Denzel Washington received the Presidential Medal of Freedom from President Joe Biden during a January 4 ceremony at the White House, where he was described as a generational talent and national role model.

“The admiration of audiences and peers is only exceeded by that of the countless young people he inspires,” the White House citation read. “With unmatched dignity, extraordinary talent, and unflinching faith in God and family, Denzel Washington is a defining character of the American story.”

Washington was one of 19 “truly extraordinary people” Biden recognized for “their sacred effort to shape the culture and the cause of America.” World Central Kitchen founder José Andrés, former Secretary of State Hillary Clinton, and primatologist Jane Goodall were among the other honorees.

The award was a year and a half in the making for Washington, whose many honors include two Academy Awards, a Tony Award, two Golden Globes, and the Cecil B. DeMille Lifetime Achievement Award. He had been slated to receive the medal from Biden in July 2022, but a case of COVID-19 kept him from attending the ceremony that year.

This year’s honor comes on the heels of his starring role in the film Gladiator II, and as he prepares to return to Broadway to star alongside Jake Gyllenhaal in a revival of Shakespeare’s Othello. Performances are scheduled to begin on February 24 at the Ethel Barrymore Theatre.

Washington last played Shakespeare’s “noble Moor” five decades ago, as a Fordham senior. He starred in a March 1977 production of the play at the University’s Lincoln Center campus, about a dozen blocks north of where he’ll reprise the role next month.

Fordham Roots—and a Legacy of Giving Back

Washington grew up in Mount Vernon, New York, not far from Fordham’s Rose Hill campus. He has often said that he “kind of backed into” acting—and fell in love with it—during his time at the University.

One of the first people on campus to recognize Washington’s potential was English professor Robert Stone. Decades earlier, he had acted with the legendary Paul Robeson in a Broadway production of Othello.

“Denzel gave the best performance of Othello I’d ever seen,” Stone told Fordham Magazine in 1990, referring to the 1977 Fordham production. “He has something which even Robeson didn’t have … not only beauty but love, hatred, majesty, violence.”

Since his college days, Washington has become a Hollywood and Broadway legend, deeply respected not only as an actor but also as a producer and director.

No matter how many accolades he amasses, however, he makes time to give back: For more than 25 years, he’s served as national spokesman for the Boys & Girls Clubs of America. And he gives to the Fordham community. In 2011, he made a $2 million gift to endow the Denzel Washington Chair in Theatre and a $250,000 gift to establish the Denzel Washington Endowed Scholarship for an undergraduate student studying theatre at Fordham.

Through the chair, scholarship, and campus visits, Washington has been a mentor to young Fordham artists.

Eric Lawrence Taylor, FCLC ’18, a former recipient of the Denzel Washington Endowed Scholarship, described the actor’s subtle mentoring style best in a 2018 interview: “In a very cool, non-publicity-seeking way, Denzel Washington has been mentoring artists of color for a long time,” he said, “and really providing space for a lot of us to succeed.”

VIDEO: Watch Denzel Washington Receive the Presidential Medal of Freedom

Fordham’s 6 Presidential Medal of Freedom Recipients

The Presidential Medal of Freedom—the nation’s highest civilian honor—is presented to individuals who have made exemplary contributions to the prosperity, values, or security of the United States, to world peace, or to other significant societal, public, or private endeavors.

Washington is now the sixth Fordham graduate to receive the medal since 1963, when it was established by President John F. Kennedy. Here are Fordham’s other honorees:

Cardinal Terence Cooke: A New York City native, Cooke was ordained a Catholic priest in 1945 by Fordham graduate Cardinal Francis Spellman, archbishop of New York. He taught at the University’s Graduate School of Social Service during the 1950s and earned a master’s degree from Fordham in 1957. After Cardinal Spellman’s death in 1968, Cooke was named archbishop of New York and, later, military vicar to the U.S. armed forces.

President Ronald Reagan honored him posthumously in April 1984, six months after Cardinal Cooke died of leukemia at age 62, calling him a “man of compassion, courage, and personal holiness.”

Sister M. Isolina Ferré: Born in Ponce, Puerto Rico, in 1914, the youngest daughter of one of the island’s wealthiest families, Ferré entered the Missionary Servants of the Holy Trinity in 1935. In the 1950s, her work as a nun brought her to New York. She earned a master’s degree in sociology from Fordham in 1961 while gaining national recognition for her work with Puerto Rican youth gangs in Brooklyn. She later established community aid centers in Ponce, and in 1988 founded Trinity College of Puerto Rico, a school that provides leadership and vocational training.

President
 Bill Clinton honored her in August 1999, praising her ability to combine “her deep religious faith with her compassionate and creative advocacy for the disadvantaged.”

Irving R. Kaufman: A 1931 Fordham Law School graduate, Kaufman is perhaps best known as the federal judge who sentenced Julius and Ethel Rosenberg to death on April 5, 1951. But he also ruled in some landmark First Amendment, antitrust, and civil rights cases during four decades on the bench.

