Showing posts with label Tony Awards. Show all posts
Showing posts with label Tony Awards. Show all posts

Wednesday, June 10, 2009

2009 Tony Awards wrap-up

By Molly

The three boys who play Billy in Billy Elliot: the Musical celebrate after winning the award for Best Lead Actor in a Musical.

Well, the Tony Awards aired last Sunday night and there weren’t any surprises of note. Everyone who was supposed to win took home their respective awards and aside from the teleprompter being apparently really hard to read, the night pretty much went as planned. Billy Elliot won almost all of the awards it was up for, including the coveted Best Musical prize. God of Carnage won the award for Best Play, as expected. Neil Patrick Harris proved to be a decent Tonys host, not terribly cheesy but still endearing to Grandmas in Ohio. And the G-rated entertainment offered more musical performances this year including the tours of Legally Blonde, Jersey Boys and Mamma Mia (because that's apparently what people want).

Other highlights included NPH's blatant mockery of Jeremy Piven's "mercury poisoning" (his reason for dropping out of Speed-the-Plow earlier this year) and Frank Langella's snarky "I'm not mad I wasn't nominated for a Tony" rant. Winners were genuinely gracious and most, like Gregory Jbara (who won the Best Featured Actor in a Musical award for Billy Elliot), gave truly thoughtful speeches. It was also pretty great that The Norman Conquests won Best Revival of Play, even though none of the four actors who were up for acting awards won (that's okay, it really is an ensemble show).

There were a lot of unfortunate things about the Tonys, too. First of all, Bret Michaels sang with Rock of Ages in the opening performance (a pretty great idea) but got injured exiting the stage by some moving scenery (seriously, he fractured his nose). I feel bad for Bret; I mean, there were a whole lot of people on stage in that opening clusterfuck. Another issue I'm bothered by is that the creative awards (including Best Choreography, Best Book of a Musical, and all of the designer awards) don't get to be announced during the live broadcast. Instead, they are announced at a small, less significant ceremony beforehand. I understand people might not care which play had the best lighting design, but the broadcast had the 48,000th tour of Mamma Mia performing for god's sake. Another Tony problem: CBS mixed up the Mary Stuart ladies (Janet McTeer and Harriet Walter) when showing their close-ups as the Best Leading Actress in a Play nominees were announced. I know they're British and starring in a drama but come on, there are five people in the category, get it right.

For the full list of Tony winners, visit tonyawards.com.

Monday, June 8, 2009

Theasy's WIN A TONY (GUESSING CONTEST) results...

John Stamos presents the award for

MOST CORRECT PREDICTIONS IN THE WIN A TONY! (GUESSING CONTEST)
to

Benjamin
Rosen-White




Congratulations Benjamin! You correctly predicted 21 winners out of the 27 awards given out at the 2009 Tony Awards. We are humbled by your Broadway knowledge! You are the proud owner of five pairs of tickets to the five FringeNYC shows of your choice.

Thanks to everyone who participated!

Saturday, June 6, 2009

Dan Talks Tonys

Part 3- Everything Else

In this third and final installment, I’ll go through my thoughts on the remaining awards, and then I’ll rant a bit about the upcoming broadcast, and why I think the Tony Award Broadcast is needlessly becoming dumber and dumber each year. But first…

DESIGN AWARDS
This is only the fifth year in which there have been separate design awards for plays and musicals, and only the second in which an award has been given for sound design. So whereas in 2004 there were only three design categories, now there are eight. The winners in these categories are often the hardest to predict. But for those who want to win a Tony contest (like the one on Theatre is Easy - enter here - the design categories can be crucial.

Of course, it is hard to know how people vote. It isn’t that I think voters are mindless when they vote for design awards, it is just that there is so much to take in when you see a play once. While I believe that many voters try to select the most deserving nominee, I think sometimes it is hard to figure out who that is. Sometimes, they just vote down the line for whatever is the big show of the season. This happened in 2001 with The Producers (I am STILL annoyed about this, the lighting for Jane Eyre was far superior). And last year, South Pacific won all four musical design awards, but in this case, I felt it deserved them. Since Billy Elliot has been nominated for all four musical design awards, a sweep is possible. On the other hand, design awards are often a place where voters can award a show that they liked, but didn’t vote for anywhere else. For example, last year The 39 Steps (which is somehow still running) won two Tony awards, for Lighting and Sound Design. Voters may also vote based on the designer’s history at the Tonys: for example, costume designer Jane Greenwood received her 16th Tony nomination this year for Waiting for Godot, and has never won. (And I doubt she’ll win this year). But that would mean voters say to themselves “Michael Yeargan should win Best Scenic Design of a Play,” as opposed to saying “Joe Turner’s Come and Gone should win Best Scenic Design of a Play.” (It would also mean they know who has and who hasn’t won a Tony.)

It could be that voters “vote down the line” more with musicals than with plays. Or it could be that because scenic and costume design is more “concrete” (you can spot it in a photograph, for example), voters are more likely to actually vote based on the designs. In comparison, lighting and sound design have less tangible “products,” and so perhaps in these categories, voters just go with the show they liked the best. It’s worth mentioning that the Tony website, tonyawards.com, has this year started what will hopefully be an ongoing feature: a three minute clip of every nominated show (play, musical, and special event). The clips I saw seemed to provide a good sample of each nominated production. So if you want to make some informed guesses in the design categories, it might be worth checking these videos out.

Here are my best guesses as to who will win the design awards. But some of these categories are really tough to call.

BEST SCENIC DESIGN OF A PLAY
I’m guessing 33 Variations here—it has the most intricate set, and I can still remember those sheets of paper flying through the air as the set was moved. (Also nominated: Exit the King, Joe Turner’s Come and Gone, and The Norman Conquests).

BEST COSTUME DESIGN OF A PLAY
Tough category. Rule out Blithe Spirit. Exit the King has regal costumes, and a bit absurdist. Waiting for Godot has the Susan Lucci of costume design (Jane Greenwood). But I’ll go with Mary Stuart, if only because the concept (women in Victorian dresses, men in modern suits) was so brilliant. Plus, I think voters will want to reward this show with something.

