Friday, April 30, 2010

Tony Predictions: Who Cares What I Think?

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
Enron
Red
Superior Donuts
Time Stands Still

Best Musical
Everyday Rapture
Fela!
Memphis
Sondheim On Sondheim

Best Revival of a Play
Brighton Beach Memoirs
Fences
Lend Me A Tenor
Oleanna

Since 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 Music
Finian's Rainbow
La Cage Aux Folles
Ragtime

Best Actor in a Play
Norbert Leo Butz - Enron
Daniel Craig - A Steady Rain
Michael McKean - Superior Donuts
Alfred Molina - Red
Denzel Washington - Fences

Best Actress in a Play
Viola Davis - Fences
Linda Lavin - Collected Stories
Laura Linney - Time Stands Still
Jan Maxwell - The Royal Family
Laurie Metcalf - Brighton Beach Memoirs

Since 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 Musical
Alexander Hanson - A Little Night Music
Douglas Hodge - La Cage Aux Folles
Chad Kimball - Memphis
Sahr Ngujah - Fela!
Jim Norton - Finian's Rainbow

Best Actress in a Musical
Kate Baldwin - Finian's Rainbow
Montego Glover - Memphis
Christiane Noll - Ragtime
Sherie Rene Scott - Everyday Rapture
Catherine Zeta-Jones - A Little Night Music

Best Featured Actor in a Play
Chris Chalk - Fences
Jon Michael Hill - Superior Donuts
Brian d'Arcy James - Times Stands Still
Eddie Redmayne - Red
Noah Robbins - Brighton Beach Memoirs

Since 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 Family
Scarlett Johannson - A View From The Bridge
Jan Maxwell - Lend Me A Tenor
Marin Mazzie - Enron

Best Featured Actor in a Musical
Kevin Chamberlin - The Addams Family
Robin De Jesús - La Cage Aux Folles
Christopher Fitzgerald - Finian's Rainbow
Levi Kreis - Million Dollar Quartet
Euan Morton - Sondheim On Sondheim

Best Featured Actress in a Musical
Katie Finneran - Promises, Promises
Jackie Hoffman - The Addams Family
Angela Lansbury - A Little Night Music
Lillias White - Fela!
Terry White - Finian's Rainbow

Best Director of a Play
David Cromer - Brighton Beach Memoirs
Rupert Goold - Enron
Michael Grandage - Red
Kenny Leon - Fences

Since 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 Cromer

Best Director of a Musical
Christopher Ashley - Memphis
Terry Johnson - La Cage Aux Folles
Bill T. Jones - Fela!
Michael Mayer - American Idiot

Best Musical Score
Joe DiPietro and David Bryan - Memphis
Andrew Lippa - The Addams Family
Branford Marsalis - Fences
Lucy Prebble and Adam Cork - Enron

Best Book of a Musical
Marshall Brickman and Rick Elice - The Addams Family
Joe DiPietro - Memphis
Jim Lewis and Bill T. Jones - Fela!
Dick Scanlan and Sherie Rene Scott - Everyday Rapture

Best Choreography
Warren Carlyle - Finian's Rainbow
Stephen Hoggett - American Idiot
Bill T. Jones - Fela!
Sergio Trujillo - Memphis

Best Orchestrations
Jason Carr - La Cage Aux Folles
August Ericksmoen and Danny Troob - The Addams Family
Aaron Johnson - Fela!
Michael Starobin - Sondheim On Sondheim

Best Scenic Design (Play)
John Lee Beatty - The Royal Family
Wilson Chin - Next Fall
Alexander Dodge - Present Laughter
Anthony Ward (and John Driscoll, Projection Design) - Enron

Best Costume Design (Play)
Jane Greenwood - Present Laughter
Martin Pakledinaz - Lend Me A Tenor
David Zinn - In The Next Room (Or The Vibrator Play)
Catherine Zuber - The Royal Family

Best Lighting Design (Play)
Neil Austin - Hamlet
Russell H. Champa - In The Next Room (Or The Vibrator Play)
Mark Henderson - Enron
Brian MacDevitt - A Behanding In Spokane

Best Sound Design (Play)
Adam Cork - Enron
Michael Hooker and Peter Fitzgerald - Looped
Bray Poor - In The Next Room (Or The Vibrator Play)
David Van Tieghem - After Miss Julie

Best Scenic Design (Musical)
Beowulf Boritt (and Peter Flaherty, Projection Design) - Sondheim On Sondheim
David Gallo (and Shawn Sagady, Projection Design) - Memphis
Christine Jones (and Darrel Maloney, Projection Design) - American Idiot
Tim Shortall - La Cage Aux Folles

Best Costume Design (Musical)
Marina Draghici - Fela!
Santo Loquasto - Ragtime
Phelim McDermott and Julian Crouch - The Addams Family
Matthew Wright - La Cage Aux Folles

Best Lighting Design (Musical)
Kevin Adams - American Idiot
Ken Billington - Finian's Rainbow
Howell Binkley - Memphis
Natasha Katz - The Addams Family

Best Sound Design (Musical)
Robert Kaplowitz - Fela!
Brian Ronan - American Idiot
Dan Moses Schreier - Sondheim On Sondheim
Ken Travis - Memphis

As 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.

