tag:blogger.com,1999:blog-314717862024-03-13T02:59:45.415-04:00Pataphysical Sciencea theater/pop culture blog
Pataphysical Science: 1) The French absurdist concept of a philosophy or science dedicated to studying what lies beyond the realm of metaphysics, intended as a parody of the methods and theories of modern science and often expressed in nonsensical language. 2) What quizzical Joan studied in the home.Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.comBlogger562125tag:blogger.com,1999:blog-31471786.post-91103893131814721472020-10-15T13:29:00.006-04:002020-10-15T13:33:53.143-04:00The Tonys Are Happening?<p>I don't usually update my blog anymore except for my annual Tony nomination post. I wasn't going to do one this year because it's hard to care about the Tonys this year when we don't even know when Broadway will be back. I think if the Tonys announced nominations in April or May when we knew that the shutdown would last much longer than a month, as other theater awards did, I would have cared more. What were they waiting for? Why now? Especially when it's so close to the election. Who can think about awards? But I did tune into the <a href="https://www.youtube.com/watch?v=qOu52BACL8M">announcement</a> and it turns out I have some thoughts. I'm not going to go category by category this year, so if you want to see the complete list of nominees, you can find it <a href="https://www.tonyawards.com/nominees/">here</a>.</p><p><br /></p><p>The main thing that jumps out is that there was only new musical with an original score that opened before the shutdown and that was <i>The Lightning Thief</i>, based on the Rick Riordan book. Though it got some positive reviews Off-Broadway, the Broadway reviews were overwhelmingly negative. It was not nominated in any category. In the best original score category, five plays were nominated. Though I did like the music for some of those plays, particularly <i>The Sound Inside</i> and <i>The Rose Tattoo</i>, I couldn't tell you right now what those scores sounded like. In the best performance by an actor in a leading role in a musical category, only Aaron Tveit was nominated, though Chris McCarrell who played Percy Jackson was also eligible. I'm not saying that <i>The Lightning Thief</i> should have been nominated in every category it was nominated in, but to not nominate it at all feels like a deliberate snub. The Tonys are not a participation award, but this year they sort of are. If the March and April shows had opened, those categories would look a lot different. </p><p><br /></p><p>Everybody is out of work. This was supposed to be a way to celebrate the industry. Why exclude one show in this way? Especially one with an original score. It's also a show with a very young base, so to leave it out reeks of elitism. Shouldn't we be telling young people that the art they love matters?</p><p><br /></p><p>OK. Rant over. On a more positive note, I am happy that some shows like <i>The Sound Inside</i>, which might have been forgotten in another year, were recognized. And I look forward to Adrienne Warren getting her much deserved Tony award for <i>Tina</i>, whenever that will be (a date for the actual awards has yet to be announced).</p>Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com4tag:blogger.com,1999:blog-31471786.post-6977859616149418192019-05-01T17:10:00.002-04:002019-05-01T17:14:12.804-04:00Annual Tony nomination post<span style="font-family: Times, Times New Roman, serif;">I don't post here very often anymore, except on Tony nomination day (or in this case, the day after). As a Drama Desk nominator, I've become more sensitive to the complexities of nominations. (If you're interested, here is the <a href="https://www.dramadeskawards.com/2019-nominees">complete list</a> of Drama Desk nominees, a list I'm very proud of.) I've started to dislike the word "snub" because it implies that there is some sort of malicious intent. In the case of the Drama Desks and I assume all awards, people and shows are shortlisted that don't make the final list, sometimes just barely, so it's better to focus on what is on the list, then what's not. Not that any of this will stop me from having opinions about the nominations, but I at least won't use the word snub when talking about them.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Overall, I'm pretty excited about this year's Tony list. There are lots of first-time and history-making nominees. I'm going to do things a little differently this year. Usually I post the complete list of nominations followed by my reactions in each one, but everyone who cares has seen the nominations by now and honestly I'm tired, but I still wanted a place to collect my thoughts.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">1) Taylor Mac is nominated for best play for <i>Gary: A Sequel to Titus Andronicus</i>. I don't think it is the strongest play in this category, but it was daring by today's Broadway standards and I'd rather see a play that takes risks than a boring one. Plus, I believe judy (Taylor Mac's preferred pronoun) is the first gender nonconforming artist to be nominated for a Tony, certainly the first in this category. The rest of the best play category includes a woman (Heidi Schreck) and a POC (Oscar winner Tarell Alvin McCraney), which shouldn't still be such a big deal in 2019, but until the majority of Broadway plays aren't written by white men, it is. All three made their Broadway debuts this season and were nominated. I think it's probably between Schreck's <i>What The Constitution Means To Me</i> and Jez Butterworth's <i>The Ferryman</i>, which were my two favorite Broadway plays of the season, so I'd be ok with either scenario. And even though I said I'd focus about what is on the list than what's not, I'm happy not to see Lucas Hnath's <i>Hillary and Clinton</i> on the list. I would have nominated <i>Straight White Men</i> over <i>Ink</i>.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">2) <i>Ain't Too Proud</i> got 12 nominations! I think it suffers the problem of all bio musicals, feeling like a list of what happened in a group's history, and because it's based on the memoir of Otis Williams, its perspective is skewed, but it was one of the most entertaining musicals of the season and the performers were outstanding. It's also only the third musical in Broadway history to have a book written by black woman, which is just insane. It's nice to see it recognized. The only musical to get more nominations is <i>Hadestown</i>, which deserved all its nominations.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">3) In terms of new musicals, <i>Be More Chill </i>only got one nomination--best score by Joe Iconis, which is the one that it deserved the most. I would have nominated it for best musical over <i>Beetlejuice.</i></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">4) Can we talk about the best featured actor nominations for Gideon Glick (<i>To Kill A Mockingbird</i>) and Benjamin Walker (<i>All My Sons</i>)? These are both very deserving for those particular performances, two of the highlights of their respective shows, but it's even more satisfying because they should have been nominated for other performances in other years (Glick for <i>Significant Other </i>and Walker for <i>American Psycho</i>). </span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">5) The featured categories this year are particularly stacked. Featured actress in a play is also notable because Julie White and Kristine Nielsen, the two actresses in </span><i>Gary</i><span style="font-family: "times" , "times new roman" , serif;">, only had a week of rehearsal. Nielsen took over Andrea Martin's role and White took took over Nielsen's old role (</span><a href="https://deadline.com/2019/04/nathan-lane-broadway-andrea-martin-gary-sequel-titus-andronicus-1202602573/">this is a fascinating article</a><span style="font-family: "times" , "times new roman" , serif;"> about how it all came together so quickly). Nathan Lane is the only actor in that play to not be nominated, which is a little sad, but I think he'll be fine. Ruth Wilson was a highlight of that production of </span><i>King Lear</i><span style="font-family: "times" , "times new roman" , serif;">, and its only nomination, and Fionnula Flanagan was so memorable in </span><i>The Ferryman</i><span style="font-family: "times" , "times new roman" , serif;">, but I hope Celia Keenan-Bolger wins, and I think it's likely that she will.</span></span><br />
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<span style="font-family: Times, Times New Roman, serif;">6) The featured actor in a musical is also great. I'm happy that some of the people that didn't make it to our final Drama Desk list are here, notably Ephraim Sykes (<i>Ain't Too Proud</i>), Andy Grotelueschen (<i>Tootsie</i>), and double nominee Jeremy Pope (<i>Ain't Too Proud</i>). Also, Patrick Page (<i>Hadestown</i>), since he wasn't eligible for the Drama Desks. I'm happy that we nominated Corbin Bleu, George Salazar, and Patrick Vaill, since they weren't nominated here. I know the Tony and Drama Desk Awards aren't equivalent, but I just want everyone to win awards. I would have also liked to see a nomination for John Behlmann, since I think playing dumb is a skill that doesn't get appreciated enough. See also James Davis, Will Parker in the <i>Oklahoma!</i> revival, who also didn't get enough love this awards season, but again, too much competition. I am available to comfort either one of them should they need it.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">7) And the other featured category is, of course, featured actress in a musical. It's odd that Lilli Cooper from <i>Tootsie</i> is in this category, since she is the female lead of that show, but I'm happy to see her in any category. (So many nominations for <i>Spring Awakening </i>alumni, both Broadway productions!) This is probably between scene stealers Amber Gray, Sarah Stiles, and Ali Stroker, and I think it should be a three-way tie (a five-way tie would be fine too). If Stroker wins, she will be the first actor in a wheelchair to win a Tony.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">8) I don't want to jinx it, but Santino Fontana is going to win a Tony Award. He is up against some deserving people, including one of my other favorites, Damon Daunno, but I think it's Fontana's year, and since I am a very vocal fan, that also makes it my year, right?</span></div>
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<span style="font-family: Times, Times New Roman, serif;">9) Rachel Chavkin is the only female director nominee in either category and she better win for the way she restaged <i>Hadestown</i> for Broadway. She should have won for <i>The Great Comet</i> as well.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">If you read these rambling thoughts, thank you, and congratulations to all the nominees!</span></div>
Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com12tag:blogger.com,1999:blog-31471786.post-80411159141418309782019-01-31T18:01:00.000-05:002019-01-31T18:01:11.437-05:00RENT Not-So-Live from the Perspective of a Studio Audience Member<div class="separator" style="clear: both; text-align: center;">
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By now, if you're the type of person who cares about theater and/or television (and if you're reading this, I assume you are), you're aware of what happened with what was supposed to be <i>Rent: Live</i> on Fox. Brennin Hunt, the actor playing Roger, injured his ankle during a quick change before the last scene of the dress rehearsal. Because he was too injured to perform the way it was blocked and because TV musicals don't have understudies, the show couldn't go on as planned, so Fox aired the dress rehearsal, save for the last 15 minutes, which were live. I was lucky enough to be in the audience for both and my experience was such a positive one that I wanted to offer another perspective, since the reviews I've seen have been overwhelming negative.<div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiZYs8gRgo7CmriQMe1I0UlH8iYJMiJ6RH0VykWmcO-mguWX3UL7eNP9Jonlk6UXw3O0pocU6Jsg7yAi9jBr8k_p6fX1KfPsRWXcezhaXymv8aABhWP-nErxzND7yMBXMEZNJ5hQ/s1600/thumbnail_20190127_172731.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiZYs8gRgo7CmriQMe1I0UlH8iYJMiJ6RH0VykWmcO-mguWX3UL7eNP9Jonlk6UXw3O0pocU6Jsg7yAi9jBr8k_p6fX1KfPsRWXcezhaXymv8aABhWP-nErxzND7yMBXMEZNJ5hQ/s320/thumbnail_20190127_172731.jpg" width="240" /></a></div>
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Of course, we had no idea at the time that the dress rehearsal was going to be what was shown on TV (had I known, I probably would have fixed up my hair a little more). They ran the show almost the whole way through, commercial breaks and all, with almost no issues until the last scene. The commercial countdown clock went to zero, but the show didn't start. We waited and still nothing happened until eventually we were told of Brennin's Hunt injury and that they would finish the show with him sitting on a table. They said he rolled his ankle, but we had no idea the severity of the injury and whether he'd be able to perform the next night. They closed the show as planned, with the original cast members coming out for "Seasons of Love." </div>
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From my perspective, that dress rehearsal was a success. I didn't feel like the performers were holding back, although some of the numbers came across weaker than others and I'm sure the actors would have loved the chance to redo them. But for the most part, I liked this cast, particularly Jordan Fisher and of course, Brandon Victor Dixon. I was seated in the section where "La Vie Boheme" was staged (you can even see me on TV during that scene) and that was a particular highlight due to Fisher's dancing ability and the fact that they were able to keep so many of the lines I thought they would cut. </div>
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The energy from the crowd was infectious that whole night. From what I've read, on TV, the audience came across as too loud, so maybe the sound could have been better handled, but when live musicals don't have an audience, there are awkward silences. I also like the way this one incorporated the audience--giving us candles to hold during "Will I?," which was a beautiful moment, and having Mark and Roger in a mosh pit for "What You Own" (shockingly, not where the injury happened). Sure, I could complain about some of the lyric changes (how dare they replace, "Think twice before you poo-poo it"?), but mostly they stayed true to the original. When I heard they were doing this musical on live television, I thought they would have to censor so much more than they did, so I'm thrilled that they kept so many of the lyrics (I learned a lot about what you can and can't say on TV).</div>
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On Sunday night, I was seated in a completely different section (directly in front of the apartment, the set that sees the most action), and I was excited to have a different view. Ten minutes before 5 pm, Marc Platt, the producer, gave a speech just like he did the night before about how <i>Rent</i> is about community, but this time he explained that due to Hunt's injury, the dress rehearsal would be shown on TV and it would be playing on screens for us in the studio, but the cast still wanted to perform for us, so they would also be singing for us during many numbers. Then for the last scene, we would actually go live. We were also told that we could take photos and videos and post as much as possible on social media except during the live portion. So we did. And that's when those watching on TV got wind of what was happening in the studio. As others have noted, this concert version felt reminiscent of the first preview of <i>Rent</i> at NYTW, the night after Jonathan Larson's death and I understand why that would have been way more exciting to watch, but I also recognize why it would have been logistically impossible to show what we were seeing on TV. They worked on this production for an entire year. I don't think they could have re-blocked everything in less than 24 hours, especially with all those cameras. Here's a great <a href="https://twitter.com/blackdogdylan/status/1089754443564802048">Twitter thread</a> explaining this better than I could.</div>
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<tr><td class="tr-caption" style="text-align: center;">Jordan Fisher and Kiersey Clemons performing<br />"Tango: Maureen" on Sunday night. 😍 </td></tr>
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Those of us in the audience were happy to share our experiences on social media, not to brag, but because to share what the cast was able to accomplish, since they weren't showing it on TV. I tried to post some videos on <a href="https://twitter.com/PataphysicalSci">Twitter</a>, but my phone is pretty crappy. There are some better quality ones on the official <a href="https://twitter.com/RENTonFOX">@RENTonFOX</a> Twitter page, and I highly recommend watching those if you haven't. I'm guessing if they release a DVD, it will include a lot more footage from the studio.</div>
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The numbers were not always performed on the same sets as the night before, probably to make sure everyone around the studio got to see an equal amount of the numbers. The cast members sounded even better than they did the night before (maybe because the pressure was off) and they had fun, playing with Hunt's wheelchair. They improvised, Fisher performed the "La Vie Boheme" choreography on the floor rather than a table. Audience members sang along. It felt like a celebration of this musical I've loved for over 20 years. </div>
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<br />I feel terrible for those involved that the show was so poorly received and they didn't really get to do what they spent a year preparing for, but I'm grateful that they still put on a show. It's an experience I'll never forget.</div>
Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-30969444262744853702018-05-02T17:35:00.000-04:002018-05-02T17:35:00.296-04:00Annual Tony Nomination Post - 2018 Version<br />
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Oops. Looks like I haven't posted in this blog since the last Tony nominations. It's been difficult keeping this up since I write for other places, but I'm a sucker for tradition, so I'm going to keep writing this annual blog post even if only two people still read it. This year was a pretty disappointing Broadway season overall, even though I also had some unforgettable theater experiences. I'm grateful as a Drama Desk nominator that we are not limited to Broadway (though with 280 eligible shows and 5 slots in each category, we almost have too much choice). At least the Tony Awards will be hosted by Sara Bareilles and Josh Groban (on June 10), so it should make for an entertaining telecast. You can read the list of Drama Desk nominees<span> </span><a href="http://dramadeskawards.com/2018-nominees">here</a>. And I'd love to hear your opinions on those. But for now, here is the complete list of nominees followed by opinions and predictions.</div>
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Best Book of a Musical<o:p></o:p></span></u></b></div>
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<b><i><span style="mso-fareast-font-family: "Times New Roman";">The
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I don't know if there's a rule that the Tony nominating committee has to fill the categories, but in weak years, they should be able to nominate less than four (the musical revival category has three nominees because there were only three musical revivals this season). I don't think <i>Frozen</i> belongs here. It was an overstuffed and far less enjoyable version of the movie. Tina Fey, on the other hand, kept her book true to the movie but different enough so it wasn't a rehash (and I actually thought the new lines were funnier since the iconic lines will never live up to the original deliveries). <i>The Band's Visit </i>should win, though.</div>
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Band's Visit<o:p></o:p></span></i></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Music & Lyrics: David Yazbek <o:p></o:p></span></div>
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<b><i><span style="mso-fareast-font-family: "Times New Roman";">Frozen<o:p></o:p></span></i></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Music & Lyrics: Kristen
Anderson-Lopez and Robert Lopez <o:p></o:p></span></div>
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<b><i><span style="mso-fareast-font-family: "Times New Roman";">Mean
Girls<o:p></o:p></span></i></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Music: Jeff Richmond <br />
Lyrics: Nell Benjamin <o:p></o:p></span></div>
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<b><i><span style="mso-fareast-font-family: "Times New Roman";">SpongeBob
SquarePants: The Musical<o:p></o:p></span></i></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Music & Lyrics: Yolanda Adams,
Steven Tyler & Joe Perry of Aerosmith, Sara Bareilles, Jonathan Coulton,
Alex Ebert of Edward Sharpe & The Magnetic Zeros, The Flaming Lips, Lady
Antebellum, Cyndi Lauper & Rob Hyman, John Legend, Panic! at the Disco,
Plain White T's, They Might Be Giants, T.I., Domani & Lil'C <o:p></o:p></span></div>
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<span style="font-style: normal;">Most people seem to agree that the music of </span><i>Mean Girls</i> was the weakest part, but I guess they had to fill the category. And the new songs from <i>Frozen </i>were not as strong as the ones from the movie (which I still love). This award belongs to David Yazbek and it's long overdue. He has never written a bad score for the theater. <i>SpongeBob</i> is the only other musical from this Broadway season that is in my regular listening rotation. As I said on Twitter, I wouldn't be opposed to a tie. I mostly want to see all these songwriters on the stage accepting the award together.</div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Performance by an Actor in a Leading Role in a Play<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Andrew
Garfield, <em>Angels in America</em><br />
Tom Hollander, <em>Travesties</em><br />
Jamie Parker, <em>Harry Potter and the Cursed Child, Parts One and Two</em><br />
Mark Rylance, <em>Farinelli and The King</em><br />
Denzel Washington, <em>Eugene O'Neill's The Iceman Cometh</em><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
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<span style="font-size: 11pt;">I'm so happy that Jamie Parker was recognized. He is an even better Harry Potter than Daniel Radcliffe. The whole cast really elevated the material. But I am rooting for Andrew Garfield and I think he will probably win.</span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Performance by an Actress in a Leading Role in a Play<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Glenda
Jackson, <em>Edward Albee's Three Tall Women</em><br />
Condola Rashad, <em>Saint Joan</em><br />
Lauren Ridloff, <em>Children of a Lesser God</em><br />
Amy Schumer, <em>Meteor Shower</em><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
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<span style="font-size: 14.6667px;">I am a big fan of Condola Rashad, but I think she was miscast in <i>Saint Joan</i>. We don't need to nominate good actors every time they step on a stage. And Amy Schumer was the weakest link in <i>Meteor Shower</i>. If anyone was going to be nominated, it should have been Laura Benanti, though she was probably considered featured, which was a much more crowded category. I'm happy to see Lauren Ridloff here, the best thing to come out of that misguided revival of <i>Children of a Lesser God</i>. But I think people will want to give Glenda Jackson an award just for appearing on that stage. And she totally kills it, so I'll be happy to see her win.</span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Performance by an Actor in a Leading Role in a Musical<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Harry
Hadden-Paton, <em>My Fair Lady</em><br />
Joshua Henry, <em>Rodgers & Hammerstein's Carousel</em><br />
Tony Shalhoub, <em>The Band's Visit</em><br />
Ethan Slater, <em>SpongeBob SquarePants: The Musical</em><o:p></o:p></span></div>
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<span style="font-size: 11pt;">I really want to Ethan Slater to win this for one of the most delightful Broadway debuts of the season. I think it might go to Joshua Henry, which I wouldn't be mad about. Some people seem annoyed that Shalhoub was nominated for a musical since he doesn't sing in it, but I don't think that needs to be a prerequisite. </span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Performance by an Actress in a Leading Role in a Musical<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Lauren
Ambrose, <em>My Fair Lady</em><br />
Hailey Kilgore, <em>Once On This Island</em><br />
LaChanze, <em>Summer: The Donna Summer Musical</em><br />
Katrina Lenk, <em>The Band's Visit</em><br />
Taylor Louderman, <em>Mean Girls</em><br />
Jessie Mueller, <em>Rodgers & Hammerstein's Carousel</em><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
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<span style="font-size: 14.6667px;">KATRINA LENK! I have to say, I was not a fan of Taylor Louderman before <i>Mean Girls</i> and I was disappointed about the casting, but she won me over. And bless LaChanze for being in that show. But KATRINA LENK!</span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Performance by an Actor in a Featured Role in a Play<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Anthony
Boyle, <em>Harry Potter and the Cursed Child, Parts One and Two</em><br />
Michael Cera, <em>Lobby Hero</em><br />
Brian Tyree Henry, <em>Lobby Hero</em><br />
Nathan Lane, <em>Angels in America</em><br />
David Morse, <em>Eugene O'Neill's The Iceman Cometh</em></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
