Thanks to Man in Chair, I've been spending sometime at The Singing Stage.
What a great selection!! From the fun ones to announce outloud - El Show De Terror De Rocky (2001 Peruvian Cast) - to the WTFs - Spider Man: the Musical (Demo CD), this site offers links to download full albums of cast recordings you never even knew existed. It's all too much for a musical theater geek who lives in Texas. I peed my pants in pure delight after discovering this site. And I'm gonna admit it: I feel a little guilty that this is so easy. But don't get me wrong - I bought the new South Pacific recording yesterday at Borders (expect a review tomorrow). And I still have pre-ordered copies of most of this year's new stuff on the way pretty soon. So support the artists. Buy the albums. But use this site too. IT'S FREAKING UNBELIEVABLE. I HEART IT.
Oh, and it updates like a million times in a day. So check back frequently. Ooooh... Gypsy tracks!!
A little self-indulgence goes a long way.
Ok time for a new post.
I've been so uber (I love that word) busy the past month, I have yet to contribute anything worthwhile to the theatre-going blogosphere since my last clever post title concerning a certain ingenue in danger (see previous post). While the SOB Steve pumps out new posts everyday, I sit at work fighting sleep. And may I add, I lose the battle most of the time.
My lack of sleep is due to my rehearsal and performance schedule. I am currently in my 4th week of performances with Side Show, that other Henry Krieger musical that deserves to be considered "the other one." I've always considered Side Show a great premise with awful execution. I think the score and the book are ridiculously melodramatic and not subtle. The show wears it emotions on its sleeve and holds nothing back.
However, I'm performing under the direction of a certain Ken Frazier, who has become a house-hold name in the San Antonio theater scene. Ken is always a creative director with a true vision and loves to take risks. As was the case, he fell in love with the premise of the show and was considerably underwhelmed with the actual material itself. He's created a seedy underworld of side show freaks including a disfigured woman, a reptile man, a geek who walks on stilts and eats chickens, a he-she in a wonderful costume, a 500lb lady, and of course - yours truly, the bearded lady. There is great talent among the cast, most notably Stephanie Bumgarner and Kimberly Stephenson as the 2 conjoined twins, Daisy and Violet Hilton.
I'm drawn to the direction of Ken Frazier and the staff of the Sheldon Vexler Theatre. This is a rare instance that I'm not drawn to the material, too. But I'm giving it my all. And I really enjoy singing in "The Devil You Know" - belting out high C's is always fun. And I'm enjoying the cast as well.
But that alone isn't enough for me to lose sleep over. What's killing me is that on top of these performances, I'm in rehearsals for another show that opens a week after my stint at the Vex closes. Just North of San Antonio is the small town of New Braunfels, TX. My home. And the home to the greatest water park in the world. And the home to the June production of New Braunfels Theatre Company's Hello, Dolly! I play Cornelius, which is a great part. And I feel that I'm doing a great job with it. Unfortunately, the production has been suffering from a management standpoint. And it has bled its way into the ensemble. People are frustrated, people are annoyed, people are bitter. And quite frankly there is only room enough for one diva in this town and that's me. I'm not gonna even go into more detail here because no good will come of it. But hopefully the cast can come together and pull out a great performance. I hope.
Oh yeah and then on top of that I just started rehearsals for Honk! I play the Cat and open in July, a week after Hello, Dolly! closes. Oh and I just got done with a stint as Snoopy in You're a Good Man, Charlie Brown and Will Parker in Oklahoma! - my best performance yet in my opinion. Extremely proud of my work on that show.
And then of course there's work. And home life. And school. And my New York plans. Meh.
Oh and our reviews for Side Show were appropriately polarizing. Here's a snippet from Deborah Martin's glowing review in the San Antonio Express News:
And here is Thomas Jenkins' snippet from the San Antonio Current, a less favorable review:
Well there you go. Now that I'm through with this endless self-indulgence, on to blogging about things that people care about. Well, theatre people.
I've been so uber (I love that word) busy the past month, I have yet to contribute anything worthwhile to the theatre-going blogosphere since my last clever post title concerning a certain ingenue in danger (see previous post). While the SOB Steve pumps out new posts everyday, I sit at work fighting sleep. And may I add, I lose the battle most of the time.
My lack of sleep is due to my rehearsal and performance schedule. I am currently in my 4th week of performances with Side Show, that other Henry Krieger musical that deserves to be considered "the other one." I've always considered Side Show a great premise with awful execution. I think the score and the book are ridiculously melodramatic and not subtle. The show wears it emotions on its sleeve and holds nothing back.
However, I'm performing under the direction of a certain Ken Frazier, who has become a house-hold name in the San Antonio theater scene. Ken is always a creative director with a true vision and loves to take risks. As was the case, he fell in love with the premise of the show and was considerably underwhelmed with the actual material itself. He's created a seedy underworld of side show freaks including a disfigured woman, a reptile man, a geek who walks on stilts and eats chickens, a he-she in a wonderful costume, a 500lb lady, and of course - yours truly, the bearded lady. There is great talent among the cast, most notably Stephanie Bumgarner and Kimberly Stephenson as the 2 conjoined twins, Daisy and Violet Hilton.