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Friday, October 23, 2009

Ragtime's Syncopated Trip Back To Broadway

Ragtime Syncopated Trip Back To Broadway

Just under 10 years have passed since the musical Ragtime was last seen on the Great White Way. But thanks to the transfer of an acclaimed run earlier this year at the Kennedy Center in Washington, DC, it's officially back for its second time.

Previews start at Broadway's Neil Simon Theatre this evening for the musical based on E.L. Doctorow's epic novel that's a slice right out of American history. The musical is told from three distinct vantage points spanning 1900 through the dawn of World War I. With score from Stephen Flaherty and Lynn Ahrens, Ragtime features a book by Terrence McNally. The new production is helmed and choreographed by Marcia Milgrom Dodge in her Main Stem directorial debut.

Before the turn of the last century, a very lavish Ragtime first opened on January 18, 1998 at what was then the brand spanking new Ford Center for the Performing Arts (now the Hilton Theatre). Quite apropos given that Henry Ford was among various historical figures (Harry Houdini, Booker T. Washington and Emma Goldman) interspersed within the show. With Frank Galati at the helm, that production starred Peter Friedman as Tateh, Marin Mazzie as Mother, Brian Stokes Mitchell as Coalhouse Walker Jr., Audra McDonald as Sarah, Mark Jacoby as Father, and a very young Lea Michele.

Nominated for a whopping 13 Tony Awards, Ragtime would only win four, including for McDonald's supporting role, Flaherty and Ahrens' score, McNally's book and William David Brohn's orchestrations. The production played the Ford Center almost exactly two years, closing on January 16, 2000 after 834 performances. While you might think two years on the boards would translate to success, the show was anything but critically or financially.

The review from Ben Brantley of The New York Times was withering:
Blessed with beauty, ambition, a smashing wardrobe and a social conscience, Ragtime would seem to be the kind of musical that brings Broadway audiences to their knees in adoration. Then why does this $10 million show, which opened last night at the new Ford Center for the Performing Arts, feel so utterly resistible?

[T]he production has a correspondingly commemorative quality. A panoramic look at the beginning of this century from the perspective of its end, it often has the feeling of an instructional diorama in a pavilion at a world's fair.
No wonder Ragtime's biggest drama occurred off-stage. Notoriety ensued shortly after it opened when Livent, its production company, filed for bankruptcy. Foreshadowing things to come, Canadian producer Garth Drabinsky was indicted for fraud. Those charges are still pending.

This time around, there's hope that things will be dramatically better in every respect. After all, the show is a transfer from the Kennedy Center, where it received rave reviews. Ragtime's gargantuan cast of 40 is led by Christiane Noll as Mother, Robert Petkoff as Tateh, Quentin Earl Darrington as Coalhouse Walker Jr., Stephanie Umoh as Sarah and Ron Bohmer as Father.

Coming full circle, I never saw Ragtime on Broadway, but I did manage to see the show during its first national tour stop at Washington's National Theatre in 1998. I remember being dazzled by both the production quality and the performances, but was less than wowed by the show itself.

Given the accolades the revival has received in my former hometown a little more than ten years later, I'm excited to see whether Dodge can make this Ragtime swing. Ragtime opens November 15.

This is Steve On Broadway (SOB).

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Saturday, November 22, 2008

13 To Close During Unluckiest Time Of The Year

13 To Close During Unluckiest Time Of The Year

Perennially, the month of January marks the beginning of the cruelest times on Broadway, and this coming January will see yet another closing of another musical. This time, sorry to say, it's 13 that has posted its closing notice, scheduled for January 4, 2009.

Regular readers will recall that I was positively charmed by the Jeremy Sams-helmed tuner that features a truly terrific, invigorating score by Jason Robert Brown and an incredibly talented teenage cast, with Graham Phillips and Al Calderon particularly deserving of shout-outs.

But alas, 13 proved unlucky at the box office, where it only scored three weeks in attracting more than a 50% capacity crowd. Just this past week, it attracted a capacity of just 42.9%.

