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Thursday, September 17, 2009
Thursday, September 03, 2009
Return to NYC
So I'm back in NYC, have been for a few days now. It's been a really nice transition, especially since I have no roommate and all. I'm easing back into most things school related, although not theatre-going. No, siree. I did see some stuff in Rochester while I was home, but boy did I miss the variety and quality that NYC has to offer. Since I've been back, I've seen 2 plays and a movie of a play, and that's in 5 days. Yeah. Here's my thoughts:
The Bacchae (Shakespeare in the Park)
Well, it was certainly an experience. This is my first time seeing a show at the Delacorte, and although I had my difficulties getting there (it was quite an adventure relearning the subway system on my first day back, and THEN figuring out how to navigate Central Park. Can you believe I never went all last year?!) I had won the virtual line, but had gotten there to late to claim them, but I waited in the standby line and ended up getting tickets, and probably would have no matter what time I had gotten there, since there were still empty seats behind me. The experience of it all was very nice, the weather was beautiful and the park created a very nice ambiance to help me ease myself back into city life and theatregoing.
The show itself was a mixed bag. The Bacchae is very Greek, and I knew that going in, so I was expecting the minimal action and long monologues. And most of the individual performances were very good, especially Rocco Sisto and Andre DeShields, who each had a brief part, but really sold it well. Jonathan Groff was servicable and played much of the material uniquely, but overall, did not make that much of an impression. But the real problems with the show lay in the Chorus and its use of music. This version featured a brand new score by well known experimental composer Phillip Glass, and while there were some moments of transcendence (I really loved the exit music's use of changing time signatures), much of the music sounded repetitive and dull, often seeming weird for the sake of being weird. And because of this, it was very difficult to concentrate on whatever the chorus was saying, you really couldn't catch the words underneath the music, and therefore lost much of the reflection and meaning in the play.
Also, on a slightly unrelated note, there was some commotion in the audience, which may or may not have been related to the famous group of raccoons that live around the Delacorte, that fell during a crucial moment of the play which caused the whole audience to lose focus. There was no regaining it for the last 10 minutes or so, and I think the overall play suffered from this distraction, through no fault of its own.
9 to 5
Tuesday I won the lotto to go see 9 to 5 at the Marquis on Broadway. It was certainly a lot of fun, and had some great musical moments, but I found the book to be very lacking, and while it was humorous, the plot was kind of a mess. There were some great performances, though, particularly the 2 Tony nominees, Allison Janney and Marc Kudisch. They really know how to get the laughs going, and made the show much better than it should've been. Sorry to see this one closing so early, it deserved to run at least a full year.
Passing Strange
And then, this evening, I had the pleasure of going to the IFC Center and viewing Spike Lee's filming of the musical Passing Strange, the experimental rock musical written by musician's Stew and Heidi Rodewald. And boy, is it an experience. It's basically about what it is to grow up wanting to be an artist, and the power that one can make art have. And it is brilliant. I really do think that this is the first rock musical that I have seen that is actually grown up and adult with mature and difficult themes and a complex sensibility. It's a show that I can't wait to see again (probably when it airs on PBS in the next year or so) and it's a show that you want to share with your friends. It's truly an extraordinary achievement in terms of writing, definitely earning that Best Book Tony last year, and then the amazing performances from the tight ensemble just elevate it to a nearly perfect level. It's totally challenging and self-reflecting and just gives you something to THINK about, which is always so great to see in a musical.
The filming itself is beautiful, and Spike Lee really understood the message of the piece. The fact that most of it (I think) was from the final performance just means that the crowd was totally with the show and the performers are really giving it all (if you have any doubt just look at the sweat coming off of Coleman Domingo). There's a moment right after the curtain call where Stew, who's been narrating the show and providing commentary throughout, steps forward toward the cheering crowd, and the band's going crazy and he just takes it all in, and it really shows you the humbling power that you have when you make great art that really says something about the world. He goes on to kiss and embrace every person who's on that stage with them, and you can just feel the power of the collaboration. If you get a chance to see this taping, please do so without any hesitation. Just go in with an open mind and you will be thinking about it for hours afterwords, at least.
Well, that covers my entertainment news since I've been back in NYC. Hope you enjoyed reading it, and I do look forward to blogging more as I see more stuff throughout the year, hopefully writing here fairly regularly, assuming school doesn't get too much in the way. And I'm also tossing around the idea of doing entries on here that have to do with my exciting new vlogging project that's coming soon, so I'll keep you updated on that!
The Bacchae (Shakespeare in the Park)
Well, it was certainly an experience. This is my first time seeing a show at the Delacorte, and although I had my difficulties getting there (it was quite an adventure relearning the subway system on my first day back, and THEN figuring out how to navigate Central Park. Can you believe I never went all last year?!) I had won the virtual line, but had gotten there to late to claim them, but I waited in the standby line and ended up getting tickets, and probably would have no matter what time I had gotten there, since there were still empty seats behind me. The experience of it all was very nice, the weather was beautiful and the park created a very nice ambiance to help me ease myself back into city life and theatregoing.
The show itself was a mixed bag. The Bacchae is very Greek, and I knew that going in, so I was expecting the minimal action and long monologues. And most of the individual performances were very good, especially Rocco Sisto and Andre DeShields, who each had a brief part, but really sold it well. Jonathan Groff was servicable and played much of the material uniquely, but overall, did not make that much of an impression. But the real problems with the show lay in the Chorus and its use of music. This version featured a brand new score by well known experimental composer Phillip Glass, and while there were some moments of transcendence (I really loved the exit music's use of changing time signatures), much of the music sounded repetitive and dull, often seeming weird for the sake of being weird. And because of this, it was very difficult to concentrate on whatever the chorus was saying, you really couldn't catch the words underneath the music, and therefore lost much of the reflection and meaning in the play.
Also, on a slightly unrelated note, there was some commotion in the audience, which may or may not have been related to the famous group of raccoons that live around the Delacorte, that fell during a crucial moment of the play which caused the whole audience to lose focus. There was no regaining it for the last 10 minutes or so, and I think the overall play suffered from this distraction, through no fault of its own.
9 to 5
Tuesday I won the lotto to go see 9 to 5 at the Marquis on Broadway. It was certainly a lot of fun, and had some great musical moments, but I found the book to be very lacking, and while it was humorous, the plot was kind of a mess. There were some great performances, though, particularly the 2 Tony nominees, Allison Janney and Marc Kudisch. They really know how to get the laughs going, and made the show much better than it should've been. Sorry to see this one closing so early, it deserved to run at least a full year.
Passing Strange
And then, this evening, I had the pleasure of going to the IFC Center and viewing Spike Lee's filming of the musical Passing Strange, the experimental rock musical written by musician's Stew and Heidi Rodewald. And boy, is it an experience. It's basically about what it is to grow up wanting to be an artist, and the power that one can make art have. And it is brilliant. I really do think that this is the first rock musical that I have seen that is actually grown up and adult with mature and difficult themes and a complex sensibility. It's a show that I can't wait to see again (probably when it airs on PBS in the next year or so) and it's a show that you want to share with your friends. It's truly an extraordinary achievement in terms of writing, definitely earning that Best Book Tony last year, and then the amazing performances from the tight ensemble just elevate it to a nearly perfect level. It's totally challenging and self-reflecting and just gives you something to THINK about, which is always so great to see in a musical.
The filming itself is beautiful, and Spike Lee really understood the message of the piece. The fact that most of it (I think) was from the final performance just means that the crowd was totally with the show and the performers are really giving it all (if you have any doubt just look at the sweat coming off of Coleman Domingo). There's a moment right after the curtain call where Stew, who's been narrating the show and providing commentary throughout, steps forward toward the cheering crowd, and the band's going crazy and he just takes it all in, and it really shows you the humbling power that you have when you make great art that really says something about the world. He goes on to kiss and embrace every person who's on that stage with them, and you can just feel the power of the collaboration. If you get a chance to see this taping, please do so without any hesitation. Just go in with an open mind and you will be thinking about it for hours afterwords, at least.
Well, that covers my entertainment news since I've been back in NYC. Hope you enjoyed reading it, and I do look forward to blogging more as I see more stuff throughout the year, hopefully writing here fairly regularly, assuming school doesn't get too much in the way. And I'm also tossing around the idea of doing entries on here that have to do with my exciting new vlogging project that's coming soon, so I'll keep you updated on that!
Wednesday, June 10, 2009
Tony Wrap Up: How'd I Do?
Well, the main event has come and passed. The performances have taken place and the winners have collected their trophies (but I think they have to send them back to be engraved with their name, so it may not be in their immediate possession). So before I get to a review and thoughts on the telecast, here's how I did in my predictions.
Overall Production Categories: 5/5
Told you they were very predictable.
Performances: 7/8
The only one I missed was Featured Actor in a Musical, which I thought would go to Christopher Sieber. He had to settle for a shout out in the closing number. My dark horse, Greg Jbara, actually pulled off the award, so I'll give myself half credit for that, for a real total of 7.5/8.