When he died in 1992 at age 81,
 The New York Times wrote, “It was Judge Kaufman’s hope that he would 
be remembered for his role not in the Rosenberg case, the espionage trial of the century, but as the judge whose order was the first to desegregate a public school 
in the North, who was instrumental 
in streamlining court procedures, who rendered innovative decisions in antitrust law and, most of all, whose rulings expanded the freedom of the press.”

President Ronald Reagan honored Kaufman in 1987 for his “exemplary service to our country” and “his multifaceted effort to promote an understanding of the law and our legal tradition.”

Jack Keane: A retired four-star U.S. Army general and widely respected national security and foreign policy expert, Keane grew up in a housing project on Manhattan’s Lower East Side. He began his military career at Fordham as a cadet in the University’s Army ROTC program. After graduating in 1966 with a bachelor’s degree in accounting, he served as a platoon leader and company commander during the Vietnam War, where he was decorated for valor. A career paratrooper, he rose to command the 101st Airborne Division and the 18th Airborne Corps before he was named vice chief of staff of the Army in 1999. Since retiring in 2003, he has often provided expert testimony to Congress. He received the Fordham Founder’s Award in 2004, and he is a Fordham trustee fellow.

President Donald Trump honored Keane in 2020, lauding him as “a visionary, a brilliant strategist, and an American hero.”

Vin Scully: A 1949 Fordham graduate, Scully is best known for his nearly seven-decade stint as voice of the Dodgers—first in Brooklyn, later in Los Angeles—and widely considered one of the best sports broadcasters of all time. He got his start at WFUV, Fordham’s public media station, announcing football, basketball, and baseball games before joining the Dodgers broadcast team in 1950. Scully was inducted into the broadcasters’ wing of the National Baseball Hall of Fame in 1982, and Fordham presented him with an honorary degree in 2000.

President Barack Obama honored Scully in 2016. “Vin taught us the game and introduced us to its players. He narrated the improbable years, the impossible heroics, [and] turned contests into conversations,” Obama said.

In an email last week to students and colleagues, May Adrales, director of the Fordham Theatre program, called Jenness’ death an “enormous loss for Fordham, for the theatre community, and for the world at large.”

“Many playwrights and directors working today can trace their beginnings in American theatre back to Morgan,” said Adrales of Jenness, who used they/them and she/her pronouns. “Their support didn’t end with encouragement; Morgan championed the work they believed in, often connecting creators with exactly the right collaborators to bring bold theatrical visions to life.” 

A Powerful Mentor to Young Playwrights

Fordham graduate Morgan Gould, FCLC ‘08, credits Jenness—who Gould described as her “professor/mentor/kooky aunt/mom/theater doula”—with where she is today: a published playwright, director, and writer for television shows such as A League of Their Own. 

“She treated every student as if it was only a matter of time that you were going to be a world-famous auteur. She would drag me to every kind of theater opening and introduced me to everyone as a young director. Having someone so sure that it will happen is something you never forget, and for so many of us, she was the first person to do that.” Today, Gould said, “I make my living only in the arts. Morgan was a huge part of making that possible.”

Another former mentee of Jenness’, Peter Gil-Sheridan FCLC ’98, said that countless Fordham friends reached out to talk about Jenness’ impact on their lives.

“Morgan left the world a better place than they found it,” said Gil-Sheridan, a former Fordham adjunct professor who is now assistant professor of playwriting at Vassar College. “Their passing is seismic in the theatre community. But so is their impact. I am so proud to be one of the students that was so deeply held and felt by my dear teacher. We can all honor them by continuing to demand more of our selves in our work, to see the theatre as a space for activism, cultural critique, and radical love.”

Uplifting Playwrights 

Oskar Eustis, the artistic director of the Public Theater, said that Jenness helped redefine the role of a dramaturg, who is traditionally called upon to aid actors, directors, and playwrights in their understanding and presentation of a play. 

“Morgan was one of the first generation of people who were defining what a new play dramaturg was: the midwife and support system of a playwright,” he told The New York Times, whose obituary noted Jenness’ impact on the careers of successful playwrights, including MacArthur “genius” grant winner Taylor Mac and David Adjmi, who wrote the 2024 Tony Award-winning play Stereophonic.  

“Countless” artists “across all generations” felt “seen and loved” by Jenness, said Fordham’s former head of playwriting, Daniel Alexander Jones.

“In everyday conversation, she would lift the names and works of artists and advocate for them constantly. Carl Hancock Rux, Erik Ehn, Luis Alfaro, Taylor Mac, Bridget Carpenter, Marcus Gardley, Keith Josef Adkins, David Adjmi, and Alice Tuan are the first names that come to mind when I turn on the spigot of those early memories of time with Morgan. … When she taught, she carried us into the lesson plans, alongside those departed luminaries whose beacons she also tended.”

Jenness is survived by a brother, four nephews, and two nieces, one of whom, Martinique Gann, is quoted in The New York Times about Jenness’ dedication to students and the theater. 

“There was no stopping my aunt for anything,” Ms. Gann recalled. “She picked me up in a cab from the airport. And right away, with my two suitcases, we drove straight to Fordham University to see a play one of her students had written.”

