By now, dear readers, you surely know that Gypsy ranks as my all-time favorite musical.
Imagine my delight in stumbling upon this nugget from 1959's "What's My Line?" as Gypsy Rose Lee herself -- a Broadway performer in her own right -- appears as the "mystery guest" just days after the original production opened on the Great White Way with Ethel Merman.
Miss Lee explains, "When you've lost all your marbles, you're a stripteaser!"
The show's venerable moderator John Charles Daly (who also served as ABC News' anchor at the same time) explains how Gypsy "threatens to outdo even My Fair Lady." In my humble estimation some 51 years later, it has done managed that and more.
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.
SOB's Favorite Shows Of The Noughties: #7 - Gypsy(2008, St. James Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties.
Gangway world, get off of my superlatives! Suddenly, highfalutin' words like "excellent," "superb" and "top-notch" just didn't seem sufficient enough to adequately describe the unique experience of seeing the incredible Arthur Laurents-helmed revival of Gypsy that played Broadway last year.
Never had I enjoyed myself more or been so thoroughly entertained by a Rialto musical experience ... ever. This was most definitely a performance for the ages. To see it was to witness theatrical history being made (including the penultimate performance of the show earlier this year .... yes, I was there then, too).
The beauty of this fully-realized Broadway revival was that every breathtaking performance from start to finish matched that offered by the truly astonishing Patti LuPone, who made her Rose at once sympathetic, conniving, sexy, funny, tragic and repulsive all at the same time. Add to that poignant portrayals -- the stunning metamorphosis of Louise offered by Laura Benanti in her best performance yet, and the completely credible, quiet dignity in Boyd Gaines' sympathetic take on Herbie -- and those fortunate enough to see this incarnation saw the classic musical the way it was truly intended to be seen.
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. I paid my own way for these performances.
SOB's Theatrical Firsts Of The Noughties: My First Show-Stoppers
Over the course of the last decade, I’ve been truly fortunate to enjoy a number of enlightening firsts in my personal theatergoing that have only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.
While the term “stopping the show” was nothing new to me, actually seeing it occur live on stage most certainly was. It never really dawned on me what it meant until I saw it for myself.
My first experience in seeing a truly show-stopping number came via Broadway’s 2003 revival of Nine. The incomparable Chita Rivera was performing the rousing "Folies Bergère" as Liliane La Fleur. Not only did she manage to hold the audience in the palm of her hand, but she managed to gently stroke it into complete submission. By the end of her exquisite number, the audience was immediately on its feet with unrelenting cheers. So I'll forever remember Ms. Rivera for performing and her show-stopping number.
I’ve witnessed precious few other show-stoppers -- so few I can count the performers on one hand. The glorious Jennifer Holliday stopped Dreamgirls both in 2003 and again in 2007 as she reprised her role as Effie Melody White, performing her signature hit “And I Am Telling You I’m Not Going.” A breathtaking Bernadette Peters delivered her show-stopper as Mama Rose in the 2004 revival of Gypsy, a feat that would be replicated by another Mama Rose, the brilliant Patti LuPone. I first saw LuPone portray the woman who was born too early and started too late at Chicagoland’s Ravinia in 2006, followed by her Tony-winning turn on Broadway in 2008. In each of the three performance total I saw, the crowds enthusiastically rushed to their feet to cheer each bravura “Rose’s Turn.”
Earlier this year, I saw an altogether different kind of show-stopper. It was also in Gypsy and also involved Patti LuPone singing “Rose’s Turn.” When a photographer in the back of the theatre began snapping away during this pivotal number, LuPone stopped mid-song. Since I’ve already written extensively about that event, I won’t go into detail here.
But suffice to say, just as I’ll never forget the show-stopping numbers offered by Chita Rivera, Jennifer Holliday, Bernadette Peters or Patti LuPone, I’ll also never forget the first time a show was stopped to reprimand an audience member. It served as an excellent reminder that we should treat the theatre, its actors and our fellow audience members with respect, lest we spoil their theatergoing experience.
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. I paid my own way for all of these performances.
I've heard it said That people come into our lives for a reason Bringing something we must learn And we are led To those who help us most to grow If we let them And we help them in return Well, I don't know if I believe that's true But I know I'm who I am today Because I knew you - Wicked
There's nothing like a little trip down memory lane, particularly when it involves going home again. But it's always most rewarding when you stop and take in the landmarks of your life.
Less than two months ago, I filled in some of the blanks on my own personal back story. In my April post, I detailed how I became a bona fide theatre devotee after taking in a London production of Annie 30 years ago. In addition to discussing my genuine excitement about that trip, I also alluded to my burgeoning theatre interest leading up to it:
Prior to this trip, I could probably count the number of times I had seen stage performances on both hands, and with one exception, they were all high school productions (Bye Bye Birdie, Don't Drink The Water, Fiddler On The Roof, Gypsy, Harvey, Oklahoma!, Romeo And Juliet, South Pacific and You Can't Take It With You). Mind you, I really enjoyed seeing each show, especially those under the expert direction of Homestead's musical director Sonia Simonsen, but they only hinted at the overall experience that professional theatre would afford.
Over the course of this past weekend, I returned home to Mequon, Wisconsin for the reunion of the Homestead High School's Class of '79. In addition to being able to see so many of the dear friends from my formative years, I was thrilled to see the one and only Sonia Simonsen herself, a major landmark teacher and director in my life. Not only did she helm several of the shows listed above, but she also directed me in my one true stage role when I played Lieutenant Joe Cable in Homestead's 1977 production of South Pacific.