I'm drawn to the direction of Ken Frazier and the staff of the Sheldon Vexler Theatre. This is a rare instance that I'm not drawn to the material, too. But I'm giving it my all. And I really enjoy singing in "The Devil You Know" - belting out high C's is always fun. And I'm enjoying the cast as well.
But that alone isn't enough for me to lose sleep over. What's killing me is that on top of these performances, I'm in rehearsals for another show that opens a week after my stint at the Vex closes. Just North of San Antonio is the small town of New Braunfels, TX. My home. And the home to the greatest water park in the world. And the home to the June production of New Braunfels Theatre Company's Hello, Dolly! I play Cornelius, which is a great part. And I feel that I'm doing a great job with it. Unfortunately, the production has been suffering from a management standpoint. And it has bled its way into the ensemble. People are frustrated, people are annoyed, people are bitter. And quite frankly there is only room enough for one diva in this town and that's me. I'm not gonna even go into more detail here because no good will come of it. But hopefully the cast can come together and pull out a great performance. I hope.
Oh yeah and then on top of that I just started rehearsals for Honk! I play the Cat and open in July, a week after Hello, Dolly! closes. Oh and I just got done with a stint as Snoopy in You're a Good Man, Charlie Brown and Will Parker in Oklahoma! - my best performance yet in my opinion. Extremely proud of my work on that show.
And then of course there's work. And home life. And school. And my New York plans. Meh.
Oh and our reviews for Side Show were appropriately polarizing. Here's a snippet from Deborah Martin's glowing review in the San Antonio Express News:
“It's a little weird,” an older gentleman said to one of his companions at “Side Show” Saturday night.
It's a fair observation for a show that opens with a number titled “Come Look at the Freaks.” The show is a little weird, but it's a good kind of weird. It's also frequently moving and hard to forget.
And here is Thomas Jenkins' snippet from the San Antonio Current, a less favorable review:
The Vexler’s current production presents a mixed case for the merits of this cult musical, with several strong casting and creative choices, but also some real head-scratchers... Unfortunately, some baffling casting choices undermine the musical’s potential as a more affecting piece of theater, particularly in the romantic subplots.
Well there you go. Now that I'm through with this endless self-indulgence, on to blogging about things that people care about. Well, theatre people.
Did they just Taser Kelli O'Hara?? (cue abrupt and uncontrollable laughter)
So the 53rd Drama Desk Awards were announced last night. And while the cast of [title of show] accomplished their goal to keep the ceremony under 3 hours (it clocked in at just under 2 and a half), they failed to make the "Deskies" entertaining for more than half an hour.
I was hoping for more accolades for Adding Machine, however my wishes were not met. The top prize for Outstanding New Musical went to Passing Strange (increasing its Tony-win chances). And yes, you guessed it, August: Osage County won everything it should have. There is absolutely no doubt this play is going to win at the Tonys. None. I would bet my movie musical DVD collection on it.
I wish Sunday in the Park would win something. It really is beautiful.
And what was up with Mark Rylance's acceptance speech for Boeing-Boeing? While his delivery of a somewhat nefarious chest tattoo was cracking me up, and the build-up was increasing in suspense, the ultimate punchline left much to be desired. Thanks for the tease. But I remembered it. Which is more than can be said for anything any of the other winners said. (Although Douglas Carter Beane threw in some great lines, even if he over-stayed his welcome.)
The opening of the show was terrific; and I took it as a sign of things to come. Even the first presenter (Kelli O'Hara) and second presenter (Andrea Martin) kept things lively and hilariously riotous. The fact the the [title of show] gang had the balls to Taser the elegant Ms. O'Hara, while she babbled on about the virtues and importance of lyrics, in the first 30 minutes of the ceremony was enough to have me glued to my computer screen all night long. And just like in the opening number sung by Hunter, Jeffy, Susan, and Heidi proclaimed, I stayed there all night dreaming of what could be. Unfortunately, the rest of the telecast was a snore fest. And the hosts didn't "host" as much as I thought they would. I wanted more [title of show]!
My tip to the producers for next year: let the [title of show] gang host, present, and perform everything next year. The comic chemistry between them is enough to wet my pants for years.
I was hoping for more accolades for Adding Machine, however my wishes were not met. The top prize for Outstanding New Musical went to Passing Strange (increasing its Tony-win chances). And yes, you guessed it, August: Osage County won everything it should have. There is absolutely no doubt this play is going to win at the Tonys. None. I would bet my movie musical DVD collection on it.
I wish Sunday in the Park would win something. It really is beautiful.
And what was up with Mark Rylance's acceptance speech for Boeing-Boeing? While his delivery of a somewhat nefarious chest tattoo was cracking me up, and the build-up was increasing in suspense, the ultimate punchline left much to be desired. Thanks for the tease. But I remembered it. Which is more than can be said for anything any of the other winners said. (Although Douglas Carter Beane threw in some great lines, even if he over-stayed his welcome.)
