972 | Distinguished Plays | No award given | |
1972 | Best Foreign Play | No award given | |
1972 | Best American Play | No award given | |
1972 | Music And Lyrics | Micki Grant | Don't Bother Me, I Can't Cope |
1972 | Distinguished Direction | Michael Smith | Country Music |
1972 | Special Citations | Meredith Monk | "Vessel" |
1972 | Distinguished Direction | Mel Shapiro | Two Gentlemen of Verona |
1972 | Distinguished Performances | Maurice Blanc | The Celebrations: Joos/Guns/Movies/The Abyss |
1972 | Distinguished Performances | Marilyn Soko | The Beggar's Opera |
1972 | Distinguished Performances | Marilyn Chris | Kaddish |
1972 | Composer | Liz Swados | Medea |
1972 | Distinguished Performances | Kathleen Widdoes | The Beggar's Opera |
1972 | Distinguished Performances | Jeanne Hepple | The Reliquary of Mr. and Mrs. Potterfield |
1972 | Distinguished Performances | Elizabeth Wilson | Sticks and Bones |
1972 | Distinguished Performances | Ed Zang | The Reliquary of Mr. and Mrs. Potterfield |
1972 | Obie Committee | Dick Brukenfeld, Michael Feingold, John Lahr, Julius Novick, Arthur Sainer, Michael Smith, and Martin Washburn | |
1972 | Distinguished Performances | Danny Sewell | The Homecoming |
1972 | Special Citations | Charles Stanley Actor, Dancer, Choreographer, Costume Designer |
|
1972 | Distinguished Performances | Alex Bradford | Don't Bother Me, I Can't Cope |
1971 | Distinguished Performances | William Schallert | |
1971 | Distinguished Production | The Trial of the Catonsville 9 | |
1971 | Distinguished Performances | Susan Batson | |
1971 | Distinguished Performances | Stacy Keach | |
1971 | Distinguished Performances | Sonny Jim (Gaines) | |
1971 | Best Performance By An Actress | Ruby Dee | Boesman and Lena |
1971 | Special Citations | Orlando Furioso | |
1971 | Music | No award given | |
1971 | Costumes | No award given | |
1971 | Distinguished Performances | Margaret Braidwood | |
1971 | Distinguished Direction | Larry Kornfeld | Dracula Sabbat |
1971 | Distinguished Performances | Kirk Kirksey | |
1971 | Distinguished Direction | John Hirsch | AC/DC |
1971 | Best American Play | John Guare | House of Blue Leaves |
1971 | Distinguished Direction | John Berry | Boesman and Lona |
1971 | Distinguished Performances | Joan MacIntosh | |
1971 | Distinguished Direction | Jeff Bleckner | Basic Training of Pavlo Hummel |
1971 | Distinguished Performances | James Woods | |
1971 | Best Performance By An Actor | Jack MacGowan | Beckett |
1971 | Distinguished Performances | Hector Elizondo | |
1971 | Best Foreign Play | Heathcote Williams | AC/DC |
1971 | Distinguished Performances | Harris Laskawy | |
1971 | Obie Committee | Harold Clurman, John Lahr, Edith Oliver | |
1971 | Distinguished Direction | Gordon Davidson | The Trial of the Catonsville 9 |
1971 | Distinguished Plays | Ed Bullins | "The Fabulous Miss Maria," "In New England Winter" |
1971 | Distinguished Performances | Donald Ewer | |
1971 | Best Foreign Play | Derek Walcott | Dream on Monkey Mountain |
1971 | Distinguished Plays | David Rabe | |
1971 | Best Foreign Play | Athol Fugard | Boesman and Lena |
1970 | Distinguished Performances | Vincent Gardenia | Passing Through Exotic Places |
1970 | Distinguished Plays | Vaclav Havel | The Increased Difficulty of Concentration |
1970 | Best Performance | Sada Thompson | The Effect of Gamma Rays on Man-in-the-Moon Marigolds |
1970 | Distinguished Performances | Rue McClanahan | Who's Happy Now? |
1970 | Distinguished Performances | Ron Leibman | Transfers |
1970 | Distinguished Performances | Roberta Maxwell | Whistle in the Dark |
1970 | Best Musical | Robert Livingston, Gary William Friedman, Will Holt | The Me Nobody Knows |
1970 | Special Citations | Richard Foreman, Stanley Silverman | Richard Foreman, Stanley Silverman |
1970 | Best American Play | Paul Zindel | The Effect of Gamma Rays on Man-in-the-Moon Marigolds |