Sonia has long since retired from teaching and now makes her home in Florida. But she made the trip to Mequon, and were we ever glad she did.
As you can see from the photo above, Sonia still has that unmistakable twinkle in her eye. She has managed to maintain that same incredible wit and outspoken tell-it-like-it-is vitality that her students came to respect, admire and love. And how could I not adore the woman who first opened my eyes to stage musicals and their mesmerizing capacity to tell moving stories? It was Sonia who directed the very first stage musical I ever saw -- Gypsy -- way back in the mid-70s at my then future high school.
Then is it any wonder that the musical I (and so many others) routinely rank as the best musical of all time is also my unequivocal, hands-down favorite? I had no idea until this past weekend that Sonia, an accomplished actress in her own right, has even portrayed Mama Rose. Would I have loved to see that! Fortunately, she sang a few lines for me, and I was spellbound.
Seeing Sonia was an absolute highlight of a weekend filled with extraordinary memories. Fortunately, it also provided me with a long overdue opportunity to express to her my deepest appreciation for first exposing me to the limitless magic and wonder of musical theatre. Without Sonia's influence and passion for the art form, both instrumental in shaping the person I've become, I have no doubt that my life could have been dramatically different.
Sonia, I know you read this blog. Thank you from the bottom of my heart for all the landmarks you have placed in my life. I know I'm who I am today because I knew you as a landmark teacher and director. I'm especially grateful to count you among my cherished friends.
Now, let's plan on seeing each other at a Broadway show!
Dave Itzkoff at The New York Times Arts Blogs wrote, a bit snarkily:
Just when we were starting to remember Patti LuPone as a luminescent if detail-oriented theater star -- and not, say, the sort of person who brings an entire show to a halt when she catches an audience member snapping photographs of her -- she goes and does it again.
The Las Vegas Sun reports that Ms. LuPone, the two-time Tony Award winner, stopped in midperformance on Sunday night at the Orleans hotel when she saw an audience member using an electronic device.
“What were you doing?” Ms. LuPone asked the audience member, according to The Sun. “I promise not to be mad at you. Just tell me, what were you doing — videoing? Taking photos? Texting? I really want to know.” The fan, wisely, did not respond. Ms. LuPone then threatened to have the fan thrown out if it happened again, before she resumed singing “Don’t Cry for Me, Argentina.”
Ms. LuPone earned an unwanted recording credit earlier this year when audio of her berating an audience member who tried to take pictures of her at a January performance of “Gypsy” was posted on YouTube.
Your story about my stopping my concert in Las Vegas on the New York Times ArtsBeat blog was forwarded to me.
I found the tone of your report very snide and feel compelled to write you to ask -- what do expect me, or any performer for that matter, to do?
Do we allow our rights to be violated (photography, filming and audio taping of performances is illegal) or tolerate rudeness by members of the audience who feel they have the right to sit in a dark theater, texting or checking their e-mail while the light from their screens distract both performers and the audience alike? Or, should I stand up for my rights as a performer as well as the audiences I perform for?
And do you think I’m alone in this? Ask any performer on Broadway right now about their level of frustration with this issue. Ask the actor in Hair who recently grabbed a camera out of an audience member’s hand and threw it across the stage. Or ask the two Queens in “Mary Stuart” (Harriet Walter and Janet McTeer) how they react to it.
I find it telling that my story elicited 47 comments from your readers while a few other stories on the blog elicited a handful, with many getting 0 comments. It certainly touched a chord with people, almost all of whom sounded like audience members, who share in my frustration with what threatens to become standard behavior if no one speaks out and takes action against it.
This has been going on in my career for 30 years since I starred in Evita, and, you’re surprised I stop shows now?
Sincerely, Patti LuPone
As someone who was there for that now fabled penultimate performance of Gypsy, I can tell you that I much prefer an actor who stands up for her rights as a performer and those of the audience by doing exactly what's she's doing.
Thank you, Patti! You and the polite members of your audience deserve better.
Last evening, 2008's Tony Award-winning Best Musical, In the Heights earned another top entertain-ment honor -- its second of the big four. Its original cast recording won a Grammy for Best Musical Show Album.
In The Heights beat out Gypsy, South Pacific, The Little Mermaidand Young Frankenstein. As much as I preferred Gypsy and South Pacific on stage, I have to admit that In The Heights really does sound much better on CD.
Congratulations to Lin-Manuel Miranda for another huge win. Although given the thousands of Grammy categories, I'm sure even he can appreciate how dubious these awards truly are.
As noted here yesterday, Patti LuPone actually stopped cold the second-to-last per-formance of Gypsy after catching one boneheaded audience member taking photos during "Rose's Turn" (as opposed to the one above that I took in a whirl of excitement upon her exit from the St. James Theatre Saturday evening).
As promised yesterday, here's my full recollection of what transpired, along with a few thoughts in retrospect.
Just prior to the onset of "Rose's Turn," during that wonderful final dust-up dressing room scene between Rose and Gypsy (Laura Benanti), a cell phone rang ... loudly ... from somewhere in the audience. While there's never a good time for a cell phone to ring, this was obviously a particularly inopportune moment as LuPone's Rose had just bitterly knocked most of the contents of Gypsy's dressing room table to the floor as required for the scene.