Macht sat down with Fordham Magazine to discuss the bawdy production and his whirlwind experience as the show transformed from little-known downtown play to Broadway smash hit.

How did you get involved with the production?

I literally just auditioned. It wasn’t supposed to be this big show. It was supposed to be six weeks off-Broadway, so it was a pretty low-key audition. I was like, “Well, that went fine,” and I didn’t expect to hear about it ever again. Then I lucked out and I got it.

I had actually been in a TV show called At Home with Amy Sedaris, and Cole Escola was in the same episode, but we never met each other. I remember watching it andCole would pop up, and I’d be like, “That person’s funny. If only I could be that funny.” And I still feel that way, because they’re the funniest person that I’ve ever seen. So it is a full-circle thing to be working with them on this.

Can you describe your role in the show and how you approached it?

My character is Mary’s husband’s assistant. Cole plays Mary Todd Lincoln, so you can figure out who Mary’s husband is. I am the assistant, sort of his bag boy. 

How I approach the role is to take it as truly seriously as possible. So, the play is  pure farce. But to allow Cole and the others to be the funniest, I have to pretend I’m in an HBO miniseries about Lincoln, and not this übersilly play. That’s the approach—like, this guy’s life is on the line.

The subject matter is fairly edgy.

What’s actually so fun about the show is, while it is edgy—we’re making fun of the president, we’re making fun of these revered political figures from American history—the jokes are actually like Three Stooges jokes. So it’s both very subversive but also strangely comforting because it’s a style of comedy that is so ingrained in all of us just from watching any sitcom ever.

Your show has become a bit of a phenomenon. Have you had a favorite moment?

The one that’s the most amazing is, we had only been open off-Broadway for a week, and Steven Spielberg, Sally Field, and Tony Kushner all came as a little trio. That was truly surreal. Even Cole was starstruck, and we were all just like, “This is so amazing.” And I was just thinking to myself, imagining Sally Field, Tony Kushner, and Steven Spielberg—I guess they still have an active group text from filming the movie Lincoln—and they’re like, “Should we go see this silly show?” And they all said yes. That’s so cute to me. 

Any other favorite people you’ve met backstage?

Melissa McCarthy came and was so unbelievably effusive in her praise. She did a classic Melissa McCarthy thing and she literally knelt down before Cole and bowed to them. It was just so funny and you could just tell how much [McCarthy] was touched by it.

Earlier this year, Frank DiLella talked about the multigenerational Fordham posse that exists on Broadway. What has your experience been like as one of the newest members?

I do feel the Fordham presence on Broadway, and the New York theater scene at large. I’m in a fantasy football league with [2017 Fordham grad] Celina Lam, [an associate company manager with Wagner Johnson Productions, co-led by 2002 Fordham grad John Johnson] and I walk by her show The Roommate every night to go home, so I see her all the time. It’s amazing how much stuff Fordham people are producing and acting in and writing. Most of my collaborator friends who I do workshops and things with are still people I met at Fordham. It makes me very proud.

You’ve gone on to grad school, worked in film and TV. Do you feel like your Fordham experience laid a path for the things you’ve done since?

I learned how to act at Fordham. I always had a natural liking of acting, but I had no idea really what I was doing until I came to Fordham. What Fordham was so good at is there’s opportunities to act in front of people constantly. If you don’t get cast on the main stage, you do the studio shows, or you are in class. You just get the reps in. Like an athlete, you just get better by doing it. That’s what allows you to jump in quickly when you get an audition, or when you get a part. That’s the gift of going to a theater school like Fordham.

Interview conducted, edited, and condensed by Franco Giacomarra, FCLC ’19.

We asked DiLella, a 2006 Fordham graduate who’s also an adjunct professor at the University, for his top summer Broadway picks. He threw in an off-Broadway recommendation and even gave us an insider’s peek at what’s coming this fall.

Merrily We Roll Along

Photo by Matthew Murphy

The critically acclaimed Broadway revival of Stephen Sondheim’s Merrily We Roll Along—once an infamous flop—is now the winner of four Tony Awards, including Best Revival of a Musical. Merrily centers around the turbulent journey of three friends: Franklin, Charley, and Mary—played by Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez. Groff and Radcliffe took home the Tony Awards for Best Actor in a Musical and Best Featured Actor in a Musical, respectively, for their performances.

Hell’s Kitchen

Photo by Chelcie Pary

The Alicia Keys musical Hell’s Kitchen is loosely based on her experience of growing up in Manhattan, and features her famous tunes like “Empire State of Mind” and “If I Ain’t Got You.” The show stars Broadway regulars Brandon Victor Dixon and Shoshana Bean, alongside newcomer Maleah Joi Moon. Moon is making her professional debut as the Keys-inspired character, Ali, and recently took home the Tony for Best Performance by an Actress in a Leading Role in a Musical.

Oh, Mary!