1970 | Distinguished Performances | Pamela Payton-Wright | The Effect of Gamma Rays on Man-in-the-Moon Marigolds |
1970 | Set Design | No award given | |
1970 | Music | No award given | |
1970 | Costumes | No award given | |
1970 | Distinguished Plays | Murray Mednick | The Deer Kill |
1970 | Distinguished Direction | Melvin Bernhardt | The Effect of Gamma Rays on Man-in-the-Moon Marigolds |
1970 | Best American Play | Megan Terry | Approaching Simone |
1970 | Distinguished Direction | Maxine Klein | Approaching Simone |
1970 | Distinguished Performances | Lee Kissman | The Unseen Hand |
1970 | Special Citations | John Vaccaro, Theatre of the Ridiculous | |
1970 | Best Foreign Play | Joe Orton | What the Butler Saw |
1970 | Obie Committee | Jack Kroll, John Lahr, John Simon | |
1970 | Distinguished Performances | Harold Gould | The Increased Difficulty of Concentration |
1970 | Best Musical | Gretchen Cryer, Nancy Ford | The Last Sweet Days of Isaac |
1970 | Distinguished Direction | Gilbert Moses | Slave Ship |
1970 | Special Citations | Gardner Compton, Emile Ardolino | (projected media for "Oh! Calcutta!" |
1970 | Distinguished Performances | Fredericka Weber | The Last Sweet Days of Isaac |
1970 | Special Citations | Chelsea Theatre Center for distinguished production | |
1970 | Special Citations | Charles Ludlam, The Ridiculous Theatrical COmpany | |
1970 | Distinguished Performances | Beeson Carroll | The Unseen Hand |
1970 | Distinguished Performances | Austin Pendleton | The Last Sweet Days of Isaac |
1970 | Distinguished Performances | Anthony Holland | The White House Murder Case |
1970 | Special Citations | Andre Gregory | Alice in Wonderland |
1970 | Distinguished Direction | Alan Arkin | The White House Murder Case |
1969 | Sustained Excellence | Theatre Genesis | |
1969 | Obie Committee | Elizabeth Hardwick, Robert Pasolli, Jerry Tallmer, Ross Wetzsteon |
|
1968 | Best Foreign Play | Vaclav Havel | The Memorandum |
1968 | Special Citations | The Negro Ensemble Company for Sustained Excellence in Repertory Theatre and the development of new theatrical talent |
|
1968 | Special Citations | The Fortune Society for expanding public awareness of the problems of the ex-convict and the prison system in America |
|
1968 | Special Citations | San Francisco Mime Troupe for uniting theatre and revolution and grooving in the park |
|
1968 | Distinguished Plays | Sam Shepard | "Forensic and the Navigator" and "Melodrama Play" |
1968 | Distinguished Performances | Roy R. Scheider | Stephen D. |
1968 | Best Design | Robert LaVigne | "A Midsummer Night's Dream" and "Endecott and the Red Cross" |
1968 | Distinguished Direction | Rip Torn | The Beard |
1968 | Distinguished Performances | Peggy Pope | Mama |
1968 | Best American Play | No award given | |
1968 | Distinguished Performances | Moses Gunn | The Negro Ensemble Company repertory |
1968 | Best Director | Michael A. Schultz | Song of the Lusitanian Bogey |
1968 | Distinguished Performances | Mari Gorman | "The Memorandum" and "Walking to Waldheim" |
1968 | Distinguished Direction | John Hancock | A Midsummer Night's Dream |
1968 | Distinguished Plays | John Guare | Muzzeka |
1968 | Distinguished Performances | John Cazale | "Line" and "The Indian Wants the Bronx" |
1968 | Distinguished Performances | Jean David | Istanboul |
1968 | Distinguished Performances | James Coco | Fragments |
1968 | Distinguished Plays | Israel Horovitz | The Indian Wants the Bronx |
1968 | Best Musical | Gertrude Stein and Al Carmines | In Circles |
1968 | Special Citations | El Teatro Campesino for creating a workers' theatre to demonstrate the politics of survival |
|
1968 | Distinguished Performances | Cliff Gorman | The Boys in the Band |
1968 | Best Actress | Billie Dixon | The Beard |
1968 | Best Actor | Al Pacino | The Indian Wants the Bronx |
1968 | Obie Committee | Clive Barnes, John Lahr, Michael Smith |
|
1967 | Special Citations | Tom Sankey for conceiving, writing, and performing |
The Golden Screw |