BEST LIGHTING DESIGN OF A PLAY
Again, tough call. I’d rule out Equus, simply because it closed. But it’s a toss up between the other three. Joe Turner’s Come and Gone has Brian MacDevitt, who has three Tonys already. 33 Variations has a beautiful overall aesthetic, which could help it stand out. And Mary Stuart has rain.

BEST SOUND DESIGN OF A PLAY
I’d go with Exit the King, if only because it has the most memorable “effects.” Equus also had some great “effects” (the scraping of horse hooves was particularly haunting). But again, it closed. (Also nominated: Joe Turner’s Come and Gone and Mary Stuart).

BEST SCENIC DESIGN OF A MUSICAL
The set for Billy Elliot isn’t pretty, but it moves around in interesting ways. And it’s big, which is always a plus. I’d actually give it to [title of show], for daring to only have four chairs and a keyboard, but I’m perverse like that. (Also nominated: Guys and Dolls, Next to Normal, and Pal Joey).

BEST COSTUME DESIGN OF A MUSICAL
Hopefully this will be the category that will prevent a Billy Elliot design sweep. Many are predicting Tim Hatley’s designs for Shrek will win, but I also wouldn’t count out Michael McDonald’s gorgeous costumes for Hair, which are clearly visible to the audience since the performers often come right up near you. (Also nominated: Rock of Ages).

BEST LIGHTING DESIGN OF A MUSICAL
Kevin Adams is nominated twice here, and while his designs for Next to Normal were good, I hope he wins for Hair - the lighting in that show is stunning. But Billy Elliot is also a possibility. (Also nominated: West Side Story).

BEST SOUND DESIGN OF A MUSICAL
Hair
has people running out into the audience, and Next to Normal has an orchestra scattered around the stage: both seem like big challenges sound-wise. I’d actually vote for Rock of Ages...as loud as the music was, I could also hear every single word and sung lyric, even during the loudest guitar riff. But while I thought the sound design to Billy Elliot was atrocious (rarely do I notice sound design this much!), I’m betting it has a good chance of winning.

BEST SPECIAL THEATRICAL EVENT
Ok, so this is the one category in which I didn’t see ANY of the nominees. Does this mean I have nothing to say? Ha! Liza's at The Palace is a sure winner here, and while I still regret not trekking out in the snow to see Liza Minnelli’s show this winter, I’m looking forward to an entertaining acceptance speech. Her closest competition would seem to be Will Ferrell’s show You're Welcome America- A Final Night with George W. Bush. At least, this is the show that did the best at the box office. But Ferrell isn’t someone Tony voters care much about, especially since he refused (repeatedly, I heard) to host the Tony awards this year (Neil Patrick Harris is hosting this year). The other two nominees are Slava's Snowshow- a holiday transfer of a Russian clowning spectacle, and Soul of Shaolin- a Chinese martial arts spectacle. Both may have been nice shows. But they aren’t Liza, and as one might say, Liza IS the Tonys!

The Snubs

It’s worth briefly reviewing some of the people and shows that didn’t receive nominations this year. Almost every one was from a show that closed in 2008 or January 2009. And while shows that don’t run into the spring often don’t do as well in the Tonys, the sheer quality of the Fall shows, and the almost total lack of nominations, is particularly noticeable this year. In fact, not counting the special theatrical events, only three shows that closed in or before January received any nominations- [title of show] received one, and Dividing the Estate and Irving Berlin’s White Christmas each received two.

While I didn’t see Impressionism, A Man For All Seasons, Hedda Gabler, The Philanthropist, Accent on Youth, or Cirque Dreams, they all received mixed to negative reviews, so I’m not surprised that none of them received nominations. Two of the worst shows I saw this season, To Be or Not To Be and Desire Under the Elms, also did not receive any nominations (although some people, including New York Times reviewer Charles Isherwood, apparently loved Desire Under the Elms). Some feel that Tovah Feldshuh and James Barbour should have been nominated for their performances in Irena’s Vow and A Tale of Two Cities. I found Feldshuh’s performance a bit over-the-top, but I agree that Barbour probably should have been nominated (instead of Contantine Maroulis). Likewise, I think Daniel Radcliffe made an astounding Broadway debut in Equus, and should have been nominated for his performance. And Mercedes Ruehl, probably the best part of The American Plan, also should have been nominated.

It was a great year for play revivals, so I guess it is inevitable that some revivals were undeservedly shut out, most notably The Seagull (which I missed) and All My Sons (which I loved). But all four plays nominated for Best Revival opened in the spring, by which time both The Seagull and All My Sons had closed. Apparently Casey Mulligan was excellent in The Seagull, and All My Sons had several Tony-worthy elements, including performances by Dianne Wiest, John Lithgow, and Patrick Wilson, and direction by Simon McBurney.

Likewise, I thought two musicals, both of which closed by the beginning of January, deserved more attention from the nominating committee. While many did not like 13, the musical with a thirteen-member teenage cast, I thought it an extremely well done, exciting new musical. If nothing else, Jason Robert Brown should have been nominated for his score. I also thought Aaron Simon Gross’s performance Tony-worthy- certainly better than any of the kids from Billy Elliot. And while [title of show] received one nomination for its book, I think it should have also been nominated for Best Score, Featured Actress (Susan Blackwell), and Best Musical. And I wonder, if it had been running on Broadway in the spring, if it wouldn’t have received more nominations.

The Tony Awards Broadcast
To quote from a recent press release: “The Tony Awards telecast on Sunday, June 7th will feature performances by each of the Tony-nominated Best Musicals and Best Musical Revivals, including: Billy Elliot, The Musical; Guys and Dolls; Hair; Next to Normal; Pal Joey; Rock of Ages; Shrek the Musical; and West Side Story. Additionally, The Tony Awards will feature special performances from three touring shows – Jersey Boys, Legally Blonde The Musical and Mamma Mia!