The opening of the show was terrific; and I took it as a sign of things to come. Even the first presenter (Kelli O'Hara) and second presenter (Andrea Martin) kept things lively and hilariously riotous. The fact the the [title of show] gang had the balls to Taser the elegant Ms. O'Hara, while she babbled on about the virtues and importance of lyrics, in the first 30 minutes of the ceremony was enough to have me glued to my computer screen all night long. And just like in the opening number sung by Hunter, Jeffy, Susan, and Heidi proclaimed, I stayed there all night dreaming of what could be. Unfortunately, the rest of the telecast was a snore fest. And the hosts didn't "host" as much as I thought they would. I wanted more [title of show]!
My tip to the producers for next year: let the [title of show] gang host, present, and perform everything next year. The comic chemistry between them is enough to wet my pants for years.
Is that Vasoline in his hair?
Anyone else think this Cubby Bernstein kid is ugly? I'm not trying to be mean - I just happen to think that he is not the most attractive 13-year old kid out there, that is all. It doesn't help that I don't think he is very funny. In correspondence with my friend Walter, I mentioned Cubby was "lame and spectacularly unfunny." Via text message, I continued my rant as I proceeded to call Cubby a "prepubescent Conan O'Brien without the humor and bad(der) hair. Like Ellen."Whatever. Maybe I'm jealous that this kid is getting more attention than I am. But it doesn't change the fact that he's ugly. And that his choice (Xanadu) for Best Musical this year is all wrong.
Some thoughts on the Tony nominees, or: "Wah! Wahhh!" how Harvey Fierstein finally hit an F# without falling flat
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How can I express the pleasure I derive from other people's unhappiness with
out sounding like an ass? I can't. So I'm not gonna try. Harvey Fierstein, your self-indulgent little bomber of a show was dissed Tuesday morning out of the big categories to the surprise of most Broadway pundits (aka gay Jew-males who own Macs and video blogs). I'm sure there was a howl similar to Patti Lupone's when she found out Glenn Close would replace her in the Broadway transfer of Sunset Boulevard. And I'm sure it woke up most of the upper-east side of -
Why the hell is Cry-Baby making such a strong showing? Yeah, Young Frankenstein blows, but I'm sure it's better than the new John Waters-based musical about french kissing and the Cold War. Plus, YF has Sutton Foster and Andrea Martin. Cry-Baby has... James Snyder and Elizabeth Stanley??
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I hate the fact that the Pulitzer Prize winner is always announced before the Tony season has even come to a close. It takes out all the suspense for the Best Play category. Yes, August: Osage County got nominated. Yes, of course AugOC (pronounced 'og-ock' as I like to call it) will win. I'm sure its great. Not taking anything away from the play. Just from the Pulitzer people's bad timing (producers of Glory Days take note).
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My guess is Patti will perform "Everything's Coming Up Roses;" that way fellow nominees Boyd Gaines and Laura Benanti can join her onstage. Too bad Bernadette had to ruin "Rose's Turn" for
Pattieveryone. She should do it anyway, just to spite her. And for me. :-) -
No Cat on a Hat Tin Roof nominations. Bummer, I guess Terrance Howard will have to be pleased with presenting the award for Best Performance by a Leading Actress in a Play category. He should take a note from Julia Roberts ("You people are so freaking talented!" Why, thank you, Ms. Roberts. We're well aware.)
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I just realized I'm gonna have to sit through an abortion of a performance from Grease. Someone please rape me.
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Stephen Sondheim is just barely getting a lifetime achievement award? Does this mean that there will be a vintage video montage that features Angela Lansbury as Mrs. Lovett? One can hope...
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This post was a bit bitterly bitchy (note the fine use of both alliteration and first syllable congruence). I blame it on the late night and the early morning caffeine.
PS Oh yeah, by the way,
Complete List of 2008 Tony Award Nominations
The 2007-2008 Tony Award nominations were announced May 13 by Tony Award winners Sara Ramirez and David Hyde Pierce at the New York Public Library for the Performing Arts. Nominees for Best Musical include Cry-Baby, In the Heights, Passing Strange and Xanadu.
