Another year has flown by and New York City had some extraordinary theater. Usually there are some consistent shows that fill top lists but this year provided so many great pieces that we have options! I decided to dive a bit deeper than the typical list. Here are my top 5 shows of the year!

1. The Grand Paradise

Immersive theater is the new frontier. It's no secret that I am a super fan of well-crafted immersive works. Every single element in a great immersive piece needs to be thought out and executed perfectly. Third Rail Projects upped the game with The Grand Paradise. Escape to an island getaway where you think you'll be forgetting your worries only to face them head-on. Virtually a choose your own adventure narrative, follow a family as they are whisked away as they face temptation in this island treasure trove.



2. YOUARENOWHERE
This was a show where you needed to throw away your inhibitions and theatrical expectations because Andrew Schneider is going to blow your mind. YOUARENOWHERE is a sensory overload in all the right ways. Just when you think you've got this show figured out, Schneider and his extraordinary team exceed your expectations and alter your mind. Who knows where this show will go next so discussing specifics would still be unfair. Keep an eye out for this one because it's an experience you must have.






3. The Wolves
Sarah DeLappe's The Wolves truly was a game changer. Presented by The Playwrights' Realm, The Wolves fortunately received two runs at The Duke because this play was a hit. DeLappe's writing and Lila Neugebauer's direction formed the perfect team. The Wolves started their run as an underdog production but they leave 2016 as true champions.






4. The Woodsman
The Woodsman had a journey many indie theater productions dream of. From little show to Off Broadway hit, the reimagined story of the Tin Man defied the basics, breathing new life into theatrical storytelling. With puppetry, live underscoring, and an ensemble of wonderful performers, The Woodsman managed to wow theater artists and tourists alike. If you missed it, get your hands on the filmed version.





5. Falsettos
There was so much great Broadway this year. A lot of which falls into the categories of previous year entries. So why does Falsettos get the Broadway slot on my list? Well because it was a welcome revival that packed a punch with a Broadway all-star cast. The William Finn revival may be a period piece but if you have a heart, that ending will break your heart. Expect some Tony nominations for this company, especially for Christian Borle and Stephanie J. Block.

Name: Edward W. Hardy

Hometown: Manhattan, New York

Education: Master of Music – Aaron Copland School of Music, Cum Laude, 2014-15, Bachelor of Music – SUNY Purchase College, Cum Laude, 2010-14

Favorite Credits: As a Composer / Solo Violinist, The Woodsman by James Ortiz, A Brooklyn Boy by Steven Prescod and Moises Belizario, and Joe Turner’s Come and Gone directed by Dean Irby. Edward has composed and performed music for theatrical productions including Hamlet (Theatre of War), Joe Turner's Come and Gone (Dean Irby), Master and Margarita (David Bassuk), No Exit (Yellow House Pictures), Mother Courage and Her Children (Dennis Reid), A Brooklyn Boy (National Black Theatre/Vineyard Theatre), The Woodsman (59E59/Ars Nova/Standard ToyKraft). Edward has worked in cooperation with BAFTA, The National Black Theatre, Native American Composers Apprenticeship Program, Trilogy Opera Company, SUNY Purchase Conservatory of Acting, Dance/NYC, Katana Flight Foundation, Bard Conductors Institute, Tony Bennett Exploring the Arts Foundation, Google, Grand Canyon Music Festival, Colour of Music Festival.

Why theater?: I found my love for theatre during my first undergraduate year at SUNY Purchase. The senior acting company, 12’, was looking for a violinist that could act and play two characters in their production of Chekov’s Three Sisters. I quickly submitted for an audition. The director Dean Irby and Composer/Music Director Jim McElwaine asked me to play anything I wanted. I played through all the different genres of music I could think of on the spot; Classical, Romantic, Jazz, Latin, Country, Waltz, and Hip-hop. After the audition, I was cast as a Russian soldier and a beggar that both played violin on stage and in costume. Soon after I fell in love with theater. The spotlight, the responsibility, being immersed in a character and the connection with the audience. Much like classical music, theater is the place where I can be a solo violinist with a strong presence.