Ugh. I’m all for performances from the season’s musicals. I still remember watching one of my first Tony awards, and seeing the cast of Falsettos perform “The Baseball Game.” These early musical performances, from shows I had never even heard of, riveted me. Unfortunately, the CBS execs, especially head exec Les Moonves, have decided that people are ONLY interested in watching musicals. And so the more musical performances, the better, which is why space is being given in the broadcast to performances from touring shows. The design awards are not shown on television...you can only see them by logging onto the Tony website’s live feed for the “Creative Arts Awards.” Also part of this segment are the awards for Orchestrations, Choreography(!), Book of Musical(!!), and Revival of a Play(!!!). I am appalled by this. (It happened last year too). If the Academy Awards can find a way to fit in the award for Best Animated Short Film, shouldn’t the Tony Awards be able to fit in Best Revival of a Play?

CBS is clearly trying to “boost” ratings by stacking the broadcast with performances, and thus getting rid of the “boring stuff.” However, the Tony awards is NEVER highly rated. No one who isn’t already planning on watching is going to tune in because the touring cast of Legally Blonde is performing. I believe that the Awards show that takes place in Radio City Music Hall should be shown in its entirety. One could argue that the American public doesn’t care about orchestrations. But how do we know, if we don’t let audiences learn about them? What if there was a short speech before the award was presented that explained what an orchestration is (like in the Academy Awards)? Why must television programming always be dictated by what executives think audiences want to see?

Perhaps one could argue that the Academy Awards are more star-studded. And although everyone can see movies, only a small handful travel to New York to see a Broadway show. So maybe a comparison between the two awards shows isn’t exactly fair. But what CBS forgets is that people aren’t just interested in seeing familiar performances. I always watched the Tonys growing up because it would give me insight into the hidden, magical world of “Broadway.” And not just musicals - I remember watching one year and repeatedly hearing a five-word phrase “Angels in America: Millenium Approaches.” I had no idea what it was about, but I was fascinated. I don’t believe that American audiences aren’t interested in plays - I think they are, but they aren’t given the chance. I believe that things like the Tony award broadcast make it seem like Broadway is all big and flashy musicals. Broadway theatre is many things, and big flashy musicals are only one part. But in recent years, the Tony Award broadcast has become increasingly dumber, in a futile effort to draw in more audiences. But I don’t think CBS will ever draw in more viewers this way, I think they have the wrong strategy. I think the only way they can increase viewership is to put back in all of the “boring stuff,” because I’d argue that this is the one thing not available anywhere else. I think viewers actually want to be challenged. Many people will never watch the Tonys. A much smaller group will always watch. And I believe that the group in the middle, the ones who might watch if the show is good, are tired with an awards show that has so little to do with celebrating achievement. They want to learn more about theatre (including things like lighting design), but have given up on the Tonys as a source for this.

Ok- rant over. Now go watch the Tonys.

The 63rd Annual Tony Awards
The Tony Awards will be broadcast live in HD, from Radio City Music Hall on CBS, Sunday, June 7th, 8:00 – 11:00 p.m. (ET/PT time delay). The 2009 Tony Awards are presented by the Broadway League and the American Theatre Wing. To view the live Tony Awards pre-telecast, featuring the Creative Arts Awards, please log onto www.TonyAwards.com at 7:00 p.m. (EST) on Sunday, June 7th.

For the first time ever, fans in the New York area are invited to watch the Tony Awards simulcast in Times Square. Live from Radio City Music Hall, the Tony Awards will be simulcast on the Clear Channel Spectacolor HD Screen, from 7:00 p.m. – 11:00 p.m. and will feature the pre-telecast Creative Arts Awards and the Tony Awards broadcast. Seating will be provided in Duffy Square.

Friday, June 5, 2009

WIN A TONY! (GUESSING CONTEST) 2009

It's time for Theasy's annual
WIN A TONY! (GUESSING CONTEST)

Visit theatreiseasy.com/tony to enter. Predict who will win for each category at this year's Tony Awards and submit your answers. The person with the most correct guesses wins a Fringe Festival VIP Fiver...five pairs of tickets for the 2009 FringeNYC shows of the winner's choice! (FringeNYC is the largest multi-arts festival in North America...visit fringenyc.org for more information). Winner also received the admiration and respect of all of us at Theatre Is Easy.

The contest is open until 2pm on June 7th and the Tony Awards air at 8pm on June 7th. Contest winner will be announced on Theasy on June 8th.

Good luck!
Theatre Is Easy

Tuesday, June 2, 2009

Dan Talks Tonys

Part 2- The Musicals

There were ten new musicals and four revivals on Broadway this season, and I saw all but two. I missed Irving Berlin’s White Christmas, a holiday special that some suspect was brought to Broadway (at a financial loss) simply to give it additional credence in its more lucrative regional life. And I haven’t yet seen the revival of Guys and Dolls, although I’ve heard it is not worth the time. But I’ve seen everything else (yes, I even saw The Story of My Life, which didn’t run long enough to be Tony-eligible). My favorite musicals of the season are Next to Normal (which received 11 nominations) and [title of show] (which sadly only received one, for Hunter Bell’s book). And while I don’t think Billy Elliot will completely sweep the awards this year, I think it will do quite well, and will likely win in categories I don’t think it deserves, starting with…

BEST MUSICAL
I don’t think Billy Elliot should win here, because while some aspects were quite wonderful (the direction, and perhaps the book), the total product was surprisingly disappointing. But voters love big musicals, and from what I can tell, most people seem to enjoy this show, and don’t mind the bland score as much as I did. If there is an upset, it will be Next to Normal. On certain days, when I’m feeling especially optimistic, I think this might be possible. I certainly wouldn’t count it out (and if it happens, it could be a tie-breaker in Tony contests). But I’m betting that Billy Elliot, with its 15 nominations, will win Best Musical. The other two nominated musicals, Shrek and Rock of Ages, have almost no chance, especially because some feel one (or both) took the slot(s) that should have been given to either 9 to 5 or [title of show].