Then that phone went off. LuPone and Benanti froze until the offending phone stopped ringing. But it was evident that the two actresses were far from pleased. As the two actresses were picking up the pieces of their argument, literally and figuratively, a visibly annoyed Benanti threw the prop telephone receiver at the phone's base. Rather appropriate, given the offense. Sadly, the climactic scene had been severely compromised, if not ruined, thanks to some careless, inconsiderate putz who didn't bother to turn his/her phone off.
So with that necessary piece of background, LuPone was set to begin the showstopping "Rose's Turn" number just moments later for her penultimate time. If you're a theatre lover, you know that this is the tune that seals the deal and makes the show what it is. It requires the artist to summon every ounce of countless emotions that have been bubbling beneath the surface to the top. Rose needs to be absolutely fierce.
Right as LuPone was getting revved up, something snapped. Suddenly appearing knocked a little off-balance (perhaps from a flash, although I personally didn't see one), LuPone threw up her arms in seething rage and demanded the orchestra and to some unknown person to "Stop! Stop! Stop! Stop taking pictures right now!"
LuPone looked straight into the far reaches of the orchesta section and began jabbing her finger toward the offender shouting, "Who do you think you are? How dare you! Who do you think you are?"
She continued to rebuke this person saying it was the third time she had seen him/her take a photo and that she refused to go on with the show unless he/she was removed from the audience. "Get 'em out of here," she inveighed repeatedly. LuPone proceeded to stand off to the side of the stage until someone gave the "all clear" that the offender was removed.
LuPone came back center stage, still clearly disgusted, but offering that she simply could not understand why people attending theatre these days display such little respect and don't know how to be polite. Then, in transition, she charitably declared, "And all of you, every single one of you, except for that person, has respect, and I and the rest of this company appreciate it."
With that, LuPone took a few paces back, put on the smock she dons at the beginning of the scene, took one very deep breath to recompose herself and regain the moment -- with the audience on its feet, giving her a standing O -- and proceeded with "Rose's Turn" once more from the top. After she concluded "Rose's Turn," the crowd was back on its feet.
As regular readers know, I have grown so incredibly weary of audience members treating theatres as their own personal living rooms. The beauty of seeing live theatre is the communal experience of witnessing artists provide unique performances that can never be exactly the same from one night to the next. There is a trust we must have with each other to be respectful and well-mannered.
But there's also a trust and bond we have with the artists themselves -- who, by the way, can actually hear us and see us -- that becomes violated whenever we rustle through paper and plastic bags or talk above whispers or engage in any of the other nuisances that serve to undermine a performance. It also becomes a violation of law when we decide we're above those laws by letting our cell phones chime or taking photos when it's actually an infringement of copyrights.
It's extraordinarily rare for performers to take the dramatic step of chastising an audience member the way Patti LuPone did. Personally, I had never seen it before, but I know of a few isolated incidents that have since become the stuff of legends. In this case, as I see it, the offender got his/her comeuppance as if it was on behalf of all the other self-absorbed, inconsiderate jerks I've ever seen devalue a performance because they thought they were above it all.
In retrospect, I don't blame Patti LuPone for finally being pushed to say "enough." She has been an outspoken champion for better theatre etiquette for a long time, although usually via off-stage interviews.
If anyone thinks she ruined Saturday night's performance, I submit to you that if theatre management had dealt with all the egregious infractions of their own stated rules more vigorously, individuals would not flaunt them with growing frequency. Those rules -- and the law -- must be enforced. But at the St. James, it was clear that the ushers were not properly empowered to do so. So Ms. LuPone, in order to salvage the performance on behalf of the audience took the unusual step of taking matters into her own hands.
Yes, by stopping the show, LuPone really changed the atmosphere, but I would also argue that she really charged the atmosphere as well, making this "Rose's Turn" all the more of a truly fierce tour de force. If nothing else, Patti LuPone offered one performance that everyone in that particular audience will remember and talk about for the rest of their lives.
UPDATED (1.12.08, 7:15 p.m. EST): In a rather bizarre twist, Broadway & Me tells us now that it was all a huge misunderstanding. B&M notes:
Now I hear from an insider who was there that the whole incident was a simple misunderstanding. It seems that Patti had a photographer following her around backstage for several days doing a magazine article about her and the poor fella went around front to document some of her iconic moments in the show. And says my source, "That was the person she had thrown out! She forgot he was there!"
As Broadway & Me has so eloquently stated, "How can you not love Broadway?"
One week ago today, I took note of Charles Isherwood's bittersweet story that almost served as a plea to get out and see your favorite shows before they close. That same day, nine Broadway shows closed.
Today, we'll bid adieu to yet another three Main Stem productions, including one that earned the Tony for Best Musical just four years ago and another that earned its threeprincipalcast members Tonys for their exceptional acting.
Today is your last chance to see the following three shows:
All My Sons. Going. No word yet (as of this writing) on whether a tour will ensue.
Gypsy. Going. While rumors had run rampant that a West End transfer might take place -- at least for its star Patti LuPone -- there's been no official word as of late. For that reason alone, I revisited the St. James Theatre last night to catch the second to last performance on the Great White Way. WOW!
I will discuss just a little later how Ms. LuPone stopped the show twice -- once when the audience gave her a standing O upon the conclusion of her rendition of "Rose's Turn," but also during the same tune when she stopped the orchestra because some idiot in the audience had the bad manners to be taking at least three photos (by her count) of her performance.
After rebuking the offender by saying, "How dare you?" among other fourth wall-breaking chastisements, Ms. LuPone had the jerk kicked out and then started the tune all over, to great applause. This marked the first time I had ever seen an artist stop a show because of an audience member's complete lack of manners.
