Every so often a play with come out that doesn't really have a deeper meaning than what is on the surface. Nicky Silvers The Lyons is one such play. That's not to say that the play is frivolous or by any means without purpose. The Lyons is about a family grappling with the impending death of its patriarch. When Ben Lyons' wife, Rita, and their grown children gather to say goodbye, they learn that despite being a family, each of them is utterly isolated. Afraid of closeness and afraid of solitude, they are propelled into foreign territory - human connection.
Linda Lavin is the anchor of the production. With her grounded portrayal of matriarch Rita Lyons, we are given a subtle nuance of a performance that brings backs floods of memories of women we may know. In particular I was reminded of my grandmother.
What we see before us is a group of people who have gone through life with bumpers on, bouncing off one another like cars at a carnival, and as a result have no idea how to relate to one another, or to other human beings. This is particularly true of the Lyons children played by Kate Jennings Grant and Michael Esper. There is particularly heart breaking scene where we witness the young Lyons boy attempting to make one such connection, and we see the effects of growing up without the perception of love, affection, and communication.
The Lyons is not a great play, but it is a good play. It leaves you with things to discuss at dinner afterward, but doesn't stay with you for days like some plays do. Though you will find yourself telling others about Linda Lavins performance (which did garner her a Tony nomination).
Due to it's small cast, and minimal set requirements I would expect to see The Lyons done quite frequently in regional productions. If it comes to a town near you it's worth seeing. The Broadway production closed on July 1st 2012 after 80 performances at The Cort Theater.
The cast also included Dick Latessa, Gregory Wooddell, and Brenda Pressley. Direction by the wonderful Mark Brokaw, set design by Allen Moyer, costumes by Michael Krass, and Lighting by David Lander.
Wednesday, August 1, 2012
Saturday, July 21, 2012
Sister Act
Full Disclosure: Sister Act starring Whoopi Goldberg is one of my all time favorite movies. It's one of those movies that makes me laugh every time I watch it, and fills me with great joy. I have been waiting for Delores Van Cartier to find her way to the stage since I first saw the movie in theaters in 1992. Needless to say, my expectations were high going in.
There are a few things that any Sister Act fan should know before seeing the musical. It's the same basic plot Singer loves married man, singer witness lover murdering somebody, singer hides with sisters and makes inner discoveries about herself. The details of all that are very different however.
Delores Van Cartier is a young aspiring singer in the Philadelphia area (versus an older, nearly past her prime lounge singer). The score is original, so don't expect to hear "My God" or any of the other songs from the film. Alan Menken and Glen Slater have actually written a wonderful new score with catchy tunes that feel familiar minutes after hearing them.
Book writers Cherri Steinkellner and Bill Steinkellner with additional book material by Douglas Carter Beane have written a pretty good script to go along with the wonderful score. At times, the humor feels a little too much like an early 90's sitcom than the book to a Broadway show, and that can be a bit laborious at times, but for the most part it's a lot of fun.
I did not see the original Broadway Cast of Sister Act, Raven Symone as Delores is hit or miss. She hits the vocals pretty much right on, though at times her voice is a bit too thin for the role. The acting is where she misses. While Raven is an excellent comedienne and has a certain star quality on screen that makes her shine, that light doesn't exactly fill the Broadway Theater. In the more comedic moments and during the songs she is at her best, it's the scenes that are more character driven or story driven that she struggles.
Carolee Carmello is doing her best as The Mother Superior. The role is admittedly underwritten, but Ms. Carmello, the consummate professional, makes it seem like Shakespeare. The rest of the cast is delightful, Sarah Bolt as Sister Mary Patrick, Marla Mindelle as Sister Mary Robert, and Audree Neenan as Sister Mary Lazarus recall the actresses who played their roles in the films without being carbon copies of them.
Jerry Zaks has put his signature slick sheen on this production, and everything flows seamlessly from one thing to the next. Anthony Van Laasts choreography is perfect for the production. Set design by Klara Zieglerova is functional, and at times opulent, and as always Natasha Katz lighting is superb. Lez Brotherstons costume designs do the job, but lets face it, they're pretty much 70's clothes and nun habits.
It's easy to enjoy this version of Sister Act those like me who enjoyed the film just have to put that out of our minds and accept this new version of the story. Those who have not ever seen the film, or perhaps aren't as familiar with have rollicking good time.
Sister Act plays at The Broadway Theater until Sunday August 26th. There are rush tickets available at the box office on the day of performance, but you should line up at least 1 hour before the box office opens if you hope to get one of these seats. The show is also usually available on TKTS.
There are a few things that any Sister Act fan should know before seeing the musical. It's the same basic plot Singer loves married man, singer witness lover murdering somebody, singer hides with sisters and makes inner discoveries about herself. The details of all that are very different however.
Delores Van Cartier is a young aspiring singer in the Philadelphia area (versus an older, nearly past her prime lounge singer). The score is original, so don't expect to hear "My God" or any of the other songs from the film. Alan Menken and Glen Slater have actually written a wonderful new score with catchy tunes that feel familiar minutes after hearing them.
Book writers Cherri Steinkellner and Bill Steinkellner with additional book material by Douglas Carter Beane have written a pretty good script to go along with the wonderful score. At times, the humor feels a little too much like an early 90's sitcom than the book to a Broadway show, and that can be a bit laborious at times, but for the most part it's a lot of fun.
