Tony Committee Ruling
Posted: June 14, 2014 Filed under: Between Two Boroughs, Broadway, Miscellaneous, Tony Awards | Tags: petition, sound, sounddesign, tony, tonyawards, tonycommittee 3 Comments
If you haven’t yet heard (no pun intended), on Wednesday the Tony Committee eliminated the Best Sound Design of a Play and Best Sound Design of a Musical categories from next year’s award season. As you might imagine, there has been a huge backlash from the theatre community, culminating quite quickly in this petition to reinstate the categories. Now I know there is already a lot out there in terms of angry responses in the form of articles, blog posts, and social media alike, but if you’ll allow me to add a few flames to the fire…
Over the years I’m finding the Tony Awards have become more and more like a secret club that only certain people are worthy enough to be included. There has been so much concern over getting better ratings in recent years that it has consistently become more about that than celebrating theatre. To begin with, as I mentioned in my last post, you have LL Cool J rapping a Meredith Wilson song instead of dedicating time to a number from the Tony-winning score of The Bridges of Madison County (re: Steven Pasquale’s tweet). Jason Robert Brown certainly let people know his thoughts on the matter in his thank you speech. Or we get a song from Sting’s The Last Ship or J-Hud doing Finding Neverland (neither of which has even made it to Broadway yet) instead of giving ROCKY the proper time needed to do a full number. I’ve read in a few places that the ceremony has turned into a commercial for next season rather than a look-back at what was accomplished this year.
Then you’ve got all of the awards that aren’t considered “mainstream” enough to be aired along with the rest of the broadcast. You know, like the designers. Cause who needs lights, costumes, and sound? I remember a few years back when even more awards were added to this unaired portion, categories like Best Score, Book of a Musical, Choreography, etc. And what have we been getting in place of that? They even cut the In Memoriam segment this year from the main broadcast! I mean, come on.
And now back to the sound design issue. Every year friends and I talk about categories that should be added to the awards season: casting directors, stage managers, musical directors, book of a play, best replacement, etc. We look for opportunities to honor more people. And now we’re taking things away? Sound only started getting recognized in 2008! This article touches on some of the reasoning behind the committee’s decision. I understand that it might be difficult to assess sound design, especially when often the goal is to not even notice the design at all when watching a production. “Members believe that sound design is more of a technical craft, rather than a theatrical art form.” It’s funny; I just had an intense debate with my brother Jeff last weekend about what is art versus what is entertainment. This seems like a similar debate: technical craft versus art. What deserves to be honored? What makes a design one and not the other?
When this ruling was announced, my friend Jenn (the brilliant director of a little play called The Understudy) and I immediately started discussing just how integral our sound designer (the fantastic Ien DeNio) was to our show. Sure it’s a technical skill, but her work was a vital part of the artistic process as well. For example, there were these three enormous set changes in the play, and it was a last-minute decision during tech (per Ien’s suggestion) to add sound. She had a very specific idea in mind for what would work, and because she had been a part of the artistic contribution from the beginning, we trusted her to take the idea and run with it. This addition of sound ended up filling in the spaces and further enhancing the world we had built together with the entire creative team.
In honor of the sound designers out there (and all of the others who have yet to be recognized in the main ceremony, if at all), please consider signing this petition to reinstate these awards. Okay, I’m stepping off my Broadway soapbox now. Thanks for listening.
What do you think about the committee’s decision?
Tony Tony Tony: A Recap
Posted: June 13, 2014 Filed under: Broadway, Musical, Play, Revival, Tony Awards, Videos | Tags: aladdin, alancumming, audra, audramcdonald, beautiful, bridges, broadway, cabaret, caroleking, gentlemansguide, hedwig, hughjackman, idinamenzel, if/then, jamesmonroeiglehart, jeffersonmays, jessiemueller, kelliohara, lenahall, neilpatrickharris, nph, rocky, stevenpasquale, suttonfoster, tony, tonyawards, winners, wolverine 1 Comment
So I know I’m beyond behind on my reviews, but I figure we should take a moment to discuss Sunday night’s Tony Awards. Did you watch? DVR it for later? I got comfortable in my pajamas and sat back to enjoy an evening of theatre. Here’s a brief look at my take on some of the highs and lows of the evening.