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<span style="font-size: 11pt;">I think Michael Cera should be considered lead and I would have nominated Chris Evans over him. I am also surprised that James McArdle from <i>Angels in America</i> isn't here. I think Anthony Boyle won the Tony of everyone's heart this season, but I think Nathan Lane will win. This is the best performance I've ever seen from him.</span></div>
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<span style="font-size: 11pt;"><br /></span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";">
Best Performance by an Actress in a Featured Role in a Play<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Susan
Brown, <em>Angels in America</em><br />
Noma Dumezweni, <em>Harry Potter and the Cursed Child, Parts One and Two</em><br />
Deborah Findlay, <em>The Children</em><br />
Denise Gough, <em>Angels in America</em><br />
Laurie Metcalf, <em>Edward Albee's Three Tall Women</em></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
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<span style="font-size: 11pt;">This is such a good category. I don't even know who to root for, but I am especially happy to see Noma Dumezweni here. Again, the cast of <i>Harry Potter</i> was perfect all around and made me forget what a bad script it is.</span></div>
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<span style="font-size: 11pt;"><br /></span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";">
Best Performance by an Actor in a Featured Role in a Musical<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Norbert
Leo Butz, <em>My Fair Lady</em><br />
Alexander Gemignani, <em>Rodgers & Hammerstein's Carousel</em><br />
Grey Henson, <em>Mean Girls</em><br />
Gavin Lee, <em>SpongeBob SquarePants: The Musical</em><br />
Ari'el Stachel, <em>The Band's Visit</em></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal" style="font-size: medium;">
<span style="font-size: 11pt;">This is a good list. I'd be fine with a five-way tie. Or maybe Norbert Leo Butz, Grey Henson, and Gavin Lee could have a dance off for it as they all have scene-stealing dance numbers in their show. </span></div>
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<span style="font-size: 11pt;"><br /></span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";">
Best Performance by an Actress in a Featured Role in a Musical<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Ariana
DeBose, <em>Summer: The Donna Summer Musical</em><br />
Renée Fleming, <em>Rodgers & Hammerstein's Carousel</em><br />
Lindsay Mendez, <em>Rodgers & Hammerstein's Carousel</em><br />
Ashley Park, <em>Mean Girls</em><br />
Diana Rigg, <em>My Fair Lady</em><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal">
<span style="font-size: 14.6667px; font-style: normal;">I would have given Ren</span><span style="font-size: 14.6667px;">ée Fleming's spot to Kate Rockwell. She and Ashley Park were the VIPs of <i>Mean Girls</i>. Hell, I would have even given it to Kerry Butler from <i>Mean Girls</i> over Fleming. It's thrilling to see the always wonderful Lindsay Mendez here. But I really want Park to win all the awards.</span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Scenic Design of a Play<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Miriam
Buether, <em>Edward Albee's Three Tall Women</em><br />
Jonathan Fensom, <em>Farinelli and The King</em><br />
Christine Jones, <em>Harry Potter and the Cursed Child, Parts One and Two</em><br />
Santo Loquasto, <em>Eugene O'Neill's The Iceman Cometh</em><br />
Ian MacNeil and Edward Pierce, <em>Angels in America</em></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
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<span style="font-size: 11pt;">I didn't like the set for </span><em style="font-size: 14.6667px;">Eugene O'Neill's The Iceman Cometh</em><span style="font-size: 14.6667px;">. I am torn here between Miriam Buether and Christine Jones. I really love the simplicity of the <i>Harry Potter and the Cursed Child</i> set, but man that <i>Three Tall Women</i> set was really effective.</span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Scenic Design of a Musical<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Dane
Laffrey, <em>Once On This Island</em></span><em><span style="font-size: 11.0pt;"><o:p></o:p></span></em></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Scott
Pask, <em>The Band's Visit</em><br />
Scott Pask, Finn Ross & Adam Young, <em>Mean Girls</em><br />
Michael Yeargan, <em>My Fair Lady</em><br />
David Zinn, <em>SpongeBob SquarePants: The Musical</em></span><o:p></o:p></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal">
<span style="font-size: 14.6667px;">I hope SpongeBob cleans up in the design categories. This set was so inventive and fun. Also, I know the <i>My Fair Lady</i> set was divisive, but I would give it an award just for the way the set turned as Eliza walked through it during "Just You Wait."</span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Costume Design of a Play<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Jonathan
Fensom, <em>Farinelli and The King</em><br />
Nicky Gillibrand, <em>Angels in America</em><br />
Katrina Lindsay, <em>Harry Potter and the Cursed Child, Parts One and Two</em><br />
Ann Roth, <em>Edward Albee's Three Tall Women</em><br />
Ann Roth, <em>Eugene O'Neill's The Iceman Cometh</em><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal">
<span style="font-size: 14.6667px;">Karina Lindsay needs to win for those cloaks in <i>Harry Potter</i> that I want to buy.</span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Costume Design of a Musical<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Gregg
Barnes, <em>Mean Girls</em><br />
Clint Ramos, <em>Once On This Island</em><br />
Ann Roth, <em>Rodgers & Hammerstein's Carousel</em><br />
David Zinn, <em>SpongeBob SquarePants: The Musical</em><br />
Catherine Zuber, <em>My Fair Lady</em><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal" style="font-style: normal;">
<span style="font-size: 14.6667px;">Zinn should win for making costumes that so readily call to mind the characters without making them look like a theme park. I interviewed him about this earlier in the season and you can read it <a href="https://www.tdf.org/stages/article/1787/how-do-you-conjure-a-cartoon-onstage">here</a>. </span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Lighting Design of a Play<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Neil
Austin, <em>Harry Potter and the Cursed Child, Parts One and Two</em><br />
Paule Constable, <em>Angels in America</em><br />
Jules Fisher + Peggy Eisenhauer, <em>Eugene O'Neill's The Iceman Cometh</em><br />
Paul Russell, <em>Farinelli and The King</em><br />
Ben Stanton, <em>Junk</em><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal" style="font-style: normal;">
<span style="font-size: 14.6667px;">Neil Austin. How could anyone else win in this category?</span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Lighting Design of a Musical<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Kevin
Adams, <em>SpongeBob SquarePants: The Musical</em><br />
Jules Fisher + Peggy Eisenhauer, <em>Once On This Island</em><br />
Donald Holder, <em>My Fair Lady</em><br />
Brian MacDevitt, <em>Rodgers & Hammerstein's Carousel</em><br />
Tyler Micoleau, <em>The Band's Visit</em></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
I don't know if there is a clear frontrunner here.</div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Sound Design of a Play<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Adam
Cork, <em>Travesties</em></span><em><span style="font-size: 11.0pt;"><o:p></o:p></span></em></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Ian
Dickinson for Autograph, <em>Angels in America</em><br />
Gareth Fry, <em>Harry Potter and the Cursed Child, Parts One and Two</em><br />
Tom Gibbons, <em>1984</em><br />
Dan Moses Schreier, <em>Eugene O'Neill's The Iceman Cometh</em></span><o:p></o:p></div>
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<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal">
<span style="font-size: 14.6667px;">How did <i>Eugene O'Neill's The Iceman Cometh </i>got so many design nominations? <i>Harry Potter</i> will probably deservedly win all the design categories.</span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Sound Design of a Musical<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Kai
Harada, <em>The Band's Visit</em><br />
Peter Hylenski, <em>Once On This Island</em><br />
Scott Lehrer, <em>Rodgers & Hammerstein's Carousel</em><br />
Brian Ronan, <em>Mean Girls</em><br />
Walter Trarbach and Mike Dobson, <em>SpongeBob SquarePants: The Musical</em><o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal">
<span style="font-size: 14.6667px;"><i>SpongeBob</i> had a live foley artist on stage, so that gives it the edge for me.</span></div>
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<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Direction of a Play<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Marianne
Elliott, <em>Angels in America</em><br />
Joe Mantello, <em>Edward Albee's Three Tall Women</em><br />
Patrick Marber, <em>Travesties</em><br />
John Tiffany, <em>Harry Potter and the Cursed Child, Parts One and Two</em><br />
George C. Wolfe, <em>Eugene O'Neill's The Iceman Cometh</em><o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal">
<span style="font-size: 14.6667px;">I would have nominated Trip Cullman for <i>Lobby Hero</i> over George C. Wolfe. As much as I love Joe Mantello, I think this has to go to John Tiffany. That show is actually magical.</span></div>
<div class="MsoNormal">
<span style="font-size: 14.6667px;"><br /></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<b><u><span style="mso-fareast-font-family: "Times New Roman";">
Best Direction of a Musical<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Michael
Arden, <em>Once On This Island</em><br />
David Cromer, <em>The Band's Visit</em><br />
Tina Landau, <em>SpongeBob SquarePants: The Musical</em><br />
Casey Nicholaw, <em>Mean Girls</em><br />
Bartlett Sher, <em>My Fair Lady</em></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal" style="font-size: medium;">
<span style="font-size: 11pt;">I am so torn between David Cromer and Tina Landau here. I think I want Landau to win for director and <i>The Band's Visit</i> to win for musical. Or they can just tie.</span></div>
<div class="MsoNormal" style="font-size: medium;">
<span style="font-size: 11pt;"><br /></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<b><u><span style="mso-fareast-font-family: "Times New Roman";">
Best Choreography<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Christopher
Gattelli, <em>My Fair Lady</em><br />
Christopher Gattelli, <em>SpongeBob SquarePants: The Musical</em><br />
Steven Hoggett, <em>Harry Potter and the Cursed Child, Parts One and Two</em><br />
Casey Nicholaw, <em>Mean Girls</em><br />
Justin Peck, <em>Rodgers & Hammerstein's Carousel</em></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal">
<span style="font-size: 14.6667px;">I kind of want Steven Hoggett to win even though <i>Harry Potter</i> isn't a musical because those dance sequences added a lot to the show. But it should probably be Justin Peck because come on, the dancing in <i>Rodgers & Hammerstein's Carousel</i> was gorgeous.</span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Orchestrations<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">John
Clancy, <em>Mean Girls</em><br />
Tom Kitt, <em>SpongeBob SquarePants: The Musical</em><br />
Annmarie Milazzo & Michael Starobin, <em>Once On This Island</em><br />
Jamshied Sharifi, <em>The Band's Visit</em><br />
Jonathan Tunick, <em>Rodgers & Hammerstein's Carousel</em><o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><br /></em></span></div>
<div class="MsoNormal">
<span style="font-size: 14.6667px;">I'm rooting for <i>The Band's Visit</i>. </span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Play<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">The
Children<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Author: Lucy Kirkwood <br />
Producers: Manhattan Theatre Club, Lynne Meadow, Barry Grove, The Royal Court
Theatre, Vicky Featherstone, Lucy Davies <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Farinelli
and The King<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Author: Claire van Kampen <br />
Producers: Sonia Friedman Productions, Shakespeare's Globe, Paula Marie Black,
Tom Smedes, Peter Stern, Jane Bergère, Jane Dubin/Rachel Weinstein, 1001 Nights
Productions, Elizabeth Cuthrell & Steven Tuttleman, Rupert Gavin, Robyn L.
Paley, SGC USA, Tulchin Bartner Productions, Cindy & Jay Gutterman/Marc
David Levine, Marguerite Hoffman/Van Kaplan, Shakespeare Road <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Harry
Potter and the Cursed Child, Parts One and Two<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Author: Jack Thorne <br />
Producers: Sonia Friedman Productions, Colin Callender, Harry Potter Theatrical
Productions <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Junk<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Author: Ayad Akhtar <br />
Producers: Lincoln Center Theater, André Bishop, Adam Siegel, Hattie K.
Jutagir, The Araca Group <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Latin
History for Morons<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Author: John Leguizamo <br />
Producers: Nelle Nugent, Kenneth Teaton, Denoff Salmira Amigos - Jeremy
Handelman/Ben DeJesus, Audible, Peter Fine, Jon B. Platt, Jamie deRoy, Melissa
and Dan Berger, Stefany Bergson, Willette M. Klausner, Jose Mendez/Katie
Graziano, Morwin Schmookler, Avex International Inc., Berkeley Repertory
Theatre, Tony Taccone, Michael Leibert, Susan Medak, The Public Theater, Oskar
Eustis, Patrick Willingham, Mandy Hackett <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; margin-bottom: 12pt;">
<i>Harry Potter </i><span style="font-style: normal;">will definitely win. It should probably be </span><i>The Children</i><span style="font-style: normal;">, though this was a weak year for new plays on Broadway. The script for </span><i>Harry Potter</i><span style="font-style: normal;"> isn't very good. I've said this before and I'll say it again, it reads like fan fiction. But seeing it live was another experience altogether. That's why there should be a best play and best production of a play category.</span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Musical<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">The
Band's Visit<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Orin Wolf, StylesFour
Productions, Evamere Entertainment, Atlantic Theater Company, David F.
Schwartz, Barbara Broccoli, Frederick Zollo, Grove∙REG, Lassen Blume Baldwin,
Thomas Steven Perakos, Marc Platt, The Shubert Organization, The
Baruch/Routh/Frankel/Viertel Group, Robert Cole, deRoy-Carr-Klausner,
Federman-Moellenberg, FilmNation Entertainment, Roy Furman, FVSL Theatricals,
Hendel-Karmazin, HoriPro Inc., IPN, Jam Theatricals, The John Gore
Organization, Koenigsberg-Krauss, David Mirvish, James L. Nederlander, Al
Nocciolino, Once Upon a Time Productions, Susan Rose, Paul Shiverick, Allan
Williams <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Frozen<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Disney Theatrical
Productions, Thomas Schumacher <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Mean
Girls<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Lorne Michaels, Stuart
Thompson, Sonia Friedman, Paramount Pictures, Marisa Sechrest, Ars Nova
Entertainment, Berlind Productions, Steve Burke, Scott M. Delman, Roy Furman,
Robert Greenblatt, Ruth Hendel, Jam Theatricals, The John Gore Organization,
The Lowy Salpeter Company, James L. Nederlander, Christine Schwarzman,
Universal Theatrical Group, David Turner <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">SpongeBob
SquarePants: The Musical<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Nickelodeon, The Araca
Group, Sony Music Masterworks, Kelp on the Road</span></div>
<div class="MsoNormal" style="font-size: medium; margin-bottom: 12pt;">
<span style="font-size: 11pt;"><i>The Band's Visit</i>. <i>The Band's Visit</i>. T<i>he Band's Visit</i>. I love you, <i>The Band's Visit</i>. (I love you too, <i>SpongeBob</i>, but <i>The Band's Visit</i> has my heart forever.)</span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Revival of a Play<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Angels
in America<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Tim Levy for NT America,
Jordan Roth, Rufus Norris & Lisa Burger for the National Theatre, Elliott
& Harper Productions, Kash Bennett for NT Productions, Aged in Wood, The
Baruch-Viertel-Routh-Frankel Group, Jane Bergère, Adam Blanshay Productions,
Catwenjam Productions, Jean Doumanian, Gilad-Rogowsky, Gold-Ross Productions,
The John Gore Organization, Grove Entertainment, Harris Rubin Productions,
Hornos-Moellenberg, Brian & Dayna Lee, Benjamin Lowy, Stephanie P.
McClelland, David Mirvish, Mark Pigott, Jon B. Platt, E. Price-LD Ent., Daryl
Roth, Catherine Schreiber, Barbara Whitman, Jujamcyn Theaters, The Nederlander
Organization, The Shubert Organization <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Edward
Albee's Three Tall Women<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Scott Rudin, Barry
Diller, Eli Bush, The John Gore Organization, James L. Nederlander, Candy
Spelling, Len Blavatnik, Universal Theatrical Group, Rosalind Productions,
Inc., Eric Falkenstein, Peter May, Jay Alix & Una Jackman, Patty Baker,
Diana DiMenna, David Mirvish, Wendy Federman & Heni Koenigsberg, Benjamin
Lowy & Adrian Salpeter, Jason Blum, Jamie DeRoy, Gabriel Palitz, Ted
Snowden, Richard Winkler, Joey Parnes, Sue Wagner, John Johnson <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Eugene
O'Neill's The Iceman Cometh<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Scott Rudin, Barry Diller,
Eli Bush, Universal Theatrical Group, Eric Falkenstein, Dan Frishwasser, John
Gore Organization, James L. Nederlander, Peter May, Stephanie P. McClelland,
Candy Spelling, Stephen C. Byrd & Alia Jones-Harvey, Gavin Kalin
Productions, Patty Baker, Caiola Productions, Diana DiMenna, David Mirvish,
Wendy Federman & Heni Koenigsberg, Benjamin Lowy & Adrian Salpeter,
Jason Blum, Joey Parnes, Sue Wagner, John Johnson <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Lobby
Hero<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: 2ndStage, Carole Rothman,
Casey Reitz, Christopher Burney <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Travesties<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Roundabout Theatre
Company, Todd Haimes, Julia C. Levy, Sydney Beers, Steve Dow, Chocolate Factory
Productions, Sonia Friedman Productions, David Babani <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; margin-bottom: 12pt;">
<span style="font-style: normal;">This was a great year for play revivals. Can we only have either good revivals or good new plays in a on Broadway in a season? Is that how it works? I think it's between </span><i>Angels in America </i>and <i>Three Tall Women</i>, but in my heart of hearts, I want <i>Angels</i> to win.</div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<b><u><span style="mso-fareast-font-family: "Times New Roman";"><br />
Best Revival of a Musical<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">My
Fair Lady<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Lincoln Center Theater,
André Bishop, Adam Siegel, Hattie K. Jutagir, Nederlander Presentations, Inc. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Once
On This Island<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Ken Davenport, Hunter
Arnold, Carl Daikeler, Roy Putrino, Broadway Strategic Return Fund, Sandi
Moran, Caiola Productions, H. Richard Hopper, Diego Kolankowsky, Brian Cromwell
Smith, Ron Kastner, Rob Kolson, Judith Manocherian/Kevin Lyle, Jay Alix/Una
Jackman/Jeff Wise, Witzend Productions/Jeff Grove/Wishnie-Strasberg, Mark
Ferris/Michelle Riley/Marie Stevenson, Silva Theatrical Group/Jesse
McKendry/Dr. Mojgan Fajiram, Conor Bagley/Brendan C. Tetro/Invisible Wall
Productions, Silverwalport Productions/Tyler Mount/Ushkowitzlatimer
Productions, The Harbert Family/Reilly Hickey, Keith Cromwell/Red Mountain
Theatre Company, 42nd.Club/The Yonnone Family/Island Productions <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal;">
<b><i><span style="mso-fareast-font-family: "Times New Roman";">Rodgers
& Hammerstein's Carousel<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="font-size: medium; font-style: normal; margin-bottom: 12pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Roy Furman, Scott Rudin,
Barry Diller, Edward Walson, Universal Theatrical Group, Benjamin Lowy, Eli
Bush, James L. Nederlander, Candy Spelling, John Gore Organization, Peter May,
Ronnie Lee, Sid & Ruth Lapidus, Stephanie P. McClelland, Sandy Robertson,
Caiola Productions, Len Blavatnik, Dominion Ventures, SHN Theatres, The Araca
Group, Patty Baker, Al Nocciolino, Darlene Marcos Shiley, Julie Boardman &
Marc David Levine, Jennifer Fischer & Olympus Theatricals, Candia Fisher
& Allen L. Stevens, Jon Jashni & Matthew Baer, Thomas S. Perakos &
Jim Fantaci, Wendy Federman & Heni Koenigsberg, Bruce Robert Harris &
Jack W. Batman, John Thomas, Joey Parnes, Sue Wagner, John Johnson <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; font-size: medium;">
<span style="font-style: normal;">I don't think I loved any of these as much as everyone else did, but I loved parts of all of them. </span><i>Once On This Island </i>was a very good production of a show I don't like. The other two were lovely productions, but I didn't feel very emotionally connected to either. I think <i>My Fair Lady</i> will probably win.</div>
<br />
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</style>Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com37tag:blogger.com,1999:blog-31471786.post-45380960301712790202017-05-02T16:19:00.000-04:002017-05-02T16:28:32.948-04:00Annual Tony Nomination Post - Angry EditionEvery year I look forward to the Tony nomination announcements and writing this blog post. It got off to a rough start this morning when the live stream didn't work on any of the websites I tried and I had to read the nominations come in on Twitter rather than hear them myself. Then a lot of people/shows I was rooting for didn't get nominated. This season was my first as a Drama Desk nominator. I got to see how close the races can get and how tough the decisions are when you have to narrow down categories. I thought that would make more more sensitive to Tony "snubs," since often just because someone wasn't nominated doesn't mean they weren't seriously considered. But, it still makes me sad when artists don't get the recognition I think they deserve. Plus, the Tonys have way less eligible shows than the Drama Desks. You can read the list of Drama Desk nominees <a href="http://dramadeskawards.com/nominees">here</a>. It's a list I'm proud of, especially the special awards. But today is about the Tony nominations. So here is the complete list of nominees followed by opinions (they're not all angry!) and predictions.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u>Best Play<o:p></o:p></u></b></div>
<div class="MsoNormal">
<b><i>A
Doll's House, Part 2<o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Author: Lucas Hnath <br />
Producers: Scott Rudin, Eli Bush, Barry Diller, Universal Stage Productions,
The John Gore Organization, James L. Nederlander, Ambassador Theatre Group,
Peter May, Seth A. Goldstein, Heni Koenigsberg, Stephanie P. McClelland, Jay
Alix & Una Jackman, Al Nocciolino, True Love Productions, Diana DiMenna,
Meredith Lynsey Schade, Barbara Freitag & Patty Baker, Benjamin Lowy &
Adrian Salpeter, John Mara, Jr. & Benjamin Simpson, Joey Parnes, Sue
Wagner, John Johnson <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Indecent</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Author: Paula Vogel <br />
Producers: Daryl Roth, Elizabeth I. McCann, Cody Lassen, Jerry Meyer, Jay Alix
& Una Jackman, Elizabeth Armstrong, Julie Boardman, CoGo Partners, Nicole
Eisenberg, Four Star Productions, GLS Productions, The John Gore Organization,
Kathleen K. Johnson, Dana M. Lerner, Jenn Maley, Mano-Horn Productions, Marc
Platt, Storyboard Entertainment, Yale Repertory Theatre, La Jolla Playhouse,
Vineyard Theatre <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Oslo</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Author: J.T. Rogers <br />
Producers: Lincoln Center Theater, André Bishop, Adam Siegel, Hattie K. Jutagir
<o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Sweat</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Author: Lynn Nottage <br />
Producers: Stuart Thompson, Louise L. Gund, Tulchin Bartner Productions, Jon B.
Platt, Roy Furman, Len Blavatnik, Shelly Mitchell, Scott Rudin, Ted Snowdon,
Kevin Emrick, True Love Productions, John Gore, Deborah Taylor/Richard Winkler,
The Public Theater, Oskar Eustis, Patrick Willingham</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">So happy for <i>Indecent</i>, a story about the power of art that we all need right now, and <i>Oslo</i>, which made a situation in which we all knew the outcome riveting. I think <i>Sweat</i> is overrated, but I'm not mad about its nomination. Since it won the Pulitzer, it has the best shot at winning, though I'd personally give it to <i>Indecent</i>. <i>Significant Other</i> by Joshua Harmon deserves to be on this list in place of Ibsen fan fiction. </span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Musical</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<b><i>Come
From Away<o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Junkyard Dog Productions,
Jerry Frankel, Latitude Link, Smith & Brant Theatricals, Steve & Paula
Reynolds, David Mirvish, Michael Rubinoff, Alhadeff Productions, Michael Alden
& Nancy Nagel Gibbs, Sam Levy, Rodney Rigby, Spencer Ross, Richard Winkler,
Yonge Street Theatricals, Sheridan College, Michael & Ellise Coit, Ronald
Frankel, Sheri & Les Biller, Richard & Sherry Belkin, Gary &
Marlene Cohen, Allan Detsky & Rena Mendelson, Lauren Doll, Barbara H.