Given the rough sledding at the far end of Broadway (a/k/a Wall Street), it appears that 13 will pin its parting hopes on families seeking holiday cheer. Once the holidays have passed, 13 will be history, but will a tour be in the offing?

This is Steve On Broadway (SOB).

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Wednesday, May 14, 2008

A Snubbed Affair

A Snubbed Affair

Although I have yet to post my SOB Review of the absolutely exquisite Broadway musical A Catered Affair, I was shocked, really shocked, that the tuner got aced out of a Tony nomination for Best Musical by Cry-Baby.

As I've said elsewhere, the nominators chose a crass act over a class act.

And I dare say that Cry-Baby will never be one for the ages, although it admittedly may be one for the lesser stages -- especially in the short-term as theatres across the country may view it as the better draw among potential touring productions. How very sad.

I know I wasn't alone yesterday in professing my surprise at the unexpected nods to Cry-Baby. The news reverberated throughout the theatre blogosphere with cries of "robbed," "outrage," "at a loss," "fooled" and "kinda funny" along with others stunned by the news.

Of course, leave it to New York Post's Michael Riedel to really put things into perspective:
The nominators appeared to go out of their way to ignore (Harvey) Fierstein's A Catered Affair, about a working-class couple struggling to make ends meet while planning a fancy wedding for their daughter.

The show only got three nominations, including two for leads Faith Prince and Tom Wopat.

"Oh, those wacky Tony nominators -- can you believe they didn't kiss me first?" Fierstein, who wrote the script and appears in the show, says, laughing.

"You don't have to buy me dinner, but at least kiss me first!"

The team behind A Catered Affair took the bad news in stride: After the nominations were announced, they repaired to Esca for a boozy lunch.
Like I said, a class act through and through.

Note to Harvey: It was great meeting you again on Saturday, and I'll be toasting you and your gem of a show very shortly.

This is Steve On Broadway (SOB).

Click here for tickets.
Related Stories:
And The Tony Nominees Go To... (May 13, 2008)
Whoopi! Tony Eligibility And More Handicapping (May 9, 2008)
Did Affair Positively Cater To Critics? (April 18, 2008)
A Catered Opening Night (April 17, 2008)
Early Tony Handicapping (March 25, 2008)
Wildfires Force Closure Of La Jolla And Old Globe Theatres (October 23, 2007)
Harvey Fiersback (October 5, 2007)
Were Left Coast Critics Feting A Catered Affair? (October 3, 2007)
San Diego Opening Is Catered Affair (September 30, 2007)
Which Upcoming Broadway Musicals Will You See? (June 15, 2007)
Fierstein To Musicalize Bette Davis' Fave Flick (March 21, 2007)

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Tuesday, May 22, 2007

SOB's Best Of 2006-07: Best New Musicals

SOB's Best Of 2006-07: Best New Musicals

During the 2006-07 Theatrical Season, I've enjoyed the opportunity to see 16 new musicals.

While some were decidedly cutting-edge, others took a more traditional approach. Still others sought to transform beloved films into equally adored stage versions, usually (but not always) with limited success.

Overall, there are more than a handful of tuners that I enjoyed enough that they've made my personal "5 Best" list of musicals covering the past twelve months:

1 - Grey Gardens (Walter Kerr Theatre, New York, NY)

If I were a Tony voter, Grey Gardens would easily be my choice for Best Musical, if not the most sublime show of the year. This unconventional yet completely satisfying tuner is a triumph of the first order.

The incredibly talented Christine Ebersole has more than proven she's at the height of her career. Her virtuoso performance in Grey Gardens is one that I'll never forget. Ebersole more than masterfully channels both Edith and Little Edie Bouvier Beales of the funny-if-it-weren’t-so-tragic seventies documentary of the same name. She luminously inhabits mother Edith in act one and then incredibly suspends any disbelief that you are watching anyone but the real Little Edie in the second act. Right before your eyes, a radiant and breathtaking Ebersole becomes Little Edie.

Thanks to a potent mix of intriguing fact and supposition by Doug Wright, the musical telling of their story provides plausible answers to the question of how the once mighty could have fallen so far. What makes this theatre of the absurd so intoxicating is not just the flawless execution of replicating key passages of the original film, but also the way Little Edie is continually haunted by the specter of the life she could have had. This musical transforms into a poignant, modern tragedy, where pathetic dismissal gives way to empathy. Credit Michael Greif's brilliant direction, Mary Louise Wilson’s powerful Edith and Ebersole’s heartwrenching Little Edie.

Click here for The SOB Review of Grey Gardens.


