Steve On Broadway (SOB)

Broadway: What Shows Are Closing?

Broadway: What Shows Are Closing?

Good thing I didn't make a bet to eat my Next Fall Playbill if it didn't post closing notices.

A couple days ago, I had predicted that due to its lackluster box office performance in the already tiny Helen Hayes Theatre coupled with no Tony wins that it would likely shutter soon. But its producers say, for now anyway, that it's their goal to remain open through summer.

UPDATE (June 23, 2010) - Next Fall has posted its closing notice for July 4.

So what shows are closing?

So far, none as a direct result of Sunday night's Tony Awards.

In fact, this year's Best Play Red announced just yesterday that its limited run would close as scheduled on June 27, which is really too bad because it offers those fortunate enough to see it two of the year's most magnificent stage performances (Alfred Molina and Eddie Redmayne). That is, unless you count those being offered over at the Cort Theatre for this year's Best Revival of a Play Fences with the two other stellar performances (Denzel Washington and particularly Viola Davis). Fences currently remains on schedule to close its limited engagement on July 11.

But here is the full list of Broadway shows currently scheduled to close:

June 27, 2010:

Hair - Al Hirschfeld Theatre

(SOB Review: *** out of ****)

On June 9, it was announced that the 2009 Tony Award-winning Best Revival of a Music otherwise known as "The American Tribal Love Rock Musical" would shutter on June 27, 2010, after 29 previews and 519 regular performances (over and above those Hair extensions in Central Park during the summer of 2008).

Most of this revival of Hair's original cast may be seen in London through September 4. Plus, a tour commences this October at the Shubert Performing Arts Center in New Haven, Connecticut.


Red - John Golden Theatre

(SOB Review: **** out of ****)

An import from London's Donmar Warehouse, this year's Tony Award-winning Best Play has only been scheduled for a very limited run. That engagement will conclude as scheduled on June 27, 2010. Red will have played 22 previews and 101 regular performances.

Look for John Logan's work to be mounted by regional theatres throughout the United States over the next couple years, albeit with different direction and casts.


Sondheim On Sondheim - Studio 54

(SOB Review: **1/2 out of ****)

This limited engagement initially was set to finish this past Sunday but was extended by two weeks. When it closes on June 27, 2010, this revue will have played 37 previews and 76 regular performances.

As for a life beyond? Unless there's a tour, which seems highly unlikely, it's hard to imagine regional mountings given how a major portion of the show incorporates Stephen Sondheim's own words via video. Plus, there are already several other Sondheim songbook revues out there.

July 11, 2010:

Everyday Rapture - American Airlines Theatre

(SOB Review: *** out of ****)

The last-minute, surprise hit run that managed to garner Tony nominations has always been a limited run and is scheduled to close on July 11, 2010. When it shutters, Everyday Rapture will have played 11 previews and 85 regular performances.

Although Sherie Rene Scott is portraying a semi-fictionalized version of herself, there's no reason why enterprising regional theatre companies couldn't pick up this show a la Hunter Bell and Jeff Bowen's semi-autobiographical [title of show]. Yet Scott herself seems to be keeping the door open to returning to her character for a tour, although "it wouldn't be for another year."

Fences - Cort Theatre

(SOB Review: ***1/2 out of ****)

Director Kenny Leon's camp at this year's Tony-winning Best Revival of a Play has been so silent over the past few days that you can't help but wonder if they're secretly working toward extending their limited run past July 11, 2010, which is nearly sold out. Or are they waiting to announce something else like a new cast and/or a tour?

If the show closes as scheduled, it will have enjoyed 13 previews and a mere 80 regular performances. But why do I have this hunch....


August 15, 2010:

Lend Me A Tenor - Music Box Theatre

(SOB Review: ***1/2 out of ****)

The single most hilarious Broadway show I saw all year was initially an open-ended run. But on May 21, a closing notice was posted for August 15, 2010, which marks the end-date for its ensemble's contracts. Tony-nominated for Best Revival of a Play, Lend Me A Tenor will have played 25 previews and 153 regular performances.

There's no word on any plans for this production beyond Broadway, but Ken Ludwig's farce is already regularly mounted by regional and community theatres.


August 21, 2010:

Race - Ethel Barrymore Theatre

(SOB Review: *1/2 out of ****)

Yesterday, Eddie Izzard, Dennis Haysbert and Afton C. Williamson join the cast of this David Mamet play as replacements for James Spader, David Alan Grier and Kerry Washington, respectively (Richard Thomas remains). Currently, the show is scheduled to close August 21, 2010, after 23 previews and 297 regular performances.