Photo by Emilio Madrid

Comic genius Cole Escola, widely known for playing characters in television shows like Search Party and Big Mouth, is now tackling Mary Todd Lincoln in the new play Oh, Mary! It’s opening on Broadway in July after a sold-out off-Broadway run. In the show, written by Escola and directed by Sam Pinkleton, Mary Todd Lincoln will do anything to fulfill her one big dream. The production features an ensemble cast, including Fordham Theatre grad Tony Macht, FCLC ’17.

Cats: The Jellicle Ball

Photo by Evan Zimmerman

Andrew Lloyd Webber’s Cats is now playing off-Broadway at the Perelman Performing Arts Center like you’ve never seen it before. In this new, immersive restaging of the 1982 Broadway mega-musical, audiences are welcomed into the Jellicle Ball, which is inspired by the ballroom culture that burst onto the queer, gay, and trans scene in New York City more than five decades ago. Cats: The Jellicle Ball stars Tony Award-winner André De Shields as Old Deuteronomy; ballroom icon Chasity Moore, who goes by “Tempress,” as Grizabella; and Hamilton alum Sydney James Harcourt as Rum Tum Tugger.

A Look Ahead at Broadway’s Fall Lineup

Sunset Boulevard

Photo by Marc Brenner

Nicole Sherzinger’s acclaimed performance as film diva Norma Desmond is making its way across the pond from London’s West End. Sunset Boulevard arrives on Broadway this October in a stripped-down, minimalistic version of the Andrew Lloyd Webber classic. The show features direction by British sensation Jamie Lloyd, known for his radical reimaginings.

Gypsy

Photo by Allison Michael Orenstein

One of Broadway’s greatest works and greatest performers join forces this fall when Audra McDonald stars in Gypsy at the historic Majestic Theatre. Widely considered one of the best musicals of all time, Gypsy is the story of how far a determined stage mom will go to turn her daughter into a star. The show features a legendary creative team with a book by Arthur Laurents, music by Jule Styne, and lyrics by the late Stephen Sondheim.

Reopening: The Broadway Revival debuted in early 2022 as part of PBS’ Great Performances series, with DiLella as host and executive producer.

It was another high point in his nearly two-decade career as an entertainment journalist, one that began with an internship at Spectrum News NY1 when he was a Fordham student. Today, he’s best known as the host of On Stage, NY1’s acclaimed weekly theater show. His numerous celebrity interviews and in-depth reporting have endeared him to artists and fans alike, and earned him 11 New York Emmy Awards.

Since 2013, he’s also been sharing his knowledge and experience with students. He teaches a course, Theater Journalism, at the University’s Lincoln Center campus, and has been mentoring a new generation of Fordham-educated Broadway professionals.

He sat down with Fordham Magazine just before the Tony Awards to reflect on his career path and share one of his most memorable celebrity stories.

You are a huge cheerleader for all things Fordham. What initially drew you here?
Fordham was my first choice. I grew up in Philadelphia, and both my parents went to Saint Joseph’s University, which is the Jesuit university there. So we were very familiar with Jesuit, liberal arts education—the idea of coming to college and exploring, and truly having this university journey of figuring out what you want to be and what you want to do.

And at Fordham, you marry that with the greatest city in the world, New York City, which has always felt like my home away from home—and has now been my home for 20-plus years. It doesn’t get better than Fordham.

You achieved great success by blending your passion for theater with a new one that you found here. What kind of mentorship did you receive?
I came into Fordham thinking that I was going to pursue acting, but I took an intro to communications course, and my professor, Lewis Freeman, polled the class: “How many of you have thought about being a reporter?” I remember raising my hand. I grew up loving shows like Dateline NBC and 20/20.

He said, “If you are lucky enough, get yourself an internship at Spectrum News New York 1—you can explore and learn what it takes to be in the business and they have an amazing internship program.” That summer, I applied. I was also up for a role in a professional production of Hair in Brooklyn. And I kind of told myself, “Whatever is meant to be is meant to be.” I got NY1 and never looked back.

Photo courtesy of Frank DiLella

You came here with dreams of breaking into the theater world, and now you’re such an integral part of it. What is it like to be part of the Fordham community on Broadway?
We’re called the “Fordham Posse.” When it’s revealed to someone that you went to Fordham, it’s like, “Oh, we’re part of the same family.”

I think of John Johnson, who is a celebrated theater producer who graduated in 2002, the year I started, but would always come back—again, this family mentality. He’s someone I definitely looked up to. Van Hughes, who has gone on to be in various Broadway shows, was part of my crew. Taylor Schilling from Orange is the New Black. Kelley Curran was my close friend. Paul Wontorek too—he’s the editor-in-chief for Broadway.com, and we are very much working colleagues. There is definitely a lot of Fordham love to go around.

You’ve interviewed just about every famous actor that has come through Broadway over your time at NY1. Do you have a favorite story?
I got to know Elaine Stritch very well. She had a residency at the Café Carlyle for years, and like clockwork, every spring I would sit down with her. Towards the end of her life, I got a call saying, “Elaine would like to speak to you to do a story.” I went to her residence, and she couldn’t sit up, so she said to me, “Frank, get in bed with me. Just talk to me about my life.”