2 - Curtains (Ahmanson Theatre at the Music Center, Los Angeles, CA)

Thank goodness for a real honest-to-goodness old-fashioned backstage musical! Complete with stirring overture, Curtains possesses one show-stopping number after another, invigorating choreography, sharp dialogue, intelligent book and genuinely marvelous cast. This show is exceedingly smart, exceptionally funny and a thrilling theatrical finale for the legendary songwriting team of John Kander and the late Fred Ebb. In a word, it’s fun.

Rob Ashford’s brilliant choreography has once again enabled a leading man not typically known for his dancing prowess to shine (see my notes on Guys and Dolls and Ewan McGregor), particularly on the lovely dream sequence of “A Tough Act to Follow” that pairs David Hyde Pierce (playing Lieutenant Frank Cioffi with gusto and comic precision) and the exquisite Jill Paice. For the rest of Curtains’ troupe -- including the wonderful Debra Monk, who consumes the stage with her portrayal of the brash, yet cunning producer/stage mother Carmen Bernstein -- it becomes a breathtaking ride through the unusually large number of rousing and memorable numbers.

This valentine to Broadway certainly is a fitting way to send off two of the Great White Way’s most proficient songwriting duos during the last forty-five years. It all adds up: murder + mayhem + music = must-see!

Click here for The SOB Review of Curtains.


3 - The 25th Annual Putnam County Spelling Bee (Drury Lane Theatre Water Tower Place, Chicago, IL)

OK, by the time I finally took in this wonderful little musical early last summer, it probably could have been called the "26th Annual." No matter, since I completely fell for its charms, even if I spelled it N-O-N-S-T-O-P L-A-U-G-H-T-E-R. This excellent musical gem, complete with superb ensemble, absolutely delights with a little tale of one of those uniquely American displays of educational prowess: the lowly spelling bee.

In The 25th Annual Putnam County Spelling Bee, director James Lapine finds surprising depth and heart in each of his spelling bee contestants. With an exquisitely written book by Rachel Sheinkin (she won a Tony Award in 2005 year for her effort) and blissfully funny score by William Finn, the audience is treated to an unexpectedly strong set of back stories that set up how each of the kids made it to the competition.

But there's nothing quite like the contest itself, which is moved along by the adults played by James Earl Jones II, Bill Larkin and Lucia Spina and includes requisite audience participation. Yet, ultimately this is a struggle among the kids, fabulously portrayed by Eric Roediger, Cristen Paige, Jen Sese, Derrick Trumbly, Brad Weinstock and Christine Werny. The members of this highly-charged ensemble expertly capture the essence of their characters. The result is a fresh, exuberant musical that moves by almost as fast as a spelling bee lightning round.

Click here for The SOB Review of The 25th Putnam County Spelling Bee.


4 - Spring Awakening (Eugene O'Neill Theatre, New York, NY)

You didn't really think I was not going to mention this electrifying musical based on a 116 year old German play by Frank Wedekind, did you? While Spring Awakening is not exactly your grandfather’s musical, credit Michael Mayer’s expert direction for enabling this show that grapples with 19th Century German teen angst to motor on at a brisk, riveting pace.

Steven Sater's collaboration with tunesmith Duncan Sheik on the score is anything but predictable. The songs are about as fresh, smart and downright infectious as anything I’ve seen on Broadway over the past five years (even if the words don't always quite rhyme). The music effectively amplifies every scene and revs up each actor. Chief among them is the sensational Jonathan Groff as the bad boy with brains Melchior. He holds what the show’s “adults” (Christine Esterbrook and Stephen Spinella, both excellent) view as an indecent corrupting influence over mediocre student Moritz played by the breathtaking John Gallagher, Jr. in a sharp, stunning departure that I believe will earn him a richly deserved Tony.
While the show is anachronistic and a little too self aware of how cool it's striving to be (not to mention that much of Steven Sater’s storyline on the sexual maturation is telegraphed throughout), ultimately this astounding, astonishing musical is highly entertaining.

Click here for The SOB Review of Spring Awakening.


5 - [title of show] (Vineyard Theatre, New York, NY)

Perhaps it wasn't my absolute favorite musical from the past year, but it should matter that it wasn't my ninth favorite! With nothing derivative about the wonderful little musical [title of show], I can honestly say that not since The Musical Of Musicals-The Musical have I so thoroughly enjoyed such a delightful, decidedly small tuner with an enormous heart (a key element lacking in Spring Awakening).