Although the show has already recouped its initial investment, don't be surprised to see it close earlier if the box office doesn't experience a bounce from its new cast.


August 22, 2010:

South Pacific - Vivian Beaumont Theatre

(SOB Review: ***1/2 out of ****)

On February 19, it was announced that this 2008 Tony Award-winning Best Revival of a Musical would close on August 22, 2010. But when it does, it will have played 37 previews and 1,000 regular performances. The show will go out with a bang as original cast member Kelli O'Hara returns August 10 and again appears opposite Tony-winner Paulo Szot (rumors that Matthew Morrison may also return remain just that -- rumors).

Earlier this year, I caught the South Pacific national tour and I can tell you that it is nearly as good in every way as the Broadway mounting; that tour will last through 2011. Additionally, when the closing notice was posted, it was also announced that there are plans to bring the production to London and Australia.

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, Closing Notices, Closings, Everyday Rapture, Fences, Hair, Lend Me A Tenor, Next Fall, Race, Red, Sondheim On Sonheim, South Pacific

posted by Steve On Broadway (SOB) @ Wednesday, June 16, 2010 7 comments

You've Got To be Carefully Taught - Part 2

You've Got To Be Carefully Taught - Part 2

Regular Steve On Broadway readers may recall that last summer, I offered a tribute to Sonia Simonsen, the excellent teacher who not only taught music in my high school, but also directed me in my one big stage outing.

Well, look what has surfaced after over 32 years. Photos from the way back machine!

Courtesy of classmate Cynthia James DeVore, these are the only three photographs I have of my one and only musical effort back in high school. I portrayed Lt. Joe Cable in a production of South Pacific in 1977 at Homestead High School, Mequon, Wisconsin.

In the first photo, my expressionless face is looking at Pam McNeil Elgin as Bloody Mary. She's no doubt telling me about what a "sexy lieutellen" I am and how she'd like to hook me up with her daughter Liat.

Now, Pam could act!

In the second picture, my expression-less face is "respond-ing" to Michael Silhol as Cmdr. William Harbison.

Michael clearly had great chops as an actor. Just look at his face. And that pointed arm movement!

But given I have about the same look and body position as I did in the first photo, I'm not so sure about me! Although I do remember one night when the three of us in this particular scene cracked up laughing by a stage mishap.

The more obscured third photo is from my love scene with Liat.

At least it doesn't show me just gazing.

The final photo is not of me. It's of classmates Darrell Smith (Stewpot) and John Shanahan (Luther Billis).

That snapshot helps me bring this post full circle to current times. A week from Saturday, I'll be back in Las Vegas. I'm going to be in one of the final audiences for Bette Midler's The Showgirl Must Go On at The Colosseum in Caesar's Palace. I'm a huge, huge Bette Midler fan, but the real reason I'm going? It's to see Darrell Smith perform his keyboard magic as part of the Divine Miss M's band.

Darrell was one of my best friends in high school. In addition to being a great friend, I'll always remember him as one of the most gifted classmates I ever had. He wrote some of the most amazing music I ever heard, even way back in the day. To be honest, I could listen to him tinkling the ivories for hours on end. He was, and is, that good. He certainly taught me a thing or two about performing and timing.

You may not know Darrell Smith's name, but given some of the biggest names in entertainment he's played keyboards for, you really should. Now, next weekend, I'll get to hear him play live once again for only the second time since leaving high school -- my first chance to see him perform was during one of Cher's early "Farewell" concerts back in 1999.

It'll be great to see this old friend up on stage with one of our greatest contemporary entertainers. See you next weekend, Darrell!

This is Steve On Broadway (SOB).

Labels: Bette Midler, Cher, Darrell Smith, Sonia Simonsen, South Pacific

posted by Steve On Broadway (SOB) @ Thursday, January 07, 2010 4 comments

You've Got To Be Carefully Taught

You've Got To Be Carefully Taught

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!

This is Steve On Broadway (SOB).

Labels: Gypsy, Homestead High School, Mequon, Reunion, Sonia Simonsen, South Pacific, Wisconsin

posted by Steve On Broadway (SOB) @ Monday, July 13, 2009 3 comments

Grammy Heights

Grammy Heights

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.

Kurt Deutsch, Alex Lacamoire, Andrés Levin, Lin-Manuel Miranda (also composer of the score), Joel Moss and Bill Sherman were honored as producers of the recording.

In The Heights beat out Gypsy, South Pacific, The Little Mermaid and 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.

This is Steve On Broadway (SOB).

