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The 2016 Drama Desk Award Nominations
This year's 2016 Drama Desk Award Nominations are:
Outstanding Play
The Christians, Playwrights Horizons
The Humans, Roundabout Theatre Company
John, Signature Theatre
King Charles III
The Royale, Lincoln Center Theater
Outstanding Musical
First Daughter Suite, Public Theater
Daddy Long Legs
School of Rock
Shuffle Along
Outstanding Revival of a Play
Cloud Nine, Atlantic Theater Company
Death of a Salesman, New Yiddish Rep
Henry IV, Donmar Warehouse at St. Ann's Warehouse
Long Day's Journey Into Night, Roundabout Theatre Company
A View From the Bridge
Women Without Men, Mint Theater Company
Outstanding Revival of a Musical
The Color Purple
The Golden Bride, National Yiddish Theatre Folksbiene
Fiddler on the Roof
She Loves Me, Roundabout Theatre Company
Spring Awakening
Outstanding Actor in a Play
Andrew Garman, The Christians, Playwrights Horizons
Avi Hoffman, Death of a Salesman
Frank Langella, The Father, Manhattan Theatre Club
Tim Pigott-Smith, King Charles III
Mark Strong, A View From the Bridge
Outstanding Actress in a Play
Georgia Engel, John, Signature Theatre
Mamie Gummer, Ugly Lies the Bone, Roundabout Undeground
Marin Ireland, Ironbound, Rattlestick Playwrights Theater/Women's Project Theater
Jessica Lange, Long Day's Journey Into Night
Nicola Walker, A View From the Bridge
Outstanding Actor in a Musical
Danny Burstein, Fiddler on the Roof
Robert Creighton, Cagney, York Theatre Company
Michael C. Hall, Lazarus, New York Theatre Workshop
Zachary Levi, She Loves Me
Benjamin Walker, American Psycho
Outstanding Actress in a Musical
Laura Benanti, She Loves Me
Carmen Cusack, Bright Star
Cynthia Erivo, The Color Purple
Jessie Mueller, Waitress
Annette O'Toole, Southern Comfort, Public Theater
Outstanding Featured Actor in a Play
Bill Camp, The Crucible
David Furr, Noises Off, Roundabout Theatre Company
Matt McGrath, The Legend of Georgia McBride, MCC Theater
Richard Thomas, Incident at Vichy, Signature Theatre
Michael Shannon, Long Day's Journey Into Night
Outstanding Featured Actress in a Play
Brooke Bloom, Cloud Nine
Megan Hilty, Noises Off
Kellie Overbey, Women Without Men
Saycon Sengbloh, Eclipsed, Public Theater
Jeanine Serralles, Gloria, Vineyard Theatre
Outstanding Featured Actor in a Musical
Nicholas Barasch, She Loves Me
Christopher Fitzgerald, Waitress
Baylee Littrell, Disaster!