If you're attending Sunday's final performance and think you can get away with taking a photo, be forewarned!
As noted here time and again in recent weeks, a lot of Broadway shows are shuttering in January, thanks in no small part to the truly devastating economy. After all, who wants to be swimming in red ink?
With Sunday's news that the excellent revival of Gypsywould expedite its scheduled March closing to January 11, you may well have heard me sadly saying, "Another one bites the dust" yet again.
The New York Times' Patrick Healy took note of the plight of the Broadway show in one humdinger of a story yesterday that is hardly a positive harbinger of things to come. In addition to the closings, new shows are having trouble finding the financing to get on the boards. Then there are those that have simply been postponed. Or completely canceled.
I'll have more to say in this space later, but given all the pain even typical, hardworking theatre lovers from Cleveland and elsewhere are experiencing (check out Serino Coyne Chairwoman Nancy Coyne's ill-advised comments regarding said tourists from Cleveland in Healy's piece), expect this winter to be particularly cruel.
Despite incredible reviews, three Tony-winning performances and its rightful place as simply the best musical ever, Arthur Laurents' stunning Broadway revival of Gypsyhas posted its closing notice for March 1, 2009. That date coincides with the end of Patti LuPone's contract.
With timeless score by Jule Styne and Stephen Sondheim, LuPone has delivered a tour de force performance for the ages as Mama Rose that has practically been matched measure for measure by Boyd Gaines as Herbie and Laura Benanti in the title role.
At the box office, Gypsy enjoyed a slight increase last week over the week before, attracting a capacity of 63.2% and grossing $593,242. But since LuPone's name is firmly above the title, it's hard to imagine this production with anyone else filling her (sometimes Isotoned) shoes.
Personally, I'm thrilled that I not only had the rare opportunity to witness history being made when LuPone first performed as Rose three summers ago, but found myself transfixed and transported when I saw her perform at the St. James just two days after the revival opened.
So, all this begs the question of whether Patti LuPone might renew her consideration of recreating her triumph across the pond on the West End stage. If she goes, I just may go myself.
Well, I would be very interested in knowing just how far sales spike for this autobiography every time a new Broadway revival opens. Currently, Amazon ranks the book as its 183,511th best seller, although it is listed as 15th best selling memoir by a dancer.
No matter. After years and years of seeing production after production, some good, some bad, I decided it was finally time to get the "real" story on the world's most famous ecdysiast, even if it may be somewhat apocryphal. And what an entertaining story it is, replete with Mama Rose, June Havoc, Louise and cow ("moo-moo-moo-MOO") all hoofing it across the country, even if there was no one named Herbie every step of the way.
But what the musical only touches upon, the book delivers: a highly successful vaudeville act, forged by a scheming and entrepreneurial, if somewhat daft mother. Indeed, there was a whole lot happening on that Orpheum Circuit as they performed to cheering, adoring crowds alongside such notables as Fanny Brice. In fact, I was stunned by the level of success that the act actually enjoyed. In the "Musical Fable," their success is significantly muted, getting short shrift during the tuner's "Baby June and Her Newsboys" number that suddenly transforms the action from Baby June to Dainty June.
Gypsy Rose Lee certainly knows how to tell a great story, but one dramatic departure from the tuner is her expressed desire from an early age to be on the stage. That song "If Mama Was Married" may have been sung as a heartfelt plea for their mother to settle down, but neither June nor Louise would be caught desiring to be taken off the road or away from the stage.
And as for that dream of Mama Rose? Well, both Lee and Havoc went on to be exactly what their mother always dreamed they'd be: Broadway stars. The musical Gypsy ensures that future audiences will always know their names, even if they'll be forgiven for thinking that only Gypsy Rose Lee, who passed away in 1970, enjoyed all the fame.
You see, lest anyone forget, the star of June Havoc has also shined brightly on the Great White Way. Born as Ellen Evangeline Hovick, the actress enjoyed a Rialto career spanning 45 years, beginning with her role as Rozsa, of all names, in the 1936 production of Forbidden Melody. She was featured or starred in ten additional Main Stem productions as an actress, and she received a Tony nomination for the 1963-64 production of her self-penned Marathon '33, based on her own memoirs Early Havoc. The legendary Julie Harris was Tony-nominated for her portrayal of June in that production.
June Havoc last trod Broadway's boards back in 1982 as a replacement for Miss Hannigan in the original production of Annie -- the show that served as the springboard for my own great, unyielding love for the theatrical art form. But it was June Havoc herself who apparently served as the great springboard for Gypsy Rose Lee penning her memoirs in the first place. Lee described a meeting between the two as each was enjoying success, saying:
The waiter hovered over us, check in hand. I made a move for my purse and June stopped me. "I want to pay it," she said. "I want this to be my night, right down the line. I'll put it in my diary as the night I found a direction in life for my big, fat sister."
I scooped up what was left of the Lobster Cantonese and divided it into the two containers the waiter had brought us. June divided what was left of the roast pork and put that on top. "But if you don't write the story," she said, "you owe me four dollars and sixty cents."
So as June Havoc prepares to celebrate her 95th birthday on November 8, I'd like to salute this trouper of troupers and her $4.60 threat for inspiring what has ultimately become the greatest Broadway show of all time.
With just over one week to go before the American Theatre Wing’s 62nd annual Tony Awards ceremonies honor the best of Broadway's 2007-08 Theatrical Season, I'm in the midst of offering my own prognostications on whom I believe should win.