HIGHLIGHTS
Jessie Mueller! Carole King! A wonderful performance and a much-deserved win for Miss Mueller as Best Leading Actress in a Musical. I haven’t even seen the show, and I love her! I do admit that I was also deeply rooting for Kelli O’Hara as it was her fifth nomination and she certainly deserves it after all these years. Perhaps next year for The King and I? Nonetheless, Jessie has been taking the theatre community by storm ever since On a Clear Day You Can See Forever. I’m stoked for her and can’t wait to see Beautiful.
Three words: Idina. Effin. Menzel. Well, let me back up. First there was Jonathan Groff’s brilliant introduction, and then the house was subsequently brought down with her If/Then 11 o’clock number. And yet, people haven’t been talking about it! I did not see my Facebook or Twitter feed freaking out afterward. Weren’t you watching, theatre fans? Honestly, in my eyes, this may have been the performance of the evening.
Also, let’s rejoice for Best Musical A Gentleman’s Guide to Love and Murder – a fantastic performance and an even more hilarious introduction by Jefferson Mays. Let’s hear it for the underdog of the season actually getting its due with its multiple wins.
Cabaret and Alan Cumming? Solid of course.
James Monroe Iglehart’s praise shout.
Lena Hall’s heartfelt speech.
I also want to give a shout-out to Sutton for always being glorious.
And that Hedwig performance?? Yes! I’m so excited to see it in a few weeks!
And perhaps the ultimate highlight of the evening: Audra. Tears. Will Swenson. Tears. Standing ovation. More tears. Making history in two ways. For those of you who don’t know the momentousness of Audra’s win on Sunday for Lady Day at Emerson’s Bar and Grill, she is now the winner of the most Tony awards. She had five, tying with Angela Lansbury and Julie Harris, and now she has a whopping six, on top of the fact that she is now the only person who has won in all four performance categories! Audra McDonald = Queen of Broadway. Can she host next year?
LOWLIGHTS
Clint Eastwood and whatever that presenting was supposed to be.
The opening? I’m sorry, I just wasn’t into it. I do like how so many shows had cameos, and the awkward elevator ride with NPH was delightful, and I understand that they likely didn’t bother with a “traditional” opening number because it could never compete with last year’s. But seriously – Hugh Jackman just bouncing the whole time? Yes, I know it refers to something specific, but we’re really going to take an obscure reference and make it the centerpiece of a four-minute opening number? C’mon Tony writers, you can do better than that. You want more people to tune in? Don’t lose them in the first few minutes!
Sting, I’m bored.
Aladdin’s Friend Like Me was like watching a seizure on stage. And listen, if the funniest part of the song is when the Genie stops to sing from different Disney movies, then I think there’s an inherent problem with the show. People out there who want to spend money on Aladdin? I’m just saying – that’s the best you’re gonna get. They played their best hand on Sunday, so if you didn’t enjoy that number, you might want to reconsider your options.
Zach Braff’s hair.
I thought ROCKY was a musical. Also? Shortest fight ever.
This has been a common rant on Facebook and everywhere else so I won’t digress too long, but I will say I too am tired of the out-of-place Hollywood actors presenting. I love you Tina Fey, but why are you up there and not a Broadway vet? It’s all to improve ratings and get viewers, right? Well, ratings were lower this year. Maybe they should focus more on the theatre community and what we do best and feature more performances from the current season instead of a Music Man rap with LL Cool J and T.I.? Sure, The Bridges of Madison County closed, but couldn’t we get a song with Steven and Kelli? Anyway, more on that and the recent Tony Award Administration Committee ruling in a later post.