BEST REVIVAL OF A MUSICAL
This one is kind of a no-brainer. Pal Joey was an excellent revival, but it closed on March 1st. And while I am very glad I saw it, I think the musical itself is more for musical theater buffs, whereas the other three nominees are more popular shows that will appeal to a wider audience. I haven’t seen Guys and Dolls, but many say it was only nominated for Best Musical Revival because there is a clause that says the nominating committee MUST fill all of the slots in a category when possible. So since there are only four musical revivals, they all automatically receive nominations. (It’s the same reason the apparently hideous revival of Grease was nominated last season.) This leaves West Side Story and Hair. Before I saw them, I thought they might be about evenly matched. But after seeing both in the past few weeks, it is clear that Hair will win this category hands (and pants?) down. West Side Story might be a better musical on paper, but this isn’t what wins a Best Musical Revival. West Side Story has sets that seem to be taken from a regional, or even college production, and direction that is relatively uninspired. It isn’t that it is a bad production...it is almost impossible to ruin West Side Story and this is a solid production. But there isn’t much that is special about it other than a few performances (if I return to West Side Story it will really be to see Karen Olivo again...see Featured Actress category). Hair, on the other hand, has been hailed as a minor revelation, a production that brings out the best qualities of the musical, and shows the magic that can be found therein. And I agree. I will almost definitely return to see Hair again because of the overall experience.

BEST BOOK OF A MUSICAL
Supposedly the book of a musical is one of the hardest things to write, and is often the first thing blamed when the musical suffers. It is also kind of difficult to quantify; it is more than just the words people speak when they aren’t singing. I think of a musical’s book as the structure, and the outline for what happens so even when a musical is sung-throughout there is still a book. This year, the four nominated books are from Billy Elliot, Next to Normal, Shrek, and [title of show]. Even though David Lindsay-Abaire has a Pulitzer, I think his book for Shrek is the first to rule out, not because it isn’t good, but because in a category like this, voters need to feel drawn to a show, and I think Shrek is the one show with the least emotional pull. Next to Normal is pretty much sung-through, and while that shouldn’t make a difference, I think it might hurt here. Many think Billy Elliot is the likely winner, because it is the big show of the season. Personally, I’m hoping for Hunter Bell to win for [title of show]. While the show closed in October, I wouldn’t be surprised if this was one of the big upsets of the evening. There’s a line on the recording where Bell sings “What if this show won a Tony award?” I’m hoping voters want to find out.

BEST ORIGINAL SCORE (MUSIC AND LYRICS) WRITTEN FOR THE THEATRE
By all rights, I don’t think Billy Elliot should even have been nominated (I would have picked the scores to both [title of show] and 13 over this one.) But it IS a score with music by Elton John, and it IS the big new musical of the season, so it could certainly win. The trouble is, the score to Billy Elliot is, to put it simply, bad. And I have a feeling I’m not the only one who thinks so. And because people will expect Billy Elliot to win a bunch of awards, voters may use this category to award another show. So who will win? Shrek’s score has music by Jeanine Tesori (who has been nominated three times already, and who should have won a Tony for Caroline, or Change) and lyrics by David Lindsay-Abaire (who won the Pulitzer prize for Rabbit Hole). And the score is (surprisingly?) quite good; it's intelligent and funny and maybe even a little bit subversive. But the show as a whole is just pleasant...you leave the theatre thinking “that was nice.” And this is why Shrek may not win anything. It is the same with 9 to 5. The score was written by Dolly Parton, and overall, I think she did a fine job. I am looking forward to listening to the score again (the album hasn’t been released). However, I’m not sure that Dolly’s immense fan base overlaps much with the Tony voters. So Next to Normal is Billy Elliot’s biggest competition. In my opinion, Next to Normal has the best score of the year. The show is almost entirely sung-through, and the score does an incredible job in creating the complex characters on stage.

BEST DIRECTION OF A MUSICAL
At the Academy Awards, the winner for Best Director often (but not always) wins for directing that year’s Best Picture. The same thing generally happens with musicals at the Tonys, with the difference that in the Tonys, there are two “Best Musicals”- the new musicals and the revivals. So given that Billy Elliot and Hair will most likely win these respective categories, this category is basically between Stephen Daldry (who directed Billy Elliot) and Diane Paulus (who directed Hair). Kristin Hanggi did a decent enough job with Rock of Ages, and probably is one of the key people responsible for making it as good as it is, but I have as much chance of winning this award as she does. And as much as I love Next to Normal, my biggest problem with it is the direction. Michael Greif (who also directed Rent - boy does he love his scaffolding!) probably contributed a lot in the developmental process of this piece, so I guess one might justify the nomination for that reason. But his direction always seems serviceable to me, with occasional moments where I think “why on earth did he have them do that?” Whereas Diane Paulus staged perhaps the best ending of any musical this season (and those last ten minutes or so of Hair are ALL her). I’d love to see her win for this reason alone. But I suspect Stephen Daldry will win here, and as much as I thought Billy Elliot was just ok, I have to admit Daldry’s direction is excellent.

BEST CHOREOGRAPHY
Given that Billy Elliot is a show about dancing, and that it is the big show of the season, and that there is a lot of solo dancing and group dancing and flying in the air dancing, does anyone else have a chance? I don’t think so. Randy Skinner’s choreography in Irving Berlin’s White Christmas was reportedly quite good (I didn’t see it). Karole Armitage’s work in Hair fit the piece well, which means it is less showy than the dancing in Billy Elliot. And Andy Blankenbuehler, who deservedly won this award last year for In the Heights, did some of the same things again (i.e. dancing that isn't featured center stage, but occurs more atmospherically) in this year's 9 to 5. All fine choreography. But I bet even if Jerome Robbins had risen from the dead and re-choreographed West Side Story, he still would lose to Peter Darling and Billy Elliot.

BEST ORCHESTRATIONS
This is one of those awards that most people (including, I suspect, many Tony voters) don’t quite know how to judge. The orchestrator’s work varies depending on the composer, and the right orchestration can turn a simple melody into a thrilling moment in the theatre. However, where does the score stop and the orchestration begin? I suspect rather than thinking through this, many voters simply go with either their pick for Best Musical, or their pick for Best Score. (Occasionally musical revivals have new orchestrations that are nominated, but that didn’t happen this year). If they do, Shrek and Irving Berlin’s White Christmas have little to no chance, leaving Billy Elliot and Next to Normal. My personal pick is Next to Normal; the orchestrations turn what could have been a more traditional “rock” sound into something much more complex. But I have a feeling Billy Elliot may have better chances.