Best Play:
August: Osage County
Rock 'n' Roll
The Seafarer
The 39 Steps
Best Musical:
Cry-Baby
In the Heights
Passing Strange
Xanadu
Best Book of a Musical:
Cry-Baby, Mark O'Donnell and Thomas Meehan
In the Heights, Quiara Alegria Hudes
Passing Strange, Stew
Xanadu, Douglas Carter Beane
Best Original Score:
Cry-Baby, Music & Lyrics: David Javerbaum & Adam Schlesinger
In The Heights, Music & Lyrics: Lin-Manuel Miranda
The Little Mermaid, Music: Alan Menken and Lyrics: Howard Ashman and Glenn Slater
Passing Strange, Music: Stew and Heidi Rodewald; Lyrics: Stew
Best Revival of a Play:
Boeing-Boeing
The Homecoming
Les Liaisons Dangereueses
Mabceth
Best Revival of a Musical:
Grease
Gypsy
South Pacific
Sunday in the Park With George
Best Performance By a Leading Actor in a Play:
Ben Daniels, Les Liaisons Dangereuses
Laurence Fishburne, Thurgood
Mark Rylance, Boeing-Boeing
Rufus Sewell, Rock 'n' Roll
Patrick Stewart, Macbeth
Best Performance By a Leading Actress in a Play:
Eve Best, The Homecoming
Deanna Dunagan, August: Osage County
Kate Fleetwood, Macbeth
S. Epatha Merkerson, Come Back, Little Sheba
Amy Morton, August: Osage County
Best Performance By a Leading Actor in a Musical:
Daniel Evans, Sunday in the Park With George
Lin-Manuel Miranda, In the Heights
Stew, Passing Strange
Paulo Szot, South Pacific
Tom Wopat, A Catered Affair
Best Performance By a Leading Actress in a Musical:
Kerry Butler, Xanadu
Patti LuPone, Gypsy
Kelli O'Hara, South Pacific
Faith Prince, A Catered Affair
Jenna Russell, Sunday in the Park With George
Best Performance By a Featured Actor in a Play:
Bobby Cannavale, Mauritius
Raúl Esparza, The Homecoming
Conleth Hill, The Seafarer
Jim Norton, The Seafarer
David Pittu, Is He Dead?
Best Performance By a Featured Actress in a Play:
Sinead Cusack, Rock 'n' Roll
Mary McCormack, Boeing-Boeing
Laurie Metcalf, November
Martha Plimpton, Top Girls
Rondi Reed, August: Osage County
Best Performance By a Featured Actor in a Musical:
Daniel Breaker, Passing Strange
Danny Burstein, South Pacific
Robin De Jesús, In The Heights
Christopher Fitzgerald, Young Frankenstein
Boyd Gaines, Gypsy
Best Performance By a Featured Actress in a Musical:
de'Adre Aziza, Passing Strange
Laura Benanti, Gypsy
Andrea Martin, Young Frankenstein
Olga Merediz, In The Heights
Loretta Ables Sayre, South Pacific
Best Direction of a Play:
Maria Aitken, The 39 Steps
Conor McPherson, The Seafarer
Anna D. Shapiro, August: Osage County
Matthew Warchus, Boeing-Boeing
Best Direction of a Musical:
Sam Buntrock, Sunday in the Park with George
Thomas Kail, In the Heights
Arthur Laurents, Gypsy
Bartlett Sher, South Pacific
Best Choreography:
Rob Ashford, Cry-Baby
Andy Blankenbuehler, In The Heights
Christopher Gattelli, South Pacific
Dan Knechtges, Xanadu
Best Orchestrations:
Jason Carr, Sunday in the Park with George
Alex Lacamoire & Bill Sherman, In The Heights
Stew & Heidi Rodewald, Passing Strange
Jonathan Tunick, A Catered Affair
Best Scenic Design of a Play:
Peter McKintosh, The 39 Steps
Scott Pask, Les Liaisons Dangereuses
Todd Rosenthal, August: Osage County
Anthony Ward, Macbeth
Best Scenic Design of a Musical:
David Farley and Timothy Bird & The Knifedge Creative Network, Sunday in the Park with George
Anna Louizos, In The Heights
Robin Wagner, Young Frankenstein
Michael Yeargan, South Pacific
Best Costume Design of a Play:
Gregory Gale, Cyrano de Bergerac
Rob Howell, Boeing-Boeing
Katrina Lindsay, Les Liaisons Dangereuses
Peter McKintosh, The 39 Steps
Best Costume Design of a Musical:
David Farley, Sunday in the Park with George
Martin Pakledinaz, Gypsy
Paul Tazewell, In The Heights
Catherine Zuber, South Pacific
Best Lighting Design of a Play:
Kevin Adams, The 39 Steps
Howard Harrison, Macbeth
Donald Holder, Les Liaisons Dangereuses
Ann G. Wrightson, August: Osage County
Best Lighting Design of a Musical:
Ken Billington, Sunday in the Park with George
Howell Binkley, In The Heights
Donald Holder, South Pacific
Natasha Katz, The Little Mermaid
Best Sound Design of a Play:
Simon Baker, Boeing-Boeing
Adam Cork, Macbeth
Ian Dickson, Rock 'n' Roll
Mic Pool, The 39 Steps
Best Sound Design of a Musical:
Acme Sound Partners, In The Heights
Sebastian Frost, Sunday in the Park With George
Scott Lehrer, South Pacific
Dan Moses Schreier, Gypsy
Special Tony Award for Lifetime Achievement in the Theatre:
Stephen Sondheim
Regional Theatre Tony Award:
Chicago Shakespeare Theatre
Special Tony Award:
Russell Bennett (1894-1981), in recognition of his historic contribution to American musical theatre in the field of orchestrations, as represented on Broadway this season by Rodgers & Hammerstein's South Pacific.