All in all, it was a relatively smooth evening without too many hitches, and we got to see some great numbers (go here to watch the rest of the performances). Here’s to another season of theatre!
Cabaret
Posted: May 2, 2014 Filed under: Broadway, Musical, Revival | Tags: alancumming, cabaret, emcee, lifeisacabaret, michellewilliams, review, revival, roundabout, roundabouttheatrecompany, sallybowles, sammendes 2 Comments
Last Thursday, I was fortunate enough to attend the opening night of the revival of Cabaret. And when I say revival, I mean that in the most literal way possible. As you may already know, Roundabout Theatre Company has remounted the Sam Mendes production that opened in 1998 and ran until 2004 (starring the late Natasha Richardson). Sadly, I missed it the first time around. Originally I had questioned the choice of putting up the same show. In my book, the point of producing a revival is to revisit a classic in a new way, to find a different angle. But boy, am I glad they did so I could see it now. It’s rare to get that kind of opportunity. Cabaret is back and once again it’s starring Tony-winner Alan Cumming as the Emcee, and together they are tearing it up at Studio 54.
Cabaret itself isn’t a flawless show – it’s long and certainly drags on in parts. There are a few songs that don’t need to be there (the pineapple song anyone?). Although you could argue that every seemingly unnecessary number contributes to the story as a whole. Every piece has a place in the puzzle – pieces that slowly build (or more appropriately, collapse) the world around us. For example, the songs Fraulein Schneider and Herr Schultz share aren’t particularly strong, but we need them in order to grow close to these characters and care about their relationship, so we can be even more distraught when things come crashing down.
It’s remarkable to me that a musical I’m so familiar with (Oh! How nice of you to ask – I was in it my senior year of college) can still be so chilling. Like the first time a swastika is revealed, you can practically hear the silent gasp emanating from the audience. And even though I know it’s coming, it’s still a punch in the gut. The same goes for “If You Could See Her (The Gorilla Song),” and basically, let’s be honest, the entirety of Act Two. It’s a one-two punch, over and over again. The fun, crazy world that is initially created is shattered as reality sinks in. That’s the beauty of Cabaret. It’s enough to make you almost forget what’s coming. It’s all fun and games with the Emcee, but the moment the kick line kicks into a goose step, we know there’s no going back.
The majority of this seamless shifting in mood can be credited to the wondrous Alan Cumming who is still ridiculously sexy, sensual, and sleazy in the role. Plus he sounds fantastic. His Emcee is a performance everyone should be lucky enough to witness. He makes it feel like a private show just for you, full of seedy antics and entertaining songs, and at the same time, creates a dark, mysterious sense of foreboding of what’s to come.
All of the supporting characters are also excellent, particularly the Kit Kat Club dancers, Fraulein Kost (Gayle Rankin), and the newly Tony-nominated Fraulein Schneider and Herr Schultz (played by Linda Emond and Danny Burstein, respectively). And even though the critics can’t agree, I will vouch for Michelle Williams. She impressed me. I’m not sure how I feel about her take on the character (although this could very well be a director’s call). Sally Bowles is larger than life, especially in Act I, and Michelle’s Sally is much more reserved and fragile. I think that fragility should be bubbling under the surface but not necessarily for the entire story. That fear and heaviness seems to be there from the start, rather than the somewhat-oblivious, party-loving girl. Still, it was interesting to see something new. And her performance of “Cabaret” is extremely powerful. I bet her performance as a whole will only get stronger and stronger as she gets more comfortable on stage.
All in all, I give Cabaret two thumbs-up. You should definitely try to see it, especially if you missed the last revival. And even if you didn’t, why not get chills all over again?