Yesterday, I provided my picks for the acting categories and before that my picks for best shows, as well as for musical book and score. Today, I tackle the creative direction categories.
As previously mentioned, this is the first year in which I've seen every nominated work and performance. So while I'm no theatre professional, I profess to having an opinion on every last category. Let me know if you agree on whom you believe should win (vs. those you think actually will).
Here are the nominees and my picks:
Best Scenic Design of a Play Peter McKintosh - The 39 Steps Scott Pask - Les Liaisons Dangereuses Todd Rosenthal - August: Osage County Anthony Ward - Macbeth
As evidenced this season by his work on The Ritz, November and Cry-Baby, Scott Pask has been one majorly busy man. But none of his set designs were more elaborate than the mesmerizing and sumptuous Versaillesque milieu he recreated for Les Liaisons Dangereuses.
Todd Rosenthal's three-story work for August: Osage County was pretty lofty in its own right, but Pask's set design effectively took me back to 18th Century France.
Best Scenic Design of a Musical David Farley and Timothy Bird & The Knifedge Creative Network - Sunday In The Park With George Anna Louizos - In The Heights Robin Wagner - The New Mel Brooks Musical Young Frankenstein Michael Yeargan - Rodgers & Hammerstein’s South Pacific
In a field crowded with very worthy nominees (yes, includingYoung Frankenstein), one team stands brilliantly apart.
Initially, necessity became Sunday In The Park With George's mother of invention. In its earliest incarnation as the musical was strapped for cash, Tim Bird and The Knifedge Creative Network helped fill in the blanks of David Farley's effectively colorless set design with an enthralling, radiant projection design that is unequivocally the true star of the show. Together, they have made this tuner a gorgeous work of art worthy of a great master.
Best Costume Design of a Play Gregory Gale - Cyrano de Bergerac Rob Howell - Boeing-Boeing Katrina Lindsay - Les Liaisons Dangereuses Peter McKintosh - The 39 Steps
Pulling double duty, Rob Howell's ingenious and vibrant red, blue and yellow set and costume designs literally help set the stage for the three flight attendants served up in this tour de farce.
Even though Howell's designs go hand-in-hand, he's only been awarded one nomination. For all of his first-class work, he gets my vote as the best.
Best Costume Design of a Musical David Farley - Sunday In The Park With George Martin Pakledinaz - Gypsy Paul Tazewell - In The Heights Catherine Zuber - Rodgers & Hammerstein’s South Pacific
Should Win:Martin Pakledinaz - Gypsy One of the key reasons why this Gypsy sparkles so brilliantly is because of Martin Pakledinaz's never-ending razzle-dazzling costume designs ranging from the frumpy to the fabulous.
Even though this is a revival, and we've seen variations on these designs before, Pakledinaz makes them all seem vividly fresh and real, whether it's the unholy trinity of Mazeppa, Electra and Tessie Tura or the metamorphosis of Louise into Gypsy Rose Lee. Stunning. Absolutely stunning.
Best Lighting Design of a Play Kevin Adams - The 39 Steps Howard Harrison - Macbeth Donald Holder - Les Liaisons Dangereuses Ann G. Wrightson - August: Osage County
There's some serious competition here, but I have to narrow my choices down to Donald Holder and Ann G. Wrightson. My nod must go to the latter.
Whether it was the portentous flashes from the squad car or the flicker of the never-seen television set, Wrightson's subtle illuminations helped drive the drama and humor of August: Osage County even further.
Best Lighting Design of a Musical Ken Billington - Sunday In The Park With George Howell Binkley - In The Heights Donald Holder - Rodgers & Hammerstein’s South Pacific Natasha Katz - The Little Mermaid
There's also some stiff competition in this lighting category. Here, my choices come down to Howell Binkley and Donald Holder, both of whom expertly captured the movement of the sun into nighttime.
But Holder's artistry in evoking each blissful moment of this gorgeous revival with perfectly drawn brilliance makes South Pacific absolutely radiant. Close call here, but Holder gets my nod.
Best Sound Design of a Play Simon Baker - Boeing-Boeing Adam Cork - Macbeth Ian Dickson - Rock ‘N’ Roll Mic Pool - The 39 Steps
Finally, acknowledgement for the vital work that goes into providing essential sound designs for Broadway shows. This is the first year awards will be bestowed in this category.
While something tells me that the Tony voters will go with the more bombastic (read: LOUD) nominee, whose work often drowned-out the already difficult-to-hear language of the Bard, it was Mic Pool's integral sound design that enabled The 39 Steps' audience to sense where this comedy was going in spite of its simple set design.
Best Sound Design of a Musical Acme Sound Partners - In The Heights Sebastian Frost - Sunday In The Park With George Scott Lehrer - Rodgers & Hammerstein’s South Pacific Dan Moses Schreier - Gypsy
Two words: shower scene. Scott Leher somehow managed to mic Kelli O'Hara in such a way that she lathered up and effortlessly sang "I'm Gonna Wash That Man Right Out Of My Hair" in a shower. Without getting electrocuted.
Oh, and the rest of his sound design was pretty fantastic, too.
Best Orchestrations Jason Carr - Sunday In The Park With George Alex Lacamoire & Bill Sherman - In The Heights Stew & Heidi Rodewald - Passing Strange Jonathan Tunick - A Catered Affair
While you may have thought I'd be inclined to go with Stew and Heidi Rodewald yet again (given my love for Passing Strange) it's time to give due props to In The Heights.