BEST PERFORMANCE BY A LEADING ACTRESS IN A MUSICAL
Everyone I know is crossing their fingers that Alice Ripley wins on June 7th (ok, what can I say, I know a lot of theatre queens). Ripley’s performance in Next to Normal is one of the best performances this season, man or woman, play or musical. It is so difficult to play a crazy person realistically, that is, not go overboard with the craziness, and Ripley’s genius is that she simultaneously shows both the unhinged, bipolar person, and the completely rational (in her mind, at least) person who is battling that illness. Ripley was nominated once before with Emily Skinner...the two women played the Siamese twins Daisy and Violet in Sideshow. (Emily, when will you return to Broadway?) And since this is the only acting category in which Billy Elliot has no nominees, Ripley’s chances look good. I’d guess her biggest competition is Allison Janney (who we all love, of course). Janney is quite good in 9 to 5 (in the Lily Tomlin role), but she isn’t the strongest singer, and that may hurt her. Pal Joey’s Stockard Channing was wonderful, but the show closed already. Sutton Foster was also good in Shrek - funny, quirky, a bit of a tomboy - but she’s already won a Tony and now just seems to get nominated every time she does a Broadway musical (for roles in which she is funny, quirky, and a bit of a tomboy), so I don’t think people will vote for her. And while Josefina Scaglione is lovely as Maria in West Side Story, she doesn’t remain etched in one’s memory days after the show the way that Ripley or Janney or even Channing do. So c’mon Alice Ripley!

BEST PERFORMANCE BY A LEADING ACTOR IN A MUSICAL
This year, it was ruled that all three boys who share the role of Billy would be considered together. And it was also ruled that voters only needed to see one of them perform. While both of these rulings make sense (otherwise, it would mean needing to see Billy Elliot three times), it means that those who vote for the three kids will be voting for performers they haven’t seen. This nomination really asks voters to vote for a role, rather than a performance. The role of Billy is exciting to watch: a 10-12 year old boy dances all over the stage. But I’d contend that the boys who do the role in five years will be just as exciting - it is the role that is the star here - the choreography and the sight of a kid dancing it. While I think voters will be suckered in by the draw of youth (the mindset of “yay, I love when kids win awards!”) I think all of the other nominees deserve the award more. American Idol alum Constantine Maroulis is surprisingly good in Rock of Ages. Gavin Creel in Hair is terrific (although I liked castmate Will Swenson even better). Brian d’Arcy James somehow manages to humanize Shrek the ogre, even through all of that makeup. And while some feel that James was better than J. Robert Spencer in Next to Normal (James did the role of Dan at Second Stage, but left the show to star in Shrek), I think Spencer perfectly captures the ordinariness of his character, a father and husband who wants desperately to live a normal, even boring, life. So yeah, when this award is announced, I fully expect to be annoyed, but hey, that’s commercial theatre for you.

BEST PERFORMANCE BY A FEATURED ACTRESS IN A MUSICAL
Ok, it is really hard for me to be objective with this category this year. I worked with Karen Olivo several years ago, and love her in everything she is in. And she is an incredibly warm, loving person to boot. I’m trying not to jinx her chances by getting my hopes up too much, but I DO think she has a good chance at winning. Her performance as Anita is one of the best parts in the current revival of West Side Story. So since I can’t be objective, who else is nominated? There are two women from Billy Elliot: Carole Shelley (Billy’s grandmother) and Haydn Gwynne (Billy’s dance teacher). Of these two, Gwynne has the better chance, if only because her role is larger. I think she is Karen’s biggest competition. Martha Plimpton’s rendition of “Zip” was a highlight of Pal Joey, and while this is the third year in a row she has been nominated, I don’t think the role was enough of a standout to make up for the fact that the show isn’t running anymore. And finally, there’s Next to Normal’s Jennifer Damiano. While I’m thrilled she is nominated (because I love the show), I think this is a case where the nomination is the prize.

BEST PERFORMANCE BY A FEATURED ACTOR IN A MUSICAL
Enough with Billy Elliot already! This category also has two nominees from that showm Gregory Jbara (who plays the father) and David Bologna (who plays Billy’s soon-to-be-gay friend Michael). Or rather, Bologna is one of the two kids who plays Michael...the other one (Frank Dolce) isn’t nominated. Apparently, while the producers made a special petition to get all three Billys considered together, they didn’t do the same for the two Michaels, so because Bologna did the show opening night, he is the only one eligible for the nomination. The two kids are still splitting performances, so it is conceivable that many Tony voters won’t even see Bologna in the role. Whatever...if someone from Billy Elliot wins this category it will be Gregory Jbara, who I loved in Dirty Rotten Scoundrels and who also gave my favorite performance in this show. Which isn’t to say I think he should win (although he has a good chance). I’m rooting for Will Swenson, who played Berger in Hair. Easily the best performance in that show, Swenson perfectly encapsulates the spirit and energy and innocence and playfulness that Hair is all about. But I wouldn’t count out Marc Kudisch or Christopher Sieber either. Both are well-known Broadway stalwarts who have been nominated in this category before (Kudisch for Thoroughly Modern Millie and Chitty Chitty Bang Bang, and Sieber for Spamalot). Kudisch is perfectly cast as the lecherous boss (the Dabney Coleman role) in 9 to 5. And Sieber gives probably the most unforgettable performance in Shrek...as Lord Farquaad he spends almost the entire performance on his knees. So this is another tough category, and I’m honestly not sure who I’d pick if I were taking part in the Theasy Tony Guessing Contest (where you can win 5 pairs of tickets to the NYC International Fringe Festival- enter here) Good Luck!

Stay tuned for Part 3- Everything Else

Sunday, May 31, 2009

Dan Talks Tonys

Editor's note: Theasy writer Dan Dinero sees everything on Broadway. So he is pretty informed when it comes to the Tony Awards. Theasy is excited to bring you a three-part series of Dan's insight into the 2008-2009 Broadway season. Here is the first installment!