Craft: 8.5/14
That darn tie in orchestrations threw me for a loop, so that's what the .5 up there is for.
I thought Blithe Spirit would get costumes, but my dark horse with Victorian dresses AND a concept, Mary Stuart, won out, so half credit there.
I was completely off on lighting design, as I guessed the Equus win in this category, not sound where it actually won, and my dark horse of 33 Variations didn't get the nod either over Joe Turner.
I underestimated the power of Billy, and didn't think he would get Lighting, so no points there.
Half credit for sound design since Equus was my dark horse over Exit the King.
I pulled the wrong Warchus for play direction, in a very surprising move on the part of the voters, so no credit for me there, since I thought it would be Norman or nothing.
My dark horse in orchestrations was Shrek since they have the biggest orchestra and a varied score, but the scrappy rock stylings of N2N pulled out the tie with Billy.
This makes my real score (with all the half credits added in) 9.5/14. Not bad, especially for my first time out, eh?
And now for the telecast. In a word: WHY? I mean, most of the ideas were good in theory, but if you're going to execute your telecast like that, why even bother trying? I sincerely hope the sound guy had a good excuse for the horrible mixing, because it seems he deprived us of a truly transcendent, thrilling opening number. I even liked the mash ups (and I liked the rock underscored "Bewitched, Bothered, and Bewildered" a surprising amount. I'd buy that track!) and got really excited in parts where everyone was all singing together. But I wasn't truly taken away because of the awful, awful sound mixing. I do also wish we could have gotten a clearer picture of more people when they were all on stage at the end, and that people behind the front row could be properly identified.
Neil Patrick Harris did a good job smoothly piloting, and was often barely noticeable, giving the shows and awards a chance to shine before killing with his hilarious closing number. But all the talented people in the world on that stage could not have saved the telecast from the stranger choices of the directors (swooshing on the memorials? really?) and the strange places where mics were turned up too much or not enough.
Seriously, if you are going to turn the awards into a giant commercial while sacrificing some very important awards (Best Book? Choreography?) to the preshow (hosted by the hilarious Laura Benanti and smooth Brian Stokes Mitchell) please do a good job selling your product. I'm ok with featuring touring companies a bit, to draw in those who may not ever get to NYC, but are interested in the shows in their neck of the woods, but maybe you can feature a bunch of them in their own big medley instead of spreading it out to three performances. That would also save us from having to suffer through 3 verses of Dancing Queen for the umpteenth time, which I would very much support and appreciate.
The Tony Awards have the potential to put on a great show and sell some tickets at the same time. But do please remember that this is about honoring the great work of the past year, so relegating important awards to the preshow and having Jersey Boys perform for the third time in four years isn't always sending the right message. Hopefully you'll get back on track next year. I know I'll be there watching, but if other people don't because of the quality of the telecast this year, I certainly can't blame them.
Overall Production Categories: 5/5
Told you they were very predictable.
Performances: 7/8
The only one I missed was Featured Actor in a Musical, which I thought would go to Christopher Sieber. He had to settle for a shout out in the closing number. My dark horse, Greg Jbara, actually pulled off the award, so I'll give myself half credit for that, for a real total of 7.5/8.
Craft: 8.5/14
That darn tie in orchestrations threw me for a loop, so that's what the .5 up there is for.
I thought Blithe Spirit would get costumes, but my dark horse with Victorian dresses AND a concept, Mary Stuart, won out, so half credit there.
I was completely off on lighting design, as I guessed the Equus win in this category, not sound where it actually won, and my dark horse of 33 Variations didn't get the nod either over Joe Turner.
I underestimated the power of Billy, and didn't think he would get Lighting, so no points there.
Half credit for sound design since Equus was my dark horse over Exit the King.
I pulled the wrong Warchus for play direction, in a very surprising move on the part of the voters, so no credit for me there, since I thought it would be Norman or nothing.
My dark horse in orchestrations was Shrek since they have the biggest orchestra and a varied score, but the scrappy rock stylings of N2N pulled out the tie with Billy.
This makes my real score (with all the half credits added in) 9.5/14. Not bad, especially for my first time out, eh?
And now for the telecast. In a word: WHY? I mean, most of the ideas were good in theory, but if you're going to execute your telecast like that, why even bother trying? I sincerely hope the sound guy had a good excuse for the horrible mixing, because it seems he deprived us of a truly transcendent, thrilling opening number. I even liked the mash ups (and I liked the rock underscored "Bewitched, Bothered, and Bewildered" a surprising amount. I'd buy that track!) and got really excited in parts where everyone was all singing together. But I wasn't truly taken away because of the awful, awful sound mixing. I do also wish we could have gotten a clearer picture of more people when they were all on stage at the end, and that people behind the front row could be properly identified.
Neil Patrick Harris did a good job smoothly piloting, and was often barely noticeable, giving the shows and awards a chance to shine before killing with his hilarious closing number. But all the talented people in the world on that stage could not have saved the telecast from the stranger choices of the directors (swooshing on the memorials? really?) and the strange places where mics were turned up too much or not enough.
Seriously, if you are going to turn the awards into a giant commercial while sacrificing some very important awards (Best Book? Choreography?) to the preshow (hosted by the hilarious Laura Benanti and smooth Brian Stokes Mitchell) please do a good job selling your product. I'm ok with featuring touring companies a bit, to draw in those who may not ever get to NYC, but are interested in the shows in their neck of the woods, but maybe you can feature a bunch of them in their own big medley instead of spreading it out to three performances. That would also save us from having to suffer through 3 verses of Dancing Queen for the umpteenth time, which I would very much support and appreciate.
The Tony Awards have the potential to put on a great show and sell some tickets at the same time. But do please remember that this is about honoring the great work of the past year, so relegating important awards to the preshow and having Jersey Boys perform for the third time in four years isn't always sending the right message. Hopefully you'll get back on track next year. I know I'll be there watching, but if other people don't because of the quality of the telecast this year, I certainly can't blame them.
Friday, June 05, 2009
Tony Predictions Part 3- The Main Events!
So it all comes down to this. The Tonys are days away. All the votes are in (I think, I can't imagine them being due any later than today, since they have to be tabulated before Sunday night), and all that are left for me to predict and complain about are the biggies. The Best productions of the year. In many ways, these are the easiest to predict this year, so this'll probably be a mercifully short post, with little commentary. I'll post a wrap up after the ceremonies to see how I did, and with my thoughts on the show itself, including the talented host Neil Patrick Harris.
Best Play
Dividing the Estate (0 Predicting)
God of Carnage (14 Predicting) W
Reasons to Be Pretty (0 Predicting) S, DH
33 Variations (0 Predicting)
Commentary: The star-studded, sold-out, physical feat that is God of Carnage, written by French author Yasmina Razbek, is definitely the front-runner here. It's a bit of a slight play, but the excellent direction and performances pick it up to make it a reported great deal of fun, and audiences are flocking to it. Reasons is definitely the underdog, but a lot of people feel it is more deserving and the producers are pushing its American author and production team as a plus. Dividing could conceivably pull it out as the last play of Horton Foote, but the show has been closed for a while and is likely out of the voters minds. 33 Variations had a lot of problems and doesn't have the momentum to take it out. I am happy with this batch of nominees, I don't think any other original plays were strong enough this season to take out the nominees.
Best Musical
Billy Elliot, The Musical (14 Predicting) W
Next to Normal (0 Predicting) DH
Rock of Ages (0 Predicting)
Shrek The Musical (0 Predicting) S
Commentary: Billy's had this in the bag from day one. It's the perfect combination of artistic merit and crowd-pleasing tourist-drawing spectacle that there's little opportunity for anyone to sneak in from behind. N2N has all the artistic snobs on its side and would be an upset similar to Avenue Q over Wicked, but Billy does have enough quality in it to appeal to a wide-ranging crowd of voters. Rock of Ages isn't ambitious enough, and Shrek's perceived as too corporate and uneven. I've almost gotten over Rock of Ages being included over [title of show], which just doesn't make sense in terms of artistic merit, but I guess it does on a business level. Heck, I would've been happy to see 9 to 5 or maybe even 13 over Rock of Ages, who is pretty much only on Broadway so that the upcoming film will have a better pedigree. Can you tell I'm bitter?
Best Revival of a Play
Joe Turner’s Come and Gone (1 Predicting) DH
Mary Stuart (0 Predicting)
The Norman Conquests (13 Predicting) W
Waiting for Godot (0 Predicting) S
Commentary: This is by far the years toughest category in terms of coming up with a nomination list. The category could've been twice as big and still left worthy competitors out of the running. Equus, The Seagull, Blithe Spirit, All My Sons, Exit the King, Speed-the-Plow, and Desire Under the Elms all would have been worthy of being in the running, but sadly there's only 4 slots. My picks would have put Exit the King, Godot, All My Sons and (if I had seen it, likely) Norman Conquests, but I have little to complain about in terms of unworthy pieces being in those spots. As far as winning goes, though, it's not much of a contest. Norman is not only impressive on a technical standpoint, artistically it's one of the best productions of the year, and it got unanimous raves from every critic ever, even a few of the dead ones. I personally was not as touched by any show this year more than Godot, but I didn't get to see Norman, so it seems that it will have to be happy as a nominee.