Freitag, Wendy Gillespie, Laura Little Theatricals, Carl & Jennifer
Pasbjerg, Radio Mouse Entertainment, The Shubert Organization, Cynthia Stroum,
Tulchin Bartner Productions, Gwen Arment/Molly Morris & Terry McNicholas,
Maureen & Joel Benoliel/Marjorie & Ron Danz, Pamela Cooper/Corey
Brunish, Demos Bizar/Square 1 Theatrics, Joshua Goodman/Lauren Stevens, Just
for Laughs Theatricals/Judith Ann Abrams Productions, Bill & Linda
Potter/Rosemary & Kenneth Willman, La Jolla Playhouse, Seattle Repertory Theatre
<o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Dear
Evan Hansen</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Stacey Mindich, Mickey
Liddell, Hunter Arnold, Caiola Productions, Double Gemini Productions, Fakston
Productions, Roy Furman, Harris Karma Productions, On Your Marks Group, Darren
Bagert, Roger & William Berlind, Bob Boyett, Colin Callender, Caitlin
Clements, Freddy DeMann, Dante Di Loreto, Bonnie & Kenneth Feld, FickStern
Productions, Eric & Marsi Gardiner, Robert Greenblatt, Jere Harris and
Darren DeVerna, The John Gore Organization, Mike Kriak, Arielle Tepper Madover,
David Mirvish, Eva Price, Zeilinger Productions, Adam Zotovich, Ambassador
Theatre Group, Independent Presenters Network, The Shubert Organization, Wendy
Orshan, Jeffrey M. Wilson, Arena Stage, Molly Smith, Edgar Dobie, Second Stage
Theatre, Carole Rothman, Casey Reitz <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Groundhog
Day The Musical</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Whistle Pig, Columbia
Live Stage, The Dodgers, Michael Watt, The Araca Group, Len Blavatnik, Burnt
Umber Productions, Michael Coppel, Ken Davenport, Stephen Found, Greenleaf
Productions, David Harris, Independent Presenters Network, The John Gore
Organization, Stephanie P. McClelland, Just for Laughs Theatricals/Glass Half
Full Productions, Marion Alden Badway, Marriner Group, Tommy Mottola,
Nederlander Presentations Inc, Daryl Roth, Sonia Friedman Productions, Theater
Mogul, Tulbart, David Walsh, Tony & Maureen Wheeler, Jujamcyn Theaters <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Natasha,
Pierre & The Great Comet of 1812</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Howard and Janet Kagan,
Paula Marie Black, Carole Shorenstein Hays, Jenny Steingart and Jason Eagan,
Mary Lu Roffe and Susan Gallin, Diana DiMenna, Mary Maggio/Sharon Azrieli/Robin
Gorman, Darren Sussman/Roman Gambourg/Lev Gelfer, Tom Smedes, John Logan, Lisa
Matlin, Margie and Bryan Weingarten, Daveed Frazier, Argyle Productions/Jim
Kierstead, In Fine Company/Hipzee, Gutterman & Caiola/Backdrop Partners,
Siderow Kirchman Productions/SunnySpot Productions, Gordon/Meli Theatricals,
Rodger Hess/Larry Toppall, Daniel Rakowski/Matt Ross/Ben Feldman, Mike Karns,
The American Repertory Theater, Ars Nova <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">In a season with so many new musicals, the Tonys seem to be sending a message by only nominating four. I don't disagree that most of the other musicals that opened this season were weak, but I would have loved to see <i>Anastasia</i> on this list. I don't think it's getting the recognition it deserves because it's dismissed as being for tween girls (don't get me started on the condescending, sexist tone of many of the reviews). I really hope <i>Come From Away</i> wins, but <i>Dear Evan Hansen</i> seems like a good bet, and <i>The Great Comet </i>got the most nominations with 12, so there is definitely a lot of love for it. <i>Groundhog Day</i>, thanks for playing.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Book of a Musical</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<b><i>Come
From Away<o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Irene Sankoff and David Hein<o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Dear
Evan Hansen</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Steven Levenson<o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Groundhog
Day The Musical</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Danny Rubin<o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Natasha,
Pierre & The Great Comet of 1812</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11pt;">Dave Malloy</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
Interesting that it's the same four musicals in the musical, book, and score categories. That doesn't always happen. Terrence McNally's book for <i>Anastasia</i> took the animated movie and made it much more adult and historically accurate. Yeah, not completely historically accurate, but it's still a fantasy. I also think Roger Taylor and Richard Oberacker's book for <i>Bandstand</i> is deserving. I went in expecting a fluffy musical and was pleasantly surprised with a dark look at PTSD. I wanted it to go a lot farther than it did, but I appreciated that it didn't play it safe.</div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u>
Best Original Score (Music and/or Lyrics) Written for the Theatre</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<b><i>Come
From Away<o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Music & Lyrics: Irene Sankoff
and David Hein <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Dear
Evan Hansen</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Music & Lyrics: Benj Pasek &
Justin Paul <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Groundhog
Day The Musical</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Music & Lyrics: Tim Minchin <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Natasha,
Pierre & The Great Comet of 1812</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Music & Lyrics: Dave Malloy <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
How can anyone not love Lynn Ahrens and Stephen Flaherty's score for <i>Anastasia</i>? <i>Groundhog Day</i> has one of my favorite musical numbers of the season (spoiler alert: the one with all Phil's unsuccessful suicide attempts), but the rest of the score wasn't at that level. Rooting for <i>Come From Away</i> here, but I think <i>Dear Evan Hansen</i> might take it. It is deserving, but Pasek and Paul's score for <i>Dogfight</i> is even better.</div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Revival of a Play</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<b><i>August
Wilson's Jitney<o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Manhattan Theatre Club,
Lynne Meadow, Barry Grove, Eric Falkenstein, Ron Simons, John Legend/Mike
Jackson, Ken Wirth <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Lillian
Hellman's The Little Foxes</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Manhattan Theatre Club,
Lynne Meadow, Barry Grove <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Present
Laughter</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Jordan Roth, Jujamcyn
Theaters, Spencer Ross, Bruce Robert Harris and Jack W. Batman, AC Orange
Entertainment Ltd., Grove Entertainment, Stephanie P. McClelland, Eric
Falkenstein, Harbor Entertainment, Joe Everett Michaels/Robert F. Ryan, Daryl
Roth <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Six
Degrees of Separation</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Stuart Thompson, Louise
L. Gund, Tim Levy, John Breglio, Scott M. Delman, Tulchin Bartner Productions,
Frank De La Vega, Jane Bergère, John Gore, Gregory Holt, The Lowy Salpeter
Company, Laruffa Hysell Group <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
If<i> Jitney</i> doesn't win, the Tonys are pointless. How did that mediocre <i>Six Degrees of Separation</i> revival get on this list? I wasn't crazy about <i>Present Laughter</i> either, though I think I'm in the minority. </div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Revival of a Musical</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<b><i>Falsettos<o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Lincoln Center Theater,
André Bishop, Adam Siegel, Hattie K. Jutagir, Jujamcyn Theaters <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Hello,
Dolly!</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Scott Rudin, Roy Furman,
James L. Nederlander, Eli Bush, Universal Stage Productions, Roger Berlind,
William Berlind, Heni Koenigsberg, Terry Allen Kramer, Seth A. Goldstein, The
John Gore Organization, Daryl Roth, The Araca Group, Len Blavatnik, Eric
Falkenstein, Ruth Hendel, Independent Presenters Network, Peter May, Jay Alix
& Una Jackman, Jane Bergère, Scott M. Delman, Wendy Federman, Stephanie P.
McClelland, Anita Waxman, Al Nocciolino, Spring Sirkin, Barbara Freitag, John
Mara, Jr. & Benjamin Simpson, Joey Parnes, Sue Wagner, John Johnson <o:p></o:p></span></div>
<div class="MsoNormal">
<b><i>Miss
Saigon</i></b><b><i><o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Producers: Cameron Mackintosh<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
I assume the delightful<i> Hello, Dolly!</i> revival will win, but I'm glad that <i>Falsettos</i> was still remembered in multiple categories. <i>Miss Saigon</i> was the first musical I ever saw, so seeing the revival meant a lot to me, but it's not a competitor. </div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u>
Best Performance by an Actor in a Leading Role in a Play</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Denis
Arndt, <em><span style="font-family: "book antiqua" , serif;">Heisenberg</span></em><br />
Chris Cooper, <em><span style="font-family: "book antiqua" , serif;">A Doll's
House, Part 2</span></em><br />
Corey Hawkins, <em><span style="font-family: "book antiqua" , serif;">Six Degrees
of Separation</span></em><br />
Kevin Kline, <em><span style="font-family: "book antiqua" , serif;">Present
Laughter</span></em><br />
Jefferson Mays, <em><span style="font-family: "book antiqua" , serif;">Oslo</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
This is the category that gets most of my anger. First, let's get the positive out of the way. I'm so glad that Denis Arndt was remembered for his moving performance in <i>Heisenberg</i> (his Broadway debut at 77!). But the fact that Gideon Glick wasn't nominated for <i>Significant Other</i> is ridiculous. If you read <a href="https://www.tdf.org/stages/article/1234/i-see-myself-in-his-performance">this</a>, you'll see I have a lot of feelings about his performance. But I think it is objectively deserving of all the awards. His face in the last scene of the show conveyed so much sadness and hope at the same time that it alone is worthy of a nomination. What makes this even more upsetting is that this isn't a strong category. Chris Cooper didn't have much to do in<i> A Doll's House Part 2</i> and was the only actor in that cast that didn't leave an impression. Corey Hawkins was fine. Jefferson Mays was wonderful as always, but it feels more like a featured performance since <i>Oslo </i>is such an ensemble show.</div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u>
Best Performance by an Actress in a Leading Role in a Play</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Cate
Blanchett, <em><span style="font-family: "book antiqua" , serif;">The Present</span></em><br />
Jennifer Ehle, <em><span style="font-family: "book antiqua" , serif;">Oslo</span></em><br />
Sally Field, <em><span style="font-family: "book antiqua" , serif;">The Glass
Menagerie</span></em><br />
Laura Linney, <em><span style="font-family: "book antiqua" , serif;">Lillian
Hellman's The Little Foxes</span></em><br />
Laurie Metcalf, <em><span style="font-family: "book antiqua" , serif;">A Doll's
House, Part 2</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-family: "book antiqua" , serif;"><span style="font-size: 14.6667px;">I guess if you're famous, you get nominated for a Tony. Unless your name is Daniel Radcliffe. I think Laurie Metcalf deserves to win and I didn't even like that play.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Performance by an Actor in a Leading Role in a Musical</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Christian
Borle, <em><span style="font-family: "book antiqua" , serif;">Falsettos</span></em><br />
Josh Groban, <em><span style="font-family: "book antiqua" , serif;">Natasha, Pierre
& The Great Comet of 1812</span></em><br />
Andy Karl, <em><span style="font-family: "book antiqua" , serif;">Groundhog Day The
Musical</span></em><br />
David Hyde Pierce, <em><span style="font-family: "book antiqua" , serif;">Hello,
Dolly!</span></em><br />
Ben Platt, <em><span style="font-family: "book antiqua" , serif;">Dear Evan Hansen</span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 14.6667px;">Ben Platt will deservedly win. I don't think the musical would work as well without him since the lead character's actions are so questionable, but you still care about him as portrayed by Platt. Christian Borle getting nominated for<i> Falsettos</i> is kind of a slap in the face to <i>Charlie and the Chocolate Factory</i>, isn't it? But he basically deserves a nomination every time he steps on a stage. Where is Jon Jon Briones from <i>Miss Saigon</i>? My Tony campaign for him was a failure. I would have given David Hyde Pierce's slot to him (I say with love because his work was so good in<i> A Life</i> that I've finally forgiven him for 2007). </span><span style="font-size: 14.6667px;">It would have been nice to see Corey Cott from </span><i style="font-size: 14.6667px;">Bandstand</i><span style="font-size: 14.6667px;"> here too. </span><span style="font-size: 14.6667px;">It's too bad this is Platt's year because otherwise I think Andy Karl could finally win a Tony. One day. One day.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Performance by an Actress in a Leading Role in a Musical</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Denée
Benton, <em><span style="font-family: "book antiqua" , serif;">Natasha, Pierre
& The Great Comet of 1812</span></em><br />
Christine Ebersole, <em><span style="font-family: "book antiqua" , serif;">War
Paint</span></em><br />
Patti LuPone, <em><span style="font-family: "book antiqua" , serif;">War Paint</span></em><br />
Bette Midler, <em><span style="font-family: "book antiqua" , serif;">Hello, Dolly!</span></em><br />
Eva Noblezada, <em><span style="font-family: "book antiqua" , serif;">Miss Saigon</span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-family: "book antiqua" , serif;"><span style="font-size: 14.6667px;">I think this diva battle will go to Bette Midler and I'll be happy about it. </span></span><span style="font-family: "book antiqua" , serif; font-size: 14.6667px;">It's nice to see Eva Noblezada recognized even if Jon Jon Briones wasn't.</span><span style="font-family: "book antiqua" , serif; font-size: 14.6667px;"> </span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Performance by an Actor in a Featured Role in a Play</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Michael
Aronov, <em><span style="font-family: "book antiqua" , serif;">Oslo</span></em><br />
Danny DeVito, <em><span style="font-family: "book antiqua" , serif;">Arthur Miller's
The Price</span></em><br />
Nathan Lane, <em><span style="font-family: "book antiqua" , serif;">The Front Page</span></em><br />
Richard Thomas, <em><span style="font-family: "book antiqua" , serif;">Lillian
Hellman's The Little Foxes</span></em><br />
John Douglas Thompson, <em><span style="font-family: "book antiqua" , serif;">August
Wilson's Jitney</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-family: "book antiqua" , serif;"><span style="font-size: 14.6667px;">This is a good category, but Jefferson Mays was the best thing about <i>The Front Page</i>, not Nathan Lane. Sorry everybody who thinks otherwise. I'm rooting for Michael Aronov. I'm glad so many actors from<i> Oslo</i> were recognized, but it would have also been nice to see Anthony Azizi here. Also, I knew it was a long shot, but <i>Indecent</i>'s Richard Topol left a strong impression on me. That's such an ensemble show, though, so I guess here is where I make my annual plea for an ensemble category.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u>
Best Performance by an Actress in a Featured Role in a Play</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Johanna
Day, <em><span style="font-family: "book antiqua" , serif;">Sweat</span></em><br />
Jayne Houdyshell, <em><span style="font-family: "book antiqua" , serif;">A Doll's
House, Part 2</span></em><br />
Cynthia Nixon, <em><span style="font-family: "book antiqua" , serif;">Lillian
Hellman's The Little Foxes</span></em><br />
Condola Rashad, <em><span style="font-family: "book antiqua" , serif;">A Doll's
House, Part 2</span></em><br />
Michelle Wilson, <em><span style="font-family: "book antiqua" , serif;">Sweat</span></em><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br /></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
Another strong category. I'm probably rooting for Cynthia Nixon because her Birdie was the highlight of both versions of <i>The Little Foxes</i>. But Condola Rashad and Jayne Houdyshell brought so much to that play I don't like.</div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Performance by an Actor in a Featured Role in a Musical</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Gavin
Creel, <em><span style="font-family: "book antiqua" , serif;">Hello, Dolly!</span></em><br />
Mike Faist, <em><span style="font-family: "book antiqua" , serif;">Dear Evan Hansen</span></em><br />
Andrew Rannells, <em><span style="font-family: "book antiqua" , serif;">Falsettos</span></em><br />
Lucas Steele, <em><span style="font-family: "book antiqua" , serif;">Natasha,
Pierre & The Great Comet of 1812</span></em><br />
Brandon Uranowitz, <em><span style="font-family: "book antiqua" , serif;">Falsettos</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-family: "book antiqua" , serif;"><span style="font-size: 14.6667px;">Mike Faist's nomination is probably the biggest surprise of all. I am always team Gavin Creel, but I'm also team Brandon Uranowitz, although all these guys are great. This is also the most attractive category.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Performance by an Actress in a Featured Role in a Musical</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Kate
Baldwin, <em><span style="font-family: "book antiqua" , serif;">Hello, Dolly!</span></em><br />
Stephanie J. Block, <em><span style="font-family: "book antiqua" , serif;">Falsettos</span></em><br />
Jenn Colella, <em><span style="font-family: "book antiqua" , serif;">Come From Away</span></em><br />
Rachel Bay Jones, <em><span style="font-family: "book antiqua" , serif;">Dear Evan
Hansen</span></em><br />
Mary Beth Peil, <em><span style="font-family: "book antiqua" , serif;">Anastasia</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "book antiqua" , serif;">Oh, so the Tony nominators did see <i>Anastasia</i>. I think it's fair to say that this is the strongest category. I would be happy with any of them winning or a five-way tie, but if I had to pick one, I'd probably go with Stephanie J. Block.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Scenic Design of a Play</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">David
Gallo, <em><span style="font-family: "book antiqua" , serif;">August Wilson's
Jitney</span></em><br />
Nigel Hook, <em><span style="font-family: "book antiqua" , serif;">The Play That
Goes Wrong</span></em><br />
Douglas W. Schmidt, <em><span style="font-family: "book antiqua" , serif;">The
Front Page</span></em><br />
Michael Yeargan, <em><span style="font-family: "book antiqua" , serif;">Oslo</span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">The set for <i>The Play That Goes Wrong </i>is the most clever aspect of the show, but I hope this goes to <i>Jitney</i>.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Scenic Design of a Musical</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Rob
Howell, <em><span style="font-family: "book antiqua" , serif;">Groundhog Day The
Musical</span></em><br />
David Korins, <em><span style="font-family: "book antiqua" , serif;">War Paint</span></em><br />
Mimi Lien, <em><span style="font-family: "book antiqua" , serif;">Natasha, Pierre
& The Great Comet of 1812</span></em><br />
Santo Loquasto, <em><span style="font-family: "book antiqua" , serif;">Hello,
Dolly!</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "book antiqua" , serif;">I think <i>Groundhog Day</i> should lose points for how often the set broke down. Actually, the set for <i>War Paint </i>broke the night I saw it as well. Anyway, <i>The Great Comet</i> should win. Mimi Lien totally transformed the Imperial Theatre.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Costume Design of a Play</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Jane
Greenwood, <em><span style="font-family: "book antiqua" , serif;">Lillian Hellman's
The Little Foxes</span></em><br />
Susan Hilferty, <em><span style="font-family: "book antiqua" , serif;">Present
Laughter</span></em><br />
Toni-Leslie James, <em><span style="font-family: "book antiqua" , serif;">August
Wilson's Jitney</span></em><br />
David Zinn, <em><span style="font-family: "book antiqua" , serif;">A Doll's House,
Part 2</span></em><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br /></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
As I said, I wasn't crazy about the <i>Present Laughter</i> revival, but Cobie Smulders's dress was exquisite. Still, I'm all about <i>Jitney</i>.</div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<br />
<u style="font-weight: bold;">
Best Costume Design of a Musical</u><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Linda
Cho, <em><span style="font-family: "book antiqua" , serif;">Anastasia</span></em><br />
Santo Loquasto, <em><span style="font-family: "book antiqua" , serif;">Hello,
Dolly!</span></em><br />
Paloma Young, <em><span style="font-family: "book antiqua" , serif;">Natasha,
Pierre & The Great Comet of 1812</span></em><br />
Catherine Zuber, <em><span style="font-family: "book antiqua" , serif;">War Paint</span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
So many beautiful dresses on Broadway this year. I'd give it to<i> Anastasia</i>.</div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<br />
<u style="font-weight: bold;">
Best Lighting Design of a Play</u><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Christopher
Akerlind, <em><span style="font-family: "book antiqua" , serif;">Indecent</span></em><br />
Jane Cox, <em><span style="font-family: "book antiqua" , serif;">August Wilson's
Jitney</span></em><br />
Donald Holder, <em><span style="font-family: "book antiqua" , serif;">Oslo</span></em><br />
Jennifer Tipton, <em><span style="font-family: "book antiqua" , serif;">A Doll's
House, Part 2</span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<i>Indecent. Indecent. Indecent.</i> That's all I have to say about that.</div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Lighting Design of a Musical</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Howell
Binkley, <em><span style="font-family: "book antiqua" , serif;">Come From Away</span></em><br />
Natasha Katz, <em><span style="font-family: "book antiqua" , serif;">Hello, Dolly!</span></em><br />
Bradley King, <em><span style="font-family: "book antiqua" , serif;">Natasha,
Pierre & The Great Comet of 1812</span></em><br />
Japhy Weideman, <em><span style="font-family: "book antiqua" , serif;">Dear Evan
Hansen</span></em><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br /></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
How did <i>Bandstand</i> not get nominated here? The nominators really hated it, I guess. I'd give it to <i>The Great Comet</i>.</div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u>
Best Direction of a Play</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Sam
Gold, <em><span style="font-family: "book antiqua" , serif;">A Doll's House, Part 2</span></em><br />
Ruben Santiago-Hudson, <em><span style="font-family: "book antiqua" , serif;">August