I did not see the original Broadway Cast of Sister Act, Raven Symone as Delores is hit or miss. She hits the vocals pretty much right on, though at times her voice is a bit too thin for the role. The acting is where she misses. While Raven is an excellent comedienne and has a certain star quality on screen that makes her shine, that light doesn't exactly fill the Broadway Theater. In the more comedic moments and during the songs she is at her best, it's the scenes that are more character driven or story driven that she struggles.
Carolee Carmello is doing her best as The Mother Superior. The role is admittedly underwritten, but Ms. Carmello, the consummate professional, makes it seem like Shakespeare. The rest of the cast is delightful, Sarah Bolt as Sister Mary Patrick, Marla Mindelle as Sister Mary Robert, and Audree Neenan as Sister Mary Lazarus recall the actresses who played their roles in the films without being carbon copies of them.
Jerry Zaks has put his signature slick sheen on this production, and everything flows seamlessly from one thing to the next. Anthony Van Laasts choreography is perfect for the production. Set design by Klara Zieglerova is functional, and at times opulent, and as always Natasha Katz lighting is superb. Lez Brotherstons costume designs do the job, but lets face it, they're pretty much 70's clothes and nun habits.
It's easy to enjoy this version of Sister Act those like me who enjoyed the film just have to put that out of our minds and accept this new version of the story. Those who have not ever seen the film, or perhaps aren't as familiar with have rollicking good time.
Sister Act plays at The Broadway Theater until Sunday August 26th. There are rush tickets available at the box office on the day of performance, but you should line up at least 1 hour before the box office opens if you hope to get one of these seats. The show is also usually available on TKTS.
Sunday, July 15, 2012
A Streetcar Named Desire
"Stella" most people are familiar with the film clip of a young Marlon Brando screaming this name in a white tank top. There are probably very few who actually know what this snippet is from. More familiar is the line "I have always relied on the kindness of strangers". Both of these famous quotes are being recited 8 times a week at The Broadhurst theater in an excellent multi racial revival of Tennessee William's A Streetcar Named Desire.
Fewer people still probably realize that there actually was a streetcar named Desire in New Orleans which ran from 1920-1948. It ran down Bourbon street, through the Quarter, to Desire st. in the bywater district of New Orleans and back up canal. The tragic anti heroine of the piece, Blanche Du Bois arrives saying "They told me to take a streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at Elsyian Fields!".
I wont bother summarizing the play, as many of you have probably either read it or seen it, and if you haven't, you definitely should. The current revival, as previously stated, uses a multi racial cast which most of the time doesn't matter, but sometimes does. For example, Stanley Kowalski is described as a working class man of polish decent. There were no black people in Poland at the time this play takes place, so they never mention his family name.
Also, the entire premise of the play, if truly thought about, is historically implausible with people of color in the lead roles. That being said, if you put that thought of your mind, it's a truly excellent production of an American Classic.
In the role of Blanche Nicole Ari Parker is the perfect blend of regal southern belle and fragile woman on the edge. She brings a humor to the role of Blanche that isn't always present, but at the same time you feel that at any moment she may break. Blair Underwood brings his raw masculinity to Stanley, and it is obvious why Stella is so attracted to him. He is magnetic, and frighting at the same time. Daphne Rubin Vega as Stella does not disappoint.
The entire play is not only beautiful to listen to, it's beautiful to watch. Thanks to fantastic direction from Emily Mann. The set design by Eugene Lee and costume design by Paul Tazewell complement each other brilliantly. Terrance Blanchard's score is almost an additional character in the piece. It is part of what makes this revival so vibrant. The music is the driving force behind the action.
This revival plays until Sunday July 22nd at The Broadhurst Theater. There are student tickets, and the show is frequently on the TKTS board. There are also discounts available at Broadwaybox.com
Fewer people still probably realize that there actually was a streetcar named Desire in New Orleans which ran from 1920-1948. It ran down Bourbon street, through the Quarter, to Desire st. in the bywater district of New Orleans and back up canal. The tragic anti heroine of the piece, Blanche Du Bois arrives saying "They told me to take a streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at Elsyian Fields!".
I wont bother summarizing the play, as many of you have probably either read it or seen it, and if you haven't, you definitely should. The current revival, as previously stated, uses a multi racial cast which most of the time doesn't matter, but sometimes does. For example, Stanley Kowalski is described as a working class man of polish decent. There were no black people in Poland at the time this play takes place, so they never mention his family name.
Also, the entire premise of the play, if truly thought about, is historically implausible with people of color in the lead roles. That being said, if you put that thought of your mind, it's a truly excellent production of an American Classic.
In the role of Blanche Nicole Ari Parker is the perfect blend of regal southern belle and fragile woman on the edge. She brings a humor to the role of Blanche that isn't always present, but at the same time you feel that at any moment she may break. Blair Underwood brings his raw masculinity to Stanley, and it is obvious why Stella is so attracted to him. He is magnetic, and frighting at the same time. Daphne Rubin Vega as Stella does not disappoint.
The entire play is not only beautiful to listen to, it's beautiful to watch. Thanks to fantastic direction from Emily Mann. The set design by Eugene Lee and costume design by Paul Tazewell complement each other brilliantly. Terrance Blanchard's score is almost an additional character in the piece. It is part of what makes this revival so vibrant. The music is the driving force behind the action.