Best Revival of a Musical
Guys and Dolls (0 Predicting)
Hair (14 Predicting) W, S
Pal Joey (0 Predicting)
West Side Story (0 Predicting) DH
Commentary: This is an easy one to call. No other musical this season has been received as joyfully as Hair, and the audiences have been going crazy for the revival of the classic 60s rock musical. Pal Joey and especially Guys and Dolls were only nominated by default, since only 4 musical revivals opened this season, and West Side Story has its detractors, so the sun shines on the talented group behind Hair.
Best Special Theatrical Event
Liza’s at The Palace (11 Predicting) W, S
Slava’s Snowshow (1 Predicting)
Soul of Shaolin (0 Predicting)
You’re Welcome America. A Final Night with George W. Bush (0 Predicting) DH
Commentary: Liza's got this one in the bag, since she's got the hardest work ethic on Broadway and certainly knows how to please all the big theatre fans. Will Ferrell's one man show has a slim chance of overtaking her since it was so successful, but I really don't think that anyone can top Liza in a theatre award, no matter how many times she gets called a communist. (Side note: how awesome would a Liza/Will Ferrell hosted telecast have been? I mean, I love NPH, but that would have been must see TV, right there!)
Well, that about does it for the predictions. I hope you enjoyed my take on things, and that you feel at least a bit better informed about what's going to happen on Sunday night. And I REALLY hope you'll be watching the awards. They could use all the support they can get!
Best Play
Dividing the Estate (0 Predicting)
God of Carnage (14 Predicting) W
Reasons to Be Pretty (0 Predicting) S, DH
33 Variations (0 Predicting)
Commentary: The star-studded, sold-out, physical feat that is God of Carnage, written by French author Yasmina Razbek, is definitely the front-runner here. It's a bit of a slight play, but the excellent direction and performances pick it up to make it a reported great deal of fun, and audiences are flocking to it. Reasons is definitely the underdog, but a lot of people feel it is more deserving and the producers are pushing its American author and production team as a plus. Dividing could conceivably pull it out as the last play of Horton Foote, but the show has been closed for a while and is likely out of the voters minds. 33 Variations had a lot of problems and doesn't have the momentum to take it out. I am happy with this batch of nominees, I don't think any other original plays were strong enough this season to take out the nominees.
Best Musical
Billy Elliot, The Musical (14 Predicting) W
Next to Normal (0 Predicting) DH
Rock of Ages (0 Predicting)
Shrek The Musical (0 Predicting) S
Commentary: Billy's had this in the bag from day one. It's the perfect combination of artistic merit and crowd-pleasing tourist-drawing spectacle that there's little opportunity for anyone to sneak in from behind. N2N has all the artistic snobs on its side and would be an upset similar to Avenue Q over Wicked, but Billy does have enough quality in it to appeal to a wide-ranging crowd of voters. Rock of Ages isn't ambitious enough, and Shrek's perceived as too corporate and uneven. I've almost gotten over Rock of Ages being included over [title of show], which just doesn't make sense in terms of artistic merit, but I guess it does on a business level. Heck, I would've been happy to see 9 to 5 or maybe even 13 over Rock of Ages, who is pretty much only on Broadway so that the upcoming film will have a better pedigree. Can you tell I'm bitter?
Best Revival of a Play
Joe Turner’s Come and Gone (1 Predicting) DH
Mary Stuart (0 Predicting)
The Norman Conquests (13 Predicting) W
Waiting for Godot (0 Predicting) S
Commentary: This is by far the years toughest category in terms of coming up with a nomination list. The category could've been twice as big and still left worthy competitors out of the running. Equus, The Seagull, Blithe Spirit, All My Sons, Exit the King, Speed-the-Plow, and Desire Under the Elms all would have been worthy of being in the running, but sadly there's only 4 slots. My picks would have put Exit the King, Godot, All My Sons and (if I had seen it, likely) Norman Conquests, but I have little to complain about in terms of unworthy pieces being in those spots. As far as winning goes, though, it's not much of a contest. Norman is not only impressive on a technical standpoint, artistically it's one of the best productions of the year, and it got unanimous raves from every critic ever, even a few of the dead ones. I personally was not as touched by any show this year more than Godot, but I didn't get to see Norman, so it seems that it will have to be happy as a nominee.
Best Revival of a Musical
Guys and Dolls (0 Predicting)
Hair (14 Predicting) W, S
Pal Joey (0 Predicting)
West Side Story (0 Predicting) DH
Commentary: This is an easy one to call. No other musical this season has been received as joyfully as Hair, and the audiences have been going crazy for the revival of the classic 60s rock musical. Pal Joey and especially Guys and Dolls were only nominated by default, since only 4 musical revivals opened this season, and West Side Story has its detractors, so the sun shines on the talented group behind Hair.
Best Special Theatrical Event
Liza’s at The Palace (11 Predicting) W, S
Slava’s Snowshow (1 Predicting)
Soul of Shaolin (0 Predicting)
You’re Welcome America. A Final Night with George W. Bush (0 Predicting) DH
Commentary: Liza's got this one in the bag, since she's got the hardest work ethic on Broadway and certainly knows how to please all the big theatre fans. Will Ferrell's one man show has a slim chance of overtaking her since it was so successful, but I really don't think that anyone can top Liza in a theatre award, no matter how many times she gets called a communist. (Side note: how awesome would a Liza/Will Ferrell hosted telecast have been? I mean, I love NPH, but that would have been must see TV, right there!)
Well, that about does it for the predictions. I hope you enjoyed my take on things, and that you feel at least a bit better informed about what's going to happen on Sunday night. And I REALLY hope you'll be watching the awards. They could use all the support they can get!
Thursday, June 04, 2009
Tony Predictions Part 2- Performances!
Here we are again, time for more fun filled, Tony predicting, knee slapping good times! Today's categories are all the leading and supporting acting categories, and there are eight in total. (4 for plays, 4 for musicals). Some of the categories are pretty clear cut, others are a crap shoot, but all are filled with the potential for high quality entertainment!
Check out yesterday's post for the format of my predictions and what everything means. As a reminder, check out the sites posted in that blog for other detailed predictions from those much older and wiser than myself.
That's about it, here we go!
Best Performance by a Leading Actor in a Play
Jeff Daniels; God of Carnage (0 Predicting)
Raúl Esparza; Speed-the-Plow (0 Predicting) DH
James Gandolfini; God of Carnage (0 Predicting)
Geoffrey Rush; Exit the King (13 Predicting) W, S
Thomas Sadoski; Reasons to Be Pretty (0 Predicting)
Commentary: This is an easy call. Rush's delicious, delirious, over the top performance is the stuff Tonys are made of, and he is magnificent in Exit the King. Kudos to him, by the way, for bringing attention to a little known Ionesco play which isn't something the average tourist would jump to go see right away. Esparza's going to have to wait at least one more year for his shiny statue, but he should be happy to join Boyd Gaines in the 4 timer nomination club, one in each of the male acting categories, which is quite a feat in itself (sidenote: how awesome is it to picture Raul and Boyd hanging out and actually forming a club over their accomplishments? Methinks it would make a great sitcom!). Sadoski is too new and unknown, and I think the Carnage men will split their vote, so even if they had the momentum, they couldn't make it. Missing in this category: Daniel Radcliffe for his amazing breakthrough performance in Equus, who drew me in and didn't let me go, and Bill Irwin's alternately haunting and hilarious performance as Vladimir in Waiting for Godot, who is in the same lane as Rush, making an absurdist character full and real.
Best Performance by a Leading Actress in a Play
Hope Davis; God of Carnage (0 Predicting)
Jane Fonda; 33 Variations (0 Predicting) S, DH
Marcia Gay Harden; God of Carnage (12 Predicting) W
Janet McTeer; Mary Stuart (1 Predicting)
Harriet Walter; Mary Stuart (0 Predicting)
Commentary: Don't let the predictions up there fool you, this is one category that's wide open and full of deserving nominees. I wouldn't be surprised if Fonda took it after the other four each split with their partners from each play, and she's so excited to be nominated (see Broadway.com's Nominee Survey question 2 for her awesome declaration of competitiveness), plus she was really very good in 33 Variations (heck, she got me to cry). Supposedly Harden has the bigger role of Carnage (despite Davis's projectile vomiting), so she's the favorite, but I think this race is wide open for anyone to take the lead. I do wish the amazing and heartbreaking Diane Wiest had been nominated for her role in All My Sons, and I also think Kristin Scott Thomas deserved a nomination for her great work in The Seagull (a revival I otherwise wasn't that enchanted by), but they have been forgotten since their shows are no longer running.
Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish; Billy Elliot, The Musical (12 Predicting) W
Gavin Creel; Hair (0 Predicting)
Brian d’Arcy James; Shrek The Musical (1 Predicting) S, DH
Constantine Maroulis; Rock of Ages (0 Predicting)
J. Robert Spencer; Next to Normal (1 Predicting)
Commentary: I disagree with the committee's decision to nominate all 3 Billy boys as one, but unfortunately that is the cards we have been dealt, and their amazing dancing, along with competent acting and singing seem poised to grant them the victory. James is the heart of Shrek, and if there's any backlash among voter for the fact that the role of Billy was nominated and not the actor, the votes will likely go to him for a surprising, beautifully quiet performance underneath mounds of prosthetics and makeup. American Idol reject Maroulis is very lucky to be nominated, but the other 2 are fairly deserving of their slots, even if they have little chance of winning. I think Jame Barbour, who was reportedly excellent in A Tale of Two Cities, probably deserves a nomination, but I didn't see it, so I can't vouch for it myself.
Best Performance by a Leading Actress in a Musical
Stockard Channing; Pal Joey (0 Predicting)
Sutton Foster; Shrek The Musical (0 Predicting) S
Allison Janney; 9 to 5: The Musical (0 Predicting) DH
Alice Ripley; Next to Normal (14 Predicting) W
Josefina Scaglione; West Side Story (0 Predicting)
Commentary: Ripley is the anchor of N2N and is the talk of the town, to boot. The only thing standing between her and a win for her powerhouse of a performance is overhyping, but I don't think it'll be too great to give the award to Janney for her light comedic showing. I was totally charmed by Foster, who managed to carry off farts and belches surprisingly well, and who wins me over more and more with every interview I see of her, but she doesn't stand a chance against the Rip.
Best Performance by a Featured Actor in a Play
John Glover; Waiting for Godot (1 Predicting) S, DH
Zach Grenier; 33 Variations (0 Predicting)
Stephen Mangan; The Norman Conquests (1 Predicting)
Paul Ritter; The Norman Conquests (0 Predicting)
Roger Robinson; Joe Turner’s Come and Gone (12 Predicting) W
Commentary: Glover's quiet magnificence in his 3 page monologue and physical performance were transcendent and illuminating, offering many possibilities for audience interpretation and contemplation. He and Grenier are the only 2 of the lot that I've actually seen, and while Grenier did a fine job as an increasingly frustrated Beethoven, it wasn't enough of a role to put him over the top. Robinson will likely take the prize as a representative of Turner's finely tuned ensemble. I would've hoped for a John Goodman nomination as well, but unfortunately he was not recognized for his excellent work in Godot.
Best Performance by a Featured Actress in a Play
Hallie Foote; Dividing the Estate (0 Predicting) DH
Jessica Hynes; The Norman Conquests (0 Predicting)
Marin Ireland; Reasons to Be Pretty (0 Predicting)
Angela Lansbury; Blithe Spirit (14 Predicting) W, S
Amanda Root; The Norman Conquests (0 Predicting)
Commentary: Angela is simply dotty to perfection in Blithe, injecting a great deal of manic energy that would be impressive for somebody much younger than herself. Hallie Foot has a slight chance for her interpretation of her recently deceased father's latest play, but Angela is so beloved and showy that it's hard to see her not being called to get her latest trophy.
Best Performance by a Featured Actor in a Musical
David Bologna; Billy Elliot, The Musical (0 Predicting)
Gregory Jbara; Billy Elliot, The Musical (10 Predicting) DH
Marc Kudisch; 9 to 5: The Musical (1 Predicting)
Christopher Sieber; Shrek The Musical (1 Predicting) W, S
Will Swenson; Hair (2 Predicting)
Commentary: Sieber's role is liked even by detractors of Shrek, and it is one that certainly calls attention to itself. Playing the whole show on his knees, while still managing to bring down the house, his performance as Farquaad is one of the best parts of Shrek. Jbara does have a lot of support for his performance and goodwill due to his solid, steady career (this is surprisingly his first nomination), but many feel his role is too one dimensional. He may be caught up in the Billy sweep, and I wouldn't be disappointed if he won (he seems like a really cool guy in his Broadway.com backstage video diaries). Kudisch and Swenson do both have a shot, but I think the Tony will ultimately be awarded to the little scene stealer.
Best Performance by a Featured Actress in a Musical
Jennifer Damiano; Next to Normal (0 Predicting)
Haydn Gwynne; Billy Elliot, The Musical (4 Predicting)
Karen Olivo; West Side Story (10 Predicting) W, S
Martha Plimpton; Pal Joey (0 Predicting) DH
Carole Shelley; Billy Elliot, The Musical (0 Predicting)
Commentary: Gwynne is certainly good, but I don't think that her role is strong enough to take the award unless voter just automatically check off anything Billy. Olivo is reportedly the best thing about WSS, and everybody loves a great Anita, so she will likely easily walk off with the statue. Plimpton was also reportedly the best thing about and otherwise mediocre production, and she also has the benefit of surprising all the voters with a breakthrough into musicals. I wish the [tos] ladies had been nominated, particularly Susan, since she isn't exactly the type to get cast in a big Broadway musical and Heidi will likely have many nominations down the road, but for some reason the nominators wanted to include Carole Shelley for her inconsequential character in Billy Elliot.
Check out yesterday's post for the format of my predictions and what everything means. As a reminder, check out the sites posted in that blog for other detailed predictions from those much older and wiser than myself.
That's about it, here we go!
Best Performance by a Leading Actor in a Play
Jeff Daniels; God of Carnage (0 Predicting)
Raúl Esparza; Speed-the-Plow (0 Predicting) DH
James Gandolfini; God of Carnage (0 Predicting)
Geoffrey Rush; Exit the King (13 Predicting) W, S
Thomas Sadoski; Reasons to Be Pretty (0 Predicting)
Commentary: This is an easy call. Rush's delicious, delirious, over the top performance is the stuff Tonys are made of, and he is magnificent in Exit the King. Kudos to him, by the way, for bringing attention to a little known Ionesco play which isn't something the average tourist would jump to go see right away. Esparza's going to have to wait at least one more year for his shiny statue, but he should be happy to join Boyd Gaines in the 4 timer nomination club, one in each of the male acting categories, which is quite a feat in itself (sidenote: how awesome is it to picture Raul and Boyd hanging out and actually forming a club over their accomplishments? Methinks it would make a great sitcom!). Sadoski is too new and unknown, and I think the Carnage men will split their vote, so even if they had the momentum, they couldn't make it. Missing in this category: Daniel Radcliffe for his amazing breakthrough performance in Equus, who drew me in and didn't let me go, and Bill Irwin's alternately haunting and hilarious performance as Vladimir in Waiting for Godot, who is in the same lane as Rush, making an absurdist character full and real.
Best Performance by a Leading Actress in a Play
Hope Davis; God of Carnage (0 Predicting)
Jane Fonda; 33 Variations (0 Predicting) S, DH
Marcia Gay Harden; God of Carnage (12 Predicting) W
Janet McTeer; Mary Stuart (1 Predicting)
Harriet Walter; Mary Stuart (0 Predicting)
Commentary: Don't let the predictions up there fool you, this is one category that's wide open and full of deserving nominees. I wouldn't be surprised if Fonda took it after the other four each split with their partners from each play, and she's so excited to be nominated (see Broadway.com's Nominee Survey question 2 for her awesome declaration of competitiveness), plus she was really very good in 33 Variations (heck, she got me to cry). Supposedly Harden has the bigger role of Carnage (despite Davis's projectile vomiting), so she's the favorite, but I think this race is wide open for anyone to take the lead. I do wish the amazing and heartbreaking Diane Wiest had been nominated for her role in All My Sons, and I also think Kristin Scott Thomas deserved a nomination for her great work in The Seagull (a revival I otherwise wasn't that enchanted by), but they have been forgotten since their shows are no longer running.
Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish; Billy Elliot, The Musical (12 Predicting) W
Gavin Creel; Hair (0 Predicting)
Brian d’Arcy James; Shrek The Musical (1 Predicting) S, DH
Constantine Maroulis; Rock of Ages (0 Predicting)
J. Robert Spencer; Next to Normal (1 Predicting)
Commentary: I disagree with the committee's decision to nominate all 3 Billy boys as one, but unfortunately that is the cards we have been dealt, and their amazing dancing, along with competent acting and singing seem poised to grant them the victory. James is the heart of Shrek, and if there's any backlash among voter for the fact that the role of Billy was nominated and not the actor, the votes will likely go to him for a surprising, beautifully quiet performance underneath mounds of prosthetics and makeup. American Idol reject Maroulis is very lucky to be nominated, but the other 2 are fairly deserving of their slots, even if they have little chance of winning. I think Jame Barbour, who was reportedly excellent in A Tale of Two Cities, probably deserves a nomination, but I didn't see it, so I can't vouch for it myself.
Best Performance by a Leading Actress in a Musical
Stockard Channing; Pal Joey (0 Predicting)
Sutton Foster; Shrek The Musical (0 Predicting) S
Allison Janney; 9 to 5: The Musical (0 Predicting) DH
Alice Ripley; Next to Normal (14 Predicting) W
Josefina Scaglione; West Side Story (0 Predicting)
Commentary: Ripley is the anchor of N2N and is the talk of the town, to boot. The only thing standing between her and a win for her powerhouse of a performance is overhyping, but I don't think it'll be too great to give the award to Janney for her light comedic showing. I was totally charmed by Foster, who managed to carry off farts and belches surprisingly well, and who wins me over more and more with every interview I see of her, but she doesn't stand a chance against the Rip.