Wilson's Jitney</span></em><br />
Bartlett Sher, <em><span style="font-family: "book antiqua" , serif;">Oslo</span></em><br />
Daniel Sullivan, <em><span style="font-family: "book antiqua" , serif;">Lillian
Hellman's The Little Foxes</span></em><br />
Rebecca Taichman, <em><span style="font-family: "book antiqua" , serif;">Indecent</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-family: "book antiqua" , serif;"><span style="font-size: 14.6667px;">Rebecca Taichman was so involved in the creation of <i>Indecent</i> that it should really go to her. I'd accept Ruben Santiago-Hudson, but I really want this to go to Taichman.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Direction of a Musical</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Christopher
Ashley, <em><span style="font-family: "book antiqua" , serif;">Come From Away</span></em><br />
Rachel Chavkin, <em><span style="font-family: "book antiqua" , serif;">Natasha,
Pierre & The Great Comet of 1812</span></em><br />
Michael Greif, <em><span style="font-family: "book antiqua" , serif;">Dear Evan
Hansen</span></em><br />
Matthew Warchus, <em><span style="font-family: "book antiqua" , serif;">Groundhog
Day The Musical</span></em><br />
Jerry Zaks, <em><span style="font-family: "book antiqua" , serif;">Hello, Dolly!</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "book antiqua" , serif;">As much as I love <i>Come From Away</i>, I think best musical and best direction should go to different shows. Direction should go to Rachel Chavkin. <i>The Great Comet</i> is all about the experience she created and I don't think it would be as strong a musical without her contributions.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Choreography</u></b><b><u><o:p></o:p></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Andy
Blankenbuehler, <em><span style="font-family: "book antiqua" , serif;">Bandstand</span></em><br />
Peter Darling and Ellen Kane, <em><span style="font-family: "book antiqua" , serif;">Groundhog
Day The Musical</span></em><br />
Kelly Devine, <em><span style="font-family: "book antiqua" , serif;">Come From Away</span></em><br />
Denis Jones, <em><span style="font-family: "book antiqua" , serif;">Holiday Inn,
The New Irving Berlin Musical</span></em><br />
Sam Pinkleton, <em><span style="font-family: "book antiqua" , serif;">Natasha,
Pierre & The Great Comet of 1812</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "book antiqua" , serif;">I hope it goes to <i>Bandstand</i>.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><br />
Best Orchestrations</u></b><b><u><o:p></o:p></u></b></div>
<br />
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Bill
Elliott and Greg Anthony Rassen, <em><span style="font-family: "book antiqua" , serif;">Bandstand</span></em><br />
Larry Hochman, <em><span style="font-family: "book antiqua" , serif;">Hello, Dolly!</span></em><br />
Alex Lacamoire, <em><span style="font-family: "book antiqua" , serif;">Dear Evan
Hansen</span></em><br />
Dave Malloy, <em><span style="font-family: "book antiqua" , serif;">Natasha, Pierre
& The Great Comet of 1812</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";"><em><span style="font-family: "book antiqua" , serif;"><br /></span></em></span></div>
<div class="MsoNormal">
<span style="font-family: "book antiqua" , serif;"><span style="font-size: 14.6667px;">The last time I'll say that <i>Anastasia</i> was robbed, but I don't have complaints about any of these nominees.</span></span></div>
<div class="MsoNormal">
<span style="font-family: "book antiqua" , serif;"><span style="font-size: 14.6667px;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "book antiqua" , serif;"><span style="font-size: 14.6667px;">Anyway, congrats to all the nominees! I do think most of you are deserving and none of you are reading this. I'm still very much looking forward to watching the Tonys.</span></span></div>
Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com1tag:blogger.com,1999:blog-31471786.post-46859657733158433712017-03-20T17:14:00.002-04:002017-03-20T17:14:56.668-04:008 Television Shows That Should Have Musical Episodes
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Tonight and tomorrow, March 20 and 21, <i style="mso-bidi-font-style: normal;">Supergirl</i>
and <i style="mso-bidi-font-style: normal;">The Flash</i> will air a two-part
musical crossover. With Jeremy Jordan, Melissa Benoist, Grant Gustin, and Jesse
L. Martin in the casts, this was a no brainer. It's a good time for musicals on television. <i>Crazy Ex-Girlfriend</i>, which has musical numbers in each episode, recently finished its second season and will be coming back for a third. But there are so many musical theater actors on TV that there are way more shows just crying out for a musical episode. </div>
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Sutton Foster is obviously a triple threat. And I'd love to
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musical theater actors as guests. <o:p></o:p></div>
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<!--StartFragment--><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">Stephen Amell has said that he doesn't want to
do a musical episode, but he's obsessed with <i>Hamilton</i> (see video) and look how much this cast loves to sing. Plus, Josh
Segarra is on the show now and there are theories about Colin Donnell coming
back this season.</span><!--EndFragment-->
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Another CW superhero show with lots of musical talent. They should have just done a four-show musical crossover. Victor Garber sang "Edelweiss" in one episode and, for some reason, "The Banana
Boat Song" in another. Clearly, the writers want him to sing as often as possible. (He's a guest star on the <i style="mso-bidi-font-style: normal;">Supergirl</i>/<i style="mso-bidi-font-style: normal;">Flash</i> crossover.) Arthur Darvill can sing
too. Maybe Ciara Renée can come back for one episode.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Jane the Virgin<o:p></o:p></i></b></div>
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This show has also done musical numbers in the past, but after seeing Jamie Camil in <i style="mso-bidi-font-style: normal;">Chicago</i> this summer, I am more convinced than ever that there should be an entire musical episode built around
Rogelio.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">New Girl<o:p></o:p></i></b></div>
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I'd love to see what this extremely dark comedy could do
with the form and it's already about an actor, so it would be easy to come up
with an organic way to include a musical into the storyline.<o:p></o:p></div>
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<br /></div>
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<b><i>Unbreakable Kimmy Schmidt</i></b></div>
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How can they not take advantage of Gina's (Chelsea Peretti)
dance talent? Andy Samberg could recruit his Lonely Island friends to help
write it.<o:p></o:p></div>
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<br /></div>
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What shows would you add to this list?</div>
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<o:p></o:p></div>
Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-79481590481693457812017-02-08T00:41:00.003-05:002017-02-08T10:54:46.140-05:00BroadwayCon Year Two: Less Snow, Bigger Venue<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK3TrN8kvDz4gbfRjiXcDKqlZHsgoL2TATKU2WFZa4mHr9j1pjZVWr0uhuwTh8Qhz26dkpiYzJzv_LG8y3yrIY2sTLFJGE9-T5LH_BdhLB2b-BnRwW9YSHk_D1OGfJFt3CPUMJqg/s1600/20170129_171542.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK3TrN8kvDz4gbfRjiXcDKqlZHsgoL2TATKU2WFZa4mHr9j1pjZVWr0uhuwTh8Qhz26dkpiYzJzv_LG8y3yrIY2sTLFJGE9-T5LH_BdhLB2b-BnRwW9YSHk_D1OGfJFt3CPUMJqg/s320/20170129_171542.jpg" width="192" /></a>Last year, a major snowstorm shut down Broadway theaters, but the first ever Broadway fan convention went on as scheduled. And it ended up being a <a href="http://pataphysicalscience.blogspot.com/2016/01/a-few-thoughts-on-why-broadwaycon-was.html">lot of fun</a>. This year brought about some changes for BroadwayCon--no weather interference and a much larger venue (it moved from the New York Hilton Midtown to the massive Javits Convention Center). Aside from the distance from any subways, it proved to be a smart move.<br />
<br />
The large rooms for panels and the huge BroadwayCon mainstage meant that it usually wasn't necessary to wait in line and you could walk into pretty much any panel and get a seat. The only time I saw a long line was for BroadwayCon First Look--performances from upcoming Broadway shows--on Sunday, and that's only because they cleared out the mainstage and then let people back in. There was also plenty of room to walk around without getting trampled on, even in the marketplace--the area for vendors, exhibitors, autographs, and photos. <br />
<br />
My con experience started on Friday (the convention lasted from January 27 to the 29th) with the <i>In Trousers</i> reunion panel. <i>In Trousers</i> premiered at Playwrights Horizons in 1979 and is the first in William Finn's trilogy about Marvin (the other two are <i>March of the Falsettos</i> and <i>Falsettoland</i>, which make up <i>Falsettos</i>). Moderated by Jennifer Ashley Tepper, the panel included Finn, producer Ira Weitzman, and original cast members Alison Fraser, Chip Zien, and Mary Testa. It was a fascinating and honest discussion. We learned that everything was sped up on the recording so that all the songs could fit on a vinyl record and that's why it sounds a lot faster than the way it was actually sung. We learned that Mary Testa got her first Broadway show and had to make the painful decision to leave <i>March of the
Falsettos</i>, which is why her character didn't end up being in the show. "It was
besheret. Is that what you Jews say?" she said. But perhaps the best moment was when Zien admitted that he didn't know Marvin was gay. He wondered, "But where is he going?" about the song "Whizzer Going Down." He thought maybe he was going to Florida or something. Unfortunately, they didn't perform, but there was a lot of other singing the rest of the weekend (from professionals and fans). <br />
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I missed the opening ceremony because I was volunteering at the <a href="https://www.show-score.com/">Show-Score</a> booth (I'm one of the editors), asking people what shows they'd like to see in 2017. A highlight of the weekend was meeting theater fans from around the world. I especially enjoyed seeing parents sharing their kids' excitement.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcdGGQ3o26CICjqCmwEA191qhxHb2wAVUzoybHMqz6vJwPpdywD5X1v0VMUKfi_8jH_0xNk9-x4yC7cqOoiBxD23WpQ9sTCgOTSchjuzYkjeFK1Xn5HdweTtfkFlj4IMHIOlpdiw/s1600/2017-01-27+13.55.49.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcdGGQ3o26CICjqCmwEA191qhxHb2wAVUzoybHMqz6vJwPpdywD5X1v0VMUKfi_8jH_0xNk9-x4yC7cqOoiBxD23WpQ9sTCgOTSchjuzYkjeFK1Xn5HdweTtfkFlj4IMHIOlpdiw/s200/2017-01-27+13.55.49.jpg" width="149" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My favorite post-it on the Show-Score wall of what people want to see in 2017 (and no, I didn't write this).</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwXzSdDeq_c6CqBlSH36oNjia1GJ-8W5yQbkqacSGequw4Zh8ORQVtYm5swe3PTMe6oa8F5ETq3BEHYa60U2F3-HfzJV3opgHVVqtxizfBE30259A5PD6DZ4TvWW6gxtmU6taswg/s1600/2017-01-29+14.43.07.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwXzSdDeq_c6CqBlSH36oNjia1GJ-8W5yQbkqacSGequw4Zh8ORQVtYm5swe3PTMe6oa8F5ETq3BEHYa60U2F3-HfzJV3opgHVVqtxizfBE30259A5PD6DZ4TvWW6gxtmU6taswg/s320/2017-01-29+14.43.07.jpg" width="239" /></a>After the marketplace shut down at 6, the only thing open was the mainstage. Since my main goal for Friday was to see "Don't Quit Your Night Job" at 9, I ended up getting to the BroadwayCon mainstage during "Twenty Years on Pride Rock" and staying for the BroadwayCon Cabaret and the <i>Annie</i> 40 year reunion panel. Not a bad way to pass the time, especially since composer Charles Strouse. director Martin Charnin, and Annie herself, Andrea McArdle, were there.<br />
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"Night Job," the brainchild of Steve Rosen, Sarah Saltzberg, and David Rossmer, is a delightful combination of improv and musical theater, but they don't do it too often anymore, so I hope they at least make it a BroadwayCon tradition. They had plenty of special guests, including Santino Fontana, who sang a musical Mad Libs version of "Do I Love You Because You're Beautiful" from <i>Rodgers + Hammerstein's Cinderella</i>. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1DKeFHiycppecFtVGfS6qKE5i_CZdQh9dfJjaooYaNBYHXlie5Sh-06hZS7AH2YRyUTo3_9IBDRLX9Wu_PVHvAQVuK1_Z2oAKBm1_2nPsUidevA1uMFhlm654dmCT1fgBCh6tWA/s1600/2017-01-29+14.43.46.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1DKeFHiycppecFtVGfS6qKE5i_CZdQh9dfJjaooYaNBYHXlie5Sh-06hZS7AH2YRyUTo3_9IBDRLX9Wu_PVHvAQVuK1_Z2oAKBm1_2nPsUidevA1uMFhlm654dmCT1fgBCh6tWA/s320/2017-01-29+14.43.46.jpg" width="239" /></a>The weekend was made up of many joyous moments like that one, but BroadwayCon wasn't a complete bubble away from everything happening in the country (this was the same weekend that Trump signed an executive order banning people from seven Muslim-majority countries from entering the United States). Many speakers took the opportunity to get political. Paula Vogel was at BroadwayCon First Look to get people excited about <i>Indecent</i> (I already am, having seen it Off-Broadway. Get your tickets.), but she also spoke about how important it is for playwrights to write at this time, saying, "It's the most important gift you can give the country right now." Before <i>"Hamilton: </i>The Next Administration," the cast recording played, and many were singing along, but everyone screamed along to the line, "Immigrants, we get the job done." The cast members also spoke at the panel about how this and other lines have been getting an even stronger response than usual.<br />
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The politics also extended to within theater. I praised BroadwayCon for this last year as well. It celebrates Broadway while also looking at the ways it needs to improve. During "Someone in a Tree: a Frank Discussion of Asian Americans on Broadway" moderated by Erin Quill with Kelvin Moon Loh, Manu Narayan, B.D. Wong, and Amy Hill, they called out specific productions, like Roundabout's <i>The Mystery of Edwin Drood</i>, for using yellowface. Wong spoke about Jonathan Pryce's casting as the Engineer in <i>Miss Saigon</i>. When it happened in London, he thought they do things like that there, but it couldn't happen on Broadway, and he was shocked when Pryce remained with the show here. But he and the others who protested were able to at least get the production to get rid of the makeup and make the role more ethnically ambiguous. They also set a precedent so the role would be played by an Asian from then on (in the upcoming Broadway revival, Jon Jon Briones plays the engineer). Although they didn't get the exact results they wanted the first time, they got the conversation started.<br />
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Wong also said that we can have panels until we're blue in the face, but by the time you talk about casting, it's almost too late. It needs to start with writers. Even if writers would give some characters Asian-sounding last names, they'd be more likely to be cast with Asian actors. Hill started writing to empower herself, saying, "You have to work so hard when you're an actor of color. You have to act, you have to write, you have to produce."<br />
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This idea of having to write for yourself also came up in the "Nothing About Us Without Us: Disability on Stage," moderated by Howard Sherman with Sarah Folkins, Matt Fraser, Tony Lopez, and Alexandria Wailes.<br />
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They spoke about how traditionally, roles for actors with disabilities are written by people who don't know anything about the reality. Or they write "inspiration porn." The panelists want to see narratives where they are full-fledged human beings. Fraser said a way forward is for writers to collaborate with disabled actors. I wish I could just write down a transcript of the whole conversation, but I hope the right people (producers) were listening. Also, I learned about the <a href="http://graeae.org/">Graeae Theatre Company</a> where Fraser got his training because at the time he couldn't get into any theater schools, and just wanted to include that in case anyone else wanted to read up on it.<br />
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So, BroadwayCon is a place for honest discussions. It's also a great place for shows (and even movies) to advertise and sell tickets. I certainly don't begrudge them that. And in most cases they did it in smart ways.<br />
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The <i>Speech & Debate</i> panel was
moderated by Darren Criss and I could tell by the screams that a lot of
people were there for him, but all those people who probably never saw the play are now excited
about the movie. We saw the trailer (see below). I have mixed feelings about it. I am a huge fan of this play and haven't missed a Stephen Karam play since, but it seems like they are trying really hard to make it look like a fun teen comedy with the bright colors and pop music. It's a very funny show, but also a dark one. I guess whatever sells tickets. And I could have done without the <i>Hamilton</i>. Not everything has to include a <i>Hamilton</i> reference. That said, I can't wait to see Sarah Steele play Diwata again.<br />
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During the panel, they encouraged people to use hashtags for the movie and they did the same thing during BroadwayCon First Look. Again, good way to spread the word about your show and advertise to those at the convention and beyond. The musicals performed songs and <i>Come From Away</i> was a particular standout with Jenn Colella singing "Me and the Sky." It was interesting to see how the plays approached the event, since not even the Tonys ever seem to get it right. But I thought they did a nice job, especially <i>Significant Other</i>, which had Gideon Glick perform a monologue. I would love to know which shows sold the most tickets as a result of BroadwayCon, but I guess there's no way to find that out.<br />
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There are a ton of panels and workshops and performances that I didn't see, but I'm pretty happy with the choices I made. And that's another positive about the convention--the variety of programming for both casual and obsessive fans. I look forward to seeing what they come up with for year three.<br />
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Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com1tag:blogger.com,1999:blog-31471786.post-43833518032593262362016-10-27T17:15:00.000-04:002016-10-27T17:15:20.372-04:00Kate Baldwin at 54 Below: We're Not in Glocca Morra AnymoreKate Baldwin is upfront right off the bat: She isn't at 54 Below to sing musical theater songs. She grew up loving pop music and her concert, "<a href="https://54below.com/events/kate-baldwin-extraordinary-machine/">Extraordinary Machine</a>," directed by Robbie Rozelle and music directed by Kris Kukul, is a journey through some of her favorite songs. And it's wonderful. If you didn't know it before, here is the proof that she can sing anything.<br />
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Sporting an amazing red jumpsuit that few people could pull off, she is just as comfortable singing Erasure as she is Loretta Lynn. In between numbers, we get to know her through anecdotes about her childhood and family, including an adorable story about how her relationship with her future husband blossomed over AIM.<br />
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For those who do want to hear some show tunes, don't worry, she does throw in some musical theater: "Wicked Little Town" (in a beautiful medley with Rufus Wainwright's "Oh What A World," sung by special guest Matt Doyle), "Breeze Off The River" from <i>The Full Monty </i>(to my delight), and "Ribbons Down My Back" from her next Broadway show, <i>Hello, Dolly!</i><br />
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Remaining performances are tonight, Friday, and Sunday (October 27-29) at 7 p.m.Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-25409311884415933942016-10-16T12:56:00.003-04:002016-10-17T16:55:14.864-04:00Q&A: Fringe Encore SeriesThere are so many shows at the New York International Fringe Festival that it can be hard/impossible to see everything. So, one thing I love about the Fringe Encore Series is that you get a second chance to see shows you missed. Not only that, but you can see shows from Edinburgh Fringe Festival--the world's largest arts festival--without even buying a plane ticket to Scotland.<br />
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<tr><td class="tr-caption" style="text-align: center;">Poster art for <i>Homo Sapiens Interruptus</i>, one of the shows in the Fringe Encore Series.</td></tr>
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The series, which is happening now through October 30 at SoHo Playhouse, was founded by Britt Lafield. He and one of his producing partners, John Pinckard, were discussing how many great Fringe shows disappear after the festival, never to be heard from again. It can be difficult to move a show after a successful Fringe run, especially for younger companies, so they thought a "best of" festival would get those productions more exposure and help facilitate the next step. "We wanted to help bring more attention and notoriety to the productions we thought deserved it and try to help educate those productions about what the next step could be. I had seen so many great shows get mutilated by 'professional' producers who just took over the productions from the company in an effort to make a quick buck," Lafield says. "That was so against what I thought the festival and really theater should be about that I wanted to help change it in some way."<br />
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Darren Lee Cole, artistic director of SoHo Playhouse, got involved in the second year, when Lafield approached him about hosting the series. "Not only have I known Darren Lee Cole for years, I also know of his passion for new works and new types of theater. He and the SoHo seemed a perfect fit for the Series, especially given the amazing history of the theater itself stretching back to the late Edward Albee and his VanDam Collective in the '60s and '70s and the first productions of some of the world's most famous playwrights like Christopher Durang and Tracy Letts," Lafield says.<br />
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Read on for what the two of them had to say about how shows are chosen and more and click <a href="http://www.sohoplayhouse.com/fringe-encore-series-2016">here</a> for a list of participating shows and schedule.<br />
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<b>Q: </b>What does being a producer of a festival encore series entail?<br />
<b>Britt Lafield: </b>Producing the Series starts with getting like-minded theatrical professionals to go out and scope out the shows during the New York Fringe and then spending lots and lots of time in theaters seeing everything you can. We look at reviews and audience attendance, but also talk to other audience members about what they have seen and like. Word of mouth is a very strong tool at any fringe and you just need to know what to listen for.
