Tony Predictions: Who Cares What I Think?
Stealing a line from Rocco at
What's Good, What Blows In New York Theatre, who cares what
I think in terms of predicting this year's
Tony Awards?!
(UPDATED June 9, 2010: To view my Tony predictions from this year's field of nominees, please click here)Not only have I offered my picks for the shows I believe Tony nominators will choose for this year's awards over at
Just Shows To Go You (you'll find some of my explanations of those choices at the close of this post), but I also offer you my personal picks for each of the major awards here after having seen every single new show that opened on Broadway this season.
You'll note that
Brighton Beach Memoirs figures prominently on my list below. Even though the Tony Administration Committee ruled it ineligible for any awards due to its premature closing, I am not bound by their rules and thus am selecting those whom I believe are truly the most deserving. But also bowing to the committee's decision, you'll find alternative choices listed as well.
Also, it should be noted that I have paired the exceptional projection designers with their respective scenic designers. Since this is a growing design element for an ever-increasing number of stage shows, I believe that it's high time the Tony Administration Committee offered an award for Best Projection Design (not to mention recognition for Best Ensemble).
So, as if you really cared, here are my personal picks in each of the Tony categories:
Best Play
EnronRedSuperior DonutsTime Stands StillBest MusicalEveryday RaptureFela!MemphisSondheim On SondheimBest Revival of a PlayBrighton Beach MemoirsFencesLend Me A TenorOleannaSince Brighton Beach Memoirs is ineligible due to its premature closing, I would select The Royal Family in its place.Best Revival of a Musical
A Little Night MusicFinian's RainbowLa Cage Aux FollesRagtimeBest Actor in a PlayNorbert Leo Butz -
EnronDaniel Craig -
A Steady RainMichael McKean -
Superior DonutsAlfred Molina -
RedDenzel Washington -
FencesBest Actress in a Play
Viola Davis -
FencesLinda Lavin -
Collected StoriesLaura Linney -
Time Stands StillJan Maxwell -
The Royal FamilyLaurie Metcalf -
Brighton Beach MemoirsSince Brighton Beach Memoirs has been ruled ineligible due to its premature closing, I would select Valerie Harper from Looped in place of Laurie Metcalf.Best Actor in a MusicalAlexander Hanson -
A Little Night MusicDouglas Hodge -
La Cage Aux FollesChad Kimball -
MemphisSahr Ngujah -
Fela!Jim Norton -
Finian's RainbowBest Actress in a MusicalKate Baldwin -
Finian's RainbowMontego Glover -
MemphisChristiane Noll -
RagtimeSherie Rene Scott -
Everyday RaptureCatherine Zeta-Jones -
A Little Night MusicBest Featured Actor in a PlayChris Chalk -
FencesJon Michael Hill -
Superior DonutsBrian d'Arcy James -
Times Stands StillEddie Redmayne -
RedNoah Robbins -
Brighton Beach MemoirsSince Brighton Beach Memoirs has been ruled ineligible due to its premature closing, I would select Stephen Kunken from Enron in place of Noah Robbins.Best Featured Actress in a Play
Maria Dizzia -
In The Next Room (Or The Vibrator Play)Rosemary Harris -
The Royal FamilyScarlett Johannson -
A View From The BridgeJan Maxwell -
Lend Me A TenorMarin Mazzie -
EnronBest Featured Actor in a MusicalKevin Chamberlin -
The Addams FamilyRobin De Jesús -
La Cage Aux FollesChristopher Fitzgerald -
Finian's RainbowLevi Kreis -
Million Dollar QuartetEuan Morton -
Sondheim On SondheimBest Featured Actress in a MusicalKatie Finneran -
Promises, PromisesJackie Hoffman -
The Addams FamilyAngela Lansbury -
A Little Night MusicLillias White -
