BOCA RATON -- The Bessel publishing house, founded in St. Petersburg in 1869, grew from a music shop into a concern that was at the center of Russian musical life, printing works by the nation’s leading composers from Tchaikovsky to the members of the “mighty handful.”

Many of the first-edition scores published by Bessel can be seen in the Richard Beattie Davis Collection at Florida Atlantic University in Boca Raton. Davis knew the granddaughters of firm founders Vasily Bessel (1843-1907) and his brother Ivan. The Bessel Archives contain first editions of operas by Rimsky-Korsakov, Anton Rubinstein and Alexander Serov, among others, and the FAU Wimberley Library is hosting a special exhibit through March 25 featuring the collection.

This Sunday, the FAU Chamber Players will put the collection in the spotlight with a program of pieces from the collection, including works by Adolf Henselt, Hummel, Tchaikovsky, Rimsky-Korsakov and Borodin. Pianist Leonid Treer will be joined by violinist Mei-Mei Luo, cellist Claudio Jaffe, pianists Judith Burganger and Heather Coltman, soprano Birgit Fioravante and bass Dean Peterson.

The concert begins at 3 p.m. Sunday in the University Theatre on the Boca Raton campus. Suggested donation is $10. For more information about the concert, call 297-3820. The Davis Collection is open from 1 p.m. to 5 p.m. Monday through Thursday, or by appointment. For more information, call the library’s Special Collections and Archives department at 297-3787 or e-mail This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

New art magazine debuts in Palm Beach

PALM BEACH – The Art Economist, a new arts publication and website based in Palm Beach, launched last month.

The publication celebrates and documents the major creative and financial achievements of the world’s leading artists and examines the economics of contemporary art as a commodity and investment opportunity. The top 300 earning living artists will be listed regularly, as well as new artists to watch for predicted success.

Editorial components in the first issue included an article by David W. Galenson, professor of economics at the University of Chicago, on the birth of the art market from Picasso to Damien Hirst. Beijing correspondent Drew Hammond wrote about how the Chinese artist Tang Son, went from rages to riches in less than a decade, and included analyses of young, promising Chinese artists. Elisabeth Sobiewski interviewed James Rosenquist on his life and autobiography, Painting for Zero, and Julie L. Belcove, who edits W’s annual art issue, explored the current financial state of the art world.

Each issue will feature 30 detailed profiles from the list of 300. The magazine accepts no paid advertising. A yearly subscription (10 issues) and access to the website is $400. The magazine is the brainchild of Fred Alger, art collector, investor and former board member of the Museum of Modern Art. Editor-in-chief is Palm Beach artist and critic Bruce Helander. Associate editor is Marisa J. Pascucci, former curator of modern art at Norton Museum of Art. Call 877-890-7618 or visit www.thearteconomist.com.

Reporter Hersh to be featured at Boca arts fest

BOCA RATON -- The Festival of the Arts Boca has added leading American investigative reporter Seymour Hersh to its literary schedule.

Hersh will speak at 7 p.m. Monday, March 7 at the Schmidt Family Centre for the Arts at Mizner Park. The festival runs March 4-12 at Mizner Park.

Hersh has worked on some of the most important news stories of our time and has published eight books, most recently Chain of Command: The Road from 9/11 to Abu Ghraib. Hersh’s awards include the Pulitzer Prize, four George K. Polk Awards, and more than a dozen other prizes, including the 1983 National Book Critics Circle Award, the Los Angeles Times award for biography, and a Sidney Hillman Award for The Price of Power: Kissinger in the Nixon White House.

Hersh has also won two Investigative Reporters & Editors Prizes, for the Kissinger book and his 1992 study of the Israeli nuclear bomb program, The Samson Option.

Hersh is scheduled to speak about current American foreign policy. Tickets are $35 and $55 and are available by calling 866-571-ARTS or by visiting www.centre4theartsboca.org.

Music: The music of Spain has long been a favorite of the conductor Philippe Entremont, and for this weekend’s concert by the Boca Symphonia, he’s commissioned new arrangements of familiar and not-so-familiar masterworks from the land of Cervantes. The Argentine-born mezzo-soprano Daniela Mack is the guest soloist for Manuel de Falla’s El Amor Brujo on a program that also includes Albeniz’s Triana, a newly reorchestrated version of Granados’ Goyescas, and the Sortileges of the Catalan composer Xavier Montsalvatge. Technically speaking, everything except the de Falla is a world premiere, given that the arrangements are new, and that alone makes it more than worthwhile for lovers of Spanish music to stop by. The concert is set for 3 p.m. Sunday at the Roberts Theater, St. Andrew’s School, Boca Raton. Tickets: $28.50-$50; call 376-3848 for more information.