Part 1- The Plays

I’ve seen every play that has been nominated for a Tony this year. It has been an especially good year for play revivals, and a mediocre one for new plays. And the Tony nominating committee seems to agree: of the 48 nominations reserved for plays (across all categories), new plays earned 16 nominations, while play revivals earned 32. Of course, it’s also worth noting that 8 new plays opened this season, in comparison to the 16 revivals (1 of which- American Buffalo- didn’t run long enough to be Tony-eligible). But that said, I was still underwhelmed by the quality of new plays on Broadway this year. My favorite play of the year was Horton Foote’s Dividing the Estate, which closed in January, making it incredibly unlikely that it will win the Tony for Best Play. So what will win? Here are my guesses, and my thoughts behind them…

BEST PLAY

If Dividing the Estate was still running, I think it might be a stiffer competition, but I’m betting God of Carnage will win here. Quite honestly, of the four nominated plays, I liked God of Carnage the least. While reasons to be pretty and 33 Variations are far from perfect plays, they both at least try to do something interesting. They don’t always succeed- I felt reasons to be pretty suffers because its initial conflict was blown out of proportion, and 33 Variations had way too much narration. But God of Carnage was the only one of the four that did not make me think after it was over, and I want my “Best Play” to give me something to chew on. However, considering the lackluster roster, I’m betting that voters will ultimately go with the most entertaining of the bunch, and since they didn’t pay for their prime seats, I’m betting God of Carnage will win out. I could be wrong; I can also see Dividing the Estate winning (because its author is a classic American playwright who died recently) or reasons to be pretty (because its author is a prolific and “edgy” playwright who is finally being produced on Broadway). But probably not.

BEST REVIVAL OF A PLAY
Just as the new plays were pretty bad this year, so were the play revivals kind of incredible. Which makes this category tough to call. I can easily see people voting for all four. If I could be sure that voters saw all three plays in The Norman Conquests (which is being counted as one play for the purposes of the Tonys), I’d say this was a lock. And they are supposed to see all three...they are not supposed to vote in any category in which they haven’t seen all of the nominees. But after coming out of the first part, I wasn’t too excited, and only went back to see the other two parts because I already had tickets. If voters, who often have to see a whole bunch of plays and musicals in a short time, skip some of The Norman Conquests because they feel like seeing one part is enough, they may not vote for it. Especially since there is the thrilling production of Joe Turner’s Come and Gone, which I think brings out the best qualities of August Wilson’s work. Not to mention Mary Stuart, a new translation of a 200 year-old play, which crackles with two fierce performances. And Mary Stuart has rain, which audiences always love. Finally, there is Waiting for Godot, an excellent production of the landmark Beckett play. Among these three, I’d pick Joe Turner’s Come and Gone, even though Mary Stuart received more nominations.

BEST DIRECTION OF A PLAY
I actually would love for Bartlett Sher to win this award, for bringing out so much in Joe Turner’s Come and Gone. But he won a Tony last year (for directing South Pacific). And Matthew Warchus, who was nominated twice this year (for God of Carnage and The Norman Conquests), did NOT win last year, even though the play he directed, Boeing-Boeing, won for Best Play Revival. So I think this is Warchus’s year. And to be fair, his direction is always terrific; he gives new life to plays that might otherwise seem cheesy (Boeing-Boeing) or just boring (The Norman Conquests), or downright dumb (God of Carnage). I guess it is possible that Warchus fans could split the vote here, and Sher could take it, but I’m betting Warchus will win (and I’ll be quite happy if he does). But for which play? I’ll keep that to myself. Can’t give away all of my secrets.

BEST PERFORMANCE BY A LEADING ACTRESS IN A PLAY
Wow, this is a very difficult category. Jane Fonda from 33 Variations was considered a shoo-in earlier this year. The other four women are from only two plays, Janet McTeer and Harriet Walter are the two best parts of Mary Stuart, and Marcia Gay Harden and Hope Davis are both good in God of Carnage. I think voters will pick McTeer over Walter, and Harden over Davis, so the contest really seems to be between Jane Fonda, Janet McTeer, and Marcia Gay Harden. This would be the one category in which I won’t mind God of Carnage winning; Marcia Gay Harden is far and away the best thing about that play. But I wouldn’t count out the other two women. Jane Fonda’s return to Broadway was extremely well-received, and although McTeer already won a Tony back in 1997 for A Doll’s House, voters might deem her role the most demanding, and give her a second one.

BEST PERFORMANCE BY A LEADING ACTOR IN A PLAY
Most people are predicting Geoffrey Rush will win here, for his tour-de-force performance in Exit the King. I have to agree. I guess it’s possible that Thomas Sadowski (reasons to be pretty) will sneak in, or even that Raul Esparza will finally win for Speed-the-Plow (this is his 4th nomination). I think it less likely that either of the two men from God of Carnage will win here however. As opposed to the women in that play, the men seem more equal (although I liked Jeff Daniels better). And more than just canceling each other out, I don’t think either stands out in one’s memory the way that Geoffrey Rush does.

BEST PERFORMANCE BY A FEATURED ACTRESS IN A PLAY
Another tough call. I’m guessing this is between Hallie Foote (Dividing the Estate) and Angela Lansbury (Blithe Spirit). The actors (Jessica Hynes and Amanda Root) from The Norman Conquests give more of an ensemble performance, and as amazing as that is, it doesn’t let any one person stand out enough to win an award- they are all equally terrific. (This is the same reason why I don’t think either Stephen Mangan or Paul Ritter will win in the Featured Actor category). And quite honestly, I thought Marin Ireland’s character was the biggest problem with reasons to be pretty. While I fault both the playwright and the director (and not the actress, in this case), I don’t see her winning either. So will Angela Lansbury win her fifth Tony award, perhaps because they are finally getting the kind of performance they so wanted (but didn’t get) in Deuce? Or will voters want to give Hallie Foote (who gave the best performance in Dividing the Estate) the award, partly as a way to celebrate her grandfather’s legacy?