Labels: Broadway, Grammy Awards, Gypsy, In The Heights, Lin-Manuel Miranda, South Pacific, The Little Mermaid, Young Frankenstein

posted by Steve On Broadway (SOB) @ Monday, February 09, 2009 1 comments

Time Picks Billy Elliot As Year's Best

Time Picks Billy Elliot As Year's Best

Labels: All My Sons, Best Of Lists, Billy Elliot The Musical, Black Watch, Blasted, Farragut North, Hair, Reasons To Be Pretty, South Pacific, The Little Mermaid, The Visit, Time

posted by Steve On Broadway (SOB) @ Thursday, December 11, 2008 4 comments

In The Pursuit Of (Theatrical) Happiness

In The Pursuit Of (Theatrical) Happiness

In observance of this, the 232nd birthday for the United States of America, I'm taking this national holiday off.

But if you're in New York and feeling particularly patriotic, yet still wish to see a great Broadway show, here are my picks for the shows that will make you proud to be an American:

In The Heights - What could be better than a Tony-winning Best Musical that celebrates the incredible melting pot that is America? And with its first act showstopping number "The Club/Fireworks" that specifically celebrates Independence Day, this is a quintessential American musical. (Ironically, this show is dark on July 4, but it's open for business the rest of the holiday weekend.)

August: Osage County - Finally, a contemporary American play that's both a critical and commercial success. And Time magazine's top play of the past year. And a Pulitzer Prize winner. And the winner of the Tony for Best Play. Playwright Tracy Letts summed it up best in his acceptance speech by noting wryly about its producers, "They did an amazing thing. They decided to produce an American play on Broadway with theatre actors." Amen. (The July 4 performance begins at 7:30 p.m. EDT.)

Hairspray - John Waters' 2003 Tony Award-winning Best Musical remains, in essence, a glorious paean to the American spirit and ability to right itself. Despite its 1962 setting, it remains a hopeful show for our nation's very future. (The July 4 performance begins at 3:00 p.m. EDT.)

South Pacific - As we continue to lose the last of our "greatest generation," this gorgeous Tony Award-winning Best Revival of a Musical reminds us why these heroic men and women are held in such high esteem historically. This ultimate All-American Rodgers and Hammerstein tuner may just make you want to stand up and cheer. (The July 4 performance begins at 8:00 p.m. EDT.)

Thurgood - There's one Broadway show that not only honors one of the 20th Century's most important patriots, but it serves as an excellent history lesson, too. This riveting one-man show respects the achievements of our nation's first African-American Supreme Court Justice and his enormous contributions toward racial equality and the pursuit of happiness for all Americans. (The July 4 performance begins at 8:00 p.m. EDT.)

Happy Independence Day!

This is Steve On Broadway (SOB).

Labels: August Osage County, Broadway, Hairspray, In The Heights, Independence Day, South Pacific, Special Messages, Thurgood

posted by Steve On Broadway (SOB) @ Friday, July 04, 2008 2 comments

SOB's 2008 Tony Picks - Part III

SOB's 2008 Tony Picks - Part III

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

Should Win: Scott Pask - Les Liaisons Dangereuses

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

Should Win: David Farley and Timothy Bird & The Knifedge Creative Network - Sunday In The Park With George

In a field crowded with very worthy nominees (yes, including Young 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

Should Win: Rob Howell - Boeing-Boeing

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

Should Win: 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

Should Win: Donald Holder - Rodgers & Hammerstein's South Pacific

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

Should Win: 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

Should Win: Scott Lehrer - Rodgers & Hammerstein's South Pacific

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

Should Win: Alex Lacamoire & Bill Sherman - In The Heights

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

Should Win: 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's brilliant 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

Should Win: Anna D. Shapiro - August: Osage County

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

Barlett Sher - 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.

This is Steve On Broadway (SOB).

Related Stories:
SOB's 2008 Tony Picks - Part II (June 5, 2008)
SOB's 2008 Tony Picks - Part I (June 4, 2008)
And The Tony Nominees Go To... (May 12, 2008)

Labels: August Osage County, Boeing-Boeing, Gypsy, In The Heights, Les Liaisons Dangereuses, South Pacific, Sunday In The Park With George, The 39 Steps, Tony Awards, Xanadu

posted by Steve On Broadway (SOB) @ Friday, June 06, 2008 4 comments

SOB's 2008 Tony Picks - Part II

SOB's 2008 Tony Picks - Part II

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

Should Win: Mark Rylance - Boeing-Boeing

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

Should Win: Deanna Dunagan - 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

Should Win: Patti LuPone - Gypsy

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?