1967 | Best Director | Tom O'Horgan | Futz |
1967 | Distinguished Performances | Tom Aldredge | "Measure for Measure," "Stock Up on Pepper Cause Turkey's Going to War" |
1967 | Special Citations | The Second Story Players for consistent seriousness of purpose and superior standards of production |
|
1967 | Special Citations | The Open Theatre for maintaining a laboratory where a company of actors, directors, and playwright confront the limits of contemporary theatre experience |
|
1967 | Distinguished Performances | Terry Kiser | Fortune and Men's Eyes |
1967 | Distinguished Performances | Stacy Keach | MacBird! |
1967 | Best Actor | Seth Allen | Futz |
1967 | Distinguished Plays | Sam Shepard | La Turista |
1967 | Distinguished Plays | Rochelle Owens | Futz |
1967 | Distinguished Performances | Robert Salvio | Hamp |
1967 | Distinguished Performances | Robert Bonnard | The Chairs |
1967 | Distinguished Performances | Rip Torn | The Deer Park |
1967 | Set Design | No award given | |
1967 | Music | No award given | |
1967 | Distinguished Direction | No award given | |
1967 | Costumes | No award given | |
1967 | Best Foreign Play | No award given | |
1967 | Best American Play | No award given | |
1967 | Distinguished Performances | Neil Flanagan | The Madness of Lady Bright |
1967 | Special Citations | La Mama Troupe for presenting a repertory of distinguished Off-Off-Broadway plays to European audiences |
|
1967 | Best Lighting | John Dodd | "The White Whore," "The Madness of Lady Bright," "Charles Dickens' `Christmas Carol"' |
1967 | Special Citations | Jeff Weiss Joseph Cino Memorial Award, for his plays and for his performances in both |
`And That's How the Rent Gets Paid" and "A Funny Walk Home" |
1967 | Distinguished Plays | Henry Livings | Eh? |
1967 | Distinguished Performances | Eddie McCarty | Kitchenette |
1967 | Distinguished Performances | Bette Henritze | "Measure for Measure," the Wilder plays, "The Distinguished Person," "The Rimers of Eldrich" |
1967 | Distinguished Performances | Alvin Epstein | Dynamite Tonite |
1967 | Obie Committee | Robert Pasolli, Michael Smith, Ross Wetzsteon |
|
1966 | Special Citations | Theatre for Ideas for encouraging exploration in dramatic literature and music |
|
1966 | Special Citations | Theater in the Street for upholding the tradition of street theatre and reaching out to new English- and Spanish-speaking audiences |
|
1966 | Distinguished Performances | Sharon Gans | Soon Jack November |
1966 | Distinguished Plays | Sam Shepard | "Chicago," "Icarus's Mother," and "Red Cross" |
1966 | Best American Play | Ronald Ribman | The Journey of the Fifth Horse |
1966 | Special Citations | Peter Schumann for his Bread and Puppet Theatre, which embodies a courageous and rigorous vision and practice of theatre engaged with its time |
|
1966 | Best Foreign Play | No award given | |
1966 | Distinguished Performances | Michael Lipton | The Trial |
1966 | Distinguished Performances | Mari-Claire Charba | Birdbath |
1966 | Set Design | Lindsey Decker | Red Cross |
1966 | Distinguished Performances | Kevin O'Connor | Chicago |
1966 | Special Citations | Joseph H. Dunn which brilliantly combines the arts of design, lighting, and staging for audience involvement |
The Automobile Graveyard |
1966 | Distinguished Performances | Jess Osuna | "Bugs" and "Veronica" |
1966 | Best Actress | Jane White | "Coriolanus" and "Love's Labour's Lost" |
1966 | Special Citations | H.M. Koutoukas for the style and energy of his assaults on the theatre in both playwrighting and production |
|
1966 | Distinguished Performances | Gloria Foster | Medea |
1966 | Distinguished Performances | Frank Langella | "Good Day" and "The White Devil" |
1966 | Distinguished Performances | Florence Tarlow | "Istanbul," "Red Cross," and "A Beautiful Day" |
1966 | Distinguished Plays | Emanuel Peluso | Good Day |
1966 | Set Design | Ed Wittstein | Serjeant Musgrave's Dance |