BEST PERFORMANCE BY A FEATURED ACTOR IN A PLAY
Since I’ve already counted out the two actors from The Norman Conquests, this leaves John Glover (Waiting for Godot), Zach Grenier (33 Variations) and Roger Robinson (Joe Turner’s Come and Gone). Grenier was terrific as Beethoven, but if 33 Variations wins anything, I think it will be for Jane Fonda, or perhaps for some technical awards. John Glover plays Lucky in Waiting for Godot, a character who has one long, nonsensical speech, and otherwise silently plods across the stage like a beast of burden. And while the physicality of his performance is incredible (his walk, his drool), I’m guessing Roger Robinson will take this one, for his heartbreaking portrayal of Bynum Walker.

Stay tuned for Part 2- The Musicals

Friday, May 22, 2009

2009 Tony Nominations

It's Tony Tony Tony season! Assuming you care about Broadway's biggest prize, here is the list of the 2009 Tony Nominees (minus the design categories...visit tonyawards.com for the official, complete list). The Tony Awards air on Sunday, June 7th on CBS. Check back to Theasy next week to play our Tony Award Guessing Contest for the chance to win a great prize!

BEST PLAY
Dividing the Estate (closed 1/4/09)
God of Carnage
Reasons to Be Pretty
33 Variations

BEST MUSICAL
Billy Elliot, the Musical
Next to Normal
Rock of Ages
Shrek, the Musical

BEST BOOK OF A MUSICAL
Billy Elliot, the Musical - Lee Hall
Next to Normal - Brian Yorkey
Shrek The Musical - David Lindsay-Avaire
[Title of Show] - Hunter Bell

BEST ORIGINAL SCORE
Billy Elliot, the Musical - Elton John/Lee Hall
Next to Normal - Tom Kitt/Brian Yorkey
9 to 5: The Musical - Dolly Parton
Shrek The Musical - Jeanine Tesori/David Lindsay-Abaire

BEST REVIVAL OF A PLAY
Joe Turner's Come and Gone
Mary Stuart
The Norman Conquests
Waiting for Godot

BEST REVIVAL OF A MUSICAL
Guys and Dolls
Hair
Pal Joey (closed 2/15/09)
West Side Story

BEST PERFORMANCE BY A LEADING ACTOR IN A PLAY
Jeff Daniels, God of Carnage
Raul Esparza, Speed-the-Plow
James Gandolfini, God of Carnage
Geoffrey Rush, Exit the King
Thomas Sadowski, Reasons to Be Pretty

BEST PERFORMANCE BY A LEADING ACTRESS IN A PLAY
Hope Davis, God of Carnage
Jane Fonda, 33 Variations
Marcia Gay Harden, God of Carnage
Janet McTeer, Mary Stuart
Harriet Walter, Mary Stuart

BEST PERFORMANCE BY A LEADING ACTOR IN A MUSICAL
David Alvarez, Trent Kowalik, Kiril Kulish, Billy Elliot, the Musical
Gavin Creel, Hair
Brian d'Arcy James, Shrek the Musical
Constantine Maroulis, Rock of Ages
J. Robert Spencer, Next to Normal

BEST PERFORMANCE BY A LEADING ACTRESS IN A MUSICAL
Stockard Channing, Pal Joey
Sutton Foster, Shrek The Musical
Allison Janney, 9 to 5: The Musical
Alice Ripley, Next to Normal
Josefina Scaglione, West Side Story

BEST PERFORMANCE BY A FEATURED ACTOR IN A PLAY
John Glover, Waiting for Godot
Zach Grenier, 33 Variations
Stephen Mangan, The Norman Conquests
Paul Ritter, The Norman Conquests
Roger Robinson, Joe Turner's Come and Gone

BEST PERFORMANCE BY A FEATURED ACTRESS IN A PLAY
Hallie Foote, Dividing the Estate
Jessica Hynes, The Norman Conquests
Marin Ireland, reasons to be pretty
Angela Lansbury, Blithe Spirit
Amanda Root, The Norman Conquests

BEST PERFORMANCE BY A FEATURED ACTOR IN A MUSICAL
David Bologna, Billy Elliot, the Musical
Gregory Jbara, Billy Elliot, the Musical
Marc Kudisch, 9 to 5: The Musical
Christopher Sieber, Shrek The Musical
Will Swenson, Hair

BEST PERFORMANCE BY A FEATURED ACTRESS IN A MUSICAL
Jennifer Damiano, Next to Normal
Haydn Gwynne, Billy Elliot, the Musical
Karen Olivo, West Side Story
Martha Plimpton, Pal Joey
Carole Shelley, Billy Elliot, the Musical

BEST DIRECTION OF A PLAY
Phyllida Lloyd, Mary Stuart
Bartlett Sher, Joe Turner's Come and Gone
Matthe Warchus, God of Carnage
Matthe Warchus, The Norman Conquests

BEST DIRECTION OF A MUSICAL
Stephen Daldry, Billy Elliot, the Musical
Michael Greif, Next to Normal
Kristin Hanggi, Rock of Ages
Diane Paulus, Hair

BEST CHOREOGRAPHY
Karole Armitage, Hair
Andy Blankenbuehler, 9 to 5: The Musical
Peter Darling, Billy Elliot, the Musical
Randy Skinner, Irving Berlin's White Christmas

Sunday, June 15, 2008

And the winner is...

The 2008 WIN A TONY! (guessing contest) winner is...

Daniel Dinero!!!

Congratulations Daniel, you correctly guessed 15 winners out of 18 categories and put the rest of us to shame. You are this year's Tony Award guessing champion.

Thanks to everyone for entering; here are some fun statistics.
90% of you knew August: Osage County would win Best Play
80% of you knew In The Heights would win Best Musical
52% of you knew South Pacific would win Best Revival of a Musical
50% of you thought Patrick Stewart would win Best Actor in a Play;
only 17% of you knew Mark Rylance would win in that category
82% of you knew Patti LuPone would win Best Actress in a Musical;
but a solid 4 of you thought Kerry Butler would win in that category

Join us next year for more Tony Award excitement!