Paul Alexander Nolan, Bright Star
A.J. Shively, Bright Star
Outstanding Featured Actress in a Musical
Danielle Brooks, The Color Purple
Alison Fraser, First Daughter Suite
Rachel Bay Jones, Dear Evan Hansen, Second Stage
Jane Krakowski, She Loves Me
Mary Testa, First Daughter Suite
Outstanding Director of a Play
Rachel Chavkin, The Royale
Sam Gold, John
Rupert Goold, King Charles III
Joe Mantello, The Humans
Jenn Thompson, Women Without Men
Ivo van Hove, A View From the Bridge
Outstanding Director of a Musical
Michael Arden, Spring Awakening
John Doyle, The Color Purple
Rupert Goold, American Psycho
Bartlett Sher, Fiddler on the Roof
Bryna Wasserman, Motl Didner, The Golden Bride
Outstanding Choreography
Joshua Bergasse, Cagney
Spencer Liff, Spring Awakening
Lynne Page, American Psycho
Randy Skinner, Dames at Sea
Savion Glover, Shuffle Along
Outstanding Music
Sara Bareilles, Waitress
Michael John LaChiusa, First Daughter Suite
Andrew Lloyd Webber, School of Rock
The Lobbyists, SeaWife, Naked Angels
Steve Martin and Edie Brickell, Bright Star
Outstanding Lyrics
Sara Bareilles, Waitress
Benj Pasek and Justin Paul, Dear Evan Hansen
Glenn Slater, School of Rock
Michael John LaChiusa, First Daughter Suite
Outstanding Orchestrations
August Eriksmoen, Bright Star
Larry Hochman, She Loves Me, Roundabout Theatre Company
Joseph Joubert/Catherine Jayes, The Color Purple
Andrew Lloyd Webber, School of Rock
Michael Starobin/Bruce Coughlin, First Daughter Suite
Outstanding Music in a Play
Billie Joe Armstrong, These Paper Bullets!, Atlantic Theatre Company
Estelle Bajou, Please Excuse My Dear Aunt Sally, One Year Lease Theater Company
Shaun Davey, Pericles, Theatre for a New Audience
Philip Glass, The Crucible
Tom Kitt, Cymbeline, New York Shakespeare Festival
Outstanding Set Design for a Play
Riccardo Hernandez, Red Speedo, New York Theatre Workshop
Mimi Lien, John
G.W. Mercier, Head of Passes, Public Theater
Christopher Oram, Hughie
Derek McLane, Fully Committed
Outstanding Set Design for a Musical
Es Devlin, American Psycho
Emily Orling, Matt Saunders, Eric Farber, Futurity, Soho Rep/Ars Nova
David Rockwell, She Loves Me
Outstanding Costume Design for a Play
Jessica Ford, These Paper Bullets!
Martha Hally, Women Without Men
Constance Hoffman, Pericles
William Ivey Long, Shows for Days, Lincoln Center Theater
Anita Yavich, The Legend of Georgia McBride
Outstanding Costume Design for a Musical
Jane Greenwood, Bright Star
Katrina Lindsay, American Psycho
Jeff Mahshie, She Loves Me
Alejo Vietti, Allegiance
Ann Roth, Shuffle Along
Outstanding Lighting Design for a Play
Neil Austin, Hughie
Mark Barton, John
Bradley King, Empanada Loca, Labyrinth Theater Company
Tyler Micoleau, Antlia Pneumatica, Playwrights Horizons
Justin Townsend, The Humans
Outstanding Lighting Design for a Musical
Jane Cox, The Color Purple
Jake DeGroot, SeaWife
Ben Stanton, Spring Awakening
Justin Townsend, American Psycho
Jules Fisher/Peggy Eisenhauer, Shuffle Along
Outstanding Projection Design
Nicholas Hussong, These Paper Bullets!
Darrel Maloney, Tappin' Thru Life
Peter Nigrini, Dear Evan Hansen
Finn Ross, American Psycho
Tal Yarden, Lazarus
Outstanding Sound Design in a Play
Fitz Patton, An Act of God
Fitz Patton, The Humans
Miles Polaski, Fulfillment, The Flea Theatre
Bray Poor, John
Ryan Rumery, Empanada Loca
Outstanding Sound Design in a Musical
Mick Potter, School of Rock
Brian Ronan, Lazarus
Nevin Steinberg, Bright Star
Dan Moses Schreier, American Psycho
Scott Lehrer, Shuffle Along
Outstanding Wig and Hair
David Brian Brown, She Loves Me
Jason Hayes, The Legend of Georgia McBride
Robert-Charles Vallance, Women Without Men
Charles G. LaPointe, The School for Scandal, Red Bull Theater
Mia M. Neal, Shuffle Along
Outstanding Solo Performance
Simon Callow, Tuesdays at Tesco's, 59E59
Kathleen Chalfant, Rose, Nora's Playhouse
James Lecesne, The Absolute Brightness of Leonard Pelkey
Daphne Rubin-Vega, Empanada Loca
Jesse Tyler Ferguson, Fully Committed
Unique Theatrical Experience
ADA/AVA, Manual Cinema/3LD/The Tank
Antigona – Soledad Barrio/Noche Flamenca
That Physics Show
The Very Hungry Caterpillar Show
YOUARENOWHERE – 3LD/The Tank
Special Awards
The Humans – Special Drama Desk Award for Outstanding Ensemble
Cassie Beck, Reed Birney, Jayne Houdyshell, Lauren Klein, Arian Moayed, and Sarah Steele spend a very special Thanksgiving Day together in Stephen Karam's play, reminding us that home is indeed where The Humans are.