Taking Lin-Manuel Miranda's exuberent score and turning it into an even hotter than salsa hip-hop funk, Alex Lacamoire and Bill Sherman not only succeed in turning up the heat, but they've single-handedly taken In The Heights to the heights I had hoped the rest of the show would be.
Best Choreography Rob Ashford - Cry-Baby Andy Blankenbuehler - In The Heights Christopher Gattelli - Rodgers & Hammerstein’s South Pacific Dan Knechtges - Xanadu
Without a doubt, Rob Ashford's work was the best thing about Cry-Baby, and Andy Blankenbuehler certainly provided one of the year's most exhilarating displays of dance on stage in In The Heights, surely making him a Tony favorite. But try doing all that on wheels, and backwards while you're at it.
An essential part of Xanadu'sbrilliant magic is derived directly from Dan Knechtges' daring roller-boogie choreography. When you consider the miniscule stage of the Helen Hayes Theatre and the injuries notoriously inflicted on certain cast members negotiating their way across it in good old-fashioned roller skates, Knechtges' choreography was clearly fraught with danger. But the very essence of live theatre is danger. And it dazzled all the way.
Best Direction of a Play Maria Aitken - The 39 Steps Conor McPherson - The Seafarer Anna D. Shapiro - August: Osage County Matthew Warchus - Boeing-Boeing
When you direct the year's best show, it stands to reason that you'll be the person to beat for Best Director.
But Shapiro more than earns this honor as she's taken a superb script and excellent ensemble and directed them into something unique that is both heartfelt and visceral. Its dramatic punch hits every bit as hard as the humor. Credit Shapiro with sharpening this play into a razor-edged, whip-smart American classic. Best Direction of a Musical Sam Buntrock - Sunday In The Park With George Thomas Kail - In The Heights Arthur Laurents - Gypsy Bartlett Sher - Rodgers & Hammerstein’s South Pacific
Here's the category about which I'm most conflicted. Make no mistake, I adore just about everything that Arthur Laurents has done to make Gypsy the absolute Best Revival of a Musical this year. But as someone who's now taken his third crack at the work -- and he's been nominated for the 1975 revival -- perhaps it's time to recognize someone else.
That someone else, of course, is Bartlett Sher, whose loving interpretation of South Pacific is both surprisingly innovative yet entirely natural, making his revival majestic. For a show in which racial bigotry is the issue, he also almost imperceptibly underscores the racial divide by slyly segregating what lonely African American troops inhabit this island to the sidelines.
As conflicted as I feel, I am compelled to give it to Sher.
Whoopi Goldberg hosts the 2008 Tony Awards on Sunday, June 15. The CBS broadcast begins at 8 p.m. EDT.
With less than two weeks to go before the American Theatre Wing’s 62nd annual Tony Awards ceremonies honor the best of Broadway's 2007-08 Theatrical Season, I'm in the midst of offering my own prognostications on whom I believe should win.
Yesterday, I provided my picks for best shows, as well as for musical book and score. Today, I tackle the acting categories.
As previously mentioned, this is the first year in which I've seen every nominated work and performance. So while I'm no theatre professional, I profess to having an opinion on every last category. Let me know if you agree on whom you believe should win (vs. those you think actually will).
Here are the nominees and my picks:
Best Performance by a Leading Actor in a Play Ben Daniels - Les Liaisons Dangereuses Laurence Fishburne - Thurgood Mark Rylance - Boeing-Boeing Rufus Sewell - Rock ‘N’ Roll Patrick Stewart - Macbeth
Sure, another actor has received lots of acclaim for his performance in a Shakespeare revival, but it's the comic, farcical turn by one of the greatest living interpreters of Shakespeare who is keeping them laughing at the Longacre -- in his long overdue Broadway debut, no less -- who is far more worthy of this award. Mark Rylance is absolutely brilliant.
If there's a close race, it should be between Rylance and Rufus Sewell, who was by far the best thing going for the tedious Rock 'N' Roll. As a master of slapstick comedy, Rylance deserves the last laugh.
Best Performance by a Leading Actress in a Play Eve Best - The Homecoming Deanna Dunagan - August: Osage County Kate Fleetwood - Macbeth S. Epatha Merkerson - Come Back, Little Sheba Amy Morton - August: Osage County
A very competitive category with Eve Best living up to her name, S. Epatha Merkerson turning in a surprisingly tender performance and the excellent Amy Morton going toe to toe with Deanna Dunagan in the year's best play.
Ultimately, it's Dunagan's breathtaking performance as the drug-addled matriarch Violet who should win the day. As I noted at the end of the last year, she gave one sensational, bravura performance for the ages.
Best Performance by a Leading Actor in a Musical Daniel Evans - Sunday In The Park With George Lin-Manuel Miranda - In The Heights Stew - Passing Strange Paulo Szot - Rodgers & Hammerstein’s South Pacific Tom Wopat - A Catered Affair
Should Win: Paulo Szot - Rodgers & Hammerstein's South Pacific
As wondrous a Broadway debut as Daniel Evans offered and as nuanced a performance as Tom Wopat gave, it was South Pacific's Paulo Szot who singlehandedly delivered one enchanted evening, bringing on the tears through his rendition of "This Nearly Was Mine."
As the consummate leading man, Szot also has proven once and for all that the world of opera isn't quite so far away from that of theatre. Let's hope he makes it a habit.