1966 | Best Actor | Dustin Hoffman | The Exhaustion of Our Son's Love |
1966 | Distinguished Performances | Douglas Turner Ward | Days of Absence |
1966 | Distinguished Performances | Clarice Blackburn | The Exhaustion of Our Son's Love |
1966 | Obie Committee | Albert Bermel, Maria Irene Fornes, Robert Pasolli, Isaiah Shaffer, Michael Smith |
|
1965 | Best Costumes | Willa Kim | The Old Glory |
1965 | Best Direction | Ulu Grosbard | A View from the Bridge |
1965 | Special Citations | The Paper Bag Players for raising the level of children's theatre through intelligence, imagination, and respect for its audiences |
|
1965 | Distinguished Performances | Sada Thompson | Tartuffe |
1965 | Distinguished Performances | Rosemary Harris | APA Repertory |
1965 | Distinguished Performances | Roberts Blossom | Do Not Pass Go |
1965 | Best American Play | Robert Lowell | The Old Glory |
1965 | Distinguished Performances | Robert Duvall | A View from the Bridge |
1965 | Set Design | No award given | |
1965 | Music | No award given | |
1965 | Distinguished Direction | No award given | |
1965 | Best Foreign Play | No award given | |
1965 | Distinguished Plays | Maria Irene Fornes | "Promenade" and "The Successful Life of 3" |
1965 | Distinguished Performances | Margaret De Priest | The Place for Chance |
1965 | Distinguished Performances | Joseph Chaikin | "Victims of Duty" and "The Exception and the Rule" |
1965 | Distinguished Performances | James Earl Jones | Baal |
1965 | Distinguished Performances | Frances Sternhagen | "The Room" and "A Slight Ache" |
1965 | Distinguished Performances | Dean Dittmann | The Cradle Will Rock |
1965 | Special Citations | Caffe Cino and Cafe La Mama for creating opportunities for new playwrights to confront audiences and gain experience of the real theatre |
|
1965 | Distinguished Performances | Brian Bedford | The Knack |
1965 | Obie Committee | Richard Gilman, Gordon Rogoff, Michael Smith |
|
1965 | Best Musical Production | The Cradle Will Rock | |
1964 | Distinguished Performances | Taylor Mead | The General Returns from One Place to Another |
1964 | Best Play | Samuel Beckett | Play |
1964 | Distinguished Plays | Rosalyn Drexler | Home Movies |
1964 | Distinguished Performances | Ronald Weyand | The Lesson |
1964 | Distinguished Performances | Philip Bruns | Mr. Simian |
1964 | Costumes | No award given | |
1964 | Best Foreign Play | No award given | |
1964 | Distinguished Performances | Marian Seldes | The Ginger Man |
1964 | Best Production (play) | Living Theatre | The Brig |
1964 | Best American Play | LeRoi Jones | Dutchman |
1964 | Distinguished Performances | Lee Grant | The Maids |
1964 | Distinguished Direction | Lawrence Kornfeld | What Happened |
1964 | Best Design | Julian Beck | The Brig |
1964 | Best Production (musical) | Judson Poets Theatre | What Happened |
1964 | Special Citations | Judson Memorial Church for its sponsorship of experiment and experimenters in the performing arts, through the Judson Poets' Theatre and the Judson Dance Theatre |
|
1964 | Best Direction | Judith Malina | The Brig |
1964 | Distinguished Performances | Joyce Ebert | The Trojan Women |
1964 | Distinguished Performances | Jack Warden | Epiphany |
1964 | Best Performance | Gloria Foster | In White America |
1964 | Distinguished Performances | Estelle Parsons | "Next Time I'll Sing to You" and "In the Summer House" |
1964 | Distinguished Performances | Diana Sands | The Living Premise |
1964 | Distinguished Performances | David Hurst | A Month in the Country |
1964 | Best Music | Al Carmines | "Home Movies" and "What Happened" |
1964 | Distinguished Plays | Adrienne Kennedy | Funnyhouse of a Negro |
1964 | Obie Committee | Richard Gilman, Gordon Rogoff, Michael Smith |
|
1963 | Special Citations | The Second City | |
1963 | Distinguished Performances | Olympia Dukakis | A Man's a Man |
1963 | Set Design | No award given | |
1963 | Music | No award given | |
1963 | Distinguished Plays | No award given | |