The Royale – Special Drama Desk Award for Outstanding Ensemble
The heavyweight cast of McKinley Belcher III, Khris Davis, Montego Glover, John Lavelle, andClarke Peters gels as a unit in bringing Marco Ramirez's story, inspired by Jack Johnson, to unforgettable life, offering a trenchant statement on racism in America.
Sheldon Harnick – Special Drama Desk Award
New productions of Fiddler on the Roof, Rothschild and Sons, and She Loves Me this season remind us that this veteran lyricist's takes on faith, family and community are as resonant as ever.
Camp Broadway – Special Drama Desk Award
For more than 20 years, this indispensable organization has introduced young people to the magic of theater. Camp Broadway plays a crucial role in creating tomorrow's audiences.
Danai Gurira – Sam Norkin Award
Whether writing about women in wartime Liberia in Eclipsed or about an affluent immigrant family from Zimbabwe struggling with assimilation in Familiar, Danai Gurira demonstrates great insight, range, and depth, bringing a fresh new voice to American theater.
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Ken created one of the first Broadway podcasts, recording over 250 episodes over 7 years. It features interviews with A-listers in the theater about how they "made it", including 2 Pulitzer Prize Winners, 7 Academy Award Winners and 76 Tony Award winners. Notable guests include Pasek & Paul, Kenny Leon, Lynn Ahrens and more.


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subset: commoncrawl


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One of my favourite things about the SQL community is the exquisite diversity of talent of it's members. Today for the "What's it Like To Be a DBA" post series, we're privileged to have with us a gentleman that not only flexes his technical muscles regularly on his blog but who also encourages us to get the grey matter really working with his thought pieces and professional development posts. I really do enjoy this authors work, his content has a wonderful air of class, a distinguished style and I know many of you enjoy it too.
Ladies and gentlemen, please welcome Mr Mike Fal (Blog|Twitter).
True confessions: when I make small talk, I usually lead with "what do you do". It's a little lame, but something we all can answer. However, what's usually a more interesting follow-up is "how did you end up doing that?" After all, whether we're speech therapists, inside sales reps, garbage collectors, safety managers, etc….it's usually an intriguing tale of how we got there.
What a long, strange trip it's been
My tale is twisty enough. I went to college with a desire to be a classical bass trombonist. After 4 years of typical college hedonism at the University of Colorado in Boulder, I got my Bachelor of Music Performance (insert B.M. joke here) and ventured out into the "real world". That's when it got hard. I found myself working in a warehouse, trying to get to graduate school, and wondering if I had made the right choice for what I wanted to do with my life. Don't get me wrong, I love music, but it's a hard road without a lot of reward. Your love of the art form can be quickly burned and ground out of you.
Enter my first system administrator. I've always been a geek and had an interest in computers, how they worked. He noticed my interest as he fixed printers, replaced hard drives, and did the usual day to day crap. Through him, the company offered me a modest tech support job, which led to some basic work on our Access application (SQL 7 backend), which then lead to query writing and application design. Suddenly, this former musician was another I.T. geek, with an appetite to learn and a hankering to tinker with things.
What followed was the usual host of job changes, fire-hose drinking sessions, and late nights/long weeks. I toyed around with Oracle, .Net programming, Access (gah), Linux, NT Administration, and a host of other roles and responsibilities. SQL Server always was the glue holding my other work together, the path I managed to hold to throughout the changes. As the years passed, I kept on playing and experimenting. I think the biggest question I kept asking myself was "Is there a better way to do this?" Usually the answer was yes, every once in a while it was no. No matter the answer, I kept learning and building on the knowledge of all these experiences.