Fela!Terry White -
Finian's RainbowBest Director of a PlayDavid Cromer -
Brighton Beach MemoirsRupert Goold -
EnronMichael Grandage -
RedKenny Leon
- FencesSince Brighton Beach Memoirs has been ruled ineligible due to its premature closing, I would select Stanley Tucci from Lend Me A Tenor in place of David CromerBest Director of a MusicalChristopher Ashley -
MemphisTerry Johnson -
La Cage Aux FollesBill T. Jones -
Fela!Michael Mayer -
American IdiotBest Musical ScoreJoe DiPietro and David Bryan -
MemphisAndrew Lippa -
The Addams FamilyBranford Marsalis -
FencesLucy Prebble and Adam Cork -
EnronBest Book of a MusicalMarshall Brickman and Rick Elice -
The Addams FamilyJoe DiPietro -
MemphisJim Lewis and Bill T. Jones -
Fela!Dick Scanlan and Sherie Rene Scott -
Everyday RaptureBest ChoreographyWarren Carlyle -
Finian's RainbowStephen Hoggett -
American IdiotBill T. Jones -
Fela!Sergio Trujillo -
MemphisBest OrchestrationsJason Carr -
La Cage Aux FollesAugust Ericksmoen and Danny Troob -
The Addams FamilyAaron Johnson -
Fela!Michael Starobin -
Sondheim On SondheimBest Scenic Design (Play)John Lee Beatty -
The Royal FamilyWilson Chin -
Next FallAlexander Dodge -
Present LaughterAnthony Ward (and John Driscoll, Projection Design) -
EnronBest Costume Design (Play)Jane Greenwood -
Present LaughterMartin Pakledinaz -
Lend Me A TenorDavid Zinn -
In The Next Room (Or The Vibrator Play)Catherine Zuber -
The Royal FamilyBest Lighting Design (Play)Neil Austin -
HamletRussell H. Champa -
In The Next Room (Or The Vibrator Play)Mark Henderson -
EnronBrian MacDevitt -
A Behanding In SpokaneBest Sound Design (Play)Adam Cork -
EnronMichael Hooker and Peter Fitzgerald -
LoopedBray Poor -
In The Next Room (Or The Vibrator Play)David Van Tieghem -
After Miss JulieBest Scenic Design (Musical)Beowulf Boritt (and Peter Flaherty, Projection Design) -
Sondheim On SondheimDavid Gallo (and Shawn Sagady, Projection Design) -
MemphisChristine Jones (and Darrel Maloney, Projection Design) -
American IdiotTim Shortall -
La Cage Aux FollesBest Costume Design (Musical)Marina Draghici -
Fela!Santo Loquasto -
RagtimePhelim McDermott and Julian Crouch -
The Addams FamilyMatthew Wright -
La Cage Aux FollesBest Lighting Design (Musical)Kevin Adams -
American IdiotKen Billington -
Finian's RainbowHowell Binkley -
MemphisNatasha Katz -
The Addams FamilyBest Sound Design (Musical)Robert Kaplowitz -
Fela!Brian Ronan -
American IdiotDan Moses Schreier -
Sondheim On SondheimKen Travis -
MemphisAs for that
list of nominees I believe the Tony nominators will choose, here's some additional background into my thought process.
In the Best Play category, even though I wasn't wowed by
In The Next Room (Or The Vibrator Play), I said it would be hard to imagine the Tony nominators not selecting it given it's the only Pulitzer-nominated show in the bunch. But critical darling
Next Fall, another play I was not enamored with, could pull an upset and find itself nominated.
Red is probably the only real lock on a nomination.
For Best Musical, I said that
American Idiot is likely to get a nod from nominators who want to avoid being labeled stodgy. But didn't they already accomplish that in previous years by nominating far superior shows like
Spring Awakening,
In The Heights and
Passing Strange? They'll really be viewed as stodgy if they opt for pablum like
Million Dollar Quartet.
Among the potential nominees in the Best Revival of a Play category,
Fences is the only sure-thing lock on a Best Play Revival nod, but I expect
A View From The Bridge to be nominated, even though I wasn't as mesmerized as the critics.