Once the shows are identified and approached, hopefully they accept our offer to be a part of the Series. The Series works as a ticket split between the production, the Series, and the theater, so there is no out of pocket expenses for the show. We take care of all the staffing and advertising for the Series as a whole. And once it starts, we try to focus on the productions themselves and making sure they are comfortable and offer them help in any areas they might need it. Whether it is outreach to audience members for their show in particular or just feedback of the production itself. It is a lot of work, but worth it to see the productions use what they have learned to improve their show.<br />
<b>Darren Lee Cole:</b> My emphasis has been on searching for the top shows that represent the best of the amazing new talent out there. Basically, it entails going to a lot of theatre and meeting a lot artists. Both things I have a passion for.<br />
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<b>Q:</b> Why do you include shows from Edinburgh in addition to New York?<br />
<b>Lafield: </b>After a number of years just doing the "best of" Fringe NYC, we saw great opportunity in expanding the Series to try and be a true world-wide Fringe Encore Series. Edinburgh, being the oldest and most famous fringe festival, seemed like the logical choice to start with. We are hoping to add shows from the World Fringe Alliance every couple of years.<br />
<b>Cole: </b>Three years ago, I went to Edinburgh with three shows I directed. Once there, I began telling people about the encore series that I was a part of back in NYC. Frankly, they flipped out and kept asking me when I was going to expand and bring shows from the Edinburgh Fringe. So I called Britt and invited four shows that year to join us. The word got out and I have gone to Ed Fringe each of the last three years searching for the best there to bring to the New York audience.<br />
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<b>Q: </b>What other factors are involved in deciding which shows will be included?<br />
<b>Lafield: </b>We try to see every show we can that wants to be eligible for the Series. Darren travels to Edinburgh to look at shows there while my team and I work on all the production here in New York. We look at reviews, attendance, word of mouth, and just the artistic value of the production itself. The show doesn't have to be a runaway hit to be included. We love to find the great show no one has heard of or that was just getting noticed. Because at the end of the day, a great show is a great show. And with all the competition for audience in any fringe, the loudest show is not necessarily the best.<br />
<b>Cole: </b>It is tough because there is no way to see all of the shows in Edinburgh; there are over 3,000. However, as artistic director of the playhouse and having produced and directed plays for the past 35 years, I now have many associates and friends that help point me in the right direction.<br />
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<b>Q: </b>Are there any shows in particular that you are excited about it or that you want to call attention to?<br />
<b>Lafield: </b>What I love most of all is the diversity that we have in the Series this year. From incredibly quirky shows like <i>ChipandGus </i>to the amazing physical theater work of the production <i>Flight</i>. There really is something for everybody. I myself really enjoy the a cappella musical <i>The Extraordinary Fall of the Four-Legged Woman </i>and the ingenious performance of Dominique Salerno in her amazing one-woman <i>The Box Show</i>.<br />
<b>Cole: </b>This year, I really love two shows that are at the tail end of the festival. <i>Yokes Night</i> from Edinburgh and <i>Homo Sapiens Interruptus</i> from New York. I love <i>Homo Sapiens Interruptus</i> so much I am directing the encore production.<br />
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<b>Q: </b>Is there anything that you've learned from past years of the series that has been helpful this year?<br />
<b>Lafield: </b>We learn something new about the Series <i>every</i> year. But we never get to rest on our laurels because with every new year comes an entirely new set of shows and theatrical professionals. And every show is different, so we learn what types of productions play best at what time slots. What days of the week or holidays are best to avoid. But most of all, we just learn what the next generation of theater people are passionate about. And that is what make it important.<br />
<b>Cole: </b>Never give up on theatre! There are always amazing new emerging artists at these festivals. I've learned that we can really make a difference in helping them move forward artistically and professionally.<br />
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<b>Q: </b>The fall is a pretty busy time for theater in New York (busier than the summer, when Fringe is going on). How do you stand out from the crowd?<br />
<b>Lafield: </b>It very difficult to stand out, but we believe that people want to come see good theater and that there is an audience for every show. We aren't trying to compete with Broadway or other cultural events. That's a losing battle. We are competing for the audience that wants to see the next big thing and where tomorrow's Broadway shows will be coming from. That is what we try and offer.<br />
<b>Cole: </b>New York is a big place with a healthy appetite for theatre. The Fringe can be overwhelming. So many theatergoers are interested in "the best of two fest" idea we put forward. There's lot of competition, but nothing quite like what we do.Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-25018127421146439742016-10-03T15:27:00.000-04:002016-10-03T15:27:42.971-04:00Q&A with The Lion's Benjamin ScheuerThe album <i>Songs From The Lion</i>, released in June, is the official cast recording for Benjamin Scheuer's autobiographical one-man show. But if you saw the show, which deals with his father's death and his struggle with cancer, at Manhattan Theatre Club, the Lynn Redgrave Theatre at the Culture Project, or on tour, you will notice some differences--new arrangements, added musicians, backing vocals, and an altered order of the songs. "You don't only have to play the show top to bottom in a recording
studio. Doing that is to me making a record only for the people who've
seen your show. And I'd rather make a record for everybody, people who
have seen my show and maybe people who haven't," Scheuer says. "There are plenty of
people in the world who are never going to get to see <i>The Lion</i>, but if I can make a record that they dig, then that's just as exciting for me."<br />
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He has also been reaching people with his music in other ways. The video for "The Cure" premiered on the <a href="http://well.blogs.nytimes.com/2016/06/02/an-artist-takes-on-cancer/?_r=0"><i>The New York Times</i>' Well Blog</a>. His next video, for "Golden Castle Town," will be out in mid-October. I spoke to Scheuer over the phone before his first performance of <i>The Lion</i> in <a href="https://www.theoldglobe.org/">San Diego</a>, where he will be through October 30, about the album and the future of <i>The Lion.</i><br />
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<b>Q:</b> I had <a href="https://www.tdf.org/stages/article/1124/how-did-his-life-become-a-musical">interviewed you</a> before and the album hadn't come out yet, but you said you wanted it to be different from the show, that you don't think recordings should be exactly the same as what's on stage. I think you really accomplished that. Why was that important to you?<br />
<b>A:</b> On stage, the theater director, Sean Daniels, helped me take my material and realize the best version of it for the stage. And for a record, I did the same thing. Meaning, I asked record producer Geoff Kraley to do the same job on the record that a director does in the theater, which is take the material and make sure it works best in the chosen medium. In the theater, you come in and you sit down and you hear all the songs all the way through with stories in between. On a record, you don't have costumes, you don't have lights, you don't have sets, you don't have talking, and you don't have the promise that they audience is going to listen to it all the way through. You do have a lot of other things. You have the opportunity to work with whatever sound you can imagine and whichever musicians you can call.<br />
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Let me give you an example. In the show <i>The Lion</i>, during "St. Rick," my character Ben is an angry 16 year old and is imaging he has the band Nine Inch Nails in his head when they play the song. For the record, Geoff Kraley and I thought, why don't we just get actual Nine Inch Nails to play on the record. We called Josh Freese who plays drums in Nine Inch Nails and he came and played on the track. So, suddenly the record sounds the way my character hears things in his head in the show.<br />
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We changed words, we changed arrangements, we changed the order of the songs to make a record that stands up on its own. We'd like to get this record, which is an official cast recording, nominated for a Grammy for best musical theater album, to simply show that there is a different way that musical theater records can be made. <br />
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<b>Q:</b> As you said, on the record, you can listen to it all the way through or you can listen to each song individually, so what was the thought process behind the order of the songs?<br />
<b>A: </b>The play is one act, meaning there is no intermission, but it is structured in three acts with a coda. A record is two acts. A record is side A and side B. And a record doesn't have any talking, so we thought about tempos, we thought about keys of songs, we thought about the flow of the record. <br />
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The song "The Lion" is the last song in the show. I didn't want to put "The Lion" last on the record <i>Songs from The Lion</i>, so we put it third. The song "White Underwear," where dad dies, is the fifth song in the show. I didn't want to put that song fifth on the record before the song "The Lion." "The Lion" is a much more fun song. The song "Golden Castle Town" is a much more fun song. I wanted to open the record in a way that captured a positive energy and I didn't want all the positivity to be at the end, whereas in a piece of theater you want to end on a joyful and high note.<br />
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We end with "Three Little Cubs" which is actually a nod to the song "Her Majesty," which ends the record <i>Abbey Road</i>. Geoff Kraley and I played with different orders until we came up with one that felt like a nice journey for people who had never seen the show. It felt like it had good ebbs and flows--the pacing, the timing, the content of the lyrics. For the show, you pick the best order for the songs and for the record, you pick what you hope is the best order for the songs and if people want to put it in a different order, that's what iTunes is for.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo credit: Shervin Lainez</td></tr>
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<b>Q: </b>You're getting ready to open in San Diego and then Los Angeles. I remember reading that you were looking for someone else to take over so the show can continue when you leave. Are you still looking?<br />
<b>A: </b>We're still looking. I'm looking for a guitar player first. Any age, any gender, any race. The way you audition is you learn the song "Cookie Tin Banjo" and send a video of yourself playing it to us, so I look forward to seeing what people share. I'm excited.<br />
<br />
<b>Q: </b>Do you think it will be weird for you to have somebody else perform it, since it's such a personal story?<br />
<b>A:</b> Probably. That's ok, though. I'd like to see if it works as a piece of theater without me in it. And it very well might. It also might not at all. It might need the autobiographical elements to work. I'm not sure, so as a playwright, I'm interested to see how much of <i>The Lion</i> is a play and how much of it is very much a coffee shop gig and the differences there. I'm eager and curious.<br />
<br />
<b>Q: </b>You've been performing the show for a couple of years now. After performing it for so long, are you still finding new things in it?<br />
<b>A: </b>Well, doing it in the round is really fascinating because here in San Diego we restaged the entire show. Because we are doing it in the round, I think there are 14 microphones on stage now and it feels very much like a recording studio. And I feel very comfortable in a recording studio, a room with microphones everywhere, so that feels really fun, and it feels pretty different, so that keeps it fresh for me.<br />
<br />
<b>Q: </b>Are there any other cast recordings that you like?<br />
<b>A: </b><i>Hamilton</i>. Questlove, who produced that record, did an amazing job. It sounds like a contemporary pop record. It sounds like a record that can exist outside of a theater. And I look forward to hearing what new musical theater artists do when they now record their cast albums. When they think how can we keep allowing this wonderful genre to grow. Musical theater is not a genre. Musical theater is a methodology. And so, how can that methodology continue to evolve and captivate new audiences?Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-63124594744099730682016-09-23T16:13:00.001-04:002016-09-23T16:13:49.331-04:00Q&A with Kit Goldstein GrantA few years ago, I had the pleasure of attending a small, private reading of a musical called <i>The Wrong Box</i>. The dark comedy about a race for a family inheritance is continuing its development with a staged reading on Monday October 3 at 1 and 7 p.m. at the National Opera Center. Tickets are available <a href="https://www.eventbrite.com/e/the-wrong-box-a-musical-tickets-27803187081">here</a>. Composer/lyricist Kit Goldstein Grant adapted the novel by Robert Louis Stevenson and Lloyd Osbourne. Here's what she had to say about why she chose that source material, how she got into musical theater composition, and more.<br />
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<b>Q: </b>Can you tell me a little bit about your background? When did you first start writing musicals? How did you realize you had that talent?<br />
<b>A:</b> I wrote my first musical when I was 13, and a group of friends and I started a theatre company to produce it when I was 14. I had picked up a book by Alan Jay Lerner at a used book shop, realized that everything I liked was a musical, and thought I'd try writing one myself. Nobody's been able to stop me since.<br />
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<b>Q:</b> What was the first piece of music you ever wrote?<br />
<b>A: </b>The first piece I remember notating was a song about going to the fair and eating cotton candy. The scansion was terrible, but I was probably around eight, so I'm going to cut myself a little slack on that.<br />
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<b>Q: </b>Who would you say are your influences?<br />
<b>A:</b> Lerner and Loewe, Bock and Harnick, Kander and Ebb, Rodgers and Hammerstein, Frank Loesser, Cole Porter--all the classics.<br />
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<tr><td class="tr-caption" style="text-align: center;">Kit Goldstein Grant</td></tr>
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<b>Q: </b>Why did you choose to adapt this novel? What was your first exposure to it?<br />
<b>A: </b>My sister always gave me all the good books to read. She gave me <i>The Wrong Box</i>, too, and mentioned she thought it would make a good musical. I read it and agreed. I wrote the first draft while I was in college during a spring break.<br />
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<b>Q: </b>Where is your favorite place to write?<br />
<b>A: </b>Outdoors, in a big park, on a sunny day.<br />
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<b>Q: </b>What can audiences expect and why should they see the reading?<br />
<b>A: </b><i>The Wrong Box</i> is a really fun show with a lot of surprises. Sometime even I still get surprised by plot twists. Audiences can expect dry Victorian humor, larger than life characters, inconvenient dead bodies, and memorable songs. We've got a terrific cast [Joe Harkins, Raul Hernandez, Melissa Rose Hirsch, Andrew Holder, Robin Cameron Lounsbury, Evan Mayer, Angelo McDonough, Christopher Michaels, Chris Collins Pisano, Daniel Plimpton, Adrian Rifat, Jordan Silver, Morgan Smith, Kasey Yeargain, and Frank Vlastnik] assembled with actors from Broadway and national tours, and the cast alone is reason enough to come.<br />
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<b>Q: </b>What are your goals for after the reading?<br />
<b>A: </b>We're looking at different possibilities to bring the show to more audiences in New York City and elsewhere. One thing we'd love to do is partner with a regional theatre to continue with development of the show, so if you run a regional theatre, don't forget to call!<br />
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<b>Q: </b>And finally, how far would you go to get a family inheritance?<br />
<b>A: </b>Halfway around the world! (Either direction.)<br />
<br />Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-34067428566573093052016-08-26T19:04:00.001-04:002016-08-26T19:04:28.057-04:00FRINGE: Treya's Last Dance<i>A quick note before we get into the review. My other Fringe reviews are on <a href="http://www.theasy.com/">Theatre is Eas</a>y--American Strippers is <a href="http://www.theasy.com/Reviews/FringeFestival/2016/americanstrippers.php">here</a> and Colorblind'd is <a href="http://www.theasy.com/Reviews/FringeFestival/2016/colorblindd.php">here</a>. Theatre is Easy reviews every single Fringe show, so if you're trying to figure out what to see during the final weekend of the festival, definitely check that out.</i><br />
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<tr><td class="tr-caption" style="text-align: center;">Shyam Bhatt in Treya's Last Dance. Photo credit: Abhishekharee Parthasarathy</td></tr>
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Watching someone speed date turns out to be a lot more entertaining than participating in it. In the British one-woman show <i>Treya's Last Dance</i>, written and performed by Shyam Bhatt, we hear about Treya's life through the answers she gives to banal questions at a speed-dating event, which she attends at her parents' insistence. (Why would anyone go on speed dating other than to please their parents?) This proves to be a smart structure for a solo show, as it requires that she tells her stories in short intervals, before moving onto a question from the next suitor. <br />
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The tone starts off light, but turns sad as the show continues (not unlike real dating). As she reveals more about herself, she is forced to confront a recent tragedy. (Speed dating works as therapy too. Who knew?) Bhatt is able to balance the humor and pain and is gifted at transforming into the different people she impersonates. She even does a spot-on American accent. On top of all that, she gives insights into being the child of immigrants and how the Indian community deals with LGBTQ issues--a topic not often explored in the theater.Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-56542497473254127622016-06-24T15:33:00.001-04:002016-06-24T15:34:23.203-04:00Don't Fuck With The BabysitterThe Disney Channel Original Movie, or DCOM. There have been some hits (<i>Zenon: Girl of the 21st Century</i>, <i>Brink</i>) and some misses (<i>Dadnapped</i>, <i>Hatching Pete</i>). Tonight, the 100th DCOM, <i>Adventures in Babysitting</i>, airs. It's a little bit of a cheat to call it a Disney Channel <i>Original</i> Movie, since it's a remake of a 1987 film starring Elisabeth Shue. Tiffany Paulsen wrote the new script and the plot is significantly altered from the original by David Simkins, so I guess it counts. I watched the 2016 version and then watched the original, which I had never seen. Why didn't anyone tell me I should watch it earlier? I have been missing out all these years. In order to see how they compare, I stacked them up against each other in a not-at-all scientific way using five categories that I made up.<br />
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<b>The Casts</b><br />
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In true DCOM fashion, the 2016 version stars some familiar Disney Channel faces, Sabrina Carpenter (<i>Girl Meets World</i>) as Jenny and Sofia Carson (<i>Descendants</i>) as Lola. They are competing for an internship and after an accidental cell phone switch off of the DCOM plot device checklist, Lola accepts a babysitting job offer that Jenny turned down, since she was already sitting for another family. Carpenter and Carson are on the likable side of the new crop of Disney Channel stars and the kids are not as annoying as the children in other DCOMS. But in addition to Shue as Chris, the original has a very young Anthony Rapp as obnoxious, sex-obsessed Daryl and Bradley Whitford plays her asshole boyfriend, Mike, so it automatically has the edge.<br />
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Winner: 1987<br />
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<b>The Characters</b><br />
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Chris only had to watch two kids and the tag-along friend. Jenny and Lola have a total of five. There are some nice additions--future Master Chef Junior Bobby (Jet Jurgensmeyer) and rebellious Emily Cooper (Nikki Hahn)--but because there are so many, you don't get a chance to know them as well as in the original. Less is more. Plus, the 1987 version has the hilarious Brenda (Penelope Ann Miller), who runs away from home and needs Chris to pick her up, the inciting incident for the adventures. Her storyline was probably too dark for Disney, but the movie isn't the same without her.<br />
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Winner: 1987<br />
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<b>Rap Battle Versus Blues Singing</b><br />
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Most of the ads I've seen for the 2016 version (and because I've been watching a lot of the old DCOMS as part of the marathon, I've seen A LOT of commercials for it), advertise the rap battle between Jenny and Lola. It's not that great, as far as rap battles go. They find themselves on stage in a club and have to perform before they can leave, so it is an update of the original in which they find themselves in a blues club. The blues song has better lyrics and more emotion. Rapp even performs in it.<br />
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Winner: 1987<br />
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<b>Thor Versus Roller Derby</b><br />
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In the original, the youngest kid, Sara (Maia Brewton) is infatuated with Thor. She rides around on roller skates wearing a Thor helmet. In the update, AJ (Madison Horcher) rides skates too, but it's because she's obsessed with the roller derby. It's odd that Disney wouldn't take advantage of the obvious Marvel tie-in and keep the Thor stuff in there. I appreciate that a young girl in 2016 would have roller derby as a hobby, but I also like that a young girl in the '80s liked comics before it was trendy.<br />
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Winner: 1987<br />
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<b>The Dialogue</b><br />
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The line, "Don't fuck with the babysitter," was changed to, "Don't mess with the babysitters," to make it kid-friendly. Likewise, all the curse words and talk of Playboys is gone and with them, a lot of the humor. There was a questionable line about rape that I'm happy to see gone, but overall, the 2016 version is so watered down that I wonder who at Disney saw the original and thought, "Yeah, that's in keeping with our brand."<br />
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Winner: 1987<br />
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The original <i>Adventures in Babysitting</i> is the clear winner here. The DCOM is not without its charms. The song <a href="https://www.youtube.com/watch?v=qz6_ETehLpQ">"Wildside"</a> is pretty catchy (though it's no <a href="https://www.youtube.com/watch?v=gTIcIzKjGjg">"Supernova Girl"</a>) and Carpenter always elevates the material she's given (I'm looking at you, <i>Girl Meets World</i>). If you're a Disney Channel fan, you won't be sorry you watched it, but if you're going to, do yourself a favor and watch the original too. It's available on Netflix streaming.Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com3tag:blogger.com,1999:blog-31471786.post-78059593595063282932016-05-03T17:26:00.000-04:002016-05-03T21:39:48.824-04:00Annual Tony (Or Hamiltony) Nomination PostA lot has changed since I started this blog in 2006, but one constant is my annual Tony nomination post. I do this partly for myself, to organize my thoughts after the initial excitement/anger, and in an attempt to start a conversation with other theater lovers. So let's get to it. Here's the complete list of nominees, followed by thoughts in each category about what the nominators got right, who they left out, and who deserves to win.<br />
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<b><u><span style="font-family: "times new roman";">Best Play</span></u></b></div>
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<b><i><span style="font-family: "times new roman";">Eclipsed</span></i></b></div>
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<span style="font-family: "times new roman";">Author:
Danai Gurira <br />
Producers: Stephen C. Byrd, Alia Jones-Harvey, Paula Marie Black, Carole
Shorenstein Hays, Alani Lala Anthony, Michael Magers, Kenny Ozoude, Willette
Klausner, Davelle, Dominion Pictures, Emanon Productions, FG Productions, The
Forstalls, MA Theatricals, The Public Theater, Oskar Eustis, Patrick Willingham
</span></div>
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<b><i><span style="font-family: "times new roman";">The Father</span></i></b></div>
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<span style="font-family: "times new roman";">Author:
Florian Zeller <br />
Producers: Manhattan Theatre Club, Lynne Meadow, Barry Grove </span></div>
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<b><i><span style="font-family: "times new roman";">The Humans</span></i></b></div>
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<span style="font-family: "times new roman";">Author:
Stephen Karam <br />
Producers: Scott Rudin, Barry Diller, Fox Theatricals, James L. Nederlander,
Terry Allen Kramer, Roy Furman, Daryl Roth, Jon B. Platt, Eli Bush, Broadway
Across America, Jack Lane, Barbara Whitman, Jay Alix & Una Jackman, Scott
M. Delman, Sonia Friedman, Amanda Lipitz, Peter May, Stephanie P. McClelland,
Lauren Stein, The Shubert Organization, Joey Parnes, Sue Wagner, John Johnson,
Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy, Sydney
Beers </span></div>
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<b><i><span style="font-family: "times new roman";">King
Charles III</span></i></b></div>
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<span style="font-family: "times new roman";">Author:
Mike Bartlett <br />
Producers: Stuart Thompson, Sonia Friedman Productions, Almeida Theatre, Robert
G. Bartner, Norman Tulchin, Lee Dean & Charles Diamond, Scott M. Delman,
Ruth Hendel, Stephanie P. McClelland, Jon B. Platt, Scott Rudin, Richard
Winkler, Zeilinger Productions, The Shubert Organization </span></div>
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<span style="font-family: "times new roman";">This was a good year for new plays. I loved <i>King Charles III</i>, <i>The Humans</i>, and <i>Eclipsed</i>. I liked the idea of <i>The Father</i>--it was from Frank Langella's character's perspective, so you experienced dementia with him--but it didn't have a lasting impact on me. Still, I don't think any of the other eligible new plays are deserving of the fourth spot, so I'm fine with this. It's going to be a tough race and I'm not sure what will win. </span><span style="font-family: "times new roman";"><span style="font-family: "times new roman";">The Shakespeare nerd/Anglophile in me wants <i>King Charles III</i> to win, but then again, </span>Stephen Karam is one of the finest playwrights of his generation and the family dynamics and dialogue in <i>The Humans</i> are so realistic. </span></div>
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<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Musical</span></u></b></div>
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<b><i><span style="font-family: "times new roman";">Bright
Star</span></i></b></div>
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<span style="font-family: "times new roman";">Producers:
Joey Parnes, Sue Wagner, John Johnson, Zebulon LLC, Jay Alix & Una Jackman,
Len Blavatnik, James L. Nederlander, Carson & Joseph Gleberman, Balboa Park
Productions, The Shubert Organization, Jamie deRoy/Catherine Adler/Cricket
Jiranek, Rodger Hess, A.C. Orange International, Broadway Across America, Sally
Jacobs & Warren Baker, Diana DiMenna, Exeter Capital, Agnes Gund, True Love
Productions, The Old Globe </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Hamilton</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Jeffrey Seller, Sander Jacobs, Jill Furman, The Public Theater </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">School of
Rock—The Musical</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Andrew Lloyd Webber, The Really Useful Group, Warner Music Group & Access
Industries, The Shubert Organization, The Nederlander Organization </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Shuffle
Along, Or the Making of the Musical Sensation of 1921 and All That Followed</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Scott Rudin, Roy Furman, Columbia Live Stage, Center Theatre Group, Roger
Berlind, William Berlind, Broadway Across America, Heni Koenigsberg, The Araca
Group, Peter May, Jon B. Platt, Daryl Roth, Jay Alix & Una Jackman, Scott
M. Delman, Sonia Friedman, Ruth Hendel, Independent Presenters Network, Tulchin
Bartner Productions, Spring Sirkin, Eli Bush, Joey Parnes, Sue Wagner, John
Johnson, Color Mad Productions, Len Blavatnik </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Waitress</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Barry and Fran Weissler, Norton and Elayne Herrick, David I. Berley,
Independent Presenters Network, A.C. Orange International, Peter May, Michael
Roiff, Ken Schur, Marisa Sechrest, Jam Theatricals, 42nd.club/Square 1
Theatrics, Benjamin Simpson & Joseph Longthorne/Shira Friedman, The
American Repertory Theater </span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";"><i>Hamilton</i> will and should win. I don't really need to go into the brilliance of <i>Hamilton</i> here. I'm not seeing <i>Shuffle Along</i> until Saturday, so I can only talk about the shows I've seen. So far, <i>Waitress</i> is my favorite new Broadway musical that isn't <i>Hamilton</i> this season. After that, <i>American Psycho. </i>Even though it's sometimes messy, it dares to be different, and that's more than I can say for </span><span style="font-family: "times new roman";"><span style="font-family: "times new roman";">the unoriginal and predictable <i>Bright Star</i>. </span>I enjoyed myself at <i>School of Rock</i>, but I'd rather watch the movie. The other new musicals this season were <i>Amazing Grace</i>, which I didn't see, <i>Tuck Everlasting</i>, <i>On Your Feet!</i>, <i>Disaster!</i>, and <i>Allegiance!</i>, and though they all have their issues, I'd have probably given the fifth spot to one of them over <i>Bright Star</i>.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Revival of a Play</span></u></b></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Arthur Miller's
The Crucible</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Scott Rudin, Eli Bush, Roger Berlind, William Berlind, Len Blavatnik, Roy
Furman, Peter May, Jay Alix & Una Jackman, Scott M. Delman, Heni
Koenigsberg, Daryl Roth, Jane Bergère, Sonia Friedman Productions, Ruth Hendel,
JFL Theatricals, Stacey Mindich, Jon B. Platt, Megan Savage, Spring Sirkin,
Tulchin Bartner Productions, Joey Parnes, Sue Wagner, John Johnson </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Arthur
Miller's A View from the Bridge</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Scott Rudin, Lincoln Center Theater, Eli Bush, Robert G. Bartner, Roger
Berlind, William Berlind, Roy Furman, Peter May, Amanda Lipitz, Stephanie P.