Better, Faster, Harder, Stronger
Now that I've been doing this for 10+ years, I can't say I've seen a typical day. While my current job is your standard operations Database Administrator position, the actual work varies from day to day. Here's the sort of stuff I find myself doing:
- Performance: If something is slow, it's the database's fault, right? I usually have to drill into the database stats and processes to see what is going on. If there's a problem, I have to fix it. If there isn't, I have to explain to others why the problem lies somewhere else. And I usually have to do this all RIGHT NOW. I've gotten used to getting pulled off task.
- Availability and Reliability: This is like being a car mechanic. I fix the broken cars and do tune ups on the ones that run. This includes making sure that we have backups done, that the database is secure, things of that nature. I think this is one of the cool parts, because it means that I'm the guardian of the company's data, the last line of defense if something goes wrong. It's a fairly heavy responsibility, but one I enjoy. (Also, it's one of those things that when I get annoyed, I comfort myself by saying "I could bring the company to a grinding halt in 5 minutes". Not that I would, but it is a bit of a power trip. :D )
- On-call: If you work in support, this is an aspect that you just come to accept as part of the life. You will get paged in the middle of the night, you will have to respond to alerts when everyone else is enjoying a good night's sleep. I look at on-call as a challenge, however. What can I do to not get paged at 3 AM? Am I fixing problems that keep occurring? Am I fine tuning alerts so I don't get false positives? This can be a rather long list, but I think the goal of every support DBA should be a regular sleep schedule.
- Technology planning: From purchasing new hardware to implementing new SQL technologies, I'm the company's expert on where we go next with SQL Server. This means I spend time researching what's on the horizon and identifying where in the company we can use it. It also means that when we're planning new purchases for disk or servers, I need to have answers for what SQL Server will need.
- Documentation: Some folks hate this or don't see it as very important. For me, this is as vital as any of my other job duties. If I don't write down what I've done and how I've done it, this means I become the only person who can do a certain task. I hate single points of failure in my systems, so I don't want to be one of them either. I make sure I'm spending at least part of my day putting things into writing.
- Database/Application development: So, this isn't full on SCRUM/Agile development. What I build is utility stuff. Sometimes it's a backup script. Other times it's a set of scripts and tables to collect a server inventory. Maybe I'm writing stored procedures to manage my administrative tasks. Whatever the case, I have to design the database to hold my data, figure out how I'm going to get it in there, and make sure it doesn't suck.
How much of this I do day to day varies. Sometimes I spend the whole day (and more) fighting fires. Some days are all about documentation and research. Overall, I'd say that roughly I spend 50% of my time on the maintenance aspects of my job, with the other 50% filled in with research, planning, and administration (meetings, paperwork, etc.). My week is roughly 40-45 hours, though I confess that I work on keeping it down to that level. You often hear of the horror stories of regular 60 hour work weeks. In being a DBA, I've learned the value of having a life outside of SQL Server and manage my time accordingly.
And I ask myself, how did I get here?
Often I'm asked, "How do you become a DBA?" As you can tell with my story, my path wasn't well defined or particularly repeatable. I just found one day that I was doing it and liked it. Talking with others in the community (or reading about them, in the case of Mr. Swart's excellent post), my situation is not unique. I think becoming a DBA is very much an evolution and a career that chooses you, not the other way around.
That being said, there are a few things I tell people who want the gig. The first is to make folks aware that there are actually several different flavors of DBA (I'll avoid my rant of the broad-brush use of the term "DBA" for some other post on my own blog).
- Operations support (this is what I do), where you're responsible for keeping systems up, running, and running well.
- Development, where you will build back ends for applications (sometimes combined with .Net programming).
- Business Intelligence, which has you think about data on a macro scale, how to aggregate data sets and help non-technical people make sense of their data.