Meanwhile, the fifth annual International Piano Festival at Palm Beach Atlantic University continues apace this weekend and into Tuesday, with concerts at the Persson Recital Hall on the campus of the West Palm Beach Christian college. Some 15 pianists from around the world are taking part in the International Certificate of Piano Artists festival. There are concerts tonight, Saturday night (a high school event), and Monday and Tuesday nights; all events start at 7:30, and tickets are $15 apiece, except for Saturday, when they are $10. For more information, call 803-2970.

Also this weekend, a very busy one on the classical scene: Canadian violinist Corey Cerovsek comes to the Four Arts on Sunday afternoon with the Brahms Second Sonata (in A, Op. 100), the solitary, beautiful sonata of Debussy, and Beethoven’s Kreutzer Sonata (No. 9 in A, Op. 47). 3 p.m. Sunday, Society of the Four Arts. Tickets: $15. Call 655-7227 or visit www.fourarts.org.

Uzbek pianist Valeriya Polunina, who offered a strong reading of the Rachmaninov Second Concerto last December at a Lynn Philharmonia concert, joins the Piano Lovers series at the Boca Steinway Gallery with Schumann’s Carnaval and the Op. 33 set of Rachmaninov’s Etudes-Tableaux. 5 p.m. Tickets: $20 in advance, $25 at the door. Call 929-6633 for more information.

Art: This weekend is the 26^th annual ArtiGras celebration in downtown Jupiter, which runs for three days and welcomes about 150,000 people. It’s more of a large street fair than a curated museum show, of course, but there is art from creators around the country available for sale in one of the many booths that will line Abacoa Town Center starting tomorrow. Among the local artists this year are Alex Marksz, Marilyn Murphy, Mike Bacon, Laurie Snow Hein, Nancy Tilles, Philippe Laine and Sue Archer. The festival runs from 10 a.m. to 6 p.m. Saturday and Sunday, and 10 a.m. to 5 p.m. Monday. Tickets are $6 in advance, and $10 at the gate. Call 748-3946 for more information, or visit www.artigras.org.

Film: At 85, Jonathan Winters is a show biz icon, a comedian’s comedian, an inventive funnyman who has earned the description “deliciously demented.” To have a sense of his comic spin, head this week to Lake Park’s Mos’Art Theatre to see Certifiably Jonathan, a documentary that revolves around his perhaps illusory yearning to be taken seriously as a visual artist. More than anything, he wants a solo show at the Museum of Modern Art, but standing in the way is a newly developed humorist’s and artist’s block.

Helping him get his funny back are some of his comedy disciples -- Robin Williams, Jim Carrey, Sarah Silverman and Howie Mandel. Not everything in the movie works, but there is no denying that there is an exceptional mind at work here. Opening Friday.

Theater: Beginning Sunday, Boca Raton’s Caldwell Theatre previews Geoffrey Naufft’s Next Fall, a Tony Award Best Play nominee from last season on Broadway, the dramatic tale of how an auto accident leaves a young gay would-be actor close to death in a New York hospital intensive care unit, bringing together his diverse friends and relatives in the waiting room. The production, a Florida premiere, is directed by Caldwell co-founder Michael Hall, in his first return to the company since retiring as artistic director in 2009.

He molds a cast of Caldwell favorites, including Pat Nesbit, Tom Wahl and Irene Adjan. Opening next Friday, Feb. 25. Call (561) 241-7432 for tickets.

As far as studio actioners go, Unknown has its share of well-crafted set-pieces and steely suspense, but well-versed viewers of modern thrillers won’t help but feel an almost immediate sense of déjà vu.

The most obvious reference point is Taken, whose star, Liam Neeson, Unknown shares, and whose color palette of dark blues and antiseptic off-whites are mimicked here by director Jaume Collet-Serra (Orphan). Even the narratives are similar; instead of a bad-ass in search of his daughter, Neeson’s Dr. Martin Harris is a bad-ass in search of his identity.