The engaging and endearing Hunter Bell and Jeff Bowen essentially play themselves -- and true to its premise, they wrote the actual book, music and lyrics, too -- as two friends who embark on writing a musical to enter into the New York Musical Theatre Fest. They succeed in bringing it to life exactly as they wrote it against all odds. Along the way, they invite two female friends -- the effervescent Heidi Blickenstaff and the "handsome" Susan Blackwell -- to help shape the show.

Clever dialogue and a terrific score -- along with Michael Berresse's lovingly precise direction -- kept the 90+ minute show moving at a quick pace that was never dull and largely entertaining, particularly when they dished on some of Broadway's most renowned guilty pleasures or were interrupted via voicemail by some of the Great White Way's most acclaimed female stars (including Christine Ebersole). Best of all, they remained true to themselves and their vision.

Click here for The SOB Review of [title of show].


Honorable Mentions:

Two musicals I saw over the past year are deserving of special nods. The first is a show that actually opened on Broadway last season (but I finally saw it in September), while the other is perhaps the best musical based on a film that I saw all year. Here are those honorable mentions:


  • The Drowsy Chaperone (Marquis Theatre, New York, NY) -- By no means is The Drowsy Chaperone a perfect musical. Bad puns abounded. But thankfully, more often than not, our narrator "Man In Chair" -- deliciously played as the ultimate theatre queen by Bob Martin, who also co-wrote the libretto with Don McKellar, offers up disarming and downright hysterical comments suggesting many of the show's elements are labored or nonsensical. You can't help but think you've been played all along and that the joke is actually on you. (Click here for The SOB Review of The Drowsy Chaperone)



  • Priscilla Queen Of The Desert - The Musical (Lyric Theatre, Sydney, NSW, Australia) -- Based on the 1994 film, Priscilla Queen Of The Desert - The Musical is a sexy, silly, sometimes incoherent, über-campy, often tasteless and crude, completely over-the-top musical if there ever was one. Yet it's ultimately irresistible. And with many of the key motion picture elements roundly being eagerly anticipated and cheered upon delivery -- including the infamous ping pong scene -- the musical itself is, well, a ball. Just when you think that the book (by Stephan Elliott and Allan Scott) is teetering dangerously close to the brink of excess, you're either suddenly lurching back to some semblance of reality or finding yourself cheerfully going along for the ride wondering just how far into fantasia this tuner will dare to go. (Click here for The SOB Review of Priscilla Queen Of The Desert - The Musical)


What were the best new musicals you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.

Also, don't forget to vote for the shows you believe will win in each of the four major Tony Award categories: Best Musical, Best Play, Best Revival of a Musical and Best Revival of a Play. You'll find all four polls on the right-hand side of Steve On Broadway.

This is Steve On Broadway (SOB).

Click here for Curtains tickets.
Click here for Grey Gardens ticket information.
Click here for Spring Awakening tickets.
Click here for The Drowsy Chaperone tickets on Broadway; here for London.
Click here for The 25th Annual Putnam County Spelling Bee ticket information on Broadway, Chicago, Los Angeles and the North American tour.
Related Stories:
SOB's Best Of 2006-07: Best New Plays (May 21, 2007)
SOB's Best Of 2006-07: Best Revivals Of Musicals (May 18, 2007)
SOB's Best Of 2006-07: Best Revivals Of Plays (May 16, 2007)
The SOB Five "Worst" Of 2006-07 (May 14, 2007)
SOB's Best & Worst Of 2006-07 Theatre Season (May 14, 2007)
SOB's Best of 2005-06: #1 - Theater Of The New Ear (May 30, 2006)
SOB’s Best of 2005-06: #2 – Guys And Dolls (May 26, 2006)
SOB’s Best of 2005-06: #3 – Hedda Gabler (May 25, 2006)
SOB’s Best of 2005-06: #4 – A Blameless Life (May 24, 2006)
SOB’s Best of 2005-06: #5 – Reeling (May 23, 2006)
SOB’s Best of 2005-06: #6 – “MASTER HAROLD”…And The Boys (May 21, 2006)
SOB’s Best of 2005-06: #7 – Love Song (May 19, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (May 18, 2006)
SOB's Best of 2005-06: #9 - The Well-Appointed Room (May 17, 2006)
SOB's Best of 2005-06: #10 - Sweeney Todd (May 15, 2006)
SOB's Best and Worst of 2005-06 Theatre Season (May 12, 2006)
Flashback: Best of 2004-05 (May 26, 2006)
Flashback: Best of 2003-04 (May 25, 2006)
Flashback: Best of 2002-03 (May 25, 2006)
Flashback: Best of 2001-02 (May 24, 2006)
Flashback: Best of 2000-01 (May 23, 2006)

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