No matter which path you want to take, some of the steps will be the same. For anyone who asks about being a DBA or wanting to learn more about SQL, I also recommend the following books:
- Database Design for Mere Mortals: All data professionals need to understand relational theory (which hasn't changed all that much since E.F. Codd wrote it back in 1970). I always recommend this book as a first stop for people wanting to get into the database world.
- Database Survivor: Tom LaRock's book was written as "the book I wish someone had given me on my first day as a DBA." I've written a pretty extensive review of Tom's book on my blog, so if you want the gory details, go there.
After this, get out in the blogosphere. The wonderful thing about the technical community now as opposed to when I got started is the amount of Internet resources available. The best place to start is Tom LaRock's blogger rankings, where you'll find an excellent listing of online bloggers focused on SQL server. From there, explore and build up your own list of blogs to follow. The clue is to satisfy your thirst for knowledge.
Also remember, not everything out there is right. Trust, yet verify.
Then, play and learn. Apply your study to gain practical experience. Unfortunately, there's very few jobs advertised where you can go in cold and learn how to be a DBA. You will need to create your opportunities. Talk to your DBAs, see if they have anything you can help with. Look for a mentor within your own company who can guide you and give you tasks to work on. Track your accomplishments, either through a blog or some other journal. It's these accomplishments that you can take with you wherever you go. Every interview I've been in, the team I've interviewed with has cared more about what I've done than the SQL trivia I can recite. Do and then show that you've done it.
One of my music instructors over the years (a tuba player, don't hold it against him) said "Music is a means to an end. You never get to the end, but you gotta dig the means." This is true of any calling, from artistry to hacking assembly code. If you love working with data, your own evolution as a data professional will grow within that. Your own path to being a DBA may not be the same as anyone else, but it will be no less worthwhile and fulfilling, so long as you dig the means.
Thanks out to John for letting me share my thoughts and experiences about being a DBA here. I look forward to other stories from the trenches, and I also want to see the common threads. The SQL Family is drawn together by our experiences and the desire to share them with each other, which is what makes our community so strong. If you liked this, consider putting your own thoughts to paper, sharing with the rest of us, enriching the SQL community.


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On this page:
Child Labor Laws cover any employee under 18 years of age. Once an individual reaches age 18, they are considered an adult under child labor laws.
The Texas Child Labor Law ensures that a child is not employed in an occupation or manner that is harmful to the child's safety, health or well-being. It is illegal to employ a child under age 14 except under specific circumstances described on this page.
State law allows TWC to adopt rules regarding employing children. Our rules ensure that employment does not interfere with a child's education and does not pose a threat to the child's health, safety or general well-being.
TWC or its designee may inspect a place of business during work hours to collect information about the employment of children if there is good reason to believe a child is or has been employed within the last two years. Knowingly or intentionally hindering an investigation is illegal.
All businesses are subject to state law but only those businesses covered by the Fair Labor Standards Act (FLSA) are subject to the federal law.
To determine whether a business is covered under the FLSA, please contact your local U.S. Department of Labor, Wage and Hour Division or visit the U.S. Department of Labor's Reference Guide to the Fair Labor Standards Act.
If in doubt, or when both Federal and State laws apply, businesses should follow the stricter guidelines.
When a business is owned or operated by a parent or legal custodian, the parent or custodian may employ their own children at any age to work any hours, so long as the work is non-hazardous (not prohibited) and the child works under the parent or custodian's direct supervision.
In addition, Texas Child Labor Law does not apply to employment of a child who is:
It is illegal to employ a child under age 14 except under specific circumstances described on this page.
Children under age 14 may work as actors or performers in motion pictures, or in a theatrical, radio or television production, with TWC authorization. The parent or legal custodian must submit the Application for Child Actor/Performer Authorization form or . You may also get the application form at your Workforce Solutions office or by calling our Wage and Hour Department at 800-832-9243.
Soliciting is considered a hazardous occupation. It is illegal to:
Under state law, but not federal law, a person may employ a child to operate a motor vehicle for a commercial purpose if the child:
State law prohibits employment of a child in a sexually oriented business, requires a sexually oriented business to maintain certain photographic identification records, and provides for a criminal penalty.