Now, this is a woman who was very close to Judy Garland. She went on a date with JFK. She was close friends with Ethel Merman. To me, she is what we think of when we think of legends of Broadway, absolute legends of entertainment. I mean, the stories that she had, I’ll never forget that. We had so much fun. We had so many laughs.

There’s a clip of Hugh Jackman ending an interview with you saying, “Thanks Frank, you’re the best.” How does it feel to be such a trusted figure among these incredible artists?
Having access and trust with these artists—for them to open up to me and feel comfortable opening up for me—that is a true gift. And that’s one of my favorite things about this job. I’m so grateful to get to be with these people to tell the stories.

Interview conducted, edited, and condensed by Franco Giacomarra, FCLC ’19.

Related Story: What to See on Broadway This Summer
Frank DiLella shares his recommendations—from the latest Tony winners to the next big hits.

Dede Ayite, an adjunct professor in the Fordham Theatre program, became the first Black woman to win Best Costume Design of a Play for her work on Jaja’s African Hair Braiding. It was her first Tony award.

“Thank you to all of the costume shops and makers who truly move the needle in terms of getting the glitz and the glam onstage,” she said in an acceptance speech that also credited family and friends from her native Ghana.

“Without them, I would not be here. The show would not look as amazing as it does.”

Ayite, who teaches the Costume Design course at Fordham, was nominated in two Tony categories for her work on three productions—Best Costume Design of a Play for both Appropriate and Jaja’s African Hair Braiding and Best Costume Design of a Musical for Hell’s Kitchen. 

Johnson, an adjunct professor who teaches the Creative Producing course for Fordham Theatre, also took home a Tony for his role as producer for Stereophonic, which won for best play.

It was Johnson’s ninth win since 2013, when he won his first Tony as a producer for Vanya and Sonia and Masha and Spike. 

Stereophonic, which follows a fictional 1970s rock band on the cusp of superstardom as they struggle through recording their new album, won four other Tony Awards. 

Fellow Fordham graduate Tom Pecinka, FCLC ’10, who made his Broadway acting debut in Stereophonic and was nominated for a Tony for his performance, joined Johnson on stage at the Lincoln Center’s Koch Theater with the cast and crew.

Including Ayite and Johnson, eight members of the Fordham community were nominated for Tony Awards this year.

Watch below as Frank DiLella, FCLC ’06, host of the Spectrum News NY 1 show On Stage, interviews Pecinka on the red carpet before the show.

Beyond her own projects—including Callaloo, a children’s book and media brand that got the attention of PBS Kids—she’s been making her mark on Broadway as a co-producer of shows such as The Wiz and the Alicia Keys musical Hell’s Kitchen, for which she and her fellow producers were nominated for a 2024 Tony Award.

Tell me about how you got into acting and how you found your way to Fordham.
I grew up in D.C. My mom is from Trinidad, and my dad is African American. At home, the arts and storytelling were celebrated. I studied musical theater in high school at Duke Ellington School of the Arts, and the dream was to come to New York and be on Broadway.

What intrigued me about Fordham was the fact that you could double major. I was interested in so many different things that I didn’t want to just go to an acting conservatory. I was very invested in the Fordham Theatre program itself and how the University could help me grow.

Did your thinking about your career change during college?
I wasn’t coming out of Fordham saying, “I want to own my own business.” I wanted to be an actor. For about a year after graduating, I auditioned and hustled, and I found that I wanted to do other things. Fordham taught me a lot with my extracurricular involvement. I was part of the Black student club, and a lot of the skills that I was learning—building out events, budgeting, marketing events, bringing an audience together, cross-collaboration with other student clubs—those were all skills that taught me how to produce.

Tell me about your production company, Sepia Works. What has the trajectory been like?
The growth has been incredible. The company started with my one-woman play Girls! Girls? Girls., which took me out to LA and I started doing more film and TV work. My second piece, Callaloo, started off as a play but then turned into a book series and a show with puppetry. Then these bigger companies—Sesame Street, PBS Kids—started calling. And because I was creating my own stories and my own narratives, I had more power in the room.

Why did you decide to start the Canady Foundation for the Arts?
I realized that Callaloo was impacting young people, and we needed more support in the nonprofit space to serve children with literacy and early child development work. The foundation has also grown exponentially since 2015. We now have a staff, we have ongoing programming. We serve young people from 3 all the way to 18. Partnership and collaboration have been such a huge part of the growth.

What does your average day look like?
Every day is different, and I love that. But my days are made up of routine: I get up, I get my daughter to school, I work out in the morning, and then I try to schedule something. I have to have some type of structure. Being a mom also has forced me to prioritize and to know that at a certain time, I have to stop working. I can’t work the way that I worked in my 20s.

How do you balance not only the work but those parts of your identity—thinking like both an artist and an entrepreneur?
Honestly, it’s very hard. And it took me a long time to figure out my workflow and my balance. I would say at this point in my life, I have an amazing team that can manage a lot of the business stuff for me, but in the early stages, I did everything. And I think that makes the best leaders. You have to be able to have a grasp of every role, and be able to roll your sleeves up and do the work. And I think you also just have to carve out time to rest and to focus on your craft.