As for the Best Revival of a Musical, this is the category where it's really a process of elimination given that there were only six choices.
Bye Bye Birdie is automatically scratched off the list first. I can't help but think there's still so much remaining favorable sentiment for
Ragtime and
Finian's Rainbow that
Promises, Promises becomes the odd show out.
As for Best Actor in a Play, which has one of the most crowded field of contenders, there's much talk about Liev Schreiber and Christopher Walken being nominated at the expense of Daniel Craig. Sure
A Steady Rain was last fall, but surely Tony nominators will not forget the incredible support Broadway Cares/Equity Fights AIDS received from Craig and Hugh Jackman, who together helped make Broadway a fun place to visit near the end of 2009. Since Craig delivered the truly memorable performance losing himself in a thankless role, he'll be rewarded with a nod.
In the Best Actress in a Play category, now that the
Tony Administration committee (rightly) ignored precedent that the role of Rose in
Fences was a supporting one, expect to see Viola Davis leading the pack here. Jan Maxwell, Laura Linney and Linda Lavin should also be locks.
So dear readers, what are your thoughts? Do you agree with both
my picks for who the Tony nominators will select, as well as my own personal preferences?
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. Labels: Best New Musicals, Best New Plays, Best Revival of Plays, Best Revivals of Musicals, Tony Awards, Tony Nominations, Tony Predictions, Tony Rules
Promises, Promises (The SOB Review) - Broadway Theatre, New York, New York
** (out of ****)
On paper,
Rob Ashford's new revival of
Promises, Promises -- the only Broadway tuner ever written by
Burt Bacharach and
Hal David -- was not only promising, but it seemed poised to be a sure-fire hit.
Pair one of the Great White Way's most beloved contemporary musical/comedy stars (
Kristin Chenoweth) with one of the last decade's most memorable television actors (
Sean Hayes), throw in a
couple more of Bacharach and David's most popular hits, move the action of
Neil Simon's book up a half decade to capitalize on "
Mad Men," and voila! A smash, right?!
Unfortunately, the only smash comes in the form of the massive collision of sensibilities between this revival's two wildly, divergent acts (not to mention how contextually misplaced those added songs are). The first is so horrendously conceived and downright boring, that you may be tempted to leave at intermission. The only saving grace is Hayes' occasionally winning take on C.C. Baxter, the office climber who's hoping to impress office cafeteria waitress Fran Kubelik (Chenoweth, whom I regret to say is miscast). But even Hayes' C.C. too frequently comes off as just this side of
Jack.
The shocker is that the second act is so significantly better than the first that you're actually relieved you stuck this one out. That's largely because of the yeoman efforts of the superb
Katie Finneran. She not only saves the day with her deliriously funny portrayal of the tipsy Marge MacDougall, but she also salvages the show.
You can't help but contemplate the promise of what might have been had Ashford maintained the same tone throughout. Instead, I'm sorry to say, we're merely stuck with broken
Promises, Promises.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. Labels: Broadway, Burt Bacharach, Hal David, Katie Finneran, Kristin Chenoweth, Musical, Promises Promises, Revival, Rob Ashford, Sean Hayes, The SOB Review
Collected Stories (The SOB Review) - Samuel J. Friedman Theatre, Manhattan Theatre Club, New York, New York
** (out of ****)
There's really only one solid reason for seeing
Lynne Meadow's tepid revival of
Donald Margulies'
Collected Stories:
Linda Lavin.
In her first Great White Way outing in over seven years, Lavin -- a certifiable Broadway gem -- doesn't disappoint as Ruth Steiner, a crusty, aging author who mentors an aspiring and opportunistic writer, Lisa Morrison (
Sarah Paulson). What little spark this play has comes from Lavin's seemingly effortless performance.
Unfortunately, if Margulies' plot had been any more obvious or predictable,
Samuel Morris would have been telegraphing it in.