Best Performance by a Featured Actor in a Play
John Glover; Waiting for Godot (1 Predicting) S, DH
Zach Grenier; 33 Variations (0 Predicting)
Stephen Mangan; The Norman Conquests (1 Predicting)
Paul Ritter; The Norman Conquests (0 Predicting)
Roger Robinson; Joe Turner’s Come and Gone (12 Predicting) W
Commentary: Glover's quiet magnificence in his 3 page monologue and physical performance were transcendent and illuminating, offering many possibilities for audience interpretation and contemplation. He and Grenier are the only 2 of the lot that I've actually seen, and while Grenier did a fine job as an increasingly frustrated Beethoven, it wasn't enough of a role to put him over the top. Robinson will likely take the prize as a representative of Turner's finely tuned ensemble. I would've hoped for a John Goodman nomination as well, but unfortunately he was not recognized for his excellent work in Godot.
Best Performance by a Featured Actress in a Play
Hallie Foote; Dividing the Estate (0 Predicting) DH
Jessica Hynes; The Norman Conquests (0 Predicting)
Marin Ireland; Reasons to Be Pretty (0 Predicting)
Angela Lansbury; Blithe Spirit (14 Predicting) W, S
Amanda Root; The Norman Conquests (0 Predicting)
Commentary: Angela is simply dotty to perfection in Blithe, injecting a great deal of manic energy that would be impressive for somebody much younger than herself. Hallie Foot has a slight chance for her interpretation of her recently deceased father's latest play, but Angela is so beloved and showy that it's hard to see her not being called to get her latest trophy.
Best Performance by a Featured Actor in a Musical
David Bologna; Billy Elliot, The Musical (0 Predicting)
Gregory Jbara; Billy Elliot, The Musical (10 Predicting) DH
Marc Kudisch; 9 to 5: The Musical (1 Predicting)
Christopher Sieber; Shrek The Musical (1 Predicting) W, S
Will Swenson; Hair (2 Predicting)
Commentary: Sieber's role is liked even by detractors of Shrek, and it is one that certainly calls attention to itself. Playing the whole show on his knees, while still managing to bring down the house, his performance as Farquaad is one of the best parts of Shrek. Jbara does have a lot of support for his performance and goodwill due to his solid, steady career (this is surprisingly his first nomination), but many feel his role is too one dimensional. He may be caught up in the Billy sweep, and I wouldn't be disappointed if he won (he seems like a really cool guy in his Broadway.com backstage video diaries). Kudisch and Swenson do both have a shot, but I think the Tony will ultimately be awarded to the little scene stealer.
Best Performance by a Featured Actress in a Musical
Jennifer Damiano; Next to Normal (0 Predicting)
Haydn Gwynne; Billy Elliot, The Musical (4 Predicting)
Karen Olivo; West Side Story (10 Predicting) W, S
Martha Plimpton; Pal Joey (0 Predicting) DH
Carole Shelley; Billy Elliot, The Musical (0 Predicting)
Commentary: Gwynne is certainly good, but I don't think that her role is strong enough to take the award unless voter just automatically check off anything Billy. Olivo is reportedly the best thing about WSS, and everybody loves a great Anita, so she will likely easily walk off with the statue. Plimpton was also reportedly the best thing about and otherwise mediocre production, and she also has the benefit of surprising all the voters with a breakthrough into musicals. I wish the [tos] ladies had been nominated, particularly Susan, since she isn't exactly the type to get cast in a big Broadway musical and Heidi will likely have many nominations down the road, but for some reason the nominators wanted to include Carole Shelley for her inconsequential character in Billy Elliot.
Wednesday, June 03, 2009
Tony Predictions Part 1
Ok, so here's the deal. The TonyAwards.com website splits the Tony Nominations into 3 separate categories, Overall Production, Performance, and Craft. So, I figured I'd tackle one of those categories a night, starting with Craft, and moving up to the bigger, flashier categories each day. In order to help give you some balance, I'm going to be presenting my opinion of:
In addition to that, I'm also going to be pulling from several different websites which feature their own Tony predictions, and I'll show you how many predict each nominee in each category as well. For example:
Category
Nominee A (5 Predicting)
Nominee B (2 Predicting)
Nominee C (6 Predicting)
Nominee D (0 Predicting)
The websites I'm pulling alternate predictions from are:
I urge you to check out those links if you want any more detail or thoughts on their picks. They all have more detail on the sites than I'm including here.
So without further ado, here's tonight's predictions:
Best Book of a Musical
Billy Elliot, The Musical; Lee Hall (12 Predicting) W
Next to Normal; Brian Yorkey (1 Predicting)
Shrek The Musical; David Lindsay-Abaire (1 Predicting)
[Title of Show]; Hunter Bell (0 Predicting) S, DH
Commentary: This is a tough category. I found N2N's book to be incredibly overrated and spotty, so I don't think it really deserves the spot, but I can't think of anything I saw that deserves to be there in its place. Perhaps 9 to 5? I never saw it, but Patricia Resnick adapted it from her own script to the original movie. This is the only category [tos] ever had a chance to win in, and it's its only nomination, so if the Tony voters want to show it any support, it'll be in this category.
Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot, The Musical; Music: Elton John, Lyrics: Lee Hall (9 Predicting) DH
Next to Normal; Music: Tom Kitt Lyrics: Brian Yorkey (4 Predicting) W
9 to 5: The Musical; Music & Lyrics: Dolly Parton (0 Predicting)
Shrek The Musical; Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire (0 Predicting) S
Commentary: My favorite score of the season is the surprisingly clever and varied Shrek, but it is a bit uneven and it's probably got the least chance of winning, unfortunately. N2N has a great rock score, but the poor lyrics from Brian Yorkey pull it down, but many voters and critics seem to disagree with me on that fact, so it's definitely got the edge, plus this is a category that likes to honor offbeat or smaller shows. Billy's score is its weakest aspect, but it could ride the sweep to victory. 9 to 5 has a chance, since it's Dolly, but the whole show was largely snubbed by the Nominating Committee, and the entire show was poorly received by critics, so it doesn't have much momentum. I do wish Jeff Bowen's heartfelt and wide ranging score (and with only a keyboard and four singers!) had been recognized, but I never got my hopes up too much, so I'm not incredibly disappointed.
Best Scenic Design of a Play
Dale Ferguson; Exit the King (0 Predicting) DH
Rob Howell; The Norman Conquests (2 Predicting)
Derek McLane; 33 Variations (9 Predicting) W, S
Michael Yeargan; Joe Turner’s Come and Gone (0 Predicting)
Commentary: Not much to say in this one. 33 Variations had a really cool music motif with its set, and really tied itself in with the theme of the show. Exit the King had a very haunting background and really set the mood of absurdity. Haven't seen the others, but from photos I've seen they're fairly standard, nothing too exciting. I would have liked to see Godot in there, but I don't know which I would take out, so I'm not too devastated.
Best Scenic Design of a Musical
Robert Brill; Guys and Dolls (0 Predicting) DH
Ian MacNeil; Billy Elliot, The Musical (11 Predicting) W, S
Scott Pask; Pal Joey (0 Predicting)
Mark Wendland; Next to Normal (0 Predicting)
Commentary: Billy's is the most impressive of the lot, with its rising bedroom from underneath the stage, and it certainly has the widest range of locations to show off. Nobody else really has the support, although Guys and Dolls certainly has flash and glitz on their side. The real puzzle, though, is the absence of Shrek, who could have WON the category with its impressive scenery.
Best Costume Design of a Play
Dale Ferguson; Exit the King (1 Predicting)
Jane Greenwood; Waiting for Godot (0 Predicting)
Martin Pakledinaz; Blithe Spirit (2 Predicting) W, S
Anthony Ward; Mary Stuart (7 Predicting) DH
Commentary: Mary Stuart's got a concept on its side (all the men wear modern business attire, the women wear period dress), but I think the daffy costumes of Madame Arcarti and the sleek ghost stylings of Elvira have the edge.
Best Costume Design of a Musical
Gregory Gale; Rock of Ages (0 Predicting)
Nicky Gillibrand; Billy Elliot, The Musical (0 Predicting) DH
Tim Hatley; Shrek The Musical (11 Predicting) W, S
Michael McDonald; Hair (0 Predicting)
Commentary: Shrek's varied and fun fairy tale creatures, plus the fantastic transformation of Brian D'Arcy James mean that Shrek's got this one in the bag, unless for some reason voters REALLY want a total Billy sweep.
