Theater briefs | Seattle theater folk honor their own; 'Memphis' opens on Broadway

Theater briefs |

The Seattle theater community threw itself a big, jolly party Monday night and honored some of its own.

Intiman Theatre hosted the event, sponsored by the local theater service organization Theatre Puget Sound (TPS). About 275 people attended, including such special guests as Margaret "Megs" Booker, who founded the Intiman in 1972 and ran it into the mid-1980s.

To celebrate local theater excellence, the TPS handed out the first round of the new Gregory Awards (named for ACT Theatre founder Gregory Falls).

Local drama critics nominated Seattle theater artists and companies for the honors. The nominees were voted on by TPS' 1,400 members. (The Seattle Times declined to be part of the nominating process.)

The big winner was New Century Theatre Company, an actor-led ensemble that aced the Best Theatre award. In addition, the group's acclaimed inaugural production of "The Adding Machine" won the best show, best actress (Amy Thone) and best director (John Langs) prizes.

The two other Gregorys went to Charles Leggett, for his turn as Shylock in Seattle Shakespeare Company's "The Merchant of Venice," and to musician-actor Don Daryl Rivera as a rising talent to watch.

The annual Gregory A. Falls Sustained Achievement Award went to veteran arts photographer Chris Bennion.

'Memphis' opens on Broadway

"Memphis," a new musical that had a try-out run at the 5th Avenue Theatre this year, has opened on Broadway to mixed reviews.

The show, composed by David Bryan, with lyrics by Bryan and Joe DiPietro (who also wrote the book), focuses on a Southern radio jock in the 1950s who champions black R&B music.

USA termed the musical "well-intentioned hokum," while Newsday dubbed it "arguably the best black musical written by white guys since 'Dreamgirls.' "

The New York Times review was harsher. But it praised co-star (and Seattle native) Chad Kimball as a "quirky, boyish presence, with a thick, honeyed drawl that slides away when he breaks into song. His voice is strong, with just enough real ache in it to supply the feeling that the songs sometimes do not."

Misha Berson: mberson@seattletimes.com