1963 | Distinguished Direction | No award given | |
1963 | Costumes | No award given | |
1963 | Best Foreign Play | No award given | |
1963 | Best American Play | No award given | |
1963 | Distinguished Performances | Michael O'Sullivan | Six Characters in Search of An Author |
1963 | Distinguished Performances | Madeleine Sherwood | Hey You, Light Man! |
1963 | Best Production (play) | Luigi Pirandello directed by William Ball |
Six Characters in Search of An Author |
1963 | Distinguished Performances | Joseph Chaikin | Man is Man |
1963 | Special Citations | Jean Erdman | The Coach with the Six Insides |
1963 | Distinguished Performances | James Patterson | `The Collection" in The Pinter plays |
1963 | Distinguished Performances | Jacqueline Brookes | Six Characters in Search of An Author |
1963 | Best Actor | George C. Scott | Desire Under the Elms |
1963 | Distinguished Performances | Eli Wallach | "The Typists" and "The Tiger" |
1963 | Best Actress | Colleen Dewhurst | Desire Under the Elms |
1963 | Distinguished Performances | Anne Jackson | "The Typists" and "The Tiger" |
1963 | Best Director | Alan Schneider | The Pinter Plays |
1963 | Obie Committee | John Gassner, Norman Nadel, Michael Smith |
|
1963 | Best Production (musical) | The Boys from Syracuse | |
1962 | Distinguished Performances (actresses) | Vinnette Carroll | Moon on a Rainbow Shawl |
1962 | Distinguished Performances (actresses) | Sudie Bond | Theatre of the Absurd |
1962 | Best Foreign Play | Samuel Beckett Walter Kerr abstaining |
Happy Days |
1962 | Distinguished Performances (actresses) | Ruth White | Happy Days |
1962 | Distinguished Performances (actresses) | Rosemary Harris | APA Repertory |
1962 | Distinguished Performances (actors) | Paul Roebling | This Side of Paradise |
1962 | Best Set | Norris Houghton | Who'll Save the Plowboy? |
1962 | Music | No award given | |
1962 | Distinguished Plays | No award given | |
1962 | Distinguished Direction | No award given | |
1962 | Costumes | No award given | |
1962 | Best Director | No award given | |
1962 | Best Actor | James Earl Jones New York Shakespeare Festival |
"Clandestine on the Morning Line," "The Apple," "Moon on a Rainbow Shawl" |
1962 | Distinguished Performances (actors) | Gerald O'Loughlin | Who'll Save the Plowboy? |
1962 | Distinguished Performances (actors) | Geoff Garland | The Hostage |
1962 | Best American Play | Frank D. Gilroy | Who'll Save the Plowboy? |
1962 | Special Citations | Ellis Rabb for conceiving and maintaining the Association of Producing Artists (APA) |
|
1962 | Distinguished Performances (actors) | Clayton Corzatte | APA Repertory |
1962 | Best Musical | C. Jackson, James Hatch and Jerome Eskow | Fly Blackbird |
1962 | Best Actress | Barbara Harris | Oh, Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad |
1962 | Special Citations | for using the best possibilities of Off Broadway to convey the essence of Brendan Behan |
The Hostage |
1962 | Obie Committee | Edward Albee, Walter Kerr, Jerry Tallmer |
|
1961 | Best Off--off--broadway Production | Theodore Flicker produced and directed by Theodore Flicker |
The Premise |
1961 | Best Music | Teiji Ito | "In the Jungle of Cities," "Three Modern Japanese Plays," "King Ubu" |
1961 | Distinguished Performances (actresses) | Surya Kumari | The King of the Darn Chamber |
1961 | Set Design | No award given | |
1961 | Distinguished Plays | No award given | |
1961 | Distinguished Direction | No award given | |
1961 | Costumes | No award given | |
1961 | Best Foreign Play | No award given | |
1961 | Distinguished Performances (actors) | Lester Rawlins | Hedda Gabler |
1961 | Best Actor | Khigh Dhiegh | In the Jungle of Cities |
1961 | Distinguished Performances (actresses) | Joan Hackett | Call Me By My Rightful Name |
1961 | Best New Play | Jean Genet | The Blacks |
1961 | Distinguished Performances (actors) | James Coco | The Moon in the Yellow River |