Arriving in Berlin for a biotech conference, with his lovely wife (January Jones) in tow, Harris conspicuously leaves his briefcase, full of important scientific documents, on an airport baggage cart. He hops in a taxi and speeds back to get it, only to find the cab plummeting off a bridge after a series of traffic “accidents” propel it off the road.

Harris wakes up in a hospital four days later, only to find that another man (Aidan Quinn) has assumed his identity, his life and his wife, who seems all too happy playing along. He is the invisible man, the wrong man and the unknown man, alone in a foreign country without identification. Danger darkens every corner, and Martin spends as much time beating off stalking baddies with uncharacteristic skill as he does decoding the mystery of his identity theft.

The more Unknown plunges into a netherworld of spies, espionage and assassination plots, the more it wears its myriad influences on its overlong sleeves. Echoes of countless mistaken-identity and wrong-man thrillers from North by Northwest to A History of Violence to The Ghost Writer to Salt inform, if not completely subsume, Unknown’s serpentine plot. At one point, you half-expect a helpless Harris to be strapped to a dentist’s chair, waiting for Laurence Olivier to ask him if it’s safe.

Unknown has some tricks up its sleeve, but they’re tricks we’ve seen performed before, by better directors. The film’s familiar mechanics unconsciously tell us that Harris’ problem is part of a more elaborate, conspiratorial plot, so when said plot is revealed, the sense of surprise is nil. Inconceivable paranoia is the new expectation.

And Unknown takes a long, long time to complete its predictably labyrinthine narrative, stuffing itself with an obligatory love story between Harris and his taxi driver (Diane Kruger), a Bosnian refugee working illegally in Germany. The film’s 113 minutes begin to feel like a never-ending epic, what with all the false climaxes written into the film’s supposedly thrill-a-minute final act. And, as is often the case with films of this type, the dot-connected conclusion is never as exciting as the existential premise.

But the movie’s biggest disappointment is that it could have been a politically aware, big-business-attacking thriller along the lines of Michael Clayton, already one of the film’s many points of reference. Some of the drama of Unknown involves an Arabian prince targeted by extremists for his “progressive” energy policies and a scientist who is developing a groundbreaking strain of corn that will render avaricious agribusinesses obsolete.

To say that such information is delivered in passing is an overstatement. It’s barely there at all, and it should have formed the movie’s intellectual backbone. Instead, the film’s creative team has crafted a benignly apolitical thriller that decides, in its final few minutes, to be About Something.

UNKNOWN. Director: Jaume Collet-Serra; Cast: Liam Neeson, Diane Kruger, January Jones, Aidan Quinn, Bruno Ganz, Frank Langella; Distributor: Warner Bros.; Rating: PG-13; Opens: Friday, most area theaters

The interstate is really the one road that leads to Cassadaga, I-4 to be exact, and it takes travelers from both the east and west coasts of central Florida to this small hamlet of spiritualists, mediums, psychics, and healers.

Listed on the National Register of Historic Places, this 116-year-old Volusia County community draws both believers and naysayers, those seeking answers or escape, and recently, a gifted artist whose own infatuation with magic and otherworldly realms inspired him to document Cassadaga with two vintage film cameras and an eye that lingers on what is often overlooked.

Now showing at the Art and Culture Center of Hollywood, All Roads Lead to Cassadaga presents 21 chromogenic prints made by Christiaan Lopez-Miro between 2007 and 2009, when he decided to drive from Miami to cold-call Cassadaga’s residents as subjects. The results are as unlikely as the origins of the town itself -- which was founded after a New Yorker was guided to its hilly acreage by a spirit named “Seneca.”

Yes, I know what it sounds like, but here is what’s remarkable about Lopez-Miro’s photographs. They are not imbued with carnival hokey-ness or snark, or pre-ordained eeriness, or any of the approaches one might expect from such outrageous fodder. Instead, Lopez-Miro offers restraint, which is, in itself, wildly unusual for a young artist exhibiting only his second show (The first, Smoke and Mirrors, displayed portraits of L.A. magicians and was also held at the Center).

The images, then, are allowed to unfold as what they are -- the mundane objects and landscapes of a people entrenched in the mystery of the unseen. And Lopez-Miro understands that what is interesting about Cassadaga is not tied to any purported evidence of the spirit world, but is, rather, rooted in the patient faith of the men and women who live there.