This revival plays until Sunday July 22nd at The Broadhurst Theater. There are student tickets, and the show is frequently on the TKTS board. There are also discounts available at Broadwaybox.com
Friday, July 6, 2012
Clybourne Park
Bruce Norris owes a great debt of gratitude to Lorraine Hansbury. His Pulitzer Prize (and now Tony award winning) play, Clybourne Park is written in response to Ms. Hansburys American classic A Raisin in the Sun. For those who are unfamiliar with the source material, A Raisin in the Sun dramatizes the plight of the Youngers, a black family in a Chicago suburb fighting for a better life. Part of this better life means moving into a white neighborhood. In Bruce Norris's play, Clybourne Park we are shown this house, and the other side of the fight.
The play is described by producers as such: Clybourne Park explodes in two outrageous acts set 50 years apart. Act One takes place in 1959, as nervous community leaders anxiously try to stop the sale of a home to a black family. Act Two is set in the same house in the present day, as the now predominantly African-American neighborhood battles to hold its ground in the face of gentrification.
This is the basic premise of the play, but I assure you it's themes and meaning are truly deeper than that. Norris is making us laugh and gasp, but he's also slapping us in the face and punching us in the gut. This is truly a piece that ignites discussion as well as makes you think about your own view points.
Pam MacKinnons direction is slick and precise. There is nary a moment of dead space in the fast paced comedic drama. Daniel Ostling has created a two for one set design. The first act is a comfortable upper middle class 50's household, while the second act is a modern day fixer upper. With her costume design Ilona Somogyi has perfectly evoked both the personalities of each character, their social status and standing, and the time period that they represent. Allen Lee Hughes lighting is functional, and at the end of the second act, somewhat magical.
The company of actors assembled on the stage is truly wonderful. Each actor is pulling double duty as they portray completely different characters in each act. Clybourne Park has recently won the Tony Award for best play. While it wasn't my first (or second) choice to win this distinguished award, I can certainly see it's merits, and say that it is not undeserving of such praise.
Clybourne Park is now playing at The Walter Kerr Theater on Broadway through September 2. It is frequently on the board at TKTS and also offers student tickets (2 per valid ID) when the box office opens. If you enjoy a good dramatic comedy this is the play for you.
The play is described by producers as such: Clybourne Park explodes in two outrageous acts set 50 years apart. Act One takes place in 1959, as nervous community leaders anxiously try to stop the sale of a home to a black family. Act Two is set in the same house in the present day, as the now predominantly African-American neighborhood battles to hold its ground in the face of gentrification.
This is the basic premise of the play, but I assure you it's themes and meaning are truly deeper than that. Norris is making us laugh and gasp, but he's also slapping us in the face and punching us in the gut. This is truly a piece that ignites discussion as well as makes you think about your own view points.
Pam MacKinnons direction is slick and precise. There is nary a moment of dead space in the fast paced comedic drama. Daniel Ostling has created a two for one set design. The first act is a comfortable upper middle class 50's household, while the second act is a modern day fixer upper. With her costume design Ilona Somogyi has perfectly evoked both the personalities of each character, their social status and standing, and the time period that they represent. Allen Lee Hughes lighting is functional, and at the end of the second act, somewhat magical.
The company of actors assembled on the stage is truly wonderful. Each actor is pulling double duty as they portray completely different characters in each act. Clybourne Park has recently won the Tony Award for best play. While it wasn't my first (or second) choice to win this distinguished award, I can certainly see it's merits, and say that it is not undeserving of such praise.
Clybourne Park is now playing at The Walter Kerr Theater on Broadway through September 2. It is frequently on the board at TKTS and also offers student tickets (2 per valid ID) when the box office opens. If you enjoy a good dramatic comedy this is the play for you.
Saturday, June 23, 2012
Jesus Christ Superstar
Andrew Lloyd Webber is the McDonald's of musical theater. We all know that it's not good, and that most of it has been ripped off from some other poor little mom and pop restaurant, yet we still leave humming the big mac. I go back and forth as to which is my favorite item on the ALW menu, and after seeing this production, for the time being at least, it's Jesus Christ Superstar.
The buoyant production now being presented at the Neil Simon Theater originated as part of the Stratford Shakespeare festival. Nobody on Broadway was really clamouring for a revival of Superstar especially considering the last revival just twelve years ago was a commercial flop. (though it did manage to eek out four weeks more of performances). This particular production, however, was much acclaimed by critics and Canadians alike, and so talk of moving it to Broadway after another pre-scheduled run at the La Jolla playhouse in CA surfaced.
Audiences and critics in CA also praised this new production, and plans were made to bring the show into New York for a spring Broadway Bow. The plot needed be discussed, but for those who are unfamiliar, it's basically The Passion of the Christ meets The Who's Tommy.
Des McAnuff's direction is wonderfully intricate. It brings out nuances in the piece that I have never seen before. You feel that each character has his own specific journey, and important part to play in this grand opera. Particular attention is paid the relationships between Jesus, Mary Magdalene, and Judas. Not that there isn't usually particular attention paid to these central characters, however, in this production something is different.
Different also is the urgency we feel right from the beginning. We get the impression right from the haunting opening electric guitar riff that things are not good in Judea, and some shit is about to go down. The opening is wonderfully choreographed by Lisa Shriver. Howell Binkley's lighting design is magnificent and Robert Brill's set design works well as both a functional set. and almost as a character in the piece. The costumes by Paul Tazewell are equally effective.