1961 | Distinguished Performances (actors) | Godfrey M. Cambridge | The Blacks |
1961 | Distinguished Performances (actresses) | Gerry Jedd | She Stoops to Conquer |
1961 | Best Director | Gerald A. Freedman | The Taming of the Shrew |
1961 | Best Overall Production | David Ross | Hedda Gabler |
1961 | Special Citations | Bernard Frechtman for his translation |
The Blacks |
1961 | Best Actress | Anne Meacham | Hedda Gabler |
1961 | Obie Committee | Harold Clurman, Tom Driver, Jerry Tallmer |
|
1960 | Distinguished Performances (actors) | William Daniels | The Zoo Story |
1960 | Best Actor | Warren Finnerty | The Connection |
1960 | Distinguished Performances (actors) | Vincent Gardenia | Machinal |
1960 | Distinguished Plays | Samuel Beckett | Krapp's Last Tape |
1960 | Distinguished Performances (actresses) | Patricia Falkenheim | "Peer Gynt," "Henry IV" |
1960 | Music | No award given | |
1960 | Distinguished Direction | No award given | |
1960 | Costumes | No award given | |
1960 | Best American Play | No award given | |
1960 | Distinguished Performances (actresses) | Nancy Marchand | The Balcony |
1960 | Best All--around Production | Julian Beck and Judith Malina | The Connection |
1960 | Distinguished Performances (actors) | John Heffernan | Henry IV, Part 2 |
1960 | Distinguished Performances (actors) | Jock Livingston | The Balcony |
1960 | Best Foreign Play | Jean Genet | The Balcony |
1960 | Distinguished Plays | Jack Richardson | The Prodigal |
1960 | Best New Play | Jack Gelber | The Connection |
1960 | Best Director | Gene Frankel | Machinal |
1960 | Distinguished Performances (actresses) | Elisa Loti | Come Share My House |
1960 | Best Actress | Eileen Brennan | Little Mary Sunshine |
1960 | Distinguished Plays | Edward Albee | The Zoo Story |
1960 | Distinguished Performances (actors) | Donald Davis | Krapp's Last Tape |
1960 | Sets | David Hays | The Balcony |
1960 | Special Citations | Brooks Atkinson New York Times |
|
1960 | Obie Committee | Richard Watts Jr., Robert Brustein, Jerry Tallmer |
|
1959 | Distinguished Performances (actors) | Zero Mostel | Ulysses in Nighttown |
1959 | Best Director (foreign Play) | William Ball | Ivanov |
1959 | Best Proscenium Set | Will Steven Armstrong | Ivanov |
1959 | Best Revue | Steven Vinaver | Diversions |
1959 | Distinguished Performances (actresses) | Rosina Fernhoff | "Fashion," "The Geranium Hat" |
1959 | Distinguished Plays | No award given | |
1959 | Costumes | No award given | |
1959 | Best Foreign Play | No award given | |
1959 | Best American Play | No award given | |
1959 | Best Lighting | Nikola Cernovich | Many Productions |
1959 | Distinguished Performances (actresses) | Nancy Wickwire | A Clearing in the Woods |
1959 | Distinguished Performances (actors) | Lester Rawlins | The Quare Fellow |
1959 | Best Actress | Kathleen Maguire | The Time of the Cuckoo |
1959 | Best Director (american Plays) | Jack Ragotzy | Arthur Laurents cycle |
1959 | Distinguished Performances (actors) | Harold Scott | Deathwatch |
1959 | Special Citations | Hal Holbrook | Mark Twain Tonight! |
1959 | Best Open--stage Set | David Hays | The Quare Fellow |
1959 | Best Music | David Amram | Many Productions |
1959 | Best All--around Production | Daniel Hineck and Harlin Quist | Ivanov |
1959 | Best New Play | Brendan Behan | The Quare Fellow |
1959 | Distinguished Performances (actresses) | Anne Fielding | Ivanov |
1959 | Best Actor | Alfred Ryder | I Rise in Flame, Cried the Phoenix |
1959 | Sets | See BEST OPEN--STAGE SET and BEST PROSCENIUM SET |
|
1959 | Obie Committee | Kenneth Tynan, Henry Hewes, Jerry Tallmer |
|
1959 | Best Musical | A Party With Betty Comden and Adolph Green | |
1958 | Special Citations | The Theatre Club | |
1958 | Special Citations | The Phoenix Theatre | |
1958 | Distinguished Performances (actresses) | Tammy Grimes | Clerambard |
1958 | Best Director | Stuart Vaughan New York Shakespeare Festival |
|
1958 | Best Foreign Play | Samuel Beckett | Endgame |