McClelland, Jay Alix & Una Jackman, Scott M. Delman, Sonia Friedman, John
Gore, Ruth Hendel, JFL Theatricals, Heni Koenigsberg, Jon B. Platt, Daryl Roth,
Spring Sirkin, Joey Parnes, Sue Wagner, John Johnson, The Young Vic </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Blackbird</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Scott Rudin, Eli Bush, Roger Berlind, William Berlind, Scott M. Delman, Peter
May, Jon B. Platt, Len Blavatnik, Tulchin Bartner Productions, Jay Alix &
Una Jackman, Heni Koenigsberg, Stacey Mindich, Wendy Federman, Joey Parnes, Sue
Wagner, John Johnson </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Long Day's
Journey Into Night</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy, Sydney
Beers, Ryan Murphy </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Noises Off</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy, Sydney
Beers </span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">I think <i>A View from the Bridge</i> has a good chance of winning this, and it should. I wouldn't be mad if <i>The Crucible</i> won. <i>Noises Off </i>was a lot of fun, but it didn't make me look at the play in a new way the way the other two productions did (I'm not even an Arthur Miller fan). I had mixed feelings about <i>Long Day's</i> and this production of <i>Blackbird</i> was the weakest work I've seen from Joe Mantello, who can normally do no wrong.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Revival of a Musical</span></u></b></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">The Color
Purple</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Scott Sanders Productions, Roy Furman, Oprah Winfrey, David Babani, Tom
Siracusa, Caiola Productions, James Fantaci, Ted Liebowitz, Stephanie P.
McClelland, James L. Nederlander, Darren Bagert, Candy Spelling, Adam Zotovich,
Eric Falkenstein/Morris Berchard, Just for Laughs Theatricals/Tanya Link
Productions, Adam S. Gordon, Jam Theatricals, Kelsey Grammer, Independent
Presenters Network, Carol Fineman, Sandy Block, Menier Chocolate Factory
Productions </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Fiddler on
the Roof</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Jeffrey Richards, Jam Theatricals, Louise Gund, Jerry Frankel, Broadway Across
America, Rebecca Gold, Stephanie P. McClelland, Barbara Freitag &
Company/Catherine Schreiber & Company, Greenleaf Productions, Orin Wolf,
Patty Baker, Caiola Productions, The Nederlander Organization, Gabrielle
Palitz, Kit Seidel, TenTex Partners, Edward M. Kaufmann, Soffer/Namoff
Entertainment, Healy Theatricals, Clear Channel Spectacolor, Jessica Genick,
Will Trice </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">She Loves
Me</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy, Sydney
Beers </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Spring
Awakening</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Producers:
Ken Davenport, Cody Lassen, Hunter Arnold, David J. Kurs, Deaf West Theatre,
Carl Daikeler, Sandi Moran, Chockstone Pictures, Caiola Productions, Marguerite
Hoffman, H. Richard Hopper, Learytodd Productions, Markoltop Productions,
R&D Theatricals, Brian Cromwell Smith, Invisible Wall Productions, Monica
Horan Rosenthal </span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">I'm so glad <i>Spring Awakening</i> was remembered. It was such a special production and I hope it wins to give more visibility to Deaf artists. But the Roundabout <i>She Loves Me</i> production is perfection. It will be hard for either to beat <i>The Color Purple</i>, which is also deserving. I have mixed feelings about this production of <i>Fiddler</i> with its unnecessary framing device, but the fourth slot had to go to something I suppose.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";"><br /></span><b><u><span style="font-family: "times new roman";">
Best Book of a Musical</span></u></b></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Bright
Star</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Steve
Martin</span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Hamilton</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Lin-Manuel
Miranda</span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">School of
Rock—The Musical</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Julian
Fellowes</span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Shuffle
Along, Or the Making of the Musical Sensation of 1921 and All That Followed</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">George
C. Wolfe</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"><br style="mso-special-character: line-break;" />
</span></u><span style="font-family: "times new roman";"></span></b><span style="font-family: "times new roman";">The biggest WTF of all the nominations is how <i>Bright Star </i>got nominated for book of a musical. There are things about that show that I liked, but the book is terrible. I would have given that spot to Jessie Nelson for <i>Waitress</i>. It was based on a movie and still had more originality than <i>Bright Star</i>, which wasn't based on anything. Also, almost all the best lines in <i>School of Rock</i>'s book were from the movie.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";">Best Original Score (Music and/or Lyrics) Written for the
Theatre</span></u></b></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Bright
Star</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Music:
Steve Martin and Edie Brickell <br />
Lyrics: Edie Brickell </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Hamilton</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Music
& Lyrics: Lin-Manuel Miranda </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">School of
Rock—The Musical</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Music:
Andrew Lloyd Webber <br />
Lyrics: Glenn Slater </span></div>
<div class="MsoNormal">
<b><i><span style="font-family: "times new roman";">Waitress</span></i></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Music
& Lyrics: Sara Bareilles </span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";"><i>Bright Star</i> is a good example of why music and lyrics should be separate categories. The music itself is deserving of a nomination, if you don't pay attention to the lyrics. Anyway, again <i>Hamilton</i> will and should win, but it's too bad <i>Waitress</i> didn't open another year so Sara Bareilles could get a Tony. She writes good music <i>and</i> lyrics.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Performance by an Actor in a Leading Role in a Play</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Gabriel Byrne, <i>Long
Day's Journey Into Night</i><br />
Jeff Daniels, <i>Blackbird</i><br />
Frank Langella, <i>The Father</i><br />
Tim Pigott-Smith, <i>King Charles III</i><br />
Mark Strong, <i>Arthur Miller's A View from the Bridge</i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">I would have nominated Ben Whishaw from <i>Arthur Miller's The Crucible</i> over Jeff Daniels. For me, it's between Tim Pigott-Smith and Mark Strong.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Performance by an Actress in a Leading Role in a Play</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Jessica Lange, <i>Long
Day's Journey Into Night</i><br />
Laurie Metcalf, <i>Misery</i><br />
Lupita Nyong'o, <i>Eclipsed</i><br />
Sophie Okonedo, <i>Arthur Miller's The Crucible</i><br />
Michelle Williams, <i>Blackbird</i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">I completely forgot that <i>Misery</i> happened this season, so I'm impressed the nominators remembered. Laurie Metcalf was really good in it, as she always is. I wasn't a fan of Michelle Williams in <i>Blackbird</i>. Sophie Okonedo was the standout in <i>The Crucible</i>, but I hope it goes to Lupita Nyong'o who was absolutely mesmerizing. </span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Performance by an Actor in a Leading Role in a Musical</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Alex Brightman, <i>School
of Rock—The Musical</i><br />
Danny Burstein, <i>Fiddler on the Roof</i><br />
Zachary Levi, <i>She Loves Me</i><br />
Lin-Manuel Miranda, <i>Hamilton</i><br />
Leslie Odom, Jr., <i>Hamilton</i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">In any other year, I'd want Danny Burstein to finally get a Tony for his very human portrayal of Tevye. In any other year, I'd want Zachary Levi to get a Tony for his charming Georg and off-the-charts chemistry with Laura Benanti. You're aces, Zachary Levi (yes, that's an intentional Chuck reference). I've been a fan of Alex Brightman for years and he made the role his own, which is not easy considering how memorable Jack Black is in the movie. But I want Leslie Odom, Jr. to win with all my heart. Miranda is great and he wrote the damn show, but Odom is giving what is for my money the best performance of the season. He makes you care about a murderer. I even get chills when I listen to the cast recording because his performance comes through in each note. Edit: I forgot to mention this before, but Ben Walker deserved a nomination for <i>American Psycho</i>.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";"><br /></span><b><u><span style="font-family: "times new roman";">
Best Performance by an Actress in a Leading Role in a Musical</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Laura Benanti, <i>She
Loves Me</i><br />
Carmen Cusack, <i>Bright Star</i><br />
Cynthia Erivo, <i>The Color Purple</i><br />
Jessie Mueller, <i>Waitress</i><br />
Phillipa Soo, <i>Hamilton</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">I would not want to have to pick between these five ladies. Carmen Cusack was the best thing about <i>Bright Star</i> and the show's most deserving nomination. As perfect as Laura Benanti and Jessie Mueller are in their shows, it's probably between Cynthia Erivo and Phillipa Soo and I'll be happy no matter who wins. I haven't seen Audra McDonald yet, but I'm shocked she wasn't nominated. I didn't know it was possible for her to be in a show and not get a nomination. It was too crowded a year for Ana Villafañe from <i>On Your Feet!</i> to get a nomination, but just want to give her a shout out because she is very natural in the role and channels Gloria Estefan. <i> </i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"><br />
Best Performance by an Actor in a Featured Role in a Play</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Reed Birney, <i>The
Humans</i><br />
Bill Camp, <i>Arthur Miller's The Crucible</i><br />
David Furr, <i>Noises Off</i><br />
Richard Goulding, <i>King Charles III</i><br />
Michael Shannon, <i>Long Day's Journey Into Night</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">I was not expecting to see Richard Goulding here for his Prince Harry, so that was a nice surprise. Michael Shannon was the best thing about <i>Long Day's</i>. I would have probably nominated Rob McClure from <i>Noises Off</i> over David Furr just for his nervous shaking. Anyway, if you follow me on Twitter, you know that I'm the president of the Reed Birney fan club and I'm rooting for him, although it's weird that he is considered featured, since he is onstage for most of the play.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"><br />
Best Performance by an Actress in a Featured Role in a Play</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Pascale Armand, <i>Eclipsed</i><br />
Megan Hilty, <i>Noises Off</i><br />
Jayne Houdyshell, <i>The Humans</i><br />
Andrea Martin, <i>Noises Off</i><br />
Saycon Sengbloh, <i>Eclipsed</i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Another perfect category, though it would have also been nice to see Saoirse Ronan on here for her chilling performance in <i>Arthur Miller's The Crucible</i>. I'm glad that both Pascale Armand and Saycon Sengbloh were nominated. As I said, it's hard to take your eyes of </span><span style="font-family: "times new roman";"><span style="font-family: "times new roman";">Nyong'o</span>, but they made you with their heartbreaking and hilarious performances. Megan Hilty was the star of that production of <i>Noises Off</i>. <i>The Humans</i> makes a good case for ensemble awards, but if I had to give an award to only one of them, I'd give it to Houdyshell. While we're on the subject, here's an <a href="http://www.playbill.com/article/the-ties-that-bond-how-the-women-of-the-humans-became-family-com-386963">interview</a> I did with her and her on-stage daughters. </span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Performance by an Actor in a Featured Role in a Musical</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Daveed Diggs, <i>Hamilton</i><br />
Brandon Victor Dixon, <i>Shuffle Along, Or the Making of the Musical Sensation
of 1921 and All That Followed</i><br />
Christopher Fitzgerald, <i>Waitress</i><br />
Jonathan Groff, <i>Hamilton</i><br />
Christopher Jackson, <i>Hamilton</i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">I didn't see Brandon Victor Dixon yet, but I did get to <a href="http://www.playbill.com/article/parallel-careers-lead-brandon-victor-dixon-and-joshua-henry-to-onstage-collaboration-at-last">interview him</a> and after hearing him talk about what being in the show means to him, I couldn't be happier for him. Nice to see so many guys from <i>Hamilton </i>on here and I would have been just as happy to see Anthony Ramos and Okieriete Onaodowan, but I think this award belongs to Daveed Diggs and deservedly so. In any other year, I'd want scene-stealer Christopher Fitzgerald to win. I'm sad that Gavin Creel didn't get any award nominations this year for <i>She Loves Me</i>. When the cast recording comes out, I'll be listening to his "Ilona" on repeat. Another dream nomination that I didn't expect to happen was Daniel Durant for <i>Spring Awakening</i>.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<br />
<b><u><span style="font-family: "times new roman";">Best Performance by an Actress in a Featured Role in a Musical</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Danielle Brooks,
<i>The Color Purple</i><br />
Renée Elise Goldsberry, <i>Hamilton</i><br />
Jane Krakowski, <i>She Loves Me</i><br />
Jennifer Simard, <i>Disaster!</i><br />
Adrienne Warren, <i>Shuffle Along, Or the Making of the Musical Sensation of
1921 and All That Followed</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";"><span style="font-family: "times new roman";">After Leslie Odom, Jr., Renée Elise Goldsberry</span> is giving the performance in <i>Hamilton</i> I talk about the most. She has to win this, but again, what a category. I only knew Danielle Brooks from <i>Orange is the New Black</i>, so I didn't know she could sing like that, but she blew me away. And Jane Krakowski and Jennifer Simard are giving such strong comedic performances. I've heard great things about Adrienne Warren and I can't wait to see her.<i> </i></span></div>
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<b><u><span style="font-family: "times new roman";"><br />
Best Scenic Design of a Play</span></u></b></div>
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<span style="font-family: "times new roman";">Beowulf Boritt, <i>Thérèse
Raquin</i><br />
Christopher Oram, <i>Hughie</i><br />
Jan Versweyveld, <i>Arthur Miller's A View from the Bridge</i><br />
David Zinn, <i>The Humans</i></span></div>
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<b><u><span style="font-family: "times new roman";"></span></u></b></div>
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<span style="font-family: "times new roman";">I barely remember the set from <i>Hughie</i> (or the show, to be honest), Beowulf Borritt should win this. Remember that flat that was basically floating in the air? That was amazing!</span><span style="font-family: "times new roman";"><i></i></span><b><u><span style="font-family: "times new roman";">
</span></u></b><span style="font-family: "times new roman";"></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";">Best Scenic Design of a Musical</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Es Devlin &
Finn Ross, <i>American Psycho</i><br />
David Korins, <i>Hamilton</i><br />
Santo Loquasto, <i>Shuffle Along, Or the Making of the Musical Sensation of
1921 and All That Followed</i><br />
David Rockwell, <i>She Loves Me</i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
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<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b><span style="font-family: "times new roman";">Well, at least <i>American Psycho</i> got nominated for something, and the set was pretty great, but David Rockwell's music box of a set for <i>She Loves Me</i> is so lovely that this is the one category I'd like to see<i> Hamilton</i> lose (I don't think it will).</span></div>
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<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Costume Design of a Play</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Jane Greenwood, <i>Long
Day's Journey Into Night</i><br />
Michael Krass, <i>Noises Off</i><br />
Clint Ramos, <i>Eclipsed</i><br />
Tom Scutt, <i>King Charles III</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">I really don't have strong opinions about this.<i> </i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"><br />
Best Costume Design of a Musical</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Gregg Barnes, <i>Tuck
Everlasting</i><br />
Jeff Mahshie, <i>She Loves Me</i><br />
Ann Roth, <i>Shuffle Along, Or the Making of the Musical Sensation of 1921 and
All That Followed</i><br />
Paul Tazewell, <i>Hamilton</i></span></div>
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<b><u><span style="font-family: "times new roman";"></span></u></b></div>
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<b><u><span style="font-family: "times new roman";"></span></u></b></div>
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<b><u><span style="font-family: "times new roman";"></span></u></b></div>
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<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">Interesting that this is <i>Tuck Everlasting</i>'s one nomination as the costumes didn't stand out to me. Anyway, give it to <i>Hamilton</i>.</span></div>
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<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Lighting Design of a Play</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Natasha Katz, <i>Long
Day's Journey Into Night</i><br />
Justin Townsend, <i>The Humans</i><br />
Jan Versweyveld, <i>Arthur Miller's The Crucible</i> </span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Jan Versweyveld,
<i>Arthur Miller's A View from the Bridge</i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
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<b><u><span style="font-family: "times new roman";"></span></u></b></div>
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<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">I might give it to <i>Long Day's</i>, but they're all deserving.</span></div>
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<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Lighting Design of a Musical</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Howell Binkley, <i>Hamilton</i><br />
Jules Fisher & Peggy Eisenhauer, <i>Shuffle Along, Or the Making of the
Musical Sensation of 1921 and All That Followed</i><br />
Ben Stanton, <i>Spring Awakening</i><br />
Justin Townsend, <i>American Psycho</i></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";"><i>Spring Awakening</i> got another nomination! </span><br />
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";">Best Direction of a Play</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Rupert Goold, <i>King
Charles III</i><br />
Jonathan Kent, <i>Long Day's Journey Into Night</i><br />
Joe Mantello, <i>The Humans</i><br />
Liesl Tommy, <i>Eclipsed</i><br />
Ivo Van Hove, <i>Arthur Miller's A View from the Bridge</i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"><br style="mso-special-character: line-break;" />
</span></u><span style="font-family: "times new roman";"></span></b><span style="font-family: "times new roman";">Ivo Van Hove should have been nominated for <i>Arthur Miller's The Crucible</i> as well, but that's fine. I hope he wins, but I wouldn't be mad if Liesl Tommy or Joe Mantello won.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";">Best Direction of a Musical</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Michael Arden, <i>Spring
Awakening</i><br />
John Doyle, <i>The Color Purple</i><br />
Scott Ellis, <i>She Loves Me</i><br />
Thomas Kail, <i>Hamilton</i><br />
George C. Wolfe, <i>Shuffle Along, Or the Making of the Musical Sensation of
1921 and All That Followed</i></span></div>
<div class="MsoNormal">
<br /></div>
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I'm so happy to see Michael Arden on this list. He incorporated the communication struggles of Deaf students at a time when sign language use was forbidden in schools into the story of <i>Spring Awakening</i> without changing a word of it. I saw the first preview in L.A. and <a href="http://www.americantheatre.org/2014/10/19/signs-of-the-times-spring-awakening-at-deaf-west/">interviewed Arden</a> that first week, so it's been exciting watching the show reach more and more people. Anyway, I feel like I'm repeating myself here, but everyone is deserving and <i>Hamilton</i> will and should win.<br />
</div>
<div class="MsoNormal">
<i> </i></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";">Best Choreography</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Andy
Blankenbuehler, <i>Hamilton</i><br />
Savion Glover, <i>Shuffle Along, Or the Making of the Musical Sensation of
1921 and All That Followed</i><br />
Hofesh Shechter, <i>Fiddler on the Roof</i><br />
Randy Skinner, <i>Dames at Sea</i><br />
Sergio Trujillo, <i>On Your Feet! The Story of Emilio and Gloria Estefan</i></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<b><u><span style="font-family: "times new roman";"></span></u></b></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "times new roman";">As I said, I had mixed feelings about the revival of <i>Fiddler</i>, but one of the highlights was the dancing, so it's nice to see Hofesh Shechter on this list. And I know without having seen <i>Shuffle Along</i> yet that Savion Glover deserves his nomination. The highlight of <i>Tuck Everlasting</i> was the ballet at the end, so I would have given Casey Nicholaw Randy Skinner's spot. Actually, I would have probably given it to Spencer Liff for his <i>Spring Awakening</i> choreography that beautifully incorporated ASL. Anyway, congrats Andy Blankenbuehler.</span></div>
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<span style="font-family: "times new roman";"><br /></span><b><span style="font-family: "times new roman";"></span><u><span style="font-family: "times new roman";">
Best Orchestrations</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">August
Eriksmoen, <i>Bright Star</i><br />
Larry Hochman, <i>She Loves Me</i><br />
Alex Lacamoire, <i>Hamilton</i><br />
Daryl Waters, <i>Shuffle Along, Or the Making of the Musical Sensation of 1921
and All That Followed</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";"><i>Hamilton. </i>Nothing left to say.<i><br /></i></span></div>
Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-46095490922957413132016-03-30T11:02:00.002-04:002016-04-07T03:32:39.847-04:00Q&A with Grace McLeanIf you're a musical theater fan, you might know Grace McLean from her performances in musicals like <i>Natasha, Pierre & the Great Comet of 1812</i>, <i>Bedbugs!!!</i>, and <i>Brooklynite</i>. She'll make her Broadway debut in the fall in <i>Natasha, Pierre,</i> reprising her role as Marya D. She also has a career as a singer/songwriter, fronting the band Grace McLean and Them Apples. On Friday, April 1, she and her band close out <a href="http://americansongbook.org/events/grace-mclean">Lincoln Center's 2016 American Songbook series</a>. Last year, they opened the series after winning Prudential's Invest in the Future of American Song contest. She's releasing a new single in conjunction with the American Songbook concert and her first full-length album is out next year.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFMrwwdXfqFvD7y021mQI3RRaG28EyKOHwvFnWpd8VFpPOgUemDehsJYn_Yj7366W8jJoUNqeJ3p2vUbozxLux5ByvUj_XkWrq9JsWZWgg0u-s9QoL1weU3DGVMHE0GnFezw_ILA/s1600/Mclean-Grace_by_Shervin_Lainez-20151013151537.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFMrwwdXfqFvD7y021mQI3RRaG28EyKOHwvFnWpd8VFpPOgUemDehsJYn_Yj7366W8jJoUNqeJ3p2vUbozxLux5ByvUj_XkWrq9JsWZWgg0u-s9QoL1weU3DGVMHE0GnFezw_ILA/s400/Mclean-Grace_by_Shervin_Lainez-20151013151537.jpg" width="400" /></a></div>
In college at NYU (after attending Orange County High School of the Arts in California), McLean studied musical theater, then Shakespeare at the classical studio, and then experimental theater in Amsterdam. "I think all of those things have really influenced the way that I work and have given me permission to be myself in the work that I do," she says. Read on to find out more about her influences, the pop opera that she's working on, and why she gives out goodie bags at her concerts.<br />
<br />
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<b>Q:</b> What can audiences expect from your upcoming American
Songbook concert?<o:p></o:p></div>
<div class="MsoNormal">
<o:p><b>A: </b></o:p>I have little goodie bags that I bring for my
audience because I like everybody to be pleased with me when I perform, so [last year] I
made them do little magic tricks and write down their wishes and blow bubbles.