Best Performance by a Leading Actress in a Musical Kerry Butler - Xanadu Patti LuPone - Gypsy Kelli O’Hara - Rodgers & Hammerstein’s South Pacific Faith Prince - A Catered Affair Jenna Russell - Sunday In The Park With George
What is it about the ladies, anyway?! And I mean that with the utmost respect.
By far the most competitive category with powerhouse performances through and through, all are deserving of the Tony. But this is no ordinary year, and since Gypsy is no ordinary musical, one performance managed to eclipse the rest: Patti LuPone as a Rose who was at once sympathetic, conniving, sexy, funny, tragic and repulsive all at the same time. Brava, Patti! Brava!
Best Performance by a Featured Actor in a Play Bobby Cannavale - Mauritius Raúl Esparza - The Homecoming Conleth Hill - The Seafarer Jim Norton - The Seafarer David Pittu - Is He Dead?
I realize that there may be a sympathy vote out there for Raúl Esparza, whom many (including me) feel got gypped out of a Tony last year. Indeed, as great as his slithery performance in The Homecoming was, if Tony voters are serious about awarding the best performance of this year, they really need to choose between Conleth Hill and Jim Norton of The Seafarer.
My pick is the breathtaking Jim Norton, who more than convinced me he had literally drunk himself blind. There's a reason why his performance was earlier awarded with an Olivier. It was superb.
Best Performance by a Featured Actress in a Play Sinead Cusack - Rock ‘N’ Roll Mary McCormack - Boeing-Boeing Laurie Metcalf - November Martha Plimpton - Top Girls Rondi Reed - August: Osage County
In yet another competitive category for actresses, it's easy to think that if Rondi Reed wins, it'll be because of the strong pull of the tide from the August: Osage County juggernaut.
But her Mattie Fae is so deliciously complex and real and flat-out funny thanks to Reed's outstanding performance that you'd be forgiven for thinking of her as your favorite crazy aunt. Reed offers one of the year's best performances.
Best Performance by a Featured Actor in a Musical Daniel Breaker - Passing Strange Danny Burstein - Rodgers & Hammerstein’s South Pacific Robin De Jesús - In The Heights Christopher Fitzgerald - Young Frankenstein Boyd Gaines - Gypsy
Among the men, this should be the most competitive category -- I certainly enjoyed each of the outstanding performances offered by the actors above.
But one actor breaking away from the rest of the pack is Passing Strange's Daniel Breaker, whose astonishing breakthrough role of Youth blew me away. Breaker conveys volumes with a simple roll of his eyes and displays a natural presence found far too infrequently on the stage. He made Passing Strange come alive.
Best Performance by a Featured Actress in a Musical de’Adre Aziza - Passing Strange Laura Benanti - Gypsy Andrea Martin - The New Mel Brooks Musical Young Frankenstein Olga Merediz - In The Heights Loretta Ables Sayre - Rodgers & Hammerstein’s South Pacific
Hands down, this award belongs to Laura Benanti in her best, most poignant performance yet.
As Louise, Benanti begins as a doe-eyed innocent, always eager to please, never fathoming her hidden talents or beauty. To watch her transition to the world's most famous stripper is to witness a major star claiming her rightful place in the spotlight.
Next up: my picks for the creative design awards.
Whoopi Goldberg hosts the 2008 Tony Awards on Sunday, June 15. The CBS broadcast begins at 8 p.m. EDT.
With less than two weeks to go before the American Theatre Wing’s 62nd annual Tony Awards ceremonies honor the best of Broadway's 2007-08 Theatrical Season, I'm going to offer a little bit of prognosticating on whom I believe should win.
First up are my picks for best shows, as well as for musical book and score.
As previously mentioned, this is the first year in which I've seen every nominated work and performance. So while I'm no theatre professional, I profess to having an opinion on every last category. Let me know if you agree on whom you believe should win (vs. those you think actually will).
Here are the nominees and my picks:
Best Play August: Osage County -Author: Tracy Letts Rock ‘N’ Roll - Author: Tom Stoppard The Seafarer - Author: Conor McPherson The 39 Steps - Author: Patrick Barlow
In a field crowded with plenty of heart, Passing Strange offers the biggest one of all in telling the infinitely smart and hip story of musician Stew's formative years all in his effort to be "real."
What can I say? I love this show and its gorgeous score still plays in my head long after I saw it.
Had A Catered Affair been nominated, it would have been a close call for me, but Passing Strange is my favorite new musical of the year.
Best Book of a Musical Cry-Baby - Mark O’Donnell and Thomas Meehan In The Heights - Quiara Alegría Hudes Passing Strange - Stew Xanadu - Douglas Carter Beane
Should Win: Passing Strange - Stew
To anyone wondering whether this musical tells a story, the answer is "YES!" And a pretty profound one at that.
Lest the advertising and marketing campaign has soured you on this show before you even had a chance to see it, take note. This is a great musical with a great story.
Had Xanadu not been all muddled near the end, it could have skated by Passing Strange.
Best Original Score Music and/or Lyrics Written for the Theatre Cry-Baby - Music & Lyrics: David Javerbaum & Adam Schlesinger In The Heights - Music & Lyrics: Lin-Manuel Miranda The Little Mermaid - Music: Alan Menken, Lyrics: Howard Ashman and Glenn Slater Passing Strange - Music: Stew and Heidi Rodewald, Lyrics: Stew
Should Win: Passing Strange - Music: Stew and Heidi Rodewald, Lyrics: Stew
I've had one dear friend question whether this is really a musical. Again, I fear that the ill-conceived marketing campaign has taken its toll at the box office.