1958 | Distinguished Performances (actors) | Robert Gerringer New York Shakespeare Festival |
Guests of the Nation |
1958 | Distinguished Performances (actresses) | Nydia Westman | Endgame |
1958 | Sets | No award given | |
1958 | Costumes | No award given | |
1958 | Best New Play | No award given | |
1958 | Best Music | No award given | |
1958 | Best American Play | No award given | |
1958 | Best All--around Production | No award given | |
1958 | Best One--act Play | Neil McKenzie | Guests of the Nation |
1958 | Distinguished Performances (actors) | Michael Higgins | The Crucible |
1958 | Special Citations | Lucille Lortel | |
1958 | Distinguished Performances (actors) | Leonardo Cimino | The Brothers Karamazov |
1958 | Distinguished Performances (actors) | J.D. (Jack) Cannon New York Shakespeare Festival |
Children of Darkness |
1958 | Distinguished Performances (actresses) | Grania O'Malley | Guests of the Nation |
1958 | Best Comedy | George Panetta | Comic Strip |
1958 | Best Actor | George C. Scott | "Richard III," "As You Like It," "Children of Darkness" |
1958 | Best Play (adaptation) | Boris Tumarin and Jack Sydow | The Brothers Karamazov |
1958 | Best Revival | Arthur Miller, Directed by Word Baker | The Crucible |
1958 | Best Actress | Anne Meacham | Garden District |
1958 | Obie Committee | Joseph Anthony, George Freedley, Jerry Tallmer |
|
1957 | Best Actor | William Smithers | The Sea Gull |
1957 | Distinguished Performances (actors) | Thayer David | "Saint Joan," "Oscar Wilde" |
1957 | Special Citations | Paul Shyre for bringing O'Casey to Off-Broadway; for his adaptations of "I Knock at the Door," "Pictures in the Hallway," and "USA" |
|
1957 | Best Foreign Play | No award given | |
1957 | Distinguished Performances (actors) | Michael Kane | Exiles |
1957 | Distinguished Performances (actresses) | Marguerite Lenery | House of Breath |
1957 | Best New Play | Louis A. Lippa | A House Remembered |
1957 | Distinguished Performances (actresses) | Jutta Wolf | Exiles |
1957 | Best Director | Gene Frankel | Volpone |
1957 | Best All--around Production | Daniel S. Brown and Burry Fredrick | Exiles |
1957 | Best Actress | Colleen Dewhurst | "The Taming of the Shrew," "The Eagle Has Two Heads," "Camille" |
1957 | Distinguished Performances (actresses) | Betty Miller | Exiles |
1957 | Distinguished Performances (actors) | Arthur Malet | "Volpone," "The Misanthrope," "The Apollo of Bellac" |
1956 | Special Citations | The Shakespearean Workshop Theatre | |
1956 | Special Citations | Tempo Playhouse | |
1956 | Distinguished Performances (actresses) | Shirlee Emmons | The Mother of Us All |
1956 | Distinguished Performances (actors) | Roberts Blossom | A Village Wooing |
1956 | Special Citations | Phoenix Theatre | |
1956 | Best Supporting Actress | Peggy McCay | Uncle Vanya |
1956 | Distinguished Performances (actresses) | Nancy Wickwire | The Cherry Orchard |
1956 | Best New Play | Lionel Abel | Absalom, Absalom |
1956 | Klaus Holm and Alvin Colt Phoenix Theatre |
||
1956 | Best Actress | Julie Bovasso | The Maids |
1956 | Best Director | Jose Quintero | The Iceman Cometh |
1956 | Best Actor | Jason Robards, Jr tie |
The Iceman Cometh |
1956 | Best Supporting Actor | Gerald Hiken | "The Cherry Orchard," "Uncle Vanya" |
1956 | Best Actor | George Voskovec tie |
Uncle Vanya |
1956 | Distinguished Performances (actresses) | Frances Sternhagen | The Admirable Bashville |
1956 | Distinguished Performances (actors) | Alan Ansara | The Private Life of the Master Race |
1956 | Distinguished Performances (actors) | Addison Powell | The Iceman Cometh |
1956 | Best Musical | The Threepenny Opera | |
1956 | Best All--around Production | Uncle Vanya |
Find everything you're looking for in your city
Find the best happy hour deals in your city
Get today's exclusive deals at savings of anywhere from 50-90%
Check out the hottest list of places and things to do around your city