Should Win: Jim Norton - The Seafarer

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

Should Win: 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

Should Win: Daniel Breaker - Passing Strange

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

Should Win: Laura Benanti - Gypsy

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.

This is Steve On Broadway (SOB).

Related Stories:
SOB's 2008 Tony Picks - Part I (June 4, 2008)
And The Tony Nominees Go To... (May 12, 2008)

Labels: August Osage County, Boeing-Boeing, Daniel Breaker, Deanna Dunagan, Gypsy, Jim Norton, Laura Benanti, Mark Rylance, Passing Strange, Patti LuPone, Paulo Szot, Rondi Reed, South Pacific, Tony Awards

posted by Steve On Broadway (SOB) @ Thursday, June 05, 2008 5 comments

SOB's Best Of 2007-08: Top Ten Of The Year

SOB’s Best Of 2007-08: Top Ten Of The Year

Over the past week and a half, I've offered up my "Best Of" lists for each of the five major stage categories observed by the Tony Awards, including Best Special Theatrical Events, Best Musical Revivals, Best Play Revivals, Best New Musicals and Best New Plays.

Now, before I launch into which Broadway shows would get my Tony vote if I could actually 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:

10 - From Up Here

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.

Exceptional Standout Performances: Tobias Segal and Julie White.

Status: Closes June 8. Go see it. Now!

SOB Review Rating: ***1/2 (out of ****)


9 - The Seafarer

Venue: Broadway's Booth Theatre, New York, NY

Top 10 Worthiness: Conor McPherson's chilling, mesmerizing and often funny The Seafarer was one helluva good morality play that came up all aces.

Exceptional Standout Performances: Jim Norton and Conleth Hill.

Status: Closed, but look for regional theatre companies, including Chicago's Steppenwolf, to mount productions over the next year.

SOB Review Rating: ***1/2 (out of ****)


8 - South Pacific

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.

Exceptional Standout Performances: Paulo Szot and Kelli O'Hara

Status: Originally slated for limited run through June, but has since become an open-ended run. National tour is in the works.

SOB Review Rating: ***1/2 (out of ****)


7 - Dreamgirls

Venue: Fox Theatre, Atlanta, GA

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.

Status: Closed.

SOB Review Rating: **** (out of ****)


6 - Cymbeline

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.

Exceptional Standout Performances: Martha Plimpton, John Cullum and Paul O'Brien.

Status: Closed.

SOB Review Rating: **** (out of ****)


5 - A Catered Affair

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.

Exceptional Standout Performances: Faith Prince, Leslie Kritzer and Tom Wopat

Status: Open-ended run.

SOB Review Rating: **** (out of ****)


4 - The Beatles Love

Venue: Love Theatre, Mirage, Las Vegas, NV

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.

Status: Open-ended run.

SOB Review Rating: **** (out of ****)


3 - Passing Strange

Venue: Broadway's Belasco Theatre, New York, NY

Top 10 Worthiness: Passing Strange was 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.

Exceptional Standout Performances: Stew and Daniel Breaker.

Status: Open-ended run.

SOB Review Rating: **** (out of ****)


2 - Gypsy

Venue: Broadway's St. James Theatre, New York, NY

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.

Exceptional Standout Performances: Patti LuPone, Laura Benanti and Boyd Gaines.

Status: Open-ended run.

SOB Review Rating: **** (out of ****)

1 - August: Osage County

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 County rates 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.

Exceptional Standout Performances: Deanna Dunagan, Amy Morton, Rondi Reed and Francis Guinan.

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.

This is Steve On Broadway (SOB).

Related Stories:
SOB's Best Of 2007-08: Best New Plays (May 30, 2008)
SOB's Best Of 2007-08: Best New Musicals (May 29, 2008)
SOB's Best Of 2007-08: Best Revivals Of Musicals (May 28, 2008)
SOB's Best Of 2007-08: Best Revivals Of Plays (May 27, 2008)
SOB's Best Of 2007-08: Best Special Theatrical Events (May 24, 2008)
The SOB Five "Worst" Of 2007-08 (May 23, 2008)
SOB's Best & Worst Of 2007-08 Theatre Season (May 22, 2008)
SOB's Best Of 2006-07: Top Ten Of The Year (June 4, 2007)
SOB's Best Of 2006-07: Best New Musicals (May 22, 2007)
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)

Labels: A Catered Affair, August Osage County, Broadway, Cymbeline, Dreamgirls, From Up Here, Gypsy, Passing Strange, SOB's Best of 2007-08, South Pacific, The Beatles Love, The Seafarer

posted by Steve On Broadway (SOB) @ Monday, June 02, 2008 15 comments