Josh Young is bringing something very special to the role of Jesus. His Tony nominated performance is a conflicted mass of Admiration, Love, Disdain, and contempt. His voice is also magnificent. As Mary Magdalene Chilina Kennedy has brought a new, post Davinci code depth to the role. All the usual layers are there, plus a bit of something else - a longing perhaps, that is deeply felt from the audience. Paul Nolan's Jesus is the only (very minor) week link. While vocally powerful, he doesn't bring nearly half the depth to his character as his costars do. Though we do see a side of Jesus that we don't often see - The rebel, the rabble rouser, the heretic. Though this is probably more due to Des McAnuf'fs sterling direction that to Mr. Nolan's performance.
The supporting cast is led strongly by Tom Hewitt as Pilate, who should have been nominated for a Tony as well for his insane rendition of Pilate's dream. Bruce Dow is funny and ferocious (in a scary way) as King Herod. For the first time during that song - I felt the danger that Jesus was in. Marcus Nance's deep basso bravura gave me chills.
This Jesus Christ Superstar is flying out of the Neil Simon Theater on Sunday July 1st, so get your tickets while you can. There are student rush tickets given out at the opening of the box office each day of performance for $28. The show is also frequently on TKTS, or if you prefer to buy in advance discounts can be found at Broadwaybox.com.
The buoyant production now being presented at the Neil Simon Theater originated as part of the Stratford Shakespeare festival. Nobody on Broadway was really clamouring for a revival of Superstar especially considering the last revival just twelve years ago was a commercial flop. (though it did manage to eek out four weeks more of performances). This particular production, however, was much acclaimed by critics and Canadians alike, and so talk of moving it to Broadway after another pre-scheduled run at the La Jolla playhouse in CA surfaced.
Audiences and critics in CA also praised this new production, and plans were made to bring the show into New York for a spring Broadway Bow. The plot needed be discussed, but for those who are unfamiliar, it's basically The Passion of the Christ meets The Who's Tommy.
Des McAnuff's direction is wonderfully intricate. It brings out nuances in the piece that I have never seen before. You feel that each character has his own specific journey, and important part to play in this grand opera. Particular attention is paid the relationships between Jesus, Mary Magdalene, and Judas. Not that there isn't usually particular attention paid to these central characters, however, in this production something is different.
Different also is the urgency we feel right from the beginning. We get the impression right from the haunting opening electric guitar riff that things are not good in Judea, and some shit is about to go down. The opening is wonderfully choreographed by Lisa Shriver. Howell Binkley's lighting design is magnificent and Robert Brill's set design works well as both a functional set. and almost as a character in the piece. The costumes by Paul Tazewell are equally effective.
Josh Young is bringing something very special to the role of Jesus. His Tony nominated performance is a conflicted mass of Admiration, Love, Disdain, and contempt. His voice is also magnificent. As Mary Magdalene Chilina Kennedy has brought a new, post Davinci code depth to the role. All the usual layers are there, plus a bit of something else - a longing perhaps, that is deeply felt from the audience. Paul Nolan's Jesus is the only (very minor) week link. While vocally powerful, he doesn't bring nearly half the depth to his character as his costars do. Though we do see a side of Jesus that we don't often see - The rebel, the rabble rouser, the heretic. Though this is probably more due to Des McAnuf'fs sterling direction that to Mr. Nolan's performance.
The supporting cast is led strongly by Tom Hewitt as Pilate, who should have been nominated for a Tony as well for his insane rendition of Pilate's dream. Bruce Dow is funny and ferocious (in a scary way) as King Herod. For the first time during that song - I felt the danger that Jesus was in. Marcus Nance's deep basso bravura gave me chills.
This Jesus Christ Superstar is flying out of the Neil Simon Theater on Sunday July 1st, so get your tickets while you can. There are student rush tickets given out at the opening of the box office each day of performance for $28. The show is also frequently on TKTS, or if you prefer to buy in advance discounts can be found at Broadwaybox.com.
Sunday, June 10, 2012
2012 Tony Awards predictions
Well folks, tonights the night. It's been a long theater season, with some wonderful highs and some tragic lows. It all comes to a head this evening as the 2012 Tony Awards air live on CBS. Who will win? Who should win? I discuss my predictions in the major categories below.
Choreography: The nominees are:
Rob Ashford: Evita
Christopher Gateli: Newsies
Stephen Hogget: Once
Kathleen Marshal: Nice Work if you can get it.
Who should win: Christopher Gatelli
Who will win: Christopher Gatelli
He's been nominated before and never won. His choreography in newsies in absolutely wonderful. In addition to just being fantastic choreography, every step perfectly enhances the emotional moments of the story. The choreography is in fact an extension of story telling. This should be his year. Never count out Kathleen Marshal though, she could score back to back Tony wins.
Director of a musical: The nominees are:
Jeff Calhoun: Newsies
Kathleen Marshal: Nice work
Dianne Paulus: Porgy and Bess
John Tiffany: Once
Who should win: Jeff Calhoun
Who will win: John Tiffany
This year seems to be a battle between what is commercially popular and what is considered to be art. The "commercial entity" is Newsies, and the "art" is Once. Now, I'm not making any statements on the quality of either piece, however, if we base things on years past (the horribly boring and bland RED winning best play, for example) art usually wins out. Jeff Calhoun doesn't always do what I would consider quality work as a director. In Newsies, however, he has succeeded in steering a ship that could have easily been sunk, and he headed it straight to Broadway. He deserves to win. Of course, Dianne Paulus over came all odds (and Stephen Sondheim) to bring a profoundly different Porgy and Bess to the great white way. She could be rewarded for her efforts.