Cabaret
Music and Lyrics by John Kander and Fred Ebb, Book by Joe Masteroff, Directed by Sam Mendes, Co-Directed by Rob Marshall
Studio 54, Closing January 4, 2015
Photo Credit: Joan Marcus
Pictured: Alan Cumming and the Kit Kat Club Dancers
Violet
Posted: April 22, 2014 Filed under: Broadway, Musical, Revival | Tags: colindonnell, jeaninetesori, joshuahenry, millie, review, roundabouttheatrecompany, suttonfoster, violet 2 Comments
I have to say that amongst a season full of typical Broadway spectacle, it is refreshing to have a simple, understated musical as one of the options. Violet is an ultimate bare bones production: minimal staging on a minimal set. Don’t go expecting big dance numbers (the closest thing to that is the gospel number near the end). And don’t go to see money all over the stage in the form of flying carpets or a moving boxing ring. This musical is, at its core, a character study.
Based on the short story “The Ugliest Pilgrim” by Doris Betts, Violet is the tale of a disfigured woman (Violet, played by Sutton Foster) and her path to self-love. Growing up in North Carolina, Violet was raised by her widowed father and fell victim to a freak accident when her father’s axe blade came loose and struck her across the face. Thirteen years later, she embarks on a long bus journey to Tulsa, Oklahoma with the hope of being spiritually healed. On the way, she meets and grows close to two soldiers, Monty and Flick, forming an unexpected love triangle.
Even though Violet is being categorized as a revival for Tony season, this is actually the first time it has been on Broadway. There was an Off-Broadway run in 1997 for which it won the Drama Critics’ Circle Award and Lucille Lortel Award for Best Musical. After a successful concert performance at City Center Encores! this past summer, it has officially made the leap to Broadway thanks to Roundabout Theatre Company (check out some highlights here).
I decided to study the score in advance of seeing the show, listening to the cast recording countless times. There are some incredibly beautiful songs with lyrics by Brian Crawley and music by Jeanine Tesori (Thoroughly Modern Millie, Shrek the Musical, Caroline, or Change). Since I became quite familiar with the music, I went to the theatre particularly curious about the book. Unfortunately it was not as fleshed out as I’d hoped (although this may be due to the fact that the musical has been cut down to one act). The love story is somewhat lacking; I never really got on board with the triangle. I think a large problem is that aside from Violet, we don’t get much development from the other characters. Flick sings in the end, “I’m not at all the man you first laid eyes on,” but I didn’t see a change. This is by no means a comment on Joshua Henry’s performance, which is smooth as silk. I think it’s more the script that leaves me wanting. Monty, the other male lead (played by the talented Colin Donnell), remains rather bland and two-dimensional throughout as well.
Here’s the real scoop though: Sutton Foster’s a star. Did you hear? There’s this actress who was the understudy and got bumped up to the lead role in Thoroughly Modern Millie in 2002, and no one has looked back since. She deserves every Tony Award she will ever receive (two so far), every bit of praise and bit of attention she’s ever gotten. But truly, this isn’t news. Sutton shines in everything she touches, even as a character trying to hide herself from the world. From her hunched physicality, drawn-in shoulders, shielded eyes, wry humor, and using her hair as a barrier, you know who Violet is in an instant. Like in the Off-Broadway production, no make-up is used to create the scar. It is left entirely up to the imagination, and Sutton does all the work you need. This is the posture and behavior of a disfigured girl, ashamed to show her face because of how the world has treated her, and watching her transform over the course of the show is magnificent.
I hope to go back and see it again. I only saw the seventh preview or so, and I’m told it’s undergone several changes. Based on the glowing reviews the show received on Sunday night, I’m guessing things have only headed in the right direction. So even though the book felt thin to me and at times the stripped staging didn’t do much to help, I remain a huge fan of the score and this beautiful story of a girl finding herself. Oh, and of course – Sutton, Sutton, Sutton.