Still,
Collected Stories is worth seeing if only for a long overdue opportunity to see the estimable Lavin provide a mini-master class.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. Labels: Collected Stories, Linda Lavin, Sarah Paulson
Fences (The SOB Review) - Cort Theatre, New York, New York
***1/2 (out of ****)
It may be
Denzel Washington's name above the title in
Kenny Leon's exceptional, if exhausting, revival of
August Wilson's monumental
Fences. Yet it's
Viola Davis' name you'll be praising long after exiting Broadway's
Cort Theatre.
Make no mistake, Washington excels in delivering a solid line drive as Troy Maxson, a former Negro League baseball player with a wandering eye.
But as Troy's wife Rose, Viola Davis hits this one out of the park with the most extraordinary, heartwrenching performance of the year. It's a grand slam, even in a play that feels like it's never going to end.
It's a credit to Leon and Davis that we almost don't want it to.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. Labels: August Wilson, Broadway, Denzel Washington, Fences, Kenny Leon, Play, Revival, Viola Davis
Time Hardly Stands Still For Alicia SilverstoneAlicia Silverstone, the Golden Globe and Emmy-nominated actress known primarily for her film work ("
Clueless"), recently concluded her much-praised sophomore effort on Broadway as part of the acclaimed production of
Time Stands Still. It was such a marked departure from her 2002 performance in
The Graduate -- which, for the record, I actually enjoyed -- that there's even talk in some circles about Ms. Silverstone's chances for a Tony nomination, although we never broached that possibility with her.
Last Friday, I joined with fellow theatre bloggers Patrick Lee (
Just Shows To Go You) and Kevin Daly (
Theatre Aficionado At Large) by way of the
Independent Theater Bloggers Association (ITBA) in a half hour telephone conversation with Ms. Silverstone. I asked her, "What did you take away from your Broadway debut that has informed your stage work since?"
Alicia Silverstone replied:
I had only done one play before that (Carol's Eve, 1993).
(In The Graduate) I learned a lot from Kathleen Turner, who is awesome. She came to see me in Time Stands Still and was so proud of me.
She took me under her wing and treated me with so much respect from the moment we started working on The Graduate. I remember when we were in Baltimore, before we came to Broadway, and after the first night she said to me, “That was really good, darling, but tomorrow maybe you will have your voice down about four notches.” I was screaming. I guess I was so excited and nervous that my voice got very high.
After originating the role of
Time Stands Still's Mandy Bloom last year at Los Angeles'
Geffen Playhouse, Ms. Silverstone was the only prinicipal to stay with the play through Broadway. Nevertheless, she said of the latter experience, "I came humbly to the rehearsal room. It was so electrifying that I didn't want to leave (even) to go to the bathroom.
Laura Linney became like a big sister to me."
Telling us, "Theatre people are the best," it's no wonder this actress with an infectiously sunny disposition is already contemplating her next stage outing. Although currently filming "
Butter" with
Hugh Jackman,
Rob Corddry and
Jennifer Garner, Ms. Silverstone somewhat wistfully told us her dream would be to do a production of
Romeo And Juliet. But she said that after seeing
Janet McTeer perform in
A Doll's House, she'd really love a chance to tackle the role of Norma Helmer.
Just don't expect her to do a musical any time soon; she says, "I'm not a trained singer. I'm interested in it but I've never practiced singing."
To read another take on our interview, please visit
Just Shows To Go You.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. Labels: A Doll's House, Alicia Silverstone, Broadway, Hugh Jackman, Interview, Janet McTeer, Kathleen Turner, Laura Linney, Play, The Graduate, Time Stands Still
FourOver the past week, I've enjoyed four milestones, not only as a theatre blogger, but also as a theatre lover.
On the first score, Saturday found me "celebrating" the fourth anniversary for
Steve On Broadway (SOB). The day was spent doing one of the things I love to do most: seeing a show. In fact, I was in the audience for two markedly different Great White Way productions (
Red and
Come Fly Away).