Director of a play: The nominees are:
Nicholas Hytner: One Man, Two Govnors
Pam Makinnon: Clybourne Park
Mike Nichols: Death of a salesman
Roger Rees and Alex Timbers: Peter and the Starcatcher.
Who should win: Roger Rees and Alex Timbers
Who will win: Mike Nichols
What Roger Rees and Alex Timbers have accomplished with Peter and the Starcatcher is nothing short of amazing. The simplicity of the story telling juxtaposed with the complexity of the play are delightful to watch. Nichols, however, has received huge praise for his touching, profound, and modern yet old fashioned revival of this Arthur Miller classic. Don't count out Nicholas Hytner however, One Man Two Guvnors has been a huge success and could be rewarded for it.
Featured Actor in a Play: The Nominees Are:
Christian Borle: Peter and the Starcatcher
Michael Cumpsty: End of the Rainbow
Tom Edden: One Man, Two Guvnors
Andrew Garfield: Death of a Salesman
Jeremy Shamos: Clybourne Park
Who should win: Christian Borle
Who will win: Tom Edden
Christian Borle is giving the best performance of his career so far every night at The Brooks Atkinson theater. The comic timing as well as emotional depth he is exhibiting in Peter and The Starcatcher trancesds everything this actor has done before. Tom Edden, however, is One mans best chance at a Tony win, and voters will surely not send this popular show home empty handed. Don't count out Andrew Garfield however, for his exceptional Broadway debut performance in DOS.
Featured Actress in a play: The Nominees Are:
Linda Emond: Death of a Salesman
Spencer Kayden: Don't Dress for Dinner
Celia Keenan Bolger: Peter and the Starcatcher
Judith Light: Other Desert Cities
Condola Rashad: Stick Fly
Who should win: Judith Light
Who will win: Judith Light
This category is the only one in which it's very difficult to choose the rightful winner. Every actress in this category is giving (or gave) a formiddle performance in the role for which she is nominated. Spencer Kayden carries the entire production of Don't Dress for dinner, while Condola Rashad was heart rending in Stick Fly. Judith light, having her second back to back nomination, is giving a performance of such high magnitude in a role that is so well written that it would be shocking if she didn't win.
Featured Actor in a musical: The Nominees Are:
Philip Boykin: Porgy and Bess
Michael Cerveris: Evita
David Alan Grier: Porgy and Bess
Michael McGrath: Nice work
Josh Young: Jesus Christ Superstar
Who should win: David Alan Grier
Who will win: Michael McGrath: Nice Work
This category is the least exciting. All of the actors nominated are extremely talented, but none are giving exceptionally buzz worthy perofrmances. Michael McGrath has won all other major awards ceremonys in this category so I would expect him to continue that streak. Of all the performances, David Alan Griers is the most deserving in my opinion. Don't count out Josh Young, who did recieve early criticle praise for playing Judas in Jesus Christ Superstar.
Featured Actress in a musical: The Nominees Are:
Elizabeth A Davis: Once
Jayne Houdyshell: Follies
Judy Kaye: Nice Work
Jessie Mueller: On a Clear Day you can see forever
Da'Vine Joy Randolph: Ghost
Who should win: Jayne Houdyshell
Who will win: Judy Kaye
This, like the featured actor musical category - is pretty much a non event. Da'Vine Joy Randolph and Jessie Mueller have been given obligitory nominations so that there shows could at least have SOMETHING nominated. To be fair, Mueller was one of very few bright spots in a terrible revival. Jayne Houdyshell brought the house down every night with her utterly fantastic Broadway Baby. Judy Kaye, however, is giving an equally comic performance in a slightly larger role. Not to mention she has won every other award in this category that she has been nominated for this season. Don't count out Elizabeth A. Davis for Once though.
Leading Actor in a Play: The Nominees are:
James Corden: One Man, Two Guvnors
Phillip Seymour Hoffman: Death of a Salesman
James Earl Jones: The Best Man
Frank Langella: Man and Boy
John Lithgow: The Columnist
Who should win: Philip Seymour Hoffman
Who will win: Philip Seymour Hoffman
There are only two horses in this race. Hoffman, and James Corden. Philip Seymour Hoffman is giving what many are calling the Penultimate Willy Lohman. This is not my favorite play, however, Hoffman is absolutely astounding in it. James Corden is giving an equally remarkable performance of a different kind over at The Music Box, however I expect Hoffman to walk away with the prize at the end of the day.
Leading Actress in a play: The Nominees are:
Nina Arianda: Venus in Fur
Tracie Bennett: End of the Rainbow
Stockard Channing: Other Desert Cities
Linda Lavin: The Lyons
Cynthia Nixon: Wit
Who should win: Stockard Channing
Who will win: Tracie Bennet.
This is the hardest, yet easiest category to call. Every single actress nominated is giving a spectacular performance. Stockard Channing is giving a chilling, yet warm performance as matriarch Polly Wyeth, and her acting choices are remarkable. Her specificity is tremendous. You feel for this woman despite her nature because of Ms. Channings performance. Tracie Bennett, however, is giving the more buzz worthy performance. That's not to say that she isn't good, and there is no denying that she IS the show.
Leading actor in a musical: The nominees are:
Danny Burstein: Follies
Jeremy Jordan: Newsies
Steve Kazee: Once
Norm Lewis: Porgy and Bess
Ron Raines: Follies
Who should win: Danny Burstein
Who will win: Danny Burstein.