But ostensibly, this is a musical through and through with the best new score of the year with lyrics that are among the most witty and intelligent offered by any show in years. Among its competition, In The Heights comes the closest.
Best Revival of a Play Boeing-Boeing The Homecoming Les Liaisons Dangereuses Macbeth
In a category in which three of my favorite revivals of plays were not even nominated (Cymbeline, Pygmalion, A Bronx Tale), I was heartened to see at least one of my picks up for the award.
Boeing-Boeing may not win due to a curse on comedies. But don't for one minute think these actors aren't working every bit as hard as those in the other shows. It is the funniest show currently on Broadway.
If I had to choose an alternate pick, it would be The Homecoming thanks largely to its top drawer acting.
Best Revival of a Musical Grease Gypsy Rodgers & Hammerstein’s South Pacific Sunday In The Park With George
In any normal year, you'd likely never have to choose among three truly outstanding revivals in this category. Grease is the only smudge on this astonishing category.
As beautiful as I found South Pacific and Sunday In The Park With George, I was completely swept away by the artistry involved in this latest revival of Gypsy. Maybe it's because I've now seen it more than any other musical, but I've also never seen each of its characters more fully realized than those in this amazing incarnation.
Next up: my picks for the acting awards.
Whoopi Goldberg hosts the 2008 Tony Awards on Sunday, June 15. The CBS broadcast begins at 8 p.m. EDT.
Now, before I launch into which Broadway shows would get my Tony vote if I couldactually vote and my own prognostications on who will win, here’s how the best of the best rank in my personal countdown of the “10 Best” theatrical productions I saw over the course of this exciting 2007-08 Theatrical Season:
Venue: Off-Broadway's New York City Center, Manhattan Theatre Club, New York, NY
Top 10 Worthiness: Liz Flahive's poignant, yet darkly funny From Up Here provided a heaping healthy dose of what troubled teens need more than anything else: hope.
Venue: Broadway's Vivian Beaumont Theatre, Lincoln Center, New York, NY
Top 10 Worthiness: From the moment Ted Sperling cues his 30-piece orchestra, commencing the initial swells from the overture for one of Richard Rodgers and Oscar Hammerstein II's most beloved musical scores, it's clear that this Bartlett Sher-helmed South Pacific is going to be a truly majestic revival.
Top 10 Worthiness: Two words ... Jennifer Holliday reprising her quintessential Effie Melody White in Atlanta's glorious revival of Dreamgirls, which offered up some truly magical and electrifying performances from start to finish.
Exceptional Standout Performances: Jennifer Holliday and David Jennings.
Venue: Broadway's Vivian Beaumont Theatre, Lincoln Center, New York, NY
Top 10 Worthiness: Lincoln Center's starry revival of William Shakespeare's celestial Cymbeline sent an unexpected, yet definable chill of delight shooting down my spine, thanks to Mark Lamos' brilliant, sparkling vision.
Venue: Broadway's Walter Kerr Theatre, New York, NY
Top 10 Worthiness: Like a rare vintage wine that deserves to be sipped and savored, the seriously sublime A Catered Affair opens up across the tastebuds into a glorious bouquet making this beautifully-acted, earnest chamber musical, rich with integrity, very intoxicating.
Top 10 Worthiness: I blew my mind out with the excellent The Beatles Love, which roundly serves as the ultimate showcase for the catalogue of The Beatles via the best Cirque du Soleil production I have yet to witness.
Exceptional Standout Performances: The entire troupe from Cirque du Soleil and those Four Lads from Liverpool.
Top 10 Worthiness: Passing Strangewas not only the year's most cosmic, most unusual and most unexpected new musical, it was also real, full of heart and simply the best new tuner to hit Broadway all year.
Suddenly, highfalutin words like "excellent," "superb" and "top-notch" just don't seem sufficient enough to adequately describe the unique, exhilarating experience of seeing Arthur Laurents' incredible and thoroughly entertaining revival of Gypsy, which is most definitely a performance for the ages. This is the best musical, period, of the year.
Venues: Downstairs Theatre, Steppenwolf, Chicago, IL; Broadway's Imperial Theatre, New York, NY; Broadway's Music Box Theatre, New York, NY (present)
Tracy Letts' Pulitzer Prize-winning masterpiece August: Osage Countyrates as the best-written, best-acted play I've ever seen at Chicago's Steppenwolf and among the top five plays I've ever seen performed anywhere, anytime. Anna D. Shapiro's direction has made this a razor-sharp, whip-smart American classic. Without a doubt, this is the best show of the year, and it will win the Tony for Best Play.
Status: Open-ended run, now playing the Music Box Theatre on Broadway.
SOB Review Rating: **** (out of ****)
What shows would be on your top ten list? Do you think I've completely missed the boat, or would your choices largely mirror mine? I invite you to join the discussion and post your comments here.
Rain: A Tribute To The Beatles Limited run extended through May 31, 2011 (Show will go on hiatus starting January 15 and reopen at Brooks Atkinson Theatre on February 8)
Rock Of Ages - Open-ended run (Show will go on hiatus starting January 9 and reopen at Helen Hayes Theatre in March)
As someone who has been involved in both politics and public relations, it's no wonder I love watching theatre. Good or bad, it's the raw energy of seeing a live performance that gets my adrenaline pumping. From the moment I saw my very first Broadway show ("Annie" in London in 1979), I was hooked. Now I see as many as 70 shows each year ranging from soaring musicals to two-hander plays. And these eyes just may be in an audience near you!