At times when I get overwhelmed, I like to step back and take time for gratitude and acknowledge that there’s creativity in everything that is going on in the room, whether it’s the business side or the actual creative side. That’s what makes it fun.

Interview conducted, edited, and condensed by Adam Kaufman, FCLC ’08.

Here’s a look at four Fordham College at Lincoln Center graduates, three faculty members, and one former Denzel Washington Chair in Theatre who are among the nominees for Broadway’s highest honor. 

This year’s awards ceremony will take place at the David H. Koch Theater—across the street from Fordham’s Lincoln Center campus—on Sunday, June 16.

Marjuan Canady, FCLC ’08
Hell’s Kitchen

Canady, a Fordham Theatre graduate, is a co-producer of Hell’s Kitchen as part of Score 3 Partners. The musical, from Grammy Award winner Alicia Keys, is a coming-of-age story based on her experiences growing up in New York City. The production received 13 total nominations. 

John Johnson, FCLC ’02
Stereophonic

Johnson, who returned to his alma mater this spring to teach a new course called Creative Producing, is an eight-time Tony Award-winning producer. He’ll be looking to earn his ninth for Stereophonic, which was nominated for Best New Play. It follows a fictional 1970s rock band on the cusp of superstardom and dealing with pressures that could “spark their breakup or their breakthrough.” The production received 13 total nominations. 

Tom Pecinka, FCLC ’10
Stereophonic

Pecinka, a Fordham Theatre grad who is making his Broadway debut, was nominated for Best Featured Actor in a Play for his role as Peter in Stereophonic. The New York Times called his performance “riveting.”

Morgan Steward, FCLC ’19
Suffs

Steward is an associate producer and co-producer of Suffs, which was nominated for Best New Musical after opening on Broadway last month. She graduated from Fordham only five years ago, earning a degree in new media and digital design and communications while interning at the NY1 show On Stage. On April 10, she addressed a group of Fordham alumni and guests at a private reception before they attended a preview of the show. Suffs tells the story of the American women’s suffrage movement in the first decades of the 20th century. The production received six total nominations. 

Dede Ayite
Adjunct Professor, Fordham Theatre
Appropriate, Jaja’s African Hair Braiding, Hell’s Kitchen

Ayite, who teaches Costume Design at Fordham, was nominated for two Tony Awards for her work on three productions—Best Costume Design of a Play, for both Appropriate and Jaja’s African Hair Braiding; and Best Costume Design of a Musical, Hell’s Kitchen.

Santiago Orjuela-Laverde
Adjunct Professor, Fordham Theatre 
Appropriate, An Enemy of the People

Orjuela-Laverde, who teaches Design and Production at Fordham, was nominated for two Tony Awards for his work with dots, a design collective that specializes in creating “environments for narratives, experiences, and performances.” He and his colleagues Andrew Moerdyk and Kimie Nishikawa, are up for Best Scenic Design of a Play for their work on Appropriate and Best Scenic Design of a Play for their work on An Enemy of the People.

Steven Skybell
Adjunct Professor, Fordham Theatre
Cabaret

Skybell, who currently teaches an Acting Shakespeare course, was nominated for Best Featured Actor in a Musical for his role as Herr Schultz in Cabaret. Variety said the romance between his character and Bebe Neuwirth’s “elegant and maternal” Fraulein Schneider “spins a sweet and aching emotional thread” in the latest revival of the 1966 musical. Skybell has starred on Broadway in productions including Fiddler on the Roof, Pal Joey, and Wicked, and his numerous Shakespeare credits include the title role in Hamlet. 

Kenny Leon 
Former Denzel Washington Chair in Theatre
Purlie Victorious

Leon served as the Denzel Washington Chair in Theatre at Fordham in fall 2014, the same year he earned a Tony Award for his direction of A Raisin in the Sun. This year, he’s been nominated for his work as director of Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch, which is up for Best Direction of a Play and five other Tonys. The three-act play tells the story of a Black preacher’s efforts to reclaim his inheritance and win back his church.

Photos by Cason Doyle. Videos by Franco Giacomarra and Kelly Prinz

Exactly how much work goes into a theater production? To find out, we went behind the scenes with the cast and crew of Fordham Theatre’s A Midsummer Night’s Dream, last fall’s mainstage show, just before opening night.

138 Hours of Rehearsal

After auditions were held and parts cast, Fordham student actors began conducting research and learning lines before starting a month of rehearsals. Working alongside acclaimed director Ryan Quinn and a team of student stage managers, the 13 actors spent about 5 hours a night for 5 nights a week crafting the show. Then they moved on to 28 hours of technical rehearsals and 10 hours of dress rehearsals before the show opened.

“Our director Ryan Quinn was really amazing and receptive to ideas. … Not everything made it! But we all had a chance to contribute something,” said Tyler Bey, a senior at Fordham College at Lincoln Center, who played Bottom in the production. “Just that opportunity for possibility, where the director and the actors come from a place of willingness and openness to just play, is really freeing and makes the whole thing much more fun.”