Every actor nominated is giving a wonderful performance. Danny Burstein is the best Buddie to have ever played the role, and therefore he must win. He is the only actor who has ever made the character work perfectly. Norm Lewis is giving too controversial a performance in Porgy and Bess to win. Jeremy Jordan will have other chances. It's Danny Bursteins year.
Leading Actress in a musical: The Nominees are.
Jan Maxwell: Follies
Audra McDonald: Porgy and Bess
Cristin Milioti: Once
Kelli O'Hara: Nice Work
Laura Osnes: Bonnie and Clyde
Who should win: Jan Maxwell
Who will win: Audra McDonald.
This was a hard one for me. Jan Maxwell was absolutely stunning as Phylis, and though she has been nominated many times she has never won. This is the best musical performance she has ever given. It almost seemed as though the role was written for her. Audra McDonald is giving the same type of performance in a larger role, in a show that is still running. I imagine that she will take home the prize.
Best Revival Play: The Nominees Are:
Death of a Salesman
The Best Man
Master Class
Wit
What should win: Master Class
What will win: Death of a Salesman
The MTC revival of Wit was one of the most profound theatrical experiences of my life and it deserves to win for it's superb culmination of all elements of theater. Death of a Salesman was equally stunning, however the cheated in using the original set design and music. It was a wonderful revival though, and I wont be upset if they win. Don't count out The Best Man, which is still running until sept and could use the boost in ticket sales.
Revival Musical: The Nominees Are:
Evita
Follies
Porgy and Bess
Jesus Christ Superstar
What should win: Follies
What will win: Follies
The Kennedy center production of Follies that played this season at the Marquis was unparalelled to any other revival that opened on Broadway this year. In my opinion it should still be running. Every theatrical element was perfect. It deserves to win.
Best Play: Clybourne Park
Other Desert Cities
Peter and the Starcatcher
Venus in Fur
What should win: Peter and the starcatcher
What will win: Clybourne Park.
Every nominated play is excellent. Peter and the starcatcher deserves to win not for it's superior writing, but for being the best over all production. Clybourne Park is equally deserving for it's direction, performance, and wonderful script. Other Desert cities could pull ahead though, and I'd be ok with that too.
Best Musical: Leap of Faith
Newsies
Nice Work if you can get it
Once
What should win: Newsies
What will win: Once.
NEwsies deserves to win because it's a better over all production. It has a wonderful (mostly) new score, fantastic direction and choreography, effective set, lighting, and costume design, and it's the most fun on Broadway. Once, however, is the more artistic choice, and it needs more help. Artists like to vote for what they consider to be art, even if it isn't very good.
So there you have it. The show is about to start to - I guess we'll see if I'm right!
Choreography: The nominees are:
Rob Ashford: Evita
Christopher Gateli: Newsies
Stephen Hogget: Once
Kathleen Marshal: Nice Work if you can get it.
Who should win: Christopher Gatelli
Who will win: Christopher Gatelli
He's been nominated before and never won. His choreography in newsies in absolutely wonderful. In addition to just being fantastic choreography, every step perfectly enhances the emotional moments of the story. The choreography is in fact an extension of story telling. This should be his year. Never count out Kathleen Marshal though, she could score back to back Tony wins.
Director of a musical: The nominees are:
Jeff Calhoun: Newsies
Kathleen Marshal: Nice work
Dianne Paulus: Porgy and Bess
John Tiffany: Once
Who should win: Jeff Calhoun
Who will win: John Tiffany
This year seems to be a battle between what is commercially popular and what is considered to be art. The "commercial entity" is Newsies, and the "art" is Once. Now, I'm not making any statements on the quality of either piece, however, if we base things on years past (the horribly boring and bland RED winning best play, for example) art usually wins out. Jeff Calhoun doesn't always do what I would consider quality work as a director. In Newsies, however, he has succeeded in steering a ship that could have easily been sunk, and he headed it straight to Broadway. He deserves to win. Of course, Dianne Paulus over came all odds (and Stephen Sondheim) to bring a profoundly different Porgy and Bess to the great white way. She could be rewarded for her efforts.
Director of a play: The nominees are:
Nicholas Hytner: One Man, Two Govnors
Pam Makinnon: Clybourne Park
Mike Nichols: Death of a salesman
Roger Rees and Alex Timbers: Peter and the Starcatcher.
Who should win: Roger Rees and Alex Timbers
Who will win: Mike Nichols
What Roger Rees and Alex Timbers have accomplished with Peter and the Starcatcher is nothing short of amazing. The simplicity of the story telling juxtaposed with the complexity of the play are delightful to watch. Nichols, however, has received huge praise for his touching, profound, and modern yet old fashioned revival of this Arthur Miller classic. Don't count out Nicholas Hytner however, One Man Two Guvnors has been a huge success and could be rewarded for it.
Featured Actor in a Play: The Nominees Are:
Christian Borle: Peter and the Starcatcher
Michael Cumpsty: End of the Rainbow
Tom Edden: One Man, Two Guvnors
Andrew Garfield: Death of a Salesman
Jeremy Shamos: Clybourne Park
Who should win: Christian Borle
Who will win: Tom Edden
Christian Borle is giving the best performance of his career so far every night at The Brooks Atkinson theater. The comic timing as well as emotional depth he is exhibiting in Peter and The Starcatcher trancesds everything this actor has done before. Tom Edden, however, is One mans best chance at a Tony win, and voters will surely not send this popular show home empty handed. Don't count out Andrew Garfield however, for his exceptional Broadway debut performance in DOS.