But I also observed my anniversary day enjoying the cameraderie of fellow bloggers/friends Patrick Lee (
Just Shows To Go You), Linda Buchwald (
Pataphysical Science), Leonard Jacobs (
The Clyde Fitch Report) and Andrew and Phil (
West End Whingers), along with non-blogging friends Bill and Ken and new friend
Baz Bamigboye.
(And all of that came on the heels of wine and/or coffee-infused moments of pleasure earlier in the week with Roger Calderon (
Daddycatcher's Realm), Kevin Daly (
Theatre Aficionado At Large), Kari Geltemeyer (
lit-wit), Jonathan Mandel (
New York Theater), Sarah Roberts (
Adventures In The Endless Pursuit Of Entertainment), Gabriel Shanks (
Modern Fabulousity) and last but certainly by no means least Jan Simpson (
Broadway & Me). It was a week to savor, and is serving to inspire me to write yet again.)
My second milestone hit last Wednesday. Doing what I always do after each Rialto performance, I dutifully logged the Broadway shows I had seen that day into my ever-expanding list, only to discover that my Wednesday matinee of
Million Dollar Quartet marked the 200th time I had set foot in a Broadway theatre for a show. (Since I've been known to revisit some of my favorite plays and musicals, this was not my 200th
production -- it was only my 184th.) I'm not sure how that compares with your theatregoing habits, but over my span of nearly 25 years attending Main Stem performances, I think the folks at the
Broadway League and the
American Theatre Wing would likely deem my attendance above average, and since the inception of Steve On Broadway (SOB), my near perfect attendance would be way above average. Given that I
still pay for every ticket, it also means I've plunked down a tidy sum through the years. But I don't regret a single penny.
My third milestone occurred just yesterday when I took in the evening performance of
Everyday Rapture at the
American Airlines Theatre. In seeing
Sherie Renee Scott's semi-autobiographical musical, I now lay claim to having seen each and every one of the 38 new shows that opened on Broadway during the 2009-10 Theatrical Season. That string includes such short-lived productions as
Brighton Beach Memoirs,
The Miracle Worker,
All About Me and
Looped.
Finally, my fourth milestone is one that's served as further inspiration for writing Steve On Broadway (SOB) yet again. I was proud to be among three theatre bloggers participating in a Q&A with Alicia Silverstone, who was recently on Broadway in
Time Stands Still. Having the opportunity to pose questions to this underestimated actress marked my first time formally interviewing any thespian. I'm hoping it won't be my last. (I'll write more in the days to come on our conversation with Silverstone, but in the meantime, here's
another post from one of my blogger colleagues.)
So for the one or two readers who are still out there, thanks for returning to Steve On Broadway (SOB) and sharing in my four milestones with me. It's great to be back.
This is Steve On Broadway (SOB).
Labels: Alicia Silverstone, Anniversary, Friendships, Interview, Milestone, Special Messages
Next Fall (The SOB Review) – Helen Hayes Theatre, New York, New York
*1/2 (out of ****)Neil Simon has nothing on performer-turned-playwright
Geoffrey Nauffts in terms of writing about a very odd couple.
In his manipulative
Next Fall, two gay men are inexplicably drawn to each other. One is Adam (
Patrick Breen) a rabid atheist with contempt for people of faith oozing out of every pore. The other, Luke (
Patrick Heusinger) is a devout, yet simpleton Christian. Defying all logic, these two move in together, compromising their own core values, although Luke (quite conveniently) is never really able to back up his beliefs.
Unfortunately, from there the plot turns into a bad hospital melodrama over whether Adam should be able to have visitation rights in seeing his injured partner as Luke’s fundamentalist parents hold sway over the waiting room. Nothing infuriated me more than Adam’s supposed close friends advising him not to rock the boat by trying to see Luke, in part because it would mean he’d be outing his closeted partner to his family. Seriously, with friends like these, who needs enemies?!