Aptly, the show opens with We Are One, an adage inscribed on a marble bench one might find at a gravesite, but here it rests in the yard of a clapboard house. The image was made at night, and a screen porch glows with the blue and green bulbs so often used to illuminate Florida’s hibiscus hedges and glossy shrubs. The familiarity of the setting is inclusive, as is the message carved on the front of the bench -- we are experiencing a quiet, bucolic sort of evening, but we are also bound together by our mortality. All of our roads will eventually lead to the same destination, and there is ordinary beauty found along the way.

Lopez-Miro is also taken with darkness and its many gradations. His negative spaces can appear fathomless, such as in Fountain, in which a slim geyser of water rises into the air and descends on the surface of a basin. Each ripple is precisely delineated, and then dissolves into an impenetrable black. By placing the tangible alongside the unknowable, the artist threads the shadows that surround some of his portraits and still-lifes with a complexity that is at once secretive and forthcoming.

Colby Temple Healing, for example, depicts a tight circle of healers and seekers, with hands raised or laid on the afflicted; light illuminates faces and fingers but not much else of the room. All appear in a trance, yet the photograph welcomes the viewer as part of the proceedings. The image was made from the perspective of someone standing at the edge of this tightly formed gathering, where no one is looking at the camera and all are seemingly unaware of its presence.

This eyes-drifting-elsewhere trait appears in several of the artist’s subjects, and it suits their work and rituals. They are revealed as regular folk, with preferences for velour recliners, wood paneling, or plastic flowers stuffed into a nightstand vase, but Cassadagans are also listening to some off-set music the rest of us do not hear. And the distraction that appears on their faces while they are photographed, whether staged or not, perfectly depicts this.

Lopez-Miro’s aesthetics have widened. His prior show featured traditionally posed subjects, most staring directly at the camera while inhabiting the ornate sets magicians might use in their acts. This current show departs from this people-centric premise and focuses equally on the objects and interiors that charge a place with atmosphere. And there is plenty of it tucked into the modest corners of this place. Daylight films the windows on either side of a church piano, a common green vine is strung with tiny mirrors. In these photographs, a devout attention to detail transforms the quotidian into the wondrous.

Christiaan Lopez-Miro: All Roads Lead to Cassadaga runs through Feb. 20 at the Art and Culture Center of Hollywood. Also showing: Lea Nickless: Water and Oil (through Feb. 20) and Abracadabra (through Feb. 18). Hours: 10 a.m.-5 p.m. Tuesday-Friday; noon-4 p.m. Sunday. Admission is $7 for adults; $4 for students, seniors, and ages 4-17. Call 954-921-3274 or visit www.ArtandCultureCenter.org.

That helicopter musical, Miss Saigon, at Actors’ Playhouse, received 11 Carbonell Award nominations, the most of any professional production in South Florida, according to an announcement made today.

Sarah Kane’s sordid drama Blasted pulled in seven nominations for GableStage, the most for any play. The Carbonells, now in their 35^th year, celebrate excellence in production and performance in Miami-Dade, Broward and Palm Beach counties.

Although the two most nominated shows both came from Coral Gables companies, Palm Beach theaters tied Miami-Dade with a total of 36 nods. Broward, which perennially trails the other bordering counties, earned 27 nominations. In all, 13 companies were recognized, spanning 33 of the 69 eligible shows that opened in 2010.

Among those Palm Beach theaters, the Maltz Jupiter scored half of those nominations -- seven for Anything Goes (though curiously not for Best Musical production), six for La Cage aux Folles, three for 12 Angry Men and two for Academy.

The Maltz ties the top total of Actors’ Playhouse, including the 11 for Miss Saigon, six for Oliver! and one for Unreasonable Doubt, Michael McKeever’s hostage drama that will be vying for the Carbonell for Best New Work.

It will be up against two plays from Florida Stage -- Christopher Demos-Brown’s When the Sun Shone Brighter and Karen Hartman’s Goldie, Max & Milk -- as well as Motherhood: The Musical, produced independently by GFour Productions.

Miss Saigon will go head-to-head for the year’s best musical against the Maltz’s La Cage and Academy, as well as two by Broward Stage Door -- The Drowsy Chaperone and Mack and Mabel. GableStage’s Blasted will be competing against the company’s 50 Words, and the Maltz’s 12 Angry Men, Palm Beach Dramaworks’ American Buffalo and Mosaic Theatre’s Collected Stories.