11 Days to Build

All technical elements—lights, sound, video, scenery, and costumes—were carefully designed and built as efficiently as possible during this short but crucial window of time. Students worked under the mentorship of faculty and industry professionals, such as Brittany Vasta, the show’s set designer, to create high-quality designs.

“Working with Brittany was a huge leap in what I have done in the past,” said Sam Deetjen, a junior at Fordham College at Lincoln Center and the show’s assistant set designer. “I haven’t really worked with any professionals in the set design world.”

190 Lighting Units and 11 Loudspeakers

These critical technical elements work in tandem to help create the audiovisual world of the production and support the scenery, costumes, and performers. Each of these units is individually hung, focused, and circuited to create specific moments throughout the show—and they must be checked and adjusted accordingly for each performance.

16 Green Carpets

To create a seamless stage floor, these carpets were sourced, measured, and connected together manually by student workers. The design concept for the show—set in both a nursing home and a magical forest—utilized these green carpets to tie the two worlds together.

“That moment when the curtains open and you reveal the whole upper area of the set, there was a little bit of an ‘ooh’ from the audience,” said Tim Zay, Fordham Theatre technical director. “It was nice because it really did open up this big vast expanse. It’s always good to see the design work get appreciated.”

500 Fairy Lights

Student workers and designers embedded these tiny lights throughout the set and costumes to create the magic of the fairy characters and the world they inhabit.

The production featured 35 different costumes, powered by 7 personal battery packs.

249 Cues

Individual cues from departments including lights, sound, scenery, and costume are built and tested throughout technical rehearsals under the leadership of Production Stage Manager Skyler Purvis, a senior at Fordham College at Lincoln Center.

The production featured 80 sound cues, 34 video cues, and 135 lighting cues, each one triggered by a specific operator on Purvis’s “go.”

7 Performances

Fordham Mainstage productions run for 7 public performances over the course of 10 days, not including the several full show runs, dress rehearsals, and brush-ups throughout the week. This professional-level workload is a challenging but invaluable experience for student technicians and actors.

“I’ll have to see if the vocal training kicks in when we have the 2 p.m. and the 8 p.m. show,” said Bey with a laugh. “I’ve never really done that, but my friends and I said, ‘If we want to do this, we better be ready for eight shows a week.’”

Fordham grads are at the heart of a new collective giving artists and audiences space to develop and discover new works.

How do up-and-coming artists break through, and how do people discover new and exciting art?

A group of Fordham graduates thinks they have an answer. The Village is a new collective that the graduates created to support artists through live events that create community, similar to what they experienced as students at the University’s Lincoln Center campus.

“Our [art and media] consumption has become very individual and yet so impersonal because all of our feeds are just churning out more of what we already like,” said Marc David Wright, a 2019 Fordham College at Lincoln Center graduate and co-founder of the Village. “Our events provide a bit of excitement and surprise.”

Wright launched the collective a few years ago with Caroline Potter Shriver, a 2019 graduate of the Ailey/Fordham BFA in dance program, to give artists a place to share their work—or works in progress—with engaged audiences through live events called salons.

Singers, dancers, poets, writers, and visual and performing artists of all kinds can apply to be a part of the events, which are held four times a year and typically feature about 10 artists a night. The next one is scheduled to take place at Ideal Glass Studios in Greenwich Village on March 25. The salons are broken into three parts—a visual arts showcase, performances, and an after party featuring a DJ and an opportunity for artists and attendees to mingle.

Art for Humans, Curated by Humans

Shriver said that they curate the events so there’s a “diversity of artists and art types,” and people leave the events “feeling so inspired to create.” The mix of genres is designed not only to entertain audiences but also connect artists across disciplines.

“If they’re a painter and they saw an actor do something really cool, and now they’re thinking about how they can bring their art into the performance art space—just the creativity and the inspiration that comes from being celebrated is really impactful,” Shriver said.

Wright said he, Shriver, and Dana Seach, FCLC ’19, GABELLI ’20, the third member of the team, work to foster that kind of cross-pollination.

“We have preliminary artists’ socials before every salon in which just the artists present their work for one another, and we ask specific feedback of each other,” he said. “And it really just took me back to Fordham Theatre’s cultivating of community and of collaboration, which I think has greatly influenced the vibes of the Village.”

Shriver and Wright got the idea for the Village when they were working together on The Stella Show—Shriver’s one-woman performance piece exploring “sisterhood, grief, and the unpredictable magic of memory.”

The pair had developed a 15-minute segment in 2021 and wanted to get some feedback on it. At the same time, coming out of the COVID-19 pandemic, they sensed a desire among artists to reconnect. That fall, in a friend’s Tribeca loft, they shared their work with some friends who were also “working on things that weren’t really ready, but were ready for some kind of audience,” Shriver said.

After it was over, Wright and Shriver said everyone immediately asked, “When are we doing this again?” And like that, the Village was formed.

A Growing Community

After that initial gathering, Seach reached out and said she wanted to get involved. Seach, who earned a bachelor’s degree in film and TV and a master’s in media management at Fordham, now serves as the group’s managing director, with Shriver and Wright as artistic directors. Wright also handles marketing and social media, and Shriver works on fundraising, sponsorships, and community outreach.