Saturday, June 14, 2008

Theatre Is Easy's Tony Predictions Addendum

And the Tony Award for best cast without a decent play goes to…Cry-Baby.
By: Shlomomio

It is incredibly frustrating to see so much talent on a big Broadway stage with large sets, detailed costumes and a finely tuned orchestra, all trapped in a clunker like Cry-Baby. I didn’t care about anything, there was no tension, there was no suspense, there were no surprises, I don’t think there is one decent song, I was not moved, it was not funny. There was some kick ass choreography (seriously, it was awesome), but if that was the only thing I was looking for, I’d go the ballet. Musical theatre is supposed to be about the fusion of many disciplines and that is why the potential to be thrilled out of your socks exists. And when something like Cry-Baby happens it is annoying. The kids up on that stage were working their asses off, all in great voice and in great shape, but I felt like I was at an ATM trying to withdraw money from an account that was closed. So I am sure the attractive and enormously talented cast of Cry-Baby would like to thank their agents and managers and such. You know, all their “people.” Everyone except the creative team behind this show. They deserve better. And so do we.

Thursday, June 12, 2008

Theatre Is Easy's Tony Predictions

Your trusty Theatre Is Easy writers sure are opinionated! So it shouldn't be a surprise that we have a lot to say about the year in theatre, namely who should win Broadway's biggest prize, the coveted Tony Award. Let's get right down to it.

Why Mary McCormack should win Best Supporting Actress in a Play (but won't).
By: Zakman
This a really heavy-hitting group. We've got Sinead Cusack with here dual roles in Rock 'n' Roll, Mary McCormack as the hysterical German flight attendant in Boeing Boeing, Laurie Metcalf in David Mamet's November, Martha Plimpton also doing double duty in Topgirls, and Rondi Reed as the steadfast sister to a tyrant in August: Osage County. This is a really tough race. Now who I think will actually win is Martha Plimpton. She's a stage darling and was robbed by not winning for The Coast of Utopia. Now who should win, there is no doubt in my mind. Mary McCormack is off the charts wonderful in Boeing Boeing. She got exit applause for her first three exits the night I saw the show and she earned every minute of that. Comedy is rarely awarded when it comes to awards, but she certainly deserves this Tony.

Why August: Osage County should win Best Play (and probably will).
By: Writerbeasy
August: Osage County is darn good. Tony good. If you asked me what how I'd describe it I'd call it Six Feet Under on stage. Of course a comparison to that incredible HBO series should be taken as a complement. As any production of quality, every element in the play is excellent, starting with Tracy Letts' intriguingly layered story to the outstanding ensemble work by the Steppenwolf Theater Company to the direction and stage design that fully encompasses the theater and connects with every audience. A Tony is the only thing missing from this stellar production of American Theater.

Why the race for Best Musical is a big ol' crapshoot.
By: Zakman
The race for Best Musical is also pretty tricky. There really isn't a front-runner for the title. We've got Cry-baby, Passing Strange, In the Heights, and Xanadu. Cry-baby: sorry, not a chance. Passing Strange might be a little too out-there for Tony voters. So that means it really comes down to In the Heights and Xanadu. In the Heights is great and really pushes the boundaries of musical theatre. The music is great and will probably win Best Score. Xanadu is pure camp at its finest and should win Best Book. So, my thought is that with 13 nominations, In the Heights will take home the top prize, but I wouldn't be surprised at all if Xanadu sneaks in there and takes it. It's a really great show and is the most critically praised show of the nominees. I guess we'll just have to wait and see.

Sunday, June 8, 2008

WIN A TONY! (GUESSING CONTEST)

Theatre is Easy presents...

WIN A TONY!
(Guessing Contest)


Visit www.theatreiseasy.com/tony and enter who you think will win in each category at the 2008 Tony Awards. The person with the most correct selections will win a Fringe Festival VIP Fiver* and unyielding respect and admiration from their peers.

Follow the action live at the 2008 Tony Awards; they air Sunday, June 15th at 8pm on CBS. Contest winner will be announed Monday, June 16th on theatreiseasy.com. Winners will also be notified by email. If there is a tie, a tie-breaker question will be provided.

GOOD LUCK!
www.theatreiseasy.com/tony

*Fringe Festival VIP Fiver includes 5 pairs of tickets to 5 shows of the winner's choice at the New York Int'l Fringe Festival, this August. Check out www.fringenyc.org for more information about FringeNYC!

Wednesday, May 14, 2008

Tony Award 2008 Nominations

On Tuesday, The American Theatre Wing announced the 2008 Tony Award Nominees. Here's a quick preview so you know who's up...we'll make sure to give lots of commentary and predictions later.

Best Play
August: Osage County
Rock 'n' Roll
The Seafarer
The 39 Steps

Best Musical
Cry-Baby
In The Heights
Passing Strange
Xanadu

Best Book of a Musical
Cry-Baby
In The Heights
Passing Strange
Xanadu

Best Original Score
Cry-Baby
In The Heights
The Little Mermaid
Passing Strange

Best Revival of a Play
Boeing-Boeing
The Homecoming
Les Liaisons Dangereuses
Macbeth

Best Revival of a Musical
Grease
Gypsy
South Pacific
Sunday in the Park with George

Best Performance by a Leading Actor in a Play
Ben Daniels (Les Liaisons Dangereuses)
Laurence Fishburne (Thurgood)
Mark Rylance (Boeing-Boeing)
Rufus Sewell (Rock 'n' Roll)
Patrick Stewart (Macbeth)

Best Performance by a Leading Actress in a Play
Eve Best (The Homecoming)
Deanna Dunagan (August: Osage County)
Kate Fleetwood (Macbeth)
S. Epatha Merkerson (Come Back, Little Sheba)
Amy Morton (August: Osage County)

Best Performance by a Leading Actor in a Musical
Daniel Evans (Sunday in the Park with George)
Lin-Manuel Miranda (In The Heights)
Stew (Passing Strange)
Paulo Szot (South Pacific)
Tom Wopat (A Catered Affair)

Best Performance by a Leading Actress in a Musical
Kerry Butler (Xanadu)
Patty LuPone (Gypsy)
Kelli O'Hara (South Pacific)
Faith Prince (A Catered Affair)
Jenna Russell (Sunday in the Park with George)

For more nominees, visit the Tony Awards website.