Best Lighting Design of a Play
David Hersey; Equus (8 Predicting) W
David Lander; 33 Variations (2 Predicting) S, DH
Brian MacDevitt; Joe Turner’s Come and Gone (1 Predicting)
Hugh Vanstone; Mary Stuart (0 Predicting)
Commentary: Lighting and Scenic often go hand in hand, so 33's interesting dramatic lighting has a chance, but likely the striking and dramatic Equus, who was otherwise overlooked in many categories, will pull of a win (and yes, I do see the irony of Equus not being the dark HORSE, but the favorite). Missing: the cool Exit the King, which featured bare light bulbs above the audience in several locations, effectively pulling the audience into the world of King Berenger.
Best Lighting Design of a Musical
Kevin Adams; Hair (1 Predicting) W, S
Kevin Adams; Next to Normal (0 Predicting) DH
Howell Binkley; West Side Story (0 Predicting)
Rick Fisher; Billy Elliot, The Musical (10 Predicting)
Commentary: I'm surprised I split so much from the other pundits, but I suppose they just figure it will go along with the Billy sweep. I think, though, that the bright and snazzy Hair lighting, or the dark and moody N2N will take it.
Best Sound Design of a Play
Paul Arditti; Mary Stuart (0 Predicting)
Gregory Clarke; Equus (0 Predicting) DH
Russell Goldsmith; Exit the King (10 Predicting) W, S
Scott Lehrer and Leon Rothenberg; Joe Turner’s Come and Gone (1 Predicting)
Commentary: There was a lot of good sound design in Exit the King, since there was a haunting single trumpet, and a cool reel to reel recorder turning in one of the boxes to provide a great background. Equus was also very evocative, with a lot of dark underscore, but it's probably to old to be remembered.
Best Sound Design of a Musical
Acme Sound Partners; Hair (2 Predicting)
Paul Arditti; Billy Elliot, The Musical (8 Predicting) W, S
Peter Hylenski; Rock of Ages (1 Predicting)
Brian Ronan; Next to Normal (0 Predicting) DH
Commentary: Billy's sweep is likely to include this new (it's its second year) category, as voters may be unfamiliar with what exactly the sound design includes in a musical. N2N may have an edge for its critics darling aspect, but I don't think that it will overcome the Billy juggernaut.
Best Direction of a Play
Phyllida Lloyd; Mary Stuart (0 Predicting)
Bartlett Sher; Joe Turner’s Come and Gone (0 Predicting) DH
Matthew Warchus; God of Carnage (4 Predicting)
Matthew Warchus; The Norman Conquests (9 Predicting) W
Commentary: Warchus definitely had his work cut out for him with Norman, what with it actually being three full length plays. If he splits the votes for himself too much, look for Sher, last years musical director winner for South Pacific, to get it for his lauded take on Joe Turner. I do with both Exit the King and Godot had been nominated, as the direction was part of what made those absurdist comedies so accessible, but I unfortunately haven't seen any of the nominees here, so I can't say what I would lose.
Best Direction of a Musical
Stephen Daldry; Billy Elliot, The Musical (12 Predicting) W, S
Michael Greif; Next to Normal (0 Predicting)
Kristin Hanggi; Rock of Ages (0 Predicting)
Diane Paulus; Hair (1 Predicting) DH
Commentary: Hair can certainly be difficult, and by all accounts Paulus is the main reason the current incarnation is so successful, but Billy's Daldry has a great pedigree, the power of the Billy behemoth, and the fact that he has directed a LOT of kids to give such great performances behind him. Would have liked to see Shrek's Moore recognized for tying so many elements together in place of Hanggi, but that's a small complaint.
Best Choreography
Karole Armitage; Hair (0 Predicting)
Andy Blankenbuehler; 9 to 5: The Musical (0 Predicting) DH
Peter Darling; Billy Elliot, The Musical (11 Predicting) W, S
Randy Skinner; Irving Berlin’s White Christmas (0 Predicting)
Commentary: This is the one category which Billy has pretty much had from day 1, and I doubt even last year's darling Blankenbuehler can defeat him. Billy's choreography is painfully evocative and at the forefront of the story. It could win even without the magnificent miners and police in "Solidarity" based on the power of the Act 1 closer, "Angry Dance", but it has a lot of dance going for it and it really cannot be stopped.
Best Orchestrations
Larry Blank; Irving Berlin’s White Christmas (0 Predicting)
Martin Koch; Billy Elliot, The Musical (10 Predicting)W
Michael Starobin and Tom Kitt; Next to Normal (1 Predicting)
Danny Troob and John Clancy; Shrek The Musical (0 Predicting) S, DH
Commentary: Shrek's got the biggest orchestra and the widest range of sound from jaunty ukulele filled tunes, to heavy guitar infused anthems, while Billy has to compensate for a somewhat lackluster score and has a great deal of majesty and power. The Billy tidal wave will take another one here, although a dark dark horse of N2N's evocative 6 person band could take it away from both of them. I actually would have liked to see Jason Robert Brown's 13 here instead of White Christmas, since it was impressively played by an all teenager band, and was the best part of the otherwise inconsequential show, but it's no big complaint.
- Who WILL win (W)
- Who's the DARK HORSE (DH)
- Who SHOULD win (S)
- Who's missing off of the list
In addition to that, I'm also going to be pulling from several different websites which feature their own Tony predictions, and I'll show you how many predict each nominee in each category as well. For example:
Category
Nominee A (5 Predicting)
Nominee B (2 Predicting)
Nominee C (6 Predicting)
Nominee D (0 Predicting)
The websites I'm pulling alternate predictions from are:
- GoldDerby.com Pundits (found here): Melissa Bernardo (contributor, Entertainment Weekly) Martin Denton (NYTheatre.com), Robert Diamond (BroadwayWorld.com), Susan Haskins (Theater Talk), Leonard Jacobs (ClydeFitchReport.com), Brian LiptonTheaterMania.com), Tom O'Neil (TheEnvelope.com), David Sheward (Back Stage), Matt Windman (AMNewYork), Wayman Wong (New York Daily News)
- NY Times Critics Picks (found here): Ben Brantley (Chief Drama Critic), Charles Isherwood (Secondary Drama Critic)
- Time Out New York Tony Awards Preview (found here):
I urge you to check out those links if you want any more detail or thoughts on their picks. They all have more detail on the sites than I'm including here.
So without further ado, here's tonight's predictions:
Best Book of a Musical
Billy Elliot, The Musical; Lee Hall (12 Predicting) W
Next to Normal; Brian Yorkey (1 Predicting)
Shrek The Musical; David Lindsay-Abaire (1 Predicting)
[Title of Show]; Hunter Bell (0 Predicting) S, DH
Commentary: This is a tough category. I found N2N's book to be incredibly overrated and spotty, so I don't think it really deserves the spot, but I can't think of anything I saw that deserves to be there in its place. Perhaps 9 to 5? I never saw it, but Patricia Resnick adapted it from her own script to the original movie. This is the only category [tos] ever had a chance to win in, and it's its only nomination, so if the Tony voters want to show it any support, it'll be in this category.
Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot, The Musical; Music: Elton John, Lyrics: Lee Hall (9 Predicting) DH
Next to Normal; Music: Tom Kitt Lyrics: Brian Yorkey (4 Predicting) W
9 to 5: The Musical; Music & Lyrics: Dolly Parton (0 Predicting)
Shrek The Musical; Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire (0 Predicting) S
Commentary: My favorite score of the season is the surprisingly clever and varied Shrek, but it is a bit uneven and it's probably got the least chance of winning, unfortunately. N2N has a great rock score, but the poor lyrics from Brian Yorkey pull it down, but many voters and critics seem to disagree with me on that fact, so it's definitely got the edge, plus this is a category that likes to honor offbeat or smaller shows. Billy's score is its weakest aspect, but it could ride the sweep to victory. 9 to 5 has a chance, since it's Dolly, but the whole show was largely snubbed by the Nominating Committee, and the entire show was poorly received by critics, so it doesn't have much momentum. I do wish Jeff Bowen's heartfelt and wide ranging score (and with only a keyboard and four singers!) had been recognized, but I never got my hopes up too much, so I'm not incredibly disappointed.
Best Scenic Design of a Play
Dale Ferguson; Exit the King (0 Predicting) DH
Rob Howell; The Norman Conquests (2 Predicting)
Derek McLane; 33 Variations (9 Predicting) W, S
Michael Yeargan; Joe Turner’s Come and Gone (0 Predicting)
Commentary: Not much to say in this one. 33 Variations had a really cool music motif with its set, and really tied itself in with the theme of the show. Exit the King had a very haunting background and really set the mood of absurdity. Haven't seen the others, but from photos I've seen they're fairly standard, nothing too exciting. I would have liked to see Godot in there, but I don't know which I would take out, so I'm not too devastated.
Best Scenic Design of a Musical
Robert Brill; Guys and Dolls (0 Predicting) DH
Ian MacNeil; Billy Elliot, The Musical (11 Predicting) W, S
Scott Pask; Pal Joey (0 Predicting)
Mark Wendland; Next to Normal (0 Predicting)
Commentary: Billy's is the most impressive of the lot, with its rising bedroom from underneath the stage, and it certainly has the widest range of locations to show off. Nobody else really has the support, although Guys and Dolls certainly has flash and glitz on their side. The real puzzle, though, is the absence of Shrek, who could have WON the category with its impressive scenery.