How many nominations each show received:
In The Heights, 13
South Pacific, 11
Sunday in the Park with George, 9
August: Osage County, 7
Gypsy, 7
Passing Strange, 7
Boeing-Boeing, 6
Macbeth, 6
The 39 Steps, 6
Les Liaisons Dangereuses, 5
Cry-Baby, 4
Rock 'n' Roll, 4
The Seafarer, 4
Xanadu, 4
A Catered Affair, 3
The Homecoming, 3
Young Frankenstein, 3
The Little Mermaid, 2
Come Back, Little Sheba, 1
Cyrano de Bergerac, 1
Grease, 1
Is He Dead?, 1
Mauritius, 1
November, 1
Thurgood, 1
Top Girls, 1
Best Play:
August: Osage County
Rock 'n' Roll
The Seafarer
The 39 Steps
Best Musical:
Cry-Baby
In the Heights
Passing Strange
Xanadu
Best Book of a Musical:
Cry-Baby, Mark O'Donnell and Thomas Meehan
In the Heights, Quiara Alegria Hudes
Passing Strange, Stew
Xanadu, Douglas Carter Beane
Best Original Score:
Cry-Baby, Music & Lyrics: David Javerbaum & Adam Schlesinger
In The Heights, Music & Lyrics: Lin-Manuel Miranda
The Little Mermaid, Music: Alan Menken and Lyrics: Howard Ashman and Glenn Slater
Passing Strange, Music: Stew and Heidi Rodewald; Lyrics: Stew
Best Revival of a Play:
Boeing-Boeing
The Homecoming
Les Liaisons Dangereueses
Mabceth
Best Revival of a Musical:
Grease
Gypsy
South Pacific
Sunday in the Park With George
Best Performance By a Leading Actor in a Play:
Ben Daniels, Les Liaisons Dangereuses
Laurence Fishburne, Thurgood
Mark Rylance, Boeing-Boeing
Rufus Sewell, Rock 'n' Roll
Patrick Stewart, Macbeth
Best Performance By a Leading Actress in a Play:
Eve Best, The Homecoming
Deanna Dunagan, August: Osage County
Kate Fleetwood, Macbeth
S. Epatha Merkerson, Come Back, Little Sheba
Amy Morton, August: Osage County
Best Performance By a Leading Actor in a Musical:
Daniel Evans, Sunday in the Park With George
Lin-Manuel Miranda, In the Heights
Stew, Passing Strange
Paulo Szot, South Pacific
Tom Wopat, A Catered Affair
Best Performance By a Leading Actress in a Musical:
Kerry Butler, Xanadu
Patti LuPone, Gypsy
Kelli O'Hara, South Pacific
Faith Prince, A Catered Affair
Jenna Russell, Sunday in the Park With George
Best Performance By a Featured Actor in a Play:
Bobby Cannavale, Mauritius
Raúl Esparza, The Homecoming
Conleth Hill, The Seafarer
Jim Norton, The Seafarer
David Pittu, Is He Dead?
Best Performance By a Featured Actress in a Play:
Sinead Cusack, Rock 'n' Roll
Mary McCormack, Boeing-Boeing
Laurie Metcalf, November
Martha Plimpton, Top Girls
Rondi Reed, August: Osage County
Best Performance By a Featured Actor in a Musical:
Daniel Breaker, Passing Strange
Danny Burstein, South Pacific
Robin De Jesús, In The Heights
Christopher Fitzgerald, Young Frankenstein
Boyd Gaines, Gypsy
Best Performance By a Featured Actress in a Musical:
de'Adre Aziza, Passing Strange
Laura Benanti, Gypsy
Andrea Martin, Young Frankenstein
Olga Merediz, In The Heights
Loretta Ables Sayre, South Pacific
Best Direction of a Play:
Maria Aitken, The 39 Steps
Conor McPherson, The Seafarer
Anna D. Shapiro, August: Osage County
Matthew Warchus, Boeing-Boeing
Best Direction of a Musical:
Sam Buntrock, Sunday in the Park with George
Thomas Kail, In the Heights
Arthur Laurents, Gypsy
Bartlett Sher, South Pacific
Best Choreography:
Rob Ashford, Cry-Baby
Andy Blankenbuehler, In The Heights
Christopher Gattelli, South Pacific
Dan Knechtges, Xanadu
Best Orchestrations:
Jason Carr, Sunday in the Park with George
Alex Lacamoire & Bill Sherman, In The Heights
Stew & Heidi Rodewald, Passing Strange
Jonathan Tunick, A Catered Affair
Best Scenic Design of a Play:
Peter McKintosh, The 39 Steps
Scott Pask, Les Liaisons Dangereuses
Todd Rosenthal, August: Osage County
Anthony Ward, Macbeth
Best Scenic Design of a Musical:
David Farley and Timothy Bird & The Knifedge Creative Network, Sunday in the Park with George
Anna Louizos, In The Heights
Robin Wagner, Young Frankenstein
Michael Yeargan, South Pacific
Best Costume Design of a Play:
Gregory Gale, Cyrano de Bergerac
Rob Howell, Boeing-Boeing
Katrina Lindsay, Les Liaisons Dangereuses
Peter McKintosh, The 39 Steps
Best Costume Design of a Musical:
David Farley, Sunday in the Park with George
Martin Pakledinaz, Gypsy
Paul Tazewell, In The Heights
Catherine Zuber, South Pacific
Best Lighting Design of a Play:
Kevin Adams, The 39 Steps
Howard Harrison, Macbeth
Donald Holder, Les Liaisons Dangereuses
Ann G. Wrightson, August: Osage County
Best Lighting Design of a Musical:
Ken Billington, Sunday in the Park with George
Howell Binkley, In The Heights
Donald Holder, South Pacific
Natasha Katz, The Little Mermaid
Best Sound Design of a Play:
Simon Baker, Boeing-Boeing
Adam Cork, Macbeth
Ian Dickson, Rock 'n' Roll
Mic Pool, The 39 Steps
Best Sound Design of a Musical:
Acme Sound Partners, In The Heights
Sebastian Frost, Sunday in the Park With George
Scott Lehrer, South Pacific
Dan Moses Schreier, Gypsy
Special Tony Award for Lifetime Achievement in the Theatre:
Stephen Sondheim
Regional Theatre Tony Award:
Chicago Shakespeare Theatre
Special Tony Award:
Russell Bennett (1894-1981), in recognition of his historic contribution to American musical theatre in the field of orchestrations, as represented on Broadway this season by Rodgers & Hammerstein's South Pacific.