Tell us about The Woodsman: As a composer and solo violinist, it was my task to express musically a complex set of emotions and communicate with immediacy underscoring each action, each moment, and each scene. I have invested my mind, love, body, sweat and time in creating all of this original music; the songs, percussion, sounds and violin score. The theatrical aspects are the heart of the play, the music composition is the soul of the play. I am a co-conceiver of The Woodsman along with James Ortiz and since its' inception has performed in Strangemen & Co.'s first annual aPlay & aParty, performances at Standard Toykraft, Ars Nova's ANT FEST, a 3 week sold out run at 59E59 Theaters, and a 6 week sold out run at 59E59 Theaters. I composed and performed the music for The Woodsman, in every instance since it began as a small fundraiser. Throughout our journey, we received rave reviews on both our performances and creation of the play.

What inspired you to compose music to The Woodsman?: Music as a universal language. Though the sound of music one can describe an action or a response. Music can evoke an emotion; it can tell a story. Except for a brief introduction, The Woodsman does not have any words and is unlike any other play. During the first meeting with the playwright, we examined the synopsis of the play. This was my opportunity to think of this play like a silent film and tell a story through music. There wasn’t a script for almost a year, this gave me the opportunity to develop the characters musically. The emotion of the story is enhanced by the exploration of different genres of music (i.e. romantic, classical, modern, and folk), the imitation of the different instruments in the orchestra, and sounds of nature (i.e. clarinets, basses, flutes, percussive instruments, birds, wind/ storms). The music has a significant role in the production, although collaborating with actors without a background in music was an interesting experience. Understanding each actors tendencies and creating each characters’ emotion through music, makes the connection between the music and script seamless. Every theme, transition, modulation, tempo, song and sound has a purpose. If one were to close their eyes, they would easily continue to follow the story like an opera without words. Fun Fact: If you listen closely to the music, you’ll hear a witch clicking her heels 3 times, in a few big sections, and more importantly a heartbeat throughout the entirety of the play.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that emotes and tells a wonderful story while incorporating diversity in both their creative team and cast. My parents being my biggest role models, I thrive off of self-determination, I believe that I’m capable of doing anything and like Matthew McConaughey said “I’m always chasing my future self”.

If you could work with anyone you’ve yet to work with, who would it be?: Lin-Manuel Miranda. He is an inspiration. He is making a difference not only in theatre but in the lives of Americans and fellow Boricuas.

What show have you recommended to your friends?: Besides The Woodsman, I strongly recommend my everyone to see Curious Incident of a Dog in the Night. It’s a great show. Obviously, if you can get a tickets Hamilton you should take me.

Who would play you in a movie about yourself and what would it be called?: If I were not cast to play me in a movie, which would be terribly embarrassing, I would want Michael B. Jordan, Shameik Moore or John Boyega. Anyone but Kevin Hart (just kidding!). Kevin Hart is the man and I would be honored if he played me in the movie about me. The title would be called "New Generation".

If you could go back in time and see any play or musical you missed, what would it be?: In The Heights with Lin-Manuel Miranda, The Wiz with Andre de Shields and Annie Get Your Gun with Bernadette Peters.

What’s your biggest guilty pleasure?: Ben & Jerry’s Chunky Money Ice Cream.

If you weren’t working in theater, you would be _____?: I would still be a classical violinist and violist. I have performed in famous venues and would continue to perform around the world.

What’s up next?: I am composing music to a play called Four Days with Edgar Allan Poe by Amazon bestselling author Edward Medina, a play called Glass Jaw, a feature film called "Fire in Your Cities" by Kathryn Perry (working title), and am co-composing and performing music to a play called A Brooklyn Boy by Steven Prescod & Moises Belizario that is currently being workshopped.