There's going to be more of that this year. I like to call these kinds
of shows that I do Grace McLean lives in concert as opposed to live. Just add
a little s there because it's alive. It's vibrant. I'm going to have
my core band, Grace McLean and Them Apples--bass, percussion, and me and my
looper. We're going to do some reimagining of some old American standards that
we're maybe going to mash up with some American pop songs. I'm talking Beyoncé
and, like, Duke Ellington. I'm going to do a bunch of original stuff. I'm going
to do some things from the musical that I'm writing about Hildegard von Bingen, who's
this 12<sup>th</sup> century mystic who was a really powerful, amazing, medieval
woman who I'm obsessed with. I'm going to tell some stories. We're going to
learn some lessons together. We're going to make some big old wishes come true
in a big musical, costumed way. </div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q:</b> How did the name Grace McLean and Them Apples come about?</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p><b>A:</b> </o:p>I thought it was funny. We were trying to name the band for
my boyfriend at the time. We were looking for a name and a somebody. I think
my roommates and I were trying to make each other laugh so "them apples" was out
there, but also "these guys," which we also thought was funny. But Them Apples I
just thought was so funny and cute and I just liked the idea of when you have your name
and the people behind you. And I like it because, "How do you like them apples?" You probably will because they're quite good.</div>
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<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q:</b> When doing a show like this, how do you come up with the set
list?<o:p></o:p></div>
<div class="MsoNormal">
<o:p><b>A:</b> I</o:p> definitely think of the arc of the evening and
how the whole thing is going to work because I want to take everybody on a
little journey. Months ago, I started making a list of anything and everything
that I want to play and then I have to whittle it down because I don't have
three hours to play to people. I just think about the different stories that I want to tell and how I
can weave all of those things together, not only in terms of the arc of the
set, but also how and when to get audience involvement, and it's not in a scary
way. I give everybody a goodie bag and there are different
points in the show where we'll do something together that relates to the song
that's coming up next just so there's a communal context for everything. And
then I also think about how I'm going to surprise people. At my 54 Below show, I
had a flash mob of dancers for one song. Last year at the American Songbook, I
had a whole horn section that came on at the end, so I'm going to have
something like that this year as well. You've gone along for this whole
concert, you think you know where you are, and then there's one other big, fun
thing that happens that kind of comes out of nowhere.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q: </b>You've done a lot of musical theater. How do you balance
your musical theater career with your singer/songwriter career?<o:p></o:p></div>
<div class="MsoNormal">
<o:p><b>A: </b></o:p>It's working out pretty well. They're kind of riding
side by side so far, which makes me quite happy. When I have a musical theater
gig, that's where I'm focused and that's where my energy is going and when I
don't, that's when I have more time for my music, which is pretty great because
right now I'm waiting for <i>Natasha, Pierre & the Great Comet</i> to start
at the end of the summer, so I have a lot of time to put out these singles and
get ready for the album next year. And the two kind of feed each other. It's
great to be able to work on other people's projects as an individual in the
whole cog and hone your one specific part and then it's great to be able to
take that back when I'm looking at all of my work and being the director of
things, making a whole album or a whole song or a whole evening.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q:</b> Have you learned anything about yourself as a
singer/songwriter from the musicals that you've done?<o:p></o:p></div>
<div class="MsoNormal">
<o:p><b>A: </b></o:p>I've really learned about succinct, clear storytelling.
Sometimes as a songwriter, I really like to be quite personal and poetic
and metaphorical and I think that works for songs sometimes, but then sometimes
it's like, "How can I be as simple and clear about this moment and make it about
one moment as opposed to five within a song? How can I stretch this one feeling
over this whole arc and be very clear and have everybody understand really
simply what's going on?" Working in musical theater, that has to be done. When
I'm writing a song, sometimes that's a whole play. But inside of a whole play,
every song has to be its own little moment and there's a little bit of
different clarity of storytelling that's necessary. And it's been a good thing
to learn that it's ok to do that. </div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q: </b>When did you discover your sound?</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p><b>A: </b></o:p>It's always being discovered. I've been working with this
looping station since 2012, which is a little box that records my voice live
and then I layer harmonies on top of it or beats or whatever and it's sort of
like a little one-man band situation. That's really shaped the direction that
the band has gone. But before I had that, it was very pop
singer-songwritery. I think you could hear Nellie McKay Regina Spektor. Since I got the looper, it's gotten a little more
dance-y or fun and a little bit darker maybe. I'm also influenced by Joanna Newsom and her
really idiosyncratic, long-form poetic storytelling. I love the lady
storytellers. But also I want to be Robert Plant. I like a good scream
sometimes.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/dVTo0e2G9nM" width="450"></iframe></div>
<div class="MsoNormal">
<b>Q:</b> Can you tell me a little bit more about the pop opera that
you're developing?<o:p></o:p></div>
<div class="MsoNormal">
<o:p><b>A: </b></o:p>Also in college, I studied medieval art, just because I
liked it and you can do those things in college. So I came to know this woman
Hildegard von Bingen through her artwork. Once I graduated, I kept buying all these books
about medieval history and she kept coming up and I was like I want to know
everything I can about this woman and I started delving into her and her story.
And she's just such an important woman that not a lot of people know about. You
know about her if you're in the classical music world. In addition to the crazy
artwork that she made, she wrote songs and poetry. She basically wrote the
first opera in the west, predating others by like 400 years. She wrote the
first mystery play. When you go to theater school, they say theater in
Europe started in the church. She did that 100 years before anyone else was
doing it. She just had a crazy, amazing, creative, abundant life. But what I'm writing is about the first 40 years of her life
where we don't know that much about her because she was locked in a cell with
another woman called Jutta von Sponheim. Jutta was an anchoress, which means she decided
she was far too holy for this world, so she was going to live her life inside
of her own tomb. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Hildegard was given to the church at the age of eight. You're
supposed to give 10% of your income to the church. She was the tenth child, so
her family was like, "Just take our kid." And the church was like, "Great. Jutta
needs a handmaiden. Go live in this cell with her." So they did. It was these
two ladies in a tomb. There was one window through which they could participate
in mass and get food and basically your open grave is in there and you
just meditate on that and just hang out in there because your body is tied to
this world, but as a nun, you're engaged to Christ and death is the best possible
thing because you're going to be united with your bridegroom. And we know that
Jutta really loved hurting herself, self-mortification, because that sort of
pain and denial of the body brings you closer to spirituality. So Hildegard
grows up around and becomes a women around this other lady who eventually died
when Hildegard was in her early 40s. And Hildegard comes out and then she lives this totally explosive, individual life
with this individual voice at a time when individuality doesn't exist. Nobody
signs their name on anything. You don't know who anybody is. Especially if
you're a woman. I'm interested in what happens in this
period of time for 30-some years when these two ladies were together
just being quiet and crazy and in darkness. I read this quote
somewhere that I loved that Hildegard's life was one splendid vision of
dying. And Jutta's was too, but Jutta's life leads her to a literal death and
Hildegard's leads her to a life of creativity and celebration of death in life. </div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q: </b>Where are you in the process?<o:p></o:p></div>
<div class="MsoNormal">
<o:p><b>A:</b> </o:p>I was just at the Johnny Mercer Writers Colony at Goodspeed Musicals in February and
we finished the first draft of it. I have a concert on May 5 at Greenwich House
for their <a href="http://www.greenwichhouse.org/music_school/uncharted">Uncharted series</a> to perform all the music as it is now to see what
it sounds like all in context.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q: </b>If you could have anyone come see your American Songbook
concert, who would it be?</div>
<div class="MsoNormal">
<b>A: </b>Hildegard! My mom and dad are coming, so that's good.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<!--EndFragment--><br />
<br />
<br />Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com1tag:blogger.com,1999:blog-31471786.post-70797018962155157662016-03-10T11:41:00.000-05:002016-03-10T11:45:38.361-05:00Q&A with Rap Artist Baba BrinkmanCanadian rap artist Baba Brinkman creates one-man shows using rap and projections to educate and entertain about scientific or literary topics. His latest is <i><a href="http://www.rapguidetoclimatechaos.com/">The Rap Guide to Climate Chaos</a></i>. He's been interested in the topic of global warming from a young age. It was dinner table conversation growing up, since his mother wrote a thesis on climate change. After debuting the show at the Edinburgh Fringe Festival last year, he performed it at the Paris Climate Conference. He just opened the show at SoHo Playhouse, where it's playing through April 24.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJYlReqVRajPiPAW5uaGpzqjthq8HY9Nc04XATDYU_UEElrNgTkoarQK1HDRCNA1fy_YB_YpRrixlnS7eAey5-KXXCzVdNWVv99pfIpBwS3ygqJzVhMW3VY_ur4_4t2eYAwFppxA/s1600/DSC_4800_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJYlReqVRajPiPAW5uaGpzqjthq8HY9Nc04XATDYU_UEElrNgTkoarQK1HDRCNA1fy_YB_YpRrixlnS7eAey5-KXXCzVdNWVv99pfIpBwS3ygqJzVhMW3VY_ur4_4t2eYAwFppxA/s400/DSC_4800_1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Baba Brinkman in <i>The Rap Guide to Climate Chaos</i>. Photo credit: Olivia Sebesky </td></tr>
</tbody></table>
On the night I saw <i>The Rap Guide to Climate Chaos</i>, Bill Nye the Science Guy was a special guest for the Q&A portion, which leads into a freestyle rap performed by Brinkman. Each week there will be a performance with a special guest. The next will be Gavin Schmidt, NASA's chief climate scientist.<br />
<br />
I spoke to Brinkman about the process of writing a rap guide, the effect <i>Hamilton</i> has had on audiences being more open to rap in theater, and more.<br />
<br />
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<div class="MsoNormal">
<b>Q:</b> What is your process like for writing one of these rap
guides and how long does it typically take? <o:p></o:p></div>
<div class="MsoNormal">
<b>A: </b>I was probably researching and reading for this one from March through June all last year. So it's probably three to four months of
just reading climate change books and articles and blogs and everything I can
get my hands on really. And then it took me about two months to write a
draft for a script, so I wrote the script all through June and July and by the
end of July I had a version I was performing, and then I probably scrapped
about half of that. I'd say about 2/3 of the show that I'm doing Off-Broadway
now was written since December, but it's based on the frame of something I
wrote this summer, so that's usually how I do it. I'll do a version for an
audience and treat that as a beta test and then go back to the drawing board on
some of it and talk to people about what's clear and what's unclear. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Also, the process includes this whole peer reviewed concept where I do actually
send drafts of the script to scientists and get them to comment and send me
back feedback, so then I can feel like I'm representing the scientific
consensus view.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q: </b>What was the biggest surprise in your research for this
show?</div>
<div class="MsoNormal">
<b>A:</b> I think the scale of some of the dangers or tipping points I
was pretty stunned by. It reinforced the whole we're playing
with fire mentality. And also
the Exxon knew revelation that Exxon was doing climate research in the '70s and
their internal scientists are saying the results of this will be catastrophic
for the planet and they turn around and fund climate denier groups and their
public statement is that the science is uncertain. It's just a blatant lie and
one of the worst examples of corporate malfeasance that I can think of, so I
was pretty surprised. I talk to a lot of climate deniers and I give them the
benefit of the doubt that they're actually sincere--that they really don't
think that there's climate change. You can kind of forgive people that. People
have their ideologies or their tribal views or they see the world through a
lens and they focus on the data that satisfies what they're looking for. I
start the show out with that. I get the crowd shouting along with me, "When
I say confirmation, you say bias," just to keep that idea in mind that we're all
doing that to a certain degree. But sometimes you get a really blatant
example of something that is not just confirmation bias. It's cynical manipulation out
of a profiteering motive. And when you look at it from the perspective, that's
when it starts being permissible to get mad about it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q: </b>Do you ever change your mind about something while writing
one of these rap guides?<o:p></o:p></div>
<div class="MsoNormal">
<b>A: </b>Yeah, I actually totally changed my mind about
something. In the version of the show I was doing last summer, I came down
pretty heavy that consumer action is not getting us anywhere. All
this feel-good altruistic response is a total waste of time and all we need is
a carbon tax and a legislative level policy shift. And the thing that I was
surprised about in Paris, which I tried to convey in the show with more of a
balanced multilevel perspective, is the degree to which other factors besides
federal governments are playing a role in the response. Like the mayors of
1,000 cities signing up to commit their local economies to becoming 100%
renewable by 2050 whatever the national policy ends up being. I was sort of
surprised and inspired by that. Richard Branson was there in Paris and he was
doing press conferences. He said, "I own three airlines. I speak for the business community. And we
want carbon pricing. We demand it. We recognize the scale of the problem and
we're going to move as business as quickly as we can towards decarbonization
but clear regulatory frameworks are going to help us, so that's what we're
calling for." But I didn't expect the business community to be there so
forcefully on the side of the good. I went into the Paris conference thinking
business is in the way of saving the world and my mind was changed there to
some degree. </div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q: </b>Do you worry about preaching to the choir? I think if you're
going to see a show called <i>Rap Guide to Climate Chaos</i>, you're already concerned
about global warming. How do you reach the skeptics?</div>
<div class="MsoNormal">
<b>A: </b>I think the hard-core skeptics, the best you can do is
quarantine them. I don't think you're really going to convert them. But you can
innoculate other people against their views. I think there are a lot of people
out there who care about climate change and there are a lot of people out there who know about it and know they're supposed to care, but don't really know
why. I think that's the people outside the choir who I'm trying to connect
with. People that are on the fence about whether they should care or if they do
care, what they should do about it. I'm not so easy on the choir either, if the
choir is the people who already believe in climate change and think it's a big
deal, but what they're doing about it is riding their bike to work instead of driving
a car to work, but not taking it seriously from a policy perspective or a
legislative perspective. If they say they don't support a carbon tax, but recycle plastic bottles, then actually they're not the choir, they're
totally deluded. I'm actually going after some of the green fallacies in the
show as much as I'm going after the more skeptic views. Hopefully that means
that everybody who comes hears something that challenges them or makes them
rethinks their views.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q: </b>Obviously, you've been doing this for a long time, since before <i style="mso-bidi-font-style: normal;">Hamilton</i>, but do you think the
popularity of that musical will make audiences more likely to check out other
theater with rap in it?<o:p></o:p></div>
<div class="MsoNormal">
<b>A: </b>We've only been open for a week, so it's hard to say how
much that's going to cause a flood of audiences, but one of the reviewers who wrote about the show said, "I wouldn't have gone to this show if I hadn't like
<i>Hamilton</i> so much." So, there's some evidence right there that it's going to open
people's minds. I think there is a major effect because I did a hip hop theater
show Off-Broadway in 2011 and when I told people what I was doing, I'd have to
explain that it's like a play, but it's with rap, and that took some processing to wrap their head around what that would be like. But now you can
just say it's like <i>Hamilton</i> but it's about climate change and then instantly
people are like, "Rapping and theater, of course. Those goes together great." <i>Hamilton</i> has had the effect of making it intuitively obvious that it's a good
idea to put theater and rap together whereas people before needed some
convincing of that fact, which is I think a very good thing. Although <i>Hamilton</i>
and my show are different in genre because that's a musical and I don't do much
singing in my show.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Q: </b>You've already tackled religion, global warming, and evolution. Do you have other topics that you want to explore?<o:p></o:p></div>
<div class="MsoNormal">
<b>A: </b>I'm starting research and looking into a new show about artificial
intelligence.
I'm pretty interested in biotechnology and genetic engineering and what could
happen with that as well. Still science related, but I do tend to
gravitate towards controversial subjects. I think there's entertainment
value in that because if you can get a feel for what kind of emotional reactions
people have to it, whether it's excitement or revulsion or indignation or whatever,
then you can navigate and negotiate those creatively and provoke reactions and
then subvert those reactions. That's where a lot of my artistic craft is based,
provoking outrage in ways that somehow are still funny.</div>
Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-86908687047225976382016-02-26T17:16:00.005-05:002016-02-26T17:16:58.136-05:00Buried Child<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWVHzamDR7P8zVYiu4jwnR_FdhBcJNje6Ben4IPtzTKKb4_9IfGPywWnwj8SYAaZzzayQorAB4QR0hxUlYUAP2XuKdVwpj9fcp0hYjqOPZmr9gDhjcxQTtDOTGbfgB4gSv1USv8A/s1600/123-Madigan_Wolff_Farmiga_Harris.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWVHzamDR7P8zVYiu4jwnR_FdhBcJNje6Ben4IPtzTKKb4_9IfGPywWnwj8SYAaZzzayQorAB4QR0hxUlYUAP2XuKdVwpj9fcp0hYjqOPZmr9gDhjcxQTtDOTGbfgB4gSv1USv8A/s400/123-Madigan_Wolff_Farmiga_Harris.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Amy Madigan, Nat Wolff, Taissa Farmiga, and Ed Harris in <i>Buried Child</i>. Photo credit: Monique Carboni</td></tr>
</tbody></table>
To be honest, the main reason I wanted to see <i>Buried Child </i>was because I was intrigued by the presence of Nat Wolff in a Sam Shepard play. Wolff gained fame (among the tween set and parents) on the Nickelodeon show <i>The Naked Brothers Band</i>. I've been impressed with his work in the film versions of the John Green novels <i>The Fault in Our Stars</i> and <i>Paper Towns</i>. This play about a dysfunctional family is a far cry from the YA world.<br />
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Wolff plays Vince, who returns to his grandparents' house to find that nobody remembers him. That's not even the strangest thing that happens in a play that involves corn growing where it hasn't been planted in years, hints of incest, and something else that you can guess from the title. But this Pulitzer Prize winner isn't as shocking or interesting as it might have been in 1978. Wolff is fine in his role, but it's Ed Harris as the drunken, battered Dodge who makes the best case for bringing this play back.Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-60387141244654539582016-01-27T18:32:00.002-05:002016-01-27T18:32:57.845-05:00Pizza Theater <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZHtqlH17IkbJmFF-QvqlTO4a85hu8i4NW_xRouEq0q6xXfCnPFNhlYYKWHCwcjaufxIbwo6873zKXkQo29q17RiEqb6qsChyfkw3k-5y9tCSf5kCr9LP-xqB6ghU7uUmaIx7XPg/s1600/01_JacobJGoldbergPhoto_CommediaSelects__DSC1872+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZHtqlH17IkbJmFF-QvqlTO4a85hu8i4NW_xRouEq0q6xXfCnPFNhlYYKWHCwcjaufxIbwo6873zKXkQo29q17RiEqb6qsChyfkw3k-5y9tCSf5kCr9LP-xqB6ghU7uUmaIx7XPg/s400/01_JacobJGoldbergPhoto_CommediaSelects__DSC1872+copy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carter Gill as Pulcinella in <i>Commedia dell'Artichoke</i>. Photo credit: Jacob J Goldberg Photo.</td></tr>
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<i><a href="http://www.commediadellartichoke.com/">Commedia dell'Artichoke</a></i> is based on commedia dell'arte, a form of theater from 16th century Italy characterized by masks and improvisation, but it may also have invented a new genre--pizza theater. At the Gene Frankel Theatre, where the show is playing through February 6, every audience member is given a slice of pizza from Artichoke Basille's Pizza. If Artichoke decides to sponsor more theater in the future, I don't think anyone would complain.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMq6thW0EWH67zKvTdR4ZeS8zLNjWl7SNM3ZnVJdR41sTppc982uI3h-ZrH0wzRLq6h7r9TnuFk57v7Nf1-ZRm-u6h5BSdQWgA23_A8H8K1IFGnjIiT-mtOSpnERHMPUd3DP245Q/s1600/04_JacobJGoldbergPhoto_CommediaSelects__DSC2394+copy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMq6thW0EWH67zKvTdR4ZeS8zLNjWl7SNM3ZnVJdR41sTppc982uI3h-ZrH0wzRLq6h7r9TnuFk57v7Nf1-ZRm-u6h5BSdQWgA23_A8H8K1IFGnjIiT-mtOSpnERHMPUd3DP245Q/s320/04_JacobJGoldbergPhoto_CommediaSelects__DSC2394+copy.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shannon Marie Sullivan as Smeraldina. <br />Photo credit: Jacob J Goldberg Photo. </td></tr>
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The pizza isn't just incentive to see the show. There's a theatrical reason too. The play takes place in Pulcinella's pizza shop and he must find a way to pay his increase in rent or face eviction. Before the start of the performance, we were told to just have fun and not think too much, but it seemed at times like the creators did want us to think about issues like capitalism and misogyny. Due to the nature of commedia dell'arte, most of these are tangents and not explored in depth enough to be thought provoking.<br />
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The play was conceived by Frances Black, Carter Gill, Tommy Russell, directed by Devin Brain, and created/performed by Gill, Russell, Alexandra Henrikson, and Shannon Marie Sullivan. They've really committed to the authenticity--bringing on Christopher Bayes as commedia consultant and wearing appropriately grotesque and expressive masks by Emilia Buescher, Den, Jordan Allen-Dutton, and Mister Face. It's hard to know who contributed what, especially because the cast is so skilled at improvising that it all seems like part of the script. I didn't look closely at my program before the show, so I was sure there were six to eight actors performing. It was only during the curtain call that I realized there were only four. Well, five if you count Robert Cowie, the composer who spends the evening at the piano, providing almost a second show.<br />
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Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-43845983130602457372016-01-25T18:31:00.001-05:002017-02-08T10:55:06.055-05:00A Few Thoughts On Why BroadwayCon Was A Success, At Least From This Fan/Journalist's PerspectiveHere are three words I never expected to type when I arrived at the New York Hilton Midtown on Friday afternoon: I loved <a href="http://www.broadwaycon.com/">BroadwayCon</a>. At the first Broadway fan convention, I got to hear Lin-Manuel Miranda freestyle about an unfortunate captioning incident. I got to see cut footage from my beloved <i><a href="http://pataphysicalscience.blogspot.com/search/label/SMASH%20reality%20index">Smash</a></i> while showrunner Joshua Safran provided commentary. I got to hear from company managers about how they dealt with Winter Storm Jonas when all matinee shows were cancelled less than an hour before curtain. But all that was after my first few minutes at the con, during which I wanted to turn around and leave.<br />
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After an easy check in, I made my way up the escalator and was met with what was either a line or a mob. The doors to the MainStage, where the opening performance was going to take place, hadn't opened yet. People were waiting to get in and it was chaotic because nobody knew where they were supposed to go, including, it seemed, the volunteers. I don't deal well with crowds, so I escaped to the marketplace area and found space to breathe. That's when a <a href="https://twitter.com/deediddly">Twitter friend</a> who I had never met in person recognized me and introduced herself. I later went back with her and we were able to find seats for the opening performance--near the back, but close to a screen. <br />
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<tr><td class="tr-caption" style="text-align: center;">I feel like this post needs a picture, but I was so preoccupied that the only picture I ended up taking was this terrible one of the <i>Hamilton</i> cast. Oops.</td></tr>
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In between the opening and the <i>Hamilton</i> panel, some cosplayers were invited onto the stage. One of them said her dream role is the Leading Player in <i>Pippin</i>. Ben Vereen happened to be in the audience and he went up to meet her. Another said she knew all the lyrics to "Guns and Ships" and rapped it as the audience joined in. Moments like these were the highlights for me--getting to watch the fans. I am lucky
enough to live in New York and see shows all the time. I interview
actors and see them walking around the theater district, so it's not
that big a deal to me to see a Broadway star up close. But I remember
what it was like growing up in California, where I could only hear
Broadway actors on cast recordings. A lot of the attendees were from out
of town and probably hadn't had a chance to see <i>Hamilton</i>, but you can bet they listen to the cast recording on repeat and have watched
all the Ham4Ham shows. And here were those actors, right in front of them. All weekend, I kept thinking about Neil Patrick Harris singing in the 2013 Tony Awards opening number (penned by Miranda): "There's a kid in the middle of nowhere sitting there, living for Tony performances singin' and flippin' along with the Pippins and Wickeds and Kinkys, Matildas and Mormonses.