How many nominations each show received:
In The Heights, 13
South Pacific, 11
Sunday in the Park with George, 9
August: Osage County, 7
Gypsy, 7
Passing Strange, 7
Boeing-Boeing, 6
Macbeth, 6
The 39 Steps, 6
Les Liaisons Dangereuses, 5
Cry-Baby, 4
Rock 'n' Roll, 4
The Seafarer, 4
Xanadu, 4
A Catered Affair, 3
The Homecoming, 3
Young Frankenstein, 3
The Little Mermaid, 2
Come Back, Little Sheba, 1
Cyrano de Bergerac, 1
Grease, 1
Is He Dead?, 1
Mauritius, 1
November, 1
Thurgood, 1
Top Girls, 1
2007-08 Tony Award Predictions, Part 2
Best Performance by a Leading Actress in a Musical:
Jenna Russell has already won countless awards overseas for her portrayal of one of Stephen Sondheim's greatest character creations, Dot/Marie in Sunday in the Park with George. One can easily argue that she has no shot of winning based solely on her previous accolades. However, what Russell accomplishes in Sunday is, in my opinion, more innovative and creative than what either O'Hara or Lupone have done this season. That's not to take anything away from those 2 women; it's just that the revival of Sunday is a landmark production of a landmark musical. With the vision of Sam Buntrock and the help of some technical wizardry, audience members with fond memories of the original production (with the great Bernadette Peters) were able to engage themselves with this interpretation and leave behind any biases. The piece is one of the most challenging in the musical theatre repertoire and there is definitely something to be said for challenging, complex work.
Sara Krulwich/The New York Times
Kelli O'Hara will get a nomination for her portrayal of Nellie Forbush in South Pacific
Yet Kelli O'Hara and Patti Lupone are providing classic protrayals of classic characters. And they are simply marvelous. O'Hara is maturing nicely into a wonderful woman actor. She is confident, beautiful, poised and ambitious. Her prtrayal of Nellie Forbush is subtle and deep. She gives the character shades of nuance previously not found in other productions. At times naive and at other times a bit snobbish, she simply embues the part into a real actor's delight. She has provided many strong performances over the years, but this is the one that can lay claim to her transition from solid Broadway ingenue into powerful musical theatre icon.
Kerry Butler, Xanadu
Patti LuPone, Gypsy
Kelli O'Hara, South Pacific
Faith Prince, A Catered Affair
Jenna Russell, Sunday in the Park with George
Patti LuPone, Gypsy
Kelli O'Hara, South Pacific
Faith Prince, A Catered Affair
Jenna Russell, Sunday in the Park with George
These women are my predictions. There is no one else on Broadway right now that is giving impressionable enough performances to compete with these women. There are a few worth mentioning (Mandy Gonzalez for In the Heights and Sierra Bogess for The Little Mermaid), but the recognition in this blog is all they could ever hope to get.
Faith Prince was one of the few saving graces for A Catered Affair. The show is pretensious and boring, but Prince manages to engage in a performance that will soon be forgotten come Summer. Kerr Butler delighted audiences and critics in her Olivia-Newton-John-imitation in Xanadu. Considering Xanadu was the first musical to open the season and still remain strong throughout the year is a testament to the talent involved. She won't win, but being nominated truly is the prize.
The remaining 3 actresses remain the strongest lead musical portrayals of the season along with their male couterparts Paulo Szot (South Pacific) and Daniel Evans (Sunday in the Park with George). And it's no coincidence that they are all from revivals. It was a particularly weak year for new musicals, but an exceptionally powerful one for revivals (with 3 masterpieces being reveived in considerably exceptional productions).