Best Costume Design of a Play
Dale Ferguson; Exit the King (1 Predicting)
Jane Greenwood; Waiting for Godot (0 Predicting)
Martin Pakledinaz; Blithe Spirit (2 Predicting) W, S
Anthony Ward; Mary Stuart (7 Predicting) DH
Commentary: Mary Stuart's got a concept on its side (all the men wear modern business attire, the women wear period dress), but I think the daffy costumes of Madame Arcarti and the sleek ghost stylings of Elvira have the edge.
Best Costume Design of a Musical
Gregory Gale; Rock of Ages (0 Predicting)
Nicky Gillibrand; Billy Elliot, The Musical (0 Predicting) DH
Tim Hatley; Shrek The Musical (11 Predicting) W, S
Michael McDonald; Hair (0 Predicting)
Commentary: Shrek's varied and fun fairy tale creatures, plus the fantastic transformation of Brian D'Arcy James mean that Shrek's got this one in the bag, unless for some reason voters REALLY want a total Billy sweep.
Best Lighting Design of a Play
David Hersey; Equus (8 Predicting) W
David Lander; 33 Variations (2 Predicting) S, DH
Brian MacDevitt; Joe Turner’s Come and Gone (1 Predicting)
Hugh Vanstone; Mary Stuart (0 Predicting)
Commentary: Lighting and Scenic often go hand in hand, so 33's interesting dramatic lighting has a chance, but likely the striking and dramatic Equus, who was otherwise overlooked in many categories, will pull of a win (and yes, I do see the irony of Equus not being the dark HORSE, but the favorite). Missing: the cool Exit the King, which featured bare light bulbs above the audience in several locations, effectively pulling the audience into the world of King Berenger.
Best Lighting Design of a Musical
Kevin Adams; Hair (1 Predicting) W, S
Kevin Adams; Next to Normal (0 Predicting) DH
Howell Binkley; West Side Story (0 Predicting)
Rick Fisher; Billy Elliot, The Musical (10 Predicting)
Commentary: I'm surprised I split so much from the other pundits, but I suppose they just figure it will go along with the Billy sweep. I think, though, that the bright and snazzy Hair lighting, or the dark and moody N2N will take it.
Best Sound Design of a Play
Paul Arditti; Mary Stuart (0 Predicting)
Gregory Clarke; Equus (0 Predicting) DH
Russell Goldsmith; Exit the King (10 Predicting) W, S
Scott Lehrer and Leon Rothenberg; Joe Turner’s Come and Gone (1 Predicting)
Commentary: There was a lot of good sound design in Exit the King, since there was a haunting single trumpet, and a cool reel to reel recorder turning in one of the boxes to provide a great background. Equus was also very evocative, with a lot of dark underscore, but it's probably to old to be remembered.
Best Sound Design of a Musical
Acme Sound Partners; Hair (2 Predicting)
Paul Arditti; Billy Elliot, The Musical (8 Predicting) W, S
Peter Hylenski; Rock of Ages (1 Predicting)
Brian Ronan; Next to Normal (0 Predicting) DH
Commentary: Billy's sweep is likely to include this new (it's its second year) category, as voters may be unfamiliar with what exactly the sound design includes in a musical. N2N may have an edge for its critics darling aspect, but I don't think that it will overcome the Billy juggernaut.
Best Direction of a Play
Phyllida Lloyd; Mary Stuart (0 Predicting)
Bartlett Sher; Joe Turner’s Come and Gone (0 Predicting) DH
Matthew Warchus; God of Carnage (4 Predicting)
Matthew Warchus; The Norman Conquests (9 Predicting) W
Commentary: Warchus definitely had his work cut out for him with Norman, what with it actually being three full length plays. If he splits the votes for himself too much, look for Sher, last years musical director winner for South Pacific, to get it for his lauded take on Joe Turner. I do with both Exit the King and Godot had been nominated, as the direction was part of what made those absurdist comedies so accessible, but I unfortunately haven't seen any of the nominees here, so I can't say what I would lose.
Best Direction of a Musical
Stephen Daldry; Billy Elliot, The Musical (12 Predicting) W, S
Michael Greif; Next to Normal (0 Predicting)
Kristin Hanggi; Rock of Ages (0 Predicting)
Diane Paulus; Hair (1 Predicting) DH
Commentary: Hair can certainly be difficult, and by all accounts Paulus is the main reason the current incarnation is so successful, but Billy's Daldry has a great pedigree, the power of the Billy behemoth, and the fact that he has directed a LOT of kids to give such great performances behind him. Would have liked to see Shrek's Moore recognized for tying so many elements together in place of Hanggi, but that's a small complaint.
Best Choreography
Karole Armitage; Hair (0 Predicting)
Andy Blankenbuehler; 9 to 5: The Musical (0 Predicting) DH
Peter Darling; Billy Elliot, The Musical (11 Predicting) W, S
Randy Skinner; Irving Berlin’s White Christmas (0 Predicting)
Commentary: This is the one category which Billy has pretty much had from day 1, and I doubt even last year's darling Blankenbuehler can defeat him. Billy's choreography is painfully evocative and at the forefront of the story. It could win even without the magnificent miners and police in "Solidarity" based on the power of the Act 1 closer, "Angry Dance", but it has a lot of dance going for it and it really cannot be stopped.
Best Orchestrations
Larry Blank; Irving Berlin’s White Christmas (0 Predicting)
Martin Koch; Billy Elliot, The Musical (10 Predicting)W
Michael Starobin and Tom Kitt; Next to Normal (1 Predicting)
Danny Troob and John Clancy; Shrek The Musical (0 Predicting) S, DH
Commentary: Shrek's got the biggest orchestra and the widest range of sound from jaunty ukulele filled tunes, to heavy guitar infused anthems, while Billy has to compensate for a somewhat lackluster score and has a great deal of majesty and power. The Billy tidal wave will take another one here, although a dark dark horse of N2N's evocative 6 person band could take it away from both of them. I actually would have liked to see Jason Robert Brown's 13 here instead of White Christmas, since it was impressively played by an all teenager band, and was the best part of the otherwise inconsequential show, but it's no big complaint.
Tuesday, June 02, 2009
Back in Time for the Tonys!
Alright, so I've been on a bit of a hiatus. But I think I'm gonna start up Blogging again, especially since this summer it seems I'm gonna have a lot of free time. And I think next year during school this will be a great place for me to post reviews and thoughts about various things, in addition to starting to chronicle some of the exciting things that happen to me in my time at NYU's Educational Theatre department. After all, I always hear how great it is to journal, and I should actually start trying to do some of that, and who doesn't want to read all about my inner troubles and outer triumphs, right? (Seriously, let me know if anything gets too boring or annoying, and I'll cut it out ASAP).
Anyways, it's June, and to me, that means just one thing. TONY TIME! Yes, that's right, the 2009 Tony Awards are going to be announced this Sunday in what is sure to be an exciting show filled with fabulous performances, and unlike previous years, I actually have opinions about what should win, thanks to my first year at NYU. So, over the next few days, I'll be posting predictions and opinions about what should and will win and why, and share my overall thoughts about this past theatre season in general. To get me started, tonight, I'm going to post a list of all shows that got a nomination and then I'll include whether I've seen it or not, and what degree of familiarity I have with each, so you'll know which opinions of mine to take with a grain of salt and which to take stock in. I've seen a lot of the major ones, but unfortunately didn't make a ton of the late season openers due to lack of time and funds. So, without further ado, here's a brief update of my experience with all the shows which opened this year, in order of most nominations recieved:
Billy Elliot, The Musical - 15
I saw this one once towards the end of January/middle of February. The Billy I saw was David Alvarez, and I did not see the nominated David Bologna in the roll of Michael, but instead Frank Dolce, who alternates the show with David (and for some reason was not petitioned to be nominated with David like all the Billys were). I have not really listened to the music much since I saw it, although I am thinking about getting the Original London Cast Recording. It was a very enjoyable show with some spectacular dancing.
Next to Normal - 11
Saw this one a month and a half ago on the Saturday after it opened. I have not bought the album and probably would not get the music unless I could for free (library, maybe?). This is one where I split wildly from all the critical opinion, although I did enjoy a lot of Tom Kitt's score and orchestrations.
Hair - 8
I unfortunately haven't had a chance to see Hair yet, although it's pretty much on the top of my list for when I get back to NYC. I've seen a bunch of clips and media apperences from this production, and I do have both the OBCR and the Soundtrack to the film in my iTunes Library, so I know a lot of the music. I do not really know the storyline to the show very well, but I have seen about half of the movie, which has a very different plot, apparently.
Shrek The Musical - 8
I saw this show twice, once by myself with the complete cast in, and once with my Mom while she was visiting, with an understudy on for Christopher Sieber's Lord Farquaad. I own the OBCR, and have listened to certain tracks much more than is healthy.
Mary Stuart - 7
Have not seen, know very very little about it other than the basic premise and look of the production.