The provisions for selling or serving alcohol are not regulated by the Texas child labor laws. For those requirements, please consult the Texas Alcoholic Beverages Commission.
A child age 16 or 17 has no restrictions on the number of hours or times of day they may work. There are hour restrictions only for children ages 14 and 15, with separate state and federal laws that cover their work hours. All businesses are subject to state law but only those businesses covered by the Fair Labor Standards Act (FLSA) are subject to the federal law.
State law states that 14- and 15- year olds:
FLSA states that 14- and 15- year olds:
To request that TWC approve a hardship waiver of the hour restrictions for a child age 14 or 15 because it is necessary for the child to work to support themselves or their immediate family, follow the process described in Commission Rule Section §817.22.
A child who is age 14 or 15 may be employed in the following occupations in retail, food service, and gasoline service establishments:
A child who is age 14 or 15 may not be employed in:
A child who is age 16 or 17 may not be employed in the occupations listed below, except that those occupations shown with an asterisk (*) may have apprentice or student-learner exemptions for employment:
For the prohibited occupations listed above with an asterisk (*), a child who is age 16 or 17 may be employed as an apprentice or student learner.
If you observe immediate danger to a child, call the TWC Wage and Hour Department at 800-832-9243.
If the child is not in immediate danger of injury, submit a Child Labor Complaint form or by fax to 512-475-3025 or by mail to:
TWC Wage and Hour Department
101 E 15th St, Rm 514
Austin, TX 78778-0001
Under the Texas Child Labor Law, TWC's Wage and Hour Department investigates any child labor complaints and then issues a preliminary determination to the employer.
Violation of child labor law is a Class B misdemeanor with the exception that employing a child to sell or solicit is a Class A misdemeanor. If a person employs a child who does not meet the minimum age requirement for a type of employment but did so in good faith relying on an apparently valid Certificate of Age form or , then that may be a defense against prosecution.
If an employer violates child labor law, in addition to criminal penalties TWC may assess an administrative penalty against the employer up to $10,000 per violation.
If an employer disagrees with TWC's preliminary determination--the violation, the penalty or both, there are two possible levels of appeals within TWC, each with different time limits. If an employer disagrees with the final decision of TWC, the employer may file a Petition for Judicial Review but must do so no later than 30 days after a Commission order assessing a penalty becomes final.
To learn how an employer can appeal our finding of a child labor law violation or penalty assessment, see Texas Child Labor Law Appeals.
The Attorney General may seek injunctive relief in district court against an employer who repeatedly violates child labor law requirements.


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The powerdomain of a domain D is a domain containing some of the subsets of D. Due to the asymmetry condition in the definition of a partial order (and therefore of a domain) the powerdomain cannot contain all the subsets of D. This is because there may be different sets X and Y such that X <= Y and Y <= X which, by the asymmetry condition would have to be considered equal.There are at least three possible orderings of the subsets of a powerdomain: Egli-Milner:
X <= Y iff for all x in X, exists y in Y: x <= y and for all y in Y, exists x in X: x <= y("The other domain always contains a related element"). Hoare or Partial Correctness or Safety:
X <= Y iff for all x in X, exists y in Y: x <= y("The bigger domain always contains a bigger element"). Smyth or Total Correctness or Liveness:
X <= Y iff for all y in Y, exists x in X: x <= y("The smaller domain always contains a smaller element"). If a powerdomain represents the result of an abstract interpretation in which a bigger value is a safe approximation to a smaller value then the Hoare powerdomain is appropriate because the safe approximation Y to the powerdomain X contains a safe approximation to each point in X. ("<=" is written in LaTeX as \sqsubseteq).
Last updated: 1995-02-03
Nearby terms:
PowerBuilder ♦ power cycle ♦ powerdomain ♦ PowerFuL ♦ power hit ♦ Power Mac
Try this search on Wikipedia, Wiktionary, Google, OneLook.