Jenna Russell has already won countless awards overseas for her portrayal of one of Stephen Sondheim's greatest character creations, Dot/Marie in Sunday in the Park with George. One can easily argue that she has no shot of winning based solely on her previous accolades. However, what Russell accomplishes in Sunday is, in my opinion, more innovative and creative than what either O'Hara or Lupone have done this season. That's not to take anything away from those 2 women; it's just that the revival of Sunday is a landmark production of a landmark musical. With the vision of Sam Buntrock and the help of some technical wizardry, audience members with fond memories of the original production (with the great Bernadette Peters) were able to engage themselves with this interpretation and leave behind any biases. The piece is one of the most challenging in the musical theatre repertoire and there is definitely something to be said for challenging, complex work.Sara Krulwich/The New York TimesKelli O'Hara will get a nomination for her portrayal of Nellie Forbush in South Pacific
Yet Kelli O'Hara and Patti Lupone are providing classic protrayals of classic characters. And they are simply marvelous. O'Hara is maturing nicely into a wonderful woman actor. She is confident, beautiful, poised and ambitious. Her prtrayal of Nellie Forbush is subtle and deep. She gives the character shades of nuance previously not found in other productions. At times naive and at other times a bit snobbish, she simply embues the part into a real actor's delight. She has provided many strong performances over the years, but this is the one that can lay claim to her transition from solid Broadway ingenue into powerful musical theatre icon.
And yet, we have Ms. Patti. While Russell provides complex, challenging material and O'Hara brings forth character shading and depth, Lupone simply is. The fact that Lupone exisits is enough justification for her performance to be considered legendary. Ma
ma Rose may be a treat for any actress to have the opportunity to play, but Lupone was born for this part. If she had been around during Merman's time, we would have been listening to her on our original Broadway cast recording of everyone's favorite showbiz show. And given the opportunity of a lifetime, Lupone tackled it and delivered. The moment she takes the stage, it's like being transported back to another time when the likes of Broadway stars were the celebrities everyone wanted to know. The material is so suited to her respective talents, it's hard to believe that the authors didn't create the role around her gifts. Not only can she sing the songs (less sing, more delivering them as natural progression of the book and dialogue), but she is perhaps the only other actor to tackle the role with beig enough chops to portray the maddening, complex, deep, and comic deftness the role requires. Simply, Patti Lupone is a force of nature. And her Mama Rose is a force to be reckoned with.
ma Rose may be a treat for any actress to have the opportunity to play, but Lupone was born for this part. If she had been around during Merman's time, we would have been listening to her on our original Broadway cast recording of everyone's favorite showbiz show. And given the opportunity of a lifetime, Lupone tackled it and delivered. The moment she takes the stage, it's like being transported back to another time when the likes of Broadway stars were the celebrities everyone wanted to know. The material is so suited to her respective talents, it's hard to believe that the authors didn't create the role around her gifts. Not only can she sing the songs (less sing, more delivering them as natural progression of the book and dialogue), but she is perhaps the only other actor to tackle the role with beig enough chops to portray the maddening, complex, deep, and comic deftness the role requires. Simply, Patti Lupone is a force of nature. And her Mama Rose is a force to be reckoned with. This post was not intended as a Tony Award winners prediction, but Lupone is taking it home. And deservedly so. I can't wait to see her perform on the telecast. "Rose's Turn" anyone???
2007-08 Tony Award Predictions, Part 1
New Musicals:
A Catered Affair
Cry-Baby
In the Heights
The Little Mermaid
Passing Strange
Xanadu
Young Frankenstein
Ineligible - Glory Days
Here’s hoping on a transfer to the Great White Way for Adding Machine, probably the best new musical of the 2007-2008 season.
Sara Krulwich/The New York Times
The best new musical of the season, Adding Machine, a darkly satirical examination of the abuses of capitalism in the early 20th century.
8 new musicals, 0 new classics. Big names, no blowouts. What a shame. It’s not a great year for new musicals on Broadway . Ok so, the only new musical from last year to ignite much excitement was Spring Awakening. However, that show was actually great and has proven to be a genuine hit. And gave Broadway lovers a new show to be proud of and love. The Broadway community is sorely lacking a front contender of such strength this year.
The closest to Duncan Sheik and Stephen Slater’s rock-musical is Passing Strange. However, that show greatly stretches the format of a book musical to its most free association and has its detractors. Plus, it’s lacking the genuine youth culture-backing that made shows like Spring and Legally Blonde hits at the box office. But critics loved it. And critics didn’t like very many new musicals this year.
The leader of the pack here (if by no other means than by default) is undeniably In the Heights. It’s a fresh, energetic straight-forward book musical with just enough new sound to make the nominating committee affably agree; plus, the show was well-received with critics and audiences alike. Hard to dismiss a show that has plenty of heart and wears its dedicated passion on its sleeve.
Filling in this year’s artsy-fartsy slot is A Catered Affair. Not very well received, decidedly-mixed reviews and a definite lack of interest should make this a no-brainer of a dud. But the Tony nominating committee appreciates these shows every year and likes to reward them by nominating them, even if the show really isn’t truly ‘artsy-fartsy’ (or good, for that matter). Consider it the Grey Gardens of this year, but without Christine Ebersole. Or a genuinely intriguing score. Or an immersive book... or a spark of energy. So closer to Love/Musik. But without Donna Murphy, Michael Cerveris, Harold Prince, and the songs of Kurt Weill. But still, expect a nom.