Chrissi Ardito earned three nominations by herself, for her choreography of Broward Stage’s Drowsy Chaperone and Mack and Mabel, along with Oliver! at Actors’ Playhouse. There were an unusually large number of double nominees as well. They were: Joseph Adler (Best Director, Play, 50 Words and Blasted); Matt Corey (Sound Design, Blasted and Groundswell at Mosaic Theatre); Erik Fabregat (Best Supporting Actor, Blasted and A Behanding in Spokane); Dan Kelley (Best Director and Best Actor, Musical, for The Drowsy Chaperone); Matt Kelly (Sound Design, Cane and Dr. Radio, both at Florida Stage); Michael McKeever (Best New Work, Unreasonable Doubt, and Best Supporting Actor, Distracted at the Caldwell);

Marcia Milgrom Dodge (Best Director and Choreographer, Anything Goes); Amy Miller Brennan (Best Supporting Actress, Miss Saigon and Oliver!); Jeff Quinn (Lighting Design, Blasted and The Quarrel, both GableStage); Erin Joy Schmidt (Best Actress, 50 Words at GableStage and Dying City at Mosaic Theatre); Deborah L. Sherman (Best Supporting Actress, Goldie, Max & Milk and No Exit at Naked Stage); and Shane R. Tanner (Best Actor, Mack and Mabel, and Best Supporting Actor, Oliver!).

Winners will be announced at a ceremony to be held on Monday, April 4, in the Amaturo Theater of the Broward Center in Fort Lauderdale.

This years’ Carbonell nominations include:

COMBINED (Plays and Musicals)

Best New Work (Play or Musical, award to author)

Christopher Demos-Brown, When the Sun Shone Brighter (Florida Stage)

Sue Fabisch, Motherhood: The Musical (GFour Productions)

Karen Hartman, Goldie, Max & Milk (Florida Stage)

Michael McKeever, Unreasonable Doubt (Actors’ Playhouse)

Best Ensemble, Play or Musical (citations to cast and director)

12 Angry Men, Maltz Jupiter Theatre

Completely Hollywood, Mosaic Theatre

The Dumb Waiter, The Promethean Theatre

Motherhood: The Musical, GFour Productions

Speech and Debate, GableStage

PLAYS

Best Production of a Play (award to producing organization)

12 Angry Men, Maltz Jupiter Theatre

50 Words, GableStage

American Buffalo, Palm Beach Dramaworks

Blasted, GableStage

Collected Stories, Mosaic Theatre

Best Director, Play

Joseph Adler, 50 Words (GableStage)

Joseph Adler, Blasted (GableStage)

Frank Galati, 12 Angry Men (Maltz Jupiter Theatre)

William Hayes, American Buffalo (Palm Beach Dramaworks)

Margaret M. Ledford, Collected Stories (Mosaic Theatre)

Best Actor, Play

Dennis Creaghan, Freud’s Last Session (Palm Beach Dramaworks)

Todd Allen Durkin, Blasted (GableStage)

David Hemphill, Equus (New Theatre)

Ricky Waugh, Dying City (Mosaic Theatre)

Gregg Weiner, 50 Words (GableStage)

Best Actress, Play

Barbara Bradshaw, Collected Stories (Mosaic Theatre)

Beth Dixon, Three Tall Women (Palm Beach Dramaworks)

Erin Joy Schmidt, 50 Words (GableStage)

Erin Joy Schmidt, Dying City (Mosaic Theatre)

Karen Stephens, Bridge and Tunnel (The Women’s Theatre Project)

Best Supporting Actor, Play

Marckenson Charles, Groundswell (Mosaic Theatre)

Will Connolly, Candida (Palm Beach Dramaworks)

Erik Fabregat, A Behanding in Spokane (GableStage)

Erik Fabregat, Blasted (GableStage)

Michael McKeever, Distracted (Caldwell Theatre Company)

Best Supporting Actress/Play

Kim Morgan Dean, Collected Stories (Mosaic Theatre)

Angie Radosh, Three Tall Women (Palm Beach Dramaworks)

Jackie Rivera, Speech and Debate (GableStage)

Deborah L. Sherman, Goldie, Max & Milk (Florida Stage)

Deborah L. Sherman, No Exit (Naked Stage)

MUSICALS

Best Production of a Musical (award to producing organization)

Academy, Maltz Jupiter Theatre

The Drowsy Chaperone, Broward Stage Door Theatre

La Cage Aux Folles, Maltz Jupiter Theatre

Mack and Mabel, Broward Stage Door Theatre

Miss Saigon, Actors’ Playhouse

Best Director, Musical

David Arisco. Miss Saigon (Actors’ Playhouse)