But what was most aggravating was that rather than providing a thoughtful examination of two points of view on religion, Nauffts inadvertently becomes the pot calling the kettle black. Sure, he preaches a good game about tolerance, but then he proceeds to paint people of faith with the broadest of ugly, stereotypical strokes. Here, he dismisses them as fools, bigots or a little of both. Apparently, there are no religious moderates in Nauffts’ narrow worldview.
Therein lies the shame of
Next Fall. If only Nauffts were able to display a little more tolerance of his own, then he may have the ability to reach a broader audience. That includes thoughtful people of faith like President Barack Obama
who can appreciate the inherent injustice of denying visitation rights to gay couples.
Instead, ironically enough,
Next Fall amounts to nothing more than preaching to a rather tiny choir.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. Labels: Broadway, Geoffrey Nauffts, Next Fall, Patrick Breen, Patrick Heusinger, Play, The SOB Review
Looped (The SOB Review) - Lyceum Theatre, New York, City, New York
*1/2 (out of ****)First, let me give credit where credit is most certainly due.
As
Tallulah Bankhead,
Valerie Harper gives the performance of her life. Brilliantly capturing the essence of this saucy, if belligerent star, Harper naturally drops virtually every
bon mot for which Bankhead became famous with gusto.
But therein lies the problem with
Matthew Lombardo's vapid and lazy script. Relying on Bankhead's witticisms and the kindness of a
stranger to beef up a reed thin plot, the only real originality displayed in Lombardo's work centers on the manufactured tension between Tallulah and Danny (
Brian Hutchison), a sound technician with a secret whose sole mission is to get the intoxicated actress to redo and synch up one solitary line she had garbled while filming her latest movie.
In a departure from the reason we're there, Lombardo chases down Danny's ridiculous rabbit hole of a subplot that's all too pap and entirely unnecessary.
Looped has some genuine laughs and is worth seeing for Harper's terrific performance. But overall, this play just plain loopy.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.Labels: Brian Hutchison, Broadway, Looped, Matthew Lombardo, Play, Tallulah Bankhead, The SOB Review, Valerie Harper
Lend Me A Tenor (The SOB Review) - Music Box Theatre, New York City, New York
***1/2 (out of ****)Thank goodness for some well-timed levity in this lackluster Broadway season.
In the case of
Stanley Tucci's brilliant revival of
Ken Ludwig's
Lend Me A Tenor, when one door closes, another one opens -- and it's a golden opportunity to laugh yourself silly.
Now, I'll readily admit that farce has never really been my thing. But when you mix a skillful director with an exceptional cast in possession of perfect timing, the result is nonstop hilarity.
With whipsaw precision, Tucci has almost flawlessly turned a middling script into the most laugh-out-loud funny show on Broadway or anywhere else I've been this past year. It's downright hysterical.
Tucci's entire cast absolutely sparkles.
The superb
Tony Shalhoub portrays Saunders, a manic impresario who has brought world-renowned tenor Tito Merelli (
Anthony LaPaglia in a suitably over the top performance) to Cleveland for a sold-out concert appearance. Saunders places Merelli and his love-starved wife Maria (an exquisite
Jan Maxwell in her second role of the year that's completely deserving of a Tony nod) in the care of his beleaguered assistant Max (
Justin Bartha making an auspicious Broadway debut).
As with many a farce, doors slam and identies are mistaken. But rarely are the proceedings carried out with such aplomb as this. And the curtain call has to be seen to be believed. It's genius.
If you're in desperate need of a good belly laugh, go see
Lend Me A Tenor. While your seat may be on loan for a couple blissful hours, the fun is yours to keep.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.Labels: Anthony LaPaglia, Jan Maxwell, Justin Bartha, Ken Ludwig, Lend Me A Tenor, Play, Revival, Stanley Tucci, Tony Shalhoub
