The Iveys: Growing on us

Sometimes you just want to rearrange the furniture. Nothing is wrong; it's just time for a new look.

Scott Mayer, founder and producer of the Ivey Awards, will tweak the set, use a new script writer, add more youth and then hope that the annual celebration of Twin Cities theater comes off as smoothly as it has in each of the past four years.

"We don't want to fix something that's not broken," Mayer said, "but we want to freshen it up."

Mayer raised a few eyebrows when he unveiled his vision for the Iveys six years ago. There would be no competition, no categories, no winners or losers. The event would recognize excellence among the Twin Cities theater community, based on volunteer evaluations. That egalitarian ethic has not quieted all grumblings, and a "recognition" still feels like a "win" when the awards are announced every September. But give Mayer his due. He has created an event that has grown in attendance each year as it provides the community a chance to party and raise awareness about Twin Cities theater.

"It drives me crazy that every organization that boosts the Twin Cities says that one of the top three reasons we're great is our theater community," Mayer said, climbing up on his soapbox. "How does that manifest itself? There's no office of cultural affairs, no money to promote. This is intended to fill the gap."

So, who deserves recognition this year? I have a list as long as a Tony Kushner play title. Here are a few:

Kushner Fest at the Guthrie; Theater Mu's "Flower Drum Song" for its charm; "Power Balladz" at the Lab Theatre, because it opens with "Sister Christian"; "Dummy, A Dis-Play" for inventiveness by Open Eye; "Grey Gardens," not for the show but the production, by Park Square and the Ordway. "Adventures of Pinocchio" if you're open to opera; Theatre Latté Da has never been recognized for "All Is Calm"? Ten Thousand Things had a magnificent "End Game;" Jeff Hatcher's "Tyrone and Ralph" was simply terrific at History Theatre; the Guthrie's "A View From the Bridge" was great as an overall production, as was Park Square's "The Sisters Rosensweig."

Greta Oglesby in Kushner's "Caroline, or Change"; Mo Perry for her "Hedda Gabler" at Gremlin; actor Gavin Lawrence and writer Carlyle Brown for "Pure Confidence" at Mixed Blood; Matthew Amendt for his "Henry V" at the Guthrie; Latté Da's "Old Wicked Songs" gave us a haunting performance by Raye Birk; Claudia Wilkens should get some notice for "Souvenir" at the Jungle, as should Stephen Yoakam and Tracy Maloney in Pillsbury House's "Blackbird"; Zoe Pappas was delightful in "The Producers" at Chanhassen.

Actor Wendy Lehr, the first lady of Twin Cities theater; director Marion McClinton, who puts on shows with an exacting eye and brilliant articulation; Dudley Riggs because he's Dudley Riggs; actor James Craven for a lifetime of beautifully distinct characters; Michael Brindisi for 20-plus years of excellent work at Chanhassen; Charles Nolte because we all owe him a huge debt.

All these are actors: Emily Gunyou Halaas, even though she's been around a few years, deserves this recognition; Valeri Mudek, she of the dazzling blue eyes and instant emotions; Jonas Goslow, like Mudek a product of the Guthrie BFA program; Mo Perry, because she never seems to make a wrong move onstage; Ansa Akyea, who also has been around for a few years but somehow has never won this award.

Make your own list, bring it Monday and be ready to argue.

Graydon Royce • 612-673-7299