Dan Kelley, The Drowsy Chaperone (Broward Stage Door Theatre)

Michael Leeds, Mack and Mabel (Broward Stage Door Theatre)

Mark Martino, La Cage Aux Folles (Maltz Jupiter Theatre)

Marcia Milgrom Dodge, Anything Goes (Maltz Jupiter Theatre)

Best Actor, Musical

Mark Jacoby, La Cage Aux Folles (Maltz Jupiter Theatre)

Dan Kelley, The Drowsy Chaperone (Broward Stage Door Theatre)

Herman Sebek, Miss Saigon (Actors’ Playhouse)

Bret Shuford, Anything Goes (Maltz Jupiter Theatre)

Shane R. Tanner, Mack and Mabel (Broward Stage Door Theatre)

Best Actress, Musical

Irene Adjan, Dr. Radio (Florida Stage)

Mara Gabrielle, Mack and Mabel (Broward Stage Door Theatre)

Tari Kelly, Anything Goes (Maltz Jupiter Theatre)

Laura Oldham, The Drowsy Chaperone (Broward Stage Door Theatre)

E.J. Zimmerman, Miss Saigon (Actors’ Playhouse)

Best Supporting Actor, Musical

Tom Beckett, Anything Goes (Maltz Jupiter Theatre)

Ken Clement, Oliver! (Actors’ Playhouse)

Nick Duckart, Dr. Radio (Florida Stage)

Chris-Ian Sanchez, Miss Saigon (Actors’ Playhouse)

Shane R. Tanner, Oliver! (Actors’ Playhouse)

Best Supporting Actress, Musical

Eileen Faxas, The Drowsy Chaperone (Broward Stage Door Theatre)

Elizabeth Dimon, Oliver! (Actors’ Playhouse)

Lisa Manuli, Motherhood: The Musical (GFour Productions)

Amy Miller Brennan, Miss Saigon (Actors’ Playhouse)

Amy Miller Brennan, Oliver! (Actors’ Playhouse)

Best Musical Direction

Eric Alsford, Miss Saigon (Actors’ Playhouse)

Helen Gregory, Anything Goes (Maltz Jupiter Theatre)

Phil Reno, La Cage Aux Folles (Maltz Jupiter Theatre)

Johnny Rodgers, Motherhood: The Musical (GFour Productions)

Alexander Rovang, Academy (Maltz Jupiter Theatre)

Best Choreography

Chrissi Ardito, The Drowsy Chaperone (Broward Stage Door Theatre)

Chrissi Ardito, Mack and Mabel (Broward Stage Door Theatre)

Chrissi Ardito, Oliver! (Actors’ Playhouse)

Denis Jones, La Cage Aux Folles (Maltz Jupiter Theatre)

Marcia Milgrom Dodge, Anything Goes (Maltz Jupiter Theatre)

DESIGN (Plays and Musicals)

Best Scenic Design, Play or Musical

Michael Amico, American Buffalo (Palm Beach Dramaworks)

Lyle Baskin, 50 Words (GableStage)

Tim Connolly, Blasted (GableStage)

Douglas Grinn, Collected Stories (Mosaic Theatre)

Sean McClelland, Miss Saigon (Actors’ Playhouse)

Best Lighting, Play or Musical

Ron Burns, The Gin Game (Palm Beach Dramaworks)

Suzanne Jones, Cane (Florida Stage)

Jeff Quinn, Blasted (GableStage)

Jeff Quinn, The Quarrel (GableStage)

Patrick Tennent, Miss Saigon (Actors’ Playhouse)

Best Costume Design, Play or Musical

Gail Baldoni, Anything Goes (Maltz Jupiter Theatre)

Brian O’Keefe, Candida (Palm Beach Dramaworks)

Jose M. Rivera, La Cage Aux Folles (Maltz Jupiter Theatre)

Ellis Tillman, Miss Saigon (Actors’ Playhouse)

Ellis Tillman, Oliver! (Actors’ Playhouse)

Best Sound Design

Matt Corey, Blasted (GableStage)

Matt Corey, Groundswell (Mosaic Theatre)

Alexander Herrin, Miss Saigon (Actors’ Playhouse)

Matt Kelly, Dr. Radio (Florida Stage)

Matt Kelly, Cane (Florida Stage)