Violet
Music by Jeanine Tesori, Book and Lyrics by Brian Crawley, Directed by Leigh Silverman
American Airlines Theatre, Closing August 10th
Photo Credit: Joan Marcus
Pictured: Joshua Henry, Colin Donnell, and Sutton Foster
Aladdin
Posted: April 9, 2014 Filed under: Becca Doodle - Sad, Broadway, Musical | Tags: abu, aladdin, alanmenken, broadway, flyingcarpet, genie, jafar, jasmine, musical, review 1 Comment
So the critics and I haven’t been seeing eye-to-eye much of late. ROCKY received mostly negative reviews, and I think it’s one of the more exciting shows this season. Meanwhile, Aladdin received rave reviews, and to be honest with you, I didn’t think it was all that amazing. People are lapping this show up; the audience was on its feet before the bows even started. And I doubt the show will have much trouble selling tickets being that it’s…ya know, Disney’s Aladdin (albeit The Little Mermaid wasn’t much of a success).
Here’s the thing: this production is a huge and colorful spectacle, but ultimately, I thought it lacked heart – the heart that I feel is deeply a part of the movie. Lines taken directly from the film (lines that still make me cry despite having watched the movie a thousand times because it’s my favorite Disney flick) actually made me roll my eyes. I don’t think the show goes much deeper than the glitzy surface. Aladdin comes off as pretty bland, and it becomes even more apparent how much this hero lies.
My biggest complaint may be the cutting of the animals. Yeah, yeah, I know – it’s a new musical, it’s not the same as the movie, and I have to let certain things go. But I’m sorry! This is Disney! They have so much money. Figure out how to make Abu work instead of throwing him to the curb and giving Aladdin three pals who follow him around instead, churning out jokes like “I feel awful.” “Did someone say falafel?” Iago is still in it, but now he’s Jafar’s human sidekick. He does have some funny moments, but I want the parrot! Abu, Iago, and Raja are iconic characters. As far as I’m concerned, it’d be like doing Beauty & the Beast and cutting Lumiere, Cogsworth, and Mrs. Potts.
Oh, and I imagine you want to know about the flying carpet. Yes, the carpet does fly. It’s cool magic, and I don’t know how it’s done, but “A Whole New World” (one of my favorite songs of all time) falls short. The stage is dark except for the stars, and you can barely see the actors as the carpet makes its way all over the stage. The orchestrations are thinned out, and as a result, I didn’t feel the charge and excitement that typically comes hand in hand with that number.
Okay, enough negativity. Let me talk about the things that do work. You guys! Jafar is THE Jafar! Jonathan Freeman, the voice of the original Jafar, plays the role, and the kid in me definitely got a kick out of hearing him live. Some of the new songs are nice (written by Alan Menken and Chad Beguelin) and for the most part add to the story (A Million Miles Away is a lovely new tune).
Basically, the thing to know is that the Genie is the show. It should actually probably be called Genie. James Monroe Iglehart, who was also pretty darn fabulous in Memphis, gets another truly flashy role to show off his comedic and physical chops. “Friend Like Me” is an enormous production number and is the principal reason to buy a ticket. The way critics are saying it’s worth going to ROCKY for the last big fight? That’s what this song is. Nothing else matches it. (Speaking of which – why is it not the Act 1 Finale? I wonder if that’s changed since I saw it in previews. There are more scenes after that and another reprise of “Proud of Your Boy.” Bring the curtain down! Nothing can top that number!)
So listen, if you go see Aladdin, I’m sure you’ll enjoy yourself. I just felt like there were a lot of missed opportunities. There were more tricks and magic in the Finding Nemo production I saw at Animal Kingdom in Disney World. And the “wink wink nudge nudge” humor in the new material becomes so dominant that when you get to the deep-down spirit of story, the energy drops. The show is still fun as a whole, and the target audience will certainly be entertained. As for me, I think if more time had been spent on the heart of the show rather than all the mugging, I might have walked away feeling differently.
Aladdin
Music by Alan Menken, Lyrics by Howard Ashman and Tim Rice, Book and Lyrics by Chad Beguelin, Directed by Casey Nicholaw
New Amsterdam Theatre, Open-Ended
Photo Credit: Cylla von Tiedemann
Pictured: Adam Jacobs
Becca on Broadway 