For more on Edward, visit www.edwardwhardy.com. For more info on the history of The Woodsman, Visit edwardwhardy.com/thewoodsmanplay

by Michael Block

We get enamored with origin stories. Just recently, Wicked celebrated becoming the tenth longest running show in Broadway history. And right down the street, another origin story inspired by "The Wizard of Oz" is capturing hearts. And that show is The Woodsman. Inspired by the story of the Tin Man, The Woodsman is a beautiful reimagining of a beloved tale using puppets, song, and a whole lot of heart.
Conceived by James Ortiz, directed by Ortiz and Claire Karpen, with music by Edward W. Hardy and lyrics by Jen Loring, The Woodsman follows Nick Chopper, a munchkin who falls for a beautiful young girl named Nimmee, who happens to be under the control of an evil witch. As their romance kindles, the Witch, knowing she’ll lose her girl, casts a spell on the axe that ultimately mutilates Nick Chopper, turning him into a mechanical being with a broken heart. Using very little dialogue, extraordinary puppets, a singular violin underscore, and an ensemble of superb storytellers, The Woodsman is a reminder that anything is possible in theater. The story is simple. Rather than trying to do too much, Ortiz relies on an accessible story, giving just enough information for the audience to come along for the ride and allow our imagination to roam free. And getting an opportunity to harken back to childhood is always welcome. When it comes to origin stories, what sets The Woodsman apart from something like Wicked is rather than pandering and throwing in nods to what the audience knows, The Woodsman unravels naturally, allowing for that singular nod at the end to be well earned. With little dialogue to speak, crafting this story was all in Ortiz’s vision. Ortiz and Karpen intricately choreographed each beat. Everything flows seamlessly. There’s never a moment where the momentum halts. And that’s important.

photo by Matthew Murphy

The Woodsman strives in stagecraft. Ortiz and his team allow the story to take shape sans spectacle. Sure, there are extravagant moments but they serve to further the story rather than distract. It’s a brilliant directorial choice. With theatricality being an integral part of the show, the puppets were the official stars of the show. Designed by Ortiz himself, the puppets have a blend of practicality and necessity. The marriage between the lighting design by Catherine Clark and Jamie Roderick and scenic design by Ortiz, again, was a happy one. The set stylishly included wood textures without becoming overwhelming. And extending the elements into the audience added an inclusive touch. The Mason jar lighting fixtures transported the piece to a special place. The way they were incorporated, serving as flicking bugs or a glimmer of the Emerald City, was stunning. Ambiance was an important part of creating the world and the production’s soundscape, even during the preshow. Defining the atmosphere in this worldless piece was executed well. With Steampunk elements in Molly Seidel and original costumer Carol Uraneck’s design, the costumes paid homage to what we know from the source material while still standing on its own.
The Woodsman is a true example of ensemble. The nine piece company moved and breathed as one. And it was enthralling. The Woodsman is clearly a passion project for James Ortiz. So much so that in addition to all of the other hats he wears, he portrays Nick Chopper himself. In any other situation, this would be a recipe for disaster, but with the intricacies being what they are, playing Nick as well worked ok. While he may have been the titular character, the work from the rest of the ensemble should be celebrated. Eliza Martin Simpson is simply striking as Nimmee. Simpson radiates confidence on stage. Some of the most lovely and touching scenes are the romantic duet scenes with Nick and Nimmee. I dare you not to smile. Puppetry plays a big part in The Woodsman and the duo of Amanda A. Lederer and Sophia Zukoski operating The Witch almost faded away breathing life into the puppet. Naomi Florin, the expert violinist, was a wonderful presence and the unsung hero of the production. The music by Edward W. Hardy was tastefully simple yet played a pivotal role setting the mood.
The Woodsman is a family-friendly wonder that triumphantly brings theater and storytelling together. The production has been on an amazing journey and deserves a long life. The only struggle The Woodsman will encounter is what happens when Ortiz departs the production. Will the heart still be there or is this a vehicle made for one?