The Norman Conquests - 7
REALLY wanted to make it to this one, but unfortunately with it opening late and being a trilogy, I didn't get a chance. I've seen a few clips and know what the premise is, but I tried to keep myself fairly clean in case it extends out until when I can make it to see it.
God of Carnage - 6
Have not seen, and probably couldn't get tickets if I wanted to. I know they're closing for a few weeks and then reopening, so I'll probably try to get a standing room ticket this fall after they reopen. I know the premise and have seen most of the publicity clips out there.
Joe Turner’s Come and Gone - 6
Have not seen it, and have seen very little of it in terms of clips. I have read other August Wilson, but I've never seen him performed.
Rock of Ages - 5
Have not seen it, and refuse to see it due to my general dislike and loose boycott of jukebox musicals. I am familiar with some of the songs used in the show.
33 Variations - 5
Saw it with the entire cast in. Wasn't expecting much, and ended up crying my eyes out by the end of it, although there were certainly many things I could criticize.
Exit the King - 4
Saw it the weekend after it opened, with the entire cast in. Laughed the whole way through until it got serious.
9 to 5: The Musical - 4
I have not seen it, but I have seen a few of the clips and heard some of the songs available on the website.
Pal Joey - 4
Didn't get a chance to see this, and I'm only familiar with a few songs and the very basic premise.
West Side Story - 4
Didn't see this production, although I've heard a few tracks off the cast album, and I am, of course, very familiar with the show having been in it in 10th grade.
Reasons to Be Pretty - 3
Did not see this one yet, and I hope it doesn't close before fall. I have seen one other LaBute play in a completely student-run production and enjoyed it very much.
Waiting for Godot - 3
I saw a Wednesday matinee the week before I left, and loved every minute of it. I have read one other Beckett play.
Blithe Spirit - 2
Saw this one towards the early/middle part of previews. I understand that there were a few cuts after I saw it, but nothing that really changed the show much.
Dividing the Estate - 2
Saw this in December before I came home, and enjoyed it.
Equus - 2
Saw this shortly after it opened in the fall with the complete cast in fine form. Didn't love the play, but there were things I liked about it.
Guys and Dolls - 2
Saw this one (although I couldn't see much from my rush seat all the way to the right in the front row) a few months ago. Didn't really like the production. I do have cast albums from 2 other productions of the show, both of which I enjoy.
Irving Berlin’s White Christmas - 2
Did not get to see this one, and I know very little about it other than that it is based on a movie and has a lot of Irving Berlin songs.
Liza’s at The Palace - 1
Didn't see it, although I am familiar with a lot of Liza's work, and greatly admire her work ethic, if not her voice.
Slava’s Snowshow - 1
Did not see, and all I know is that it's Russian clowns and a whole lot of stuff dumped on the audience before the end.
Soul of Shaolin - 1
Did not see, know very little about other than that it was done by the some Chinese who were involved with the Beijing Olympic opening ceremony.
Speed-the-Plow - 1
Saw this shortly after William H. Macy joined the cast, and enjoyed it a lot. Defintely the Raul Esparza show.
[Title of Show] - 1
Saw this one four times (including closing night), and I have listened to the cast album more times then I would like to admit. I also have seen the cast give a talkback about the creative process, and I was featured in their 9PFT music video (seven!). I guess you could call me a [tos]ser ;).
You're Welcome America. A Final Night with George W. Bush - 1
Saw a video of the HBO Broadcast fairly recently. I'm a pretty big Will Ferrell fan, so I enjoyed it a lot.
Anyways, it's June, and to me, that means just one thing. TONY TIME! Yes, that's right, the 2009 Tony Awards are going to be announced this Sunday in what is sure to be an exciting show filled with fabulous performances, and unlike previous years, I actually have opinions about what should win, thanks to my first year at NYU. So, over the next few days, I'll be posting predictions and opinions about what should and will win and why, and share my overall thoughts about this past theatre season in general. To get me started, tonight, I'm going to post a list of all shows that got a nomination and then I'll include whether I've seen it or not, and what degree of familiarity I have with each, so you'll know which opinions of mine to take with a grain of salt and which to take stock in. I've seen a lot of the major ones, but unfortunately didn't make a ton of the late season openers due to lack of time and funds. So, without further ado, here's a brief update of my experience with all the shows which opened this year, in order of most nominations recieved:
Billy Elliot, The Musical - 15
I saw this one once towards the end of January/middle of February. The Billy I saw was David Alvarez, and I did not see the nominated David Bologna in the roll of Michael, but instead Frank Dolce, who alternates the show with David (and for some reason was not petitioned to be nominated with David like all the Billys were). I have not really listened to the music much since I saw it, although I am thinking about getting the Original London Cast Recording. It was a very enjoyable show with some spectacular dancing.
Next to Normal - 11
Saw this one a month and a half ago on the Saturday after it opened. I have not bought the album and probably would not get the music unless I could for free (library, maybe?). This is one where I split wildly from all the critical opinion, although I did enjoy a lot of Tom Kitt's score and orchestrations.
Hair - 8
I unfortunately haven't had a chance to see Hair yet, although it's pretty much on the top of my list for when I get back to NYC. I've seen a bunch of clips and media apperences from this production, and I do have both the OBCR and the Soundtrack to the film in my iTunes Library, so I know a lot of the music. I do not really know the storyline to the show very well, but I have seen about half of the movie, which has a very different plot, apparently.
Shrek The Musical - 8
I saw this show twice, once by myself with the complete cast in, and once with my Mom while she was visiting, with an understudy on for Christopher Sieber's Lord Farquaad. I own the OBCR, and have listened to certain tracks much more than is healthy.
Mary Stuart - 7
Have not seen, know very very little about it other than the basic premise and look of the production.
The Norman Conquests - 7
REALLY wanted to make it to this one, but unfortunately with it opening late and being a trilogy, I didn't get a chance. I've seen a few clips and know what the premise is, but I tried to keep myself fairly clean in case it extends out until when I can make it to see it.
God of Carnage - 6
Have not seen, and probably couldn't get tickets if I wanted to. I know they're closing for a few weeks and then reopening, so I'll probably try to get a standing room ticket this fall after they reopen. I know the premise and have seen most of the publicity clips out there.
Joe Turner’s Come and Gone - 6
Have not seen it, and have seen very little of it in terms of clips. I have read other August Wilson, but I've never seen him performed.
Rock of Ages - 5
Have not seen it, and refuse to see it due to my general dislike and loose boycott of jukebox musicals. I am familiar with some of the songs used in the show.
33 Variations - 5
Saw it with the entire cast in. Wasn't expecting much, and ended up crying my eyes out by the end of it, although there were certainly many things I could criticize.
Exit the King - 4
Saw it the weekend after it opened, with the entire cast in. Laughed the whole way through until it got serious.
9 to 5: The Musical - 4
I have not seen it, but I have seen a few of the clips and heard some of the songs available on the website.
Pal Joey - 4
Didn't get a chance to see this, and I'm only familiar with a few songs and the very basic premise.
West Side Story - 4
Didn't see this production, although I've heard a few tracks off the cast album, and I am, of course, very familiar with the show having been in it in 10th grade.
Reasons to Be Pretty - 3
Did not see this one yet, and I hope it doesn't close before fall. I have seen one other LaBute play in a completely student-run production and enjoyed it very much.
Waiting for Godot - 3
I saw a Wednesday matinee the week before I left, and loved every minute of it. I have read one other Beckett play.
Blithe Spirit - 2
Saw this one towards the early/middle part of previews. I understand that there were a few cuts after I saw it, but nothing that really changed the show much.
Dividing the Estate - 2
Saw this in December before I came home, and enjoyed it.
Equus - 2
Saw this shortly after it opened in the fall with the complete cast in fine form. Didn't love the play, but there were things I liked about it.
Guys and Dolls - 2
Saw this one (although I couldn't see much from my rush seat all the way to the right in the front row) a few months ago. Didn't really like the production. I do have cast albums from 2 other productions of the show, both of which I enjoy.
Irving Berlin’s White Christmas - 2
Did not get to see this one, and I know very little about it other than that it is based on a movie and has a lot of Irving Berlin songs.
Liza’s at The Palace - 1
Didn't see it, although I am familiar with a lot of Liza's work, and greatly admire her work ethic, if not her voice.
Slava’s Snowshow - 1
Did not see, and all I know is that it's Russian clowns and a whole lot of stuff dumped on the audience before the end.
Soul of Shaolin - 1
Did not see, know very little about other than that it was done by the some Chinese who were involved with the Beijing Olympic opening ceremony.
Speed-the-Plow - 1
Saw this shortly after William H. Macy joined the cast, and enjoyed it a lot. Defintely the Raul Esparza show.
[Title of Show] - 1
Saw this one four times (including closing night), and I have listened to the cast album more times then I would like to admit. I also have seen the cast give a talkback about the creative process, and I was featured in their 9PFT music video (seven!). I guess you could call me a [tos]ser ;).
You're Welcome America. A Final Night with George W. Bush - 1
Saw a video of the HBO Broadcast fairly recently. I'm a pretty big Will Ferrell fan, so I enjoyed it a lot.
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