Then there’s the fourth slot. And it’s either going to Xanadu or Young Frankenstein. I predict Xanadu will get the nom – it’s the one show this year that everyone (pundits, critics, peers, audiences) admitted to having the best time attending. Even if it was a bit of a fluff show, it was appreciated for its self-awareness and lack of pretension. It is what it is and doesn’t apologize for it either. Yes, a bit of a guilty pleasure. But most everyone is too bitter about Young Frankenstein – so much money, so much hype; so little to show for it. The only saving grace was its (un-even) supporting cast and director Susan Stroman’s staging for “Putting on the Ritz.” Not enough for a nom, but the name ‘Mel Books’ is enough. And so is the name ‘Young Frankenstein.’ But my hope (and prediction) is that most nominee voters will see past the ‘ritz’ and award Xanadu.
Too bad The Little Mermaid and Cry-Baby blow. And not too mention the poor saps of Glory Days. Not only does it blow, but it DID blow. The Tony nominating committee bitch slapped it, too, by ruling it in-eligible for any awards after closing in one night. You play with the big boys and suck at it, expect to get spanked. Hard and ugly. Here’s to growing up.
Final Predictions:
In the Heights
Passing Strange
A Catered Affair
Xanadu
Dark Horse – Young Frankenstein
What I would like to see is A Catered Affair passed over for the (forced)excitement of Young Frankenstein. The Tony awards telecast already is struggling to keep me awake, the least they can do is offer me some big production numbers from big shows to stimulate me and not lull me to sleep with crappy recitative.
A Catered Affair
Cry-Baby
In the Heights
The Little Mermaid
Passing Strange
Xanadu
Young Frankenstein
Ineligible - Glory Days
Here’s hoping on a transfer to the Great White Way for Adding Machine, probably the best new musical of the 2007-2008 season.
Sara Krulwich/The New York TimesThe best new musical of the season, Adding Machine, a darkly satirical examination of the abuses of capitalism in the early 20th century.
8 new musicals, 0 new classics. Big names, no blowouts. What a shame. It’s not a great year for new musicals on Broadway . Ok so, the only new musical from last year to ignite much excitement was Spring Awakening. However, that show was actually great and has proven to be a genuine hit. And gave Broadway lovers a new show to be proud of and love. The Broadway community is sorely lacking a front contender of such strength this year.
The closest to Duncan Sheik and Stephen Slater’s rock-musical is Passing Strange. However, that show greatly stretches the format of a book musical to its most free association and has its detractors. Plus, it’s lacking the genuine youth culture-backing that made shows like Spring and Legally Blonde hits at the box office. But critics loved it. And critics didn’t like very many new musicals this year.
The leader of the pack here (if by no other means than by default) is undeniably In the Heights. It’s a fresh, energetic straight-forward book musical with just enough new sound to make the nominating committee affably agree; plus, the show was well-received with critics and audiences alike. Hard to dismiss a show that has plenty of heart and wears its dedicated passion on its sleeve.
Filling in this year’s artsy-fartsy slot is A Catered Affair. Not very well received, decidedly-mixed reviews and a definite lack of interest should make this a no-brainer of a dud. But the Tony nominating committee appreciates these shows every year and likes to reward them by nominating them, even if the show really isn’t truly ‘artsy-fartsy’ (or good, for that matter). Consider it the Grey Gardens of this year, but without Christine Ebersole. Or a genuinely intriguing score. Or an immersive book... or a spark of energy. So closer to Love/Musik. But without Donna Murphy, Michael Cerveris, Harold Prince, and the songs of Kurt Weill. But still, expect a nom.
Then there’s the fourth slot. And it’s either going to Xanadu or Young Frankenstein. I predict Xanadu will get the nom – it’s the one show this year that everyone (pundits, critics, peers, audiences) admitted to having the best time attending. Even if it was a bit of a fluff show, it was appreciated for its self-awareness and lack of pretension. It is what it is and doesn’t apologize for it either. Yes, a bit of a guilty pleasure. But most everyone is too bitter about Young Frankenstein – so much money, so much hype; so little to show for it. The only saving grace was its (un-even) supporting cast and director Susan Stroman’s staging for “Putting on the Ritz.” Not enough for a nom, but the name ‘Mel Books’ is enough. And so is the name ‘Young Frankenstein.’ But my hope (and prediction) is that most nominee voters will see past the ‘ritz’ and award Xanadu.
Too bad The Little Mermaid and Cry-Baby blow. And not too mention the poor saps of Glory Days. Not only does it blow, but it DID blow. The Tony nominating committee bitch slapped it, too, by ruling it in-eligible for any awards after closing in one night. You play with the big boys and suck at it, expect to get spanked. Hard and ugly. Here’s to growing up.
Final Predictions:
In the Heights
Passing Strange
A Catered Affair
Xanadu
Dark Horse – Young Frankenstein
What I would like to see is A Catered Affair passed over for the (forced)excitement of Young Frankenstein. The Tony awards telecast already is struggling to keep me awake, the least they can do is offer me some big production numbers from big shows to stimulate me and not lull me to sleep with crappy recitative.
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