The Village has hosted eight salons in the past two years in Manhattan, selling out small studio spaces. The co-founders expect the upcoming Salon 9 to be their biggest event to date, as the group has continued to grow. The collective is fiscally sponsored by Fractured Atlas, a nonprofit arts service that allows them to take in donations that support the events and some of the artists’ works.

While most salons have been in New York City, in February the team expanded to the West Coast. Working with fellow Fordham alumni David Kahawaii IV, FCLC ’18, and Elizabeth Kline, FCLC ’19, the group produced its first event in Los Angeles.

“I feel like every salon improves from the last one, and I felt that was still the case with this, even though we were starting fresh out there,” Seach said. “I think just the opportunity to expand our community is so exciting and great for us.”

The Emmy and Golden Globe winner is creating a scholarship for Fordham Theatre students, giving back to the university that had a formative influence on her acting career.

At 19, Patricia Clarkson made a decision that changed everything for her. Attending Louisiana State University, near her hometown of New Orleans, she was missing the acting she had done in high school and feeling uncertain about her direction. Then she realized the change she needed: “New York was calling,” she said, “and I just had to go.”

She transferred to Fordham as a junior and flourished. After graduating summa cum laude with a degree in theatre, she earned an M.F.A. from the Yale School of Drama and went on to pursue a variety of complex roles on stage and screen, earning acclaim and awards. These include three Emmys, two of them for her performance in the HBO drama series Six Feet Under, and a 2019 Golden Globe for her work in another HBO series, Sharp Objects. Her other accolades include a 2003 Oscar nomination for her performance in Pieces of April and a best-actress Tony nomination in 2015 for her role in The Elephant Man.

Clarkson has spoken out on many social issues, including LGBTQ+ rights, and in the movie Monica, released last May, she plays an ailing woman being cared for by the transgender daughter she had expelled from her home years before. In the upcoming film Lilly, she portrays equal-pay activist Lilly Ledbetter—whom she recently described to The Hollywood Reporter as “one of my heroes.”

She has regularly returned to Fordham to meet with students in the theatre program. Now, she’s giving them a new form of support—one that reflects her own experience as a student.

Why did creating a scholarship appeal to you?
My heart is always with Fordham. I loved this school. I am always thankful for my beginnings, and I think it’s why I am successful. I know it’s a struggle to be an actor, and I thought, “Well, I’m going to give someone just a little bit of extra help because that’s what I needed when I was there.” With just a little bit more money, it would’ve been easier for me. I’m thrilled and excited to be doing this. I’m proud of my alma mater, and I’m proud to help out in the little way I can.

What was your transition to Fordham like?
I was welcomed with open arms. I had no idea what I was walking into, and I walked into heaven, if you know what I mean, at Fordham. I arrived at this great theatre department and quickly had this extraordinary mentor in [acting professor]Joe Jezewski, and he took me under his wing. He just cared—he said, “You have a gift, Patti, don’t waste it. Let’s really work on it.” He’s the reason I got into the Yale School of Drama. Everyone said, “Oh, you have to have connections to get into Yale,” and Joe was like, “That’s crazy. We’re going to work hard on your auditions. You’re going to get into Yale.” I had this incredible support system, along with my incredible parents who were sacrificing so very much for me to be there. Fordham is conducive to helping people—I think it’s just conducive to learning, and to making you feel at home and making everyone welcome, which is very Jesuit.

Which of your movie roles has had the greatest impact on you?
That would be hard to say because every film you do, every part you play, it still remains with you. I shot Monica almost two and a half years ago, and it’s all still with me.

How does that work?
As actors, we have to like our character and relate to them. Otherwise, you’re just going to be playing [the part], not living it. It has to be a part of you in some way. When I was at Fordham, I started to realize I had a long way to go—acting wasn’t creating, acting was being. And I play, at times, characters that are quite distant from me. In Monica, I’m a woman in probably the last month of life, and I’m quite robbed of speech and movement, often the two biggest assets you can have as an actor. That’s what is exciting about acting—suddenly you’re going to be challenged to find other ways to portray a character. It’s a beautiful film, and I’m proud and thrilled to be a part of it.

With your role in the movie She Said, you helped tell the origin story of the #MeToo movement. Is it having a sustained impact?
Well, it was vital to our industry, a much-needed wake-up call. Women really have risen with the #MeToo movement. Not only are we safer, and not only is our pay better, predatory behavior is no longer accepted. We still have a ways to go, especially behind the camera. And we need more female voices, and we need many more people of color to rise in our business. But we’re making advancements, and that’s what is crucial.

Is there a type of character you haven’t portrayed yet, that you would like to?
Oh God, I played everything, no! I just want a great script and a great director. That’s really all I’m looking for right now.

See related Fordham News article on Patricia Clarkson’s scholarship gift.

This interview has been edited and condensed for clarity. Chris Gosier is the director of special projects in Fordham’s marketing and communications division and a frequent contributor to Fordham Magazine.