Featured Actress in a play: The Nominees Are:
Linda Emond: Death of a Salesman
Spencer Kayden: Don't Dress for Dinner
Celia Keenan Bolger: Peter and the Starcatcher
Judith Light: Other Desert Cities
Condola Rashad: Stick Fly
Who should win: Judith Light
Who will win: Judith Light
This category is the only one in which it's very difficult to choose the rightful winner. Every actress in this category is giving (or gave) a formiddle performance in the role for which she is nominated. Spencer Kayden carries the entire production of Don't Dress for dinner, while Condola Rashad was heart rending in Stick Fly. Judith light, having her second back to back nomination, is giving a performance of such high magnitude in a role that is so well written that it would be shocking if she didn't win.
Featured Actor in a musical: The Nominees Are:
Philip Boykin: Porgy and Bess
Michael Cerveris: Evita
David Alan Grier: Porgy and Bess
Michael McGrath: Nice work
Josh Young: Jesus Christ Superstar
Who should win: David Alan Grier
Who will win: Michael McGrath: Nice Work
This category is the least exciting. All of the actors nominated are extremely talented, but none are giving exceptionally buzz worthy perofrmances. Michael McGrath has won all other major awards ceremonys in this category so I would expect him to continue that streak. Of all the performances, David Alan Griers is the most deserving in my opinion. Don't count out Josh Young, who did recieve early criticle praise for playing Judas in Jesus Christ Superstar.
Featured Actress in a musical: The Nominees Are:
Elizabeth A Davis: Once
Jayne Houdyshell: Follies
Judy Kaye: Nice Work
Jessie Mueller: On a Clear Day you can see forever
Da'Vine Joy Randolph: Ghost
Who should win: Jayne Houdyshell
Who will win: Judy Kaye
This, like the featured actor musical category - is pretty much a non event. Da'Vine Joy Randolph and Jessie Mueller have been given obligitory nominations so that there shows could at least have SOMETHING nominated. To be fair, Mueller was one of very few bright spots in a terrible revival. Jayne Houdyshell brought the house down every night with her utterly fantastic Broadway Baby. Judy Kaye, however, is giving an equally comic performance in a slightly larger role. Not to mention she has won every other award in this category that she has been nominated for this season. Don't count out Elizabeth A. Davis for Once though.
Leading Actor in a Play: The Nominees are:
James Corden: One Man, Two Guvnors
Phillip Seymour Hoffman: Death of a Salesman
James Earl Jones: The Best Man
Frank Langella: Man and Boy
John Lithgow: The Columnist
Who should win: Philip Seymour Hoffman
Who will win: Philip Seymour Hoffman
There are only two horses in this race. Hoffman, and James Corden. Philip Seymour Hoffman is giving what many are calling the Penultimate Willy Lohman. This is not my favorite play, however, Hoffman is absolutely astounding in it. James Corden is giving an equally remarkable performance of a different kind over at The Music Box, however I expect Hoffman to walk away with the prize at the end of the day.
Leading Actress in a play: The Nominees are:
Nina Arianda: Venus in Fur
Tracie Bennett: End of the Rainbow
Stockard Channing: Other Desert Cities
Linda Lavin: The Lyons
Cynthia Nixon: Wit
Who should win: Stockard Channing
Who will win: Tracie Bennet.
This is the hardest, yet easiest category to call. Every single actress nominated is giving a spectacular performance. Stockard Channing is giving a chilling, yet warm performance as matriarch Polly Wyeth, and her acting choices are remarkable. Her specificity is tremendous. You feel for this woman despite her nature because of Ms. Channings performance. Tracie Bennett, however, is giving the more buzz worthy performance. That's not to say that she isn't good, and there is no denying that she IS the show.
Leading actor in a musical: The nominees are:
Danny Burstein: Follies
Jeremy Jordan: Newsies
Steve Kazee: Once
Norm Lewis: Porgy and Bess
Ron Raines: Follies
Who should win: Danny Burstein
Who will win: Danny Burstein.
Every actor nominated is giving a wonderful performance. Danny Burstein is the best Buddie to have ever played the role, and therefore he must win. He is the only actor who has ever made the character work perfectly. Norm Lewis is giving too controversial a performance in Porgy and Bess to win. Jeremy Jordan will have other chances. It's Danny Bursteins year.
Leading Actress in a musical: The Nominees are.
Jan Maxwell: Follies
Audra McDonald: Porgy and Bess
Cristin Milioti: Once
Kelli O'Hara: Nice Work
Laura Osnes: Bonnie and Clyde
Who should win: Jan Maxwell
Who will win: Audra McDonald.
This was a hard one for me. Jan Maxwell was absolutely stunning as Phylis, and though she has been nominated many times she has never won. This is the best musical performance she has ever given. It almost seemed as though the role was written for her. Audra McDonald is giving the same type of performance in a larger role, in a show that is still running. I imagine that she will take home the prize.
Best Revival Play: The Nominees Are:
Death of a Salesman
The Best Man
Master Class
Wit
What should win: Master Class
What will win: Death of a Salesman
The MTC revival of Wit was one of the most profound theatrical experiences of my life and it deserves to win for it's superb culmination of all elements of theater. Death of a Salesman was equally stunning, however the cheated in using the original set design and music. It was a wonderful revival though, and I wont be upset if they win. Don't count out The Best Man, which is still running until sept and could use the boost in ticket sales.