So we might reassure that kid and do something to spur that kid.
Cause I promise you all of us up here tonight.
We were that kid." At the end of the <i>Hamilton</i> panel, as the recording of "The Schuyler
Sisters" played and everyone in the audience sang along as the actors
filmed on their phones, we were all that kid. <br />
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I joked that they should have called it HamilCon, but it wasn't only about that musical. The programming was impressive. You didn't just hear from actors, but
stage managers, company managers, and others who do crucial work we rarely hear about. Also, as much as the
weekend was a celebration of Broadway, many panels offered discussions
about the problems in the industry. At "Your Fave is Problematic," panelists addressed
presenting classic
work that is offensive today and how to get more diverse voices on
Broadway. They didn't come up with all the
answers in 50 minutes, but at least they got a dialogue going. At a
panel on making theater accessible, the panelists admitted that they
still had a long way to go in terms of making captioned,
ASL-interpreted, audio-described, and other accessible performances more
readily available. <br />
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After those first two events on Friday, as far as I could tell, you could wander into the MainStage without waiting in line and always find a seat. Part of that could be the blizzard kept people away, but I think there was also more going on to space out the crowds. I was worried that it would be hard to attend panels in each time slot because they would get out at 10 til with a new one starting on the hour. This summer, I went to D23, the Disney fan convention, where you would have to pick and choose a few things to do each day because of all the time required to wait in line to get into things. But at BroadwayCon, it seemed that everyone would go from one panel to another, which prevented having to line up early. My biggest problem ended up being that there were usually multiple panels I wanted to attend at the same time.<br />
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BroadwayCon wasn't perfect. There's always room to improve. Obviously, the weather was unfortunate. A lot of scheduled guests had to cancel. I left early on Saturday after finding out that my evening show was canceled and that certain areas of my subway route were being shut down. From what I read on Twitter, it seemed that the rest of Saturday was a lot of impromptu panels, but I think they tried their best to make sure to keep the attendees entertained and if you had to be stranded somewhere, that was probably a good place to be. There should have been more volunteers, especially on the first day. There could have been more booths in the marketplace. But I'm sure they'll implement changes next year. And maybe hold it in July.Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com2tag:blogger.com,1999:blog-31471786.post-49596182663805085282016-01-03T17:43:00.002-05:002016-01-03T17:48:35.111-05:00Harry Potter, This Time With More Hufflepuffs!If you love Harry Potter, but think the secondary characters are way more interesting than the whiny Boy Who Lived, get yourself to the <a href="http://thepit-nyc.com/event/2016-02-05-puffs-or-seven-increasingly-eventful-years-at-a-certain-school-of-magic-magic">P.I.T.</a> for <i><a href="http://www.puffstheplay.com/">Puffs, Or: Seven Increasingly Eventful Years at a Certain School of Magic & Magic</a></i>. Even if you like the character of Harry, you'll still enjoy all seven books told from the perspective of Hufflepuffs (with enough details changed so writer Matt Cox doesn't get sued).<br />
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Cox parodied anime with the three-part epic <i><a href="http://pataphysicalscience.blogspot.com/2015/05/marathon-theater-sugary-cereal-good-way.html">Kapow-i GoGo</a> </i>and again he sets himself apart from other parody writers by writing funny jokes for the fans while creating three-dimensional characters that you can care about despite your level of fandom. This time, his protagonist is Wayne Hopkins (Zac Moon), a boy from New Mexico who finds out he's a wizard and goes off to wizarding school in England where he gets sorted into Puffs. Gryffindor, Ravenclaw, and Slytherin have hilariously and accurately been changed to Brave, Smart, and of course, Snakes. Wayne becomes friends with fellow Puffs Oliver (Langston Belton), who is good at math and terrible at magic, and Megan (Julie Ann Earls), whose attempts to be a badass can't hide her greatest desire--to have friends, and their adventures parallel a certain other trio. The few Hufflepuffs that J.K. Rowling mentions by name are also here, including the most famous, dreamy Cedric Diggory (Evan Maltby).<br />
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There's a lot packed into these "80-ish minutes"--after all, it took eight movies to cover the same events--and director Kristin
McCarthy Parker keeps the action from becoming too chaotic. Like the Harry Potter series, this play has plenty of magic, snogging, fighting, and friends bonding. Those who have read the books and seen the movies will find the most to laugh at, such as when they get to year five and Wayne says, "Apparently we don't have to wear uniforms anymore. You can just wear regular clothes now," but anyone can relate to these characters who don't get any breaks and aren't worshipped as heroes. <br />
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Tickets for January are sold out online (you can try to get in at the door). The show has been extended until the end of February, so I suggest you get on booking those $10 tickets now. That's less than what you'll pay to see <i>Fantastic Beasts and Where To Find Them</i>.<br />
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<br />Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-70003683584706485652015-11-10T01:24:00.001-05:002015-11-10T01:28:47.987-05:00Theater Roundup, Yearbook Style<br />
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A yearbook-style update on some of my recent theatergoing.</div>
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Best Discovery: <a href="http://www.mastervoices.org/">MasterVoices</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThzzlQfe0eGXFW6_lisBlmZwONdvNGiLBu3PG7U-QcdpVhGKO_pVFaidMykhadcPER3h1I3pCYZ3dh_0VQws5zBWbnd7jDF7HfwwZ0ayiAktyxcdjSE7SHzOUG_59aDZ3w9JBlg/s1600/_MG_3781Pirates.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThzzlQfe0eGXFW6_lisBlmZwONdvNGiLBu3PG7U-QcdpVhGKO_pVFaidMykhadcPER3h1I3pCYZ3dh_0VQws5zBWbnd7jDF7HfwwZ0ayiAktyxcdjSE7SHzOUG_59aDZ3w9JBlg/s400/_MG_3781Pirates.jpg" style="cursor: move;" width="400" /></a></div>
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Photo credit: Erin Baiano</div>
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I'm kind of late to the party on this one. The Collegiate Chorale was founded in 1941, but I was introduced to the performing arts organization this season when it changed its name to MasterVoices and started a new partnership with New York City Center to present concert versions of operas and operettas in English. In October, it kicked off this new initiative with Gilbert & Sullivan's <i>The Pirates of Penzance; or, the Slave of Duty</i> featuring Deborah Voigt as Ruth, Douglas Hodge as Major-General Stanley, Hunter Parrish as Frederic, and Phillip Boykin as the Pirate King. All these stars didn't take away from the pleasures of listening to the chorus and orchestra, conducted by Ted Sperling. Next up is <i>Dido and Aeneas</i> by Henry Purcell and Nahum Tate with a world premiere companion piece by Michael John LaChiusa. Dates for these works, featuring Kelli O'Hara and Victoria Clark (<i>The Light in the Piazza</i> reunion!), are April 28 and 29.</div>
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Biggest Surprise: <i><a href="http://www.59e59.org/moreinfo.php?showid=220&gclid=CO-vsLLYg8kCFdgLgQodVAcNxQ">Songbird</a></i></div>
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Left to Right: Eric William Morris, Adam Cochran, and Kate Baldwin in <i>Songbird</i>. Photo credit: Jenny Anderson Photography.</div>
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I don't consider myself a country music fan, but I loved Lauren Pritchard's score for the new musical <i>Songbird</i>, currently at 59E59, so much that I'm hoping for a cast recording. Bookwriter Michael Kimmel captures the essence of Anton Chekhov's <i>The Seagull</i> while believably updating the story to take place in present-day Nashville. It's fun to watch Kate Baldwin play a character with a mean streak as Tammy Trip (Irina Arkadina as a country star instead of famous actress). Everyone in the cast is terrific, but Kacie Sheik as Missy, the stand-in for Masha, is a standout. Her voice and Pritchard's music are a perfect match. Every morning at 10 a.m., tickets to that day's performance are sold for just $10 online at <a href="https://www.ticketcentral.com/59e59/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=696FC3C5-809E-4F87-B1AE-6308619FF335&_ga=1.55986920.256634377.1420218460">Ticket Central</a>, so there's no excuse not to see it.</div>
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Best Use of Abs: <i>Trip of Love</i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzO67eouRs-WqZTdiPSXVlpKOEKGUt_q9oGvFhY7bv5eHzg5sdNLOfS23PSKOUDzAZULwBIQlPVU2iVWicEANF91nGDV42aRnxWFM8aa7Fq7dJ8XS5dRR4QnKv_vqruPltWz522Q/s1600/tripoflove.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzO67eouRs-WqZTdiPSXVlpKOEKGUt_q9oGvFhY7bv5eHzg5sdNLOfS23PSKOUDzAZULwBIQlPVU2iVWicEANF91nGDV42aRnxWFM8aa7Fq7dJ8XS5dRR4QnKv_vqruPltWz522Q/s320/tripoflove.jpg" style="cursor: move;" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Photo credit: Matthew Murphy</td></tr>
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<i>Trip of Love </i>is a dance musical featuring music of the '60s. There is a story shoehorned in that doesn't make a lot of sense, so it's best to ignore that and soak in the psychedelic costumes and sets, powerhouse vocals, and the abs on constant display (both male and female).</div>
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Most Dedicated: Annaleigh Ashford</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK12RxnRlUIpAe0ia9-i1e__F0Y7rA30fKI8XAz_GvGDccYkmVjNwnZ3v_CtjEeKEXxsSPhWX602AsIoSppUQKj2PduBsTPYUy-WZYGeTgQQWQmwuDCVFENbzdGVzbU6fFVY-gig/s1600/635814642570199308-Sylvia0164r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK12RxnRlUIpAe0ia9-i1e__F0Y7rA30fKI8XAz_GvGDccYkmVjNwnZ3v_CtjEeKEXxsSPhWX602AsIoSppUQKj2PduBsTPYUy-WZYGeTgQQWQmwuDCVFENbzdGVzbU6fFVY-gig/s320/635814642570199308-Sylvia0164r.jpg" style="cursor: move;" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Photo credit: Joan Marcus</td></tr>
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At a blogger Q&A for A.R. Gurney's <i><a href="http://sylviabroadway.com/">Sylvia</a></i>, now on Broadway at the Cort Theatre, Annaleigh Ashford spoke about going to obedience and agility training with her dog, Gracie. Ashford, who plays a dog in the show about the relationship between a man and his pet, embodies canine behavior without crawling on all fours and imitating an animal. She tends to rely on the same schtick for every role I've seen her in, but it works here. I can't say the same for Matthew Broderick, who is as stiff and lifeless as he's been for years.</div>
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Best All-Around: <i><a href="http://onyourfeetmusical.com/">On Your Feet</a></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLg89t8jSZM_45jw7My2Vc-w0_-Pq_nNpcN-IGSmgRphpVVfSHLf-I7Az85u_joCpI7jhQEztvDjaKwGSSvzxzWkCZC6Bbama0qzMwAI5EwzqOuCWgXX4Jqm80lgZrpSFUfhCrag/s1600/feet.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLg89t8jSZM_45jw7My2Vc-w0_-Pq_nNpcN-IGSmgRphpVVfSHLf-I7Az85u_joCpI7jhQEztvDjaKwGSSvzxzWkCZC6Bbama0qzMwAI5EwzqOuCWgXX4Jqm80lgZrpSFUfhCrag/s320/feet.JPG" style="cursor: move;" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Photo credit: Matthew Murphy</td></tr>
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Bio-musicals are tricky, but <i>On Your Feet!</i>, the musical about Gloria and Emilio Estefan, has charismatic leading performances (remember the names Ana Villafañe and Josh Segarra) and music that makes you want to get up and dance (and you might be asked to do that--I had to join a conga line and even my fear of audience participation did not stop me from enjoying the show). The book by Alexander Dinelaris does not completely avoid the clichés of a music industry story (there's of course a moment when a record studio executive tells the Estefans that they will never cross over into non-Latin markets), but it also has a lot of genuine laughs. </div>
Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-59443838254343161922015-10-20T17:05:00.000-04:002015-10-20T17:06:54.805-04:00Checking In With Fringe Encores: Part 2As you enter the SoHo Playhouse for <i>Wasted</i>, an Edinburgh Fringe transfer, there is a fun, club-like energy. Loud music plays, lights flash, and the actors, Serena Jennings and Will Merrick, act like bouncers, directing audience members to their seats and asking for IDs. As the hour goes on, the fun starts to fade into questions of what constitutes consent when drinking.<br />
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This is a topic that's been explored before on television (especially well-done last season on <i>Switched at Birth</i>), film, and theater, but as long as these things continue to happen, these stories need to be told. And Kat Woods manages to find a fresh take in her format--brief scenes, which sometimes place the audience in a similar disorientated state of mind as the characters. Oli (Merrick) and Emma (Jennings) meet at a club through their friends and end up spending the night together, but the exact events are a puzzle for both the audience and characters to figure out. Merrick and Jennings play all the characters and without resorting to exaggeration, they make it easy to distinguish between them all.<br />
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Woods writes believable dialogue that feels very true to the culture of nightlife in the UK. It was a smart move not to change the language for an American audience. The slang might be different, but the events could just as easily happen here.<br />
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<small>Remaining performances are October 21 at 8 and October 22 at 7 pm.</small>Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-12370778210841455602015-10-20T10:46:00.000-04:002015-10-20T10:46:01.459-04:00Q&A with Jenn Kent, currently starring in Rocking Dead: BedlamIf you dream of zombie apocalypses, you can soon live out that fantasy in the new interactive show, <i><a href="http://www.rockingdeadnyc.com/#home">Rocking Dead: Bedlam</a></i>. It runs from October 22 through October 31 at the Medicine Show Theatre (549 West 52nd Street). I spoke to Jenn Kent, one of the actors, to find out more about what you can expect.<br />
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<b>Q:</b> Who do you play?<br />
<b>A:</b> I play TayTay<span style="font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: major-latin;">—</span>the hostess with the mostest! TayTay'll tell you your future right before she pulls you on the dance floor and introduces you to the joys of dust.<br />
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<b>Q:</b> What do you want audiences to know about your show?<br />
<b>A: </b>It's the most fun you can have in the post-apocalypse! Really, we have a zombie cage match, an organ toss, sexy people, and awesome dance music. If you like to party, you need to come join us and party like you never have before!<br />
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<b>Q:</b> Why do you think zombies are big right now in popular culture?<br />
<b>A: </b>I got sucked into the zombie phenomenon when I did my first zombie show three years ago. I think different people find different aspects of the phenomenon alluring. Some like to shoot zombies, others plan their survival, others like the make-up, and yet others allow themselves perspective<span style="font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: major-latin;">—</span>as shitty as things get, at least they're not zombies. I personally like exploring the interconnectedness of all the survivors and how they come together and rely upon each other for survival.<br />
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<b>Q: </b>What would you do in the case of an actual zombie apocalypse?<br />
<b>A:</b> I'd surround myself with people I trust and can rely upon, find a yacht, and sail to the Caribbean.<br />
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<b>Q: </b>And finally, since it's almost Halloween, what was your best Halloween costume ever?<br />
<b>A:</b> I'm pretty much a sexy kitty every year. This year, I'm gonna switch it up... sexy zombie kitty!Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-71451311975369432902015-10-12T16:31:00.002-04:002015-10-12T16:31:18.584-04:00Checking in with Fringe EncoresThis year, I was out of town for most of the New York International Fringe Festival (for those interested, you can read about some of my summer travels <a href="http://blog.shermanstravel.com/2015/5-reasons-to-stay-in-orestad-copenhagens-hot-new-neighborhood/">here</a> and <a href="http://blog.shermanstravel.com/2015/5-tips-for-making-the-most-of-your-scandinavia-train-trip/">here</a>), but I'm checking out some of the shows I missed at SoHo Playhouse during the Fringe Encores Series, which also features shows from the Edinburgh Fringe. Last week, I caught <i><a href="http://www.sohoplayhouse.com/event/7ca07854ed0ec11dd20ee68f8081e746">Daniel Cainer's 21st Century Jew</a></i> and <i><a href="http://www.schooledtheplay.com/">Schooled</a></i>.<br />
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I must admit I hadn't heard of Daniel Cainer before now, but judging from all the audience requests during the encore, he has a fan base, and it's not hard to see why. His easygoing approach makes it easy to listen to him for an hour. Using song, projections, and stories, he explores what it means to be Jewish today. It sometimes feels more like a concert than a cohesive show, but then again, each song is strong enough to stand on its own. Though he is often funny, he is even better when telling a moving story, such as one about going to cricket games with his grandfather. This show will especially resonate with other 21st century Jews, but you don't have to be Jewish to appreciate a skilled storyteller at work.<br />
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<small>Remaining performances at the Huron Club (downstairs at SoHo Playhouse) are October 13 at 7, October 14 at 3, and October 18 at 3.</small><br />
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<tr><td class="tr-caption" style="text-align: center;">Lilli Stein and Quentin Maré in <i>Schooled</i>. Photo credit: Andrea Reese</td></tr>
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<i>Schooled</i> was one of the most talked about shows at Fringe and the winner of overall excellence for playwriting. Lisa Lewis explores sexism and privilege through three characters at a college campus. Andrew (Quentin Maré), a screenwriter and professor, offers to help senior Claire (Lilli Stein) with her script. She is hoping to get a prestigious grant, which requires a nomination from a professor. Her much richer boyfriend, Jake (Stephen Friedrich), is going after the same grant. Lewis's pithy dialogue hones in on problems in our society, such as when Claire tells Jake, "I can tell a 50-year-old man, 'I like your movies,' without it meaning, 'I want to sleep with you.'" When Jake says that's what men hear, she answers, "That's not my problem." Snaps.<br />
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<small>There is one performance left on October 17 at 7, but don't be surprised if it transfers soon.</small>Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0tag:blogger.com,1999:blog-31471786.post-43095419742831252962015-10-12T13:54:00.002-04:002015-10-12T14:28:50.873-04:00Musical Comedy, Politics, and Free DonutsWhen you enter the Actors' Temple Theatre for <i><a href="http://www.whoisyourbaghdaddy.com/">Who's Your Baghdaddy? Or How I Started the The Iraq War</a></i>, you might wonder if you're in the right place. There is a table with free donuts and mimosas in the middle of the room, with chairs arranged in a circle around it. No, you didn't accidentally walk into a meeting. Well, not exactly. The musical by Marshall Pailet and A.D. Penedo takes place at a support group for people who started the Iraq War, so the treats help set the scene. Actors take their seats in the circle and Brandon Espinoza, who plays the support group leader and various other roles, starts the meeting. Don't worry, though, despite the intimate staging (Pailet also directs), you won't be asked to participate.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo credit: Jeremy Daniels</td></tr>
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As each character tells his or her role, we see flashbacks, often elaborately told through song and dance (Misha Shields's choreography impressively utilizes the minimal space). There are a lot of pieces in the true story (with dramatic license taken, of course) of how the Iraq War started and Pailet and Penedo make it easy to follow. There's Richart Becker (Brennan Caldwell), a German detective responsible for Curveball (Nehal Joshi), an Iraqi defector who claims to have intel on biological weapons. He sends information to CIA analysts Berry (Larisa Oleynik) and Jerry (Olli Hasskivi), who verify it with weapons inspector Martin Bouchard (Bob D'Haene). Though they are all convinced that Curveball is telling the truth, CIA operative Tyler Nelson (Jason Collins) is skeptical.<br />
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Although the members of the cast, which also includes Claire Neumann in multiple roles, have varying skills in the vocal department (Joshi is the standout), they all work extremely hard. Though comedy should appear effortless, for the most part, their efforts pay off, as in Caldwell's big number, "Das Man," (German words in musical numbers always seem to be funny). For fans of <i>The Secret World of Alex Mack</i> or <i>10 Things I Hate About You</i>, it's also fun to see Oleynik rap.<br />
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But it's not all frivolity and the writers deserve credit for tackling this subject matter in such an unexpected way. The musical is based on J.T. Allen's 2005 screenplay, which couldn't get made in Hollywood. Producer Charlie Fink writes in a program note, "Musical comedy may be one of the few vehicles through which we can see and accept our responsibility for what happened, and what we will do in the future to repair the world we have so terribly broken." It's also a form which can constantly evolve and surprise as long as producers are willing to take risks.Lindahttp://www.blogger.com/profile/15341231489185317489noreply@blogger.com0