Revival Musical: The Nominees Are:
Evita
Follies
Porgy and Bess
Jesus Christ Superstar
What should win: Follies
What will win: Follies
The Kennedy center production of Follies that played this season at the Marquis was unparalelled to any other revival that opened on Broadway this year. In my opinion it should still be running. Every theatrical element was perfect. It deserves to win.
Best Play: Clybourne Park
Other Desert Cities
Peter and the Starcatcher
Venus in Fur
What should win: Peter and the starcatcher
What will win: Clybourne Park.
Every nominated play is excellent. Peter and the starcatcher deserves to win not for it's superior writing, but for being the best over all production. Clybourne Park is equally deserving for it's direction, performance, and wonderful script. Other Desert cities could pull ahead though, and I'd be ok with that too.
Best Musical: Leap of Faith
Newsies
Nice Work if you can get it
Once
What should win: Newsies
What will win: Once.
NEwsies deserves to win because it's a better over all production. It has a wonderful (mostly) new score, fantastic direction and choreography, effective set, lighting, and costume design, and it's the most fun on Broadway. Once, however, is the more artistic choice, and it needs more help. Artists like to vote for what they consider to be art, even if it isn't very good.
So there you have it. The show is about to start to - I guess we'll see if I'm right!
Saturday, June 2, 2012
Peter and the Starcatcher
There are very few stories that have captivated the world as the tale of Peter Pan. Originally produced as a play by Sir J.M.Barrie in London in 1904 (after having made a brief appearance in a novel for adults in 1902 called The little white bird). The story has been told innumerable times on Stage and Screen as well as in many editions of children's books.
Many have often wondered, how did the boy who wont grow up come to Never land? Where did fairy's come from? Why does captain hook hate Peter Pan? These questions and many more are answered in the imaginative play Peter and the Star catcher currently mesmerizing audiences young and old at The Brooks Atkinson Theater on Broadway.
The story (without spoiling it for you) concerns, pirates, sailing ships, mysterious islands, and magical matter called Star Stuff. We are introduced to Molly Aster and her father Leonard, who are sailing to the Island of Randoon. Along the way we discover the origins of the boy who wont grow up.
The play is presented as a play. We are introduced to a group of actors who admittedly are presenting a show for us. The result is a magical, whimsical, and insanely creative way of story telling. There are no wire's or trap doors. Everything is visible. The ingenuity and theatrical craftsmanship is enchanting for audience members young and old.
The cast is also brilliant. Celia Keenan Bolger is giving a remarkable performance as Mary Aster. Christian Borle is inspired as Black Stache (and could very well win the Tony Award a week from Sunday). Adam Chanler-Beret is also quite good as "Boy", if not perhaps carrying over a bit too much angst from Rent and Next to Normal.
Peter and The Starcatcher is categorized as a "play with music". It's not a musical in the sense that characters do not sing to each other, and there are very few songs. It is however, a VERY musical play. The music is also wonderful, particularly the act II opener (which I hope they get to perform at The Tony Awards).
The set, costume and lighting design should be mentioned because each one compliments the other so divinely, as well as the show. Each theatrical element is almost it's own character in the piece. The play is so neatly tied together you feel as though if one tiny detail were different you'd be seeing an entirely different show.
Peter and The Starcatcher is nominated for Best Play at The Tony Awards and it stands a very good chance of winning. The challenge for this show is going to be convincing adults that this is not just a play for children. Children will certainly enjoy the play, but adults will enjoy it equally so. It has the trans formative power to render every person in the audience a 7 year old, at least for a few hours.
Many have often wondered, how did the boy who wont grow up come to Never land? Where did fairy's come from? Why does captain hook hate Peter Pan? These questions and many more are answered in the imaginative play Peter and the Star catcher currently mesmerizing audiences young and old at The Brooks Atkinson Theater on Broadway.
The story (without spoiling it for you) concerns, pirates, sailing ships, mysterious islands, and magical matter called Star Stuff. We are introduced to Molly Aster and her father Leonard, who are sailing to the Island of Randoon. Along the way we discover the origins of the boy who wont grow up.
The play is presented as a play. We are introduced to a group of actors who admittedly are presenting a show for us. The result is a magical, whimsical, and insanely creative way of story telling. There are no wire's or trap doors. Everything is visible. The ingenuity and theatrical craftsmanship is enchanting for audience members young and old.
The cast is also brilliant. Celia Keenan Bolger is giving a remarkable performance as Mary Aster. Christian Borle is inspired as Black Stache (and could very well win the Tony Award a week from Sunday). Adam Chanler-Beret is also quite good as "Boy", if not perhaps carrying over a bit too much angst from Rent and Next to Normal.
Peter and The Starcatcher is categorized as a "play with music". It's not a musical in the sense that characters do not sing to each other, and there are very few songs. It is however, a VERY musical play. The music is also wonderful, particularly the act II opener (which I hope they get to perform at The Tony Awards).
The set, costume and lighting design should be mentioned because each one compliments the other so divinely, as well as the show. Each theatrical element is almost it's own character in the piece. The play is so neatly tied together you feel as though if one tiny detail were different you'd be seeing an entirely different show.
Peter and The Starcatcher is nominated for Best Play at The Tony Awards and it stands a very good chance of winning. The challenge for this show is going to be convincing adults that this is not just a play for children. Children will certainly enjoy the play, but adults will enjoy it equally so. It has the trans formative power to render every person in the audience a 7 year old, at least for a few hours.
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