Posted: June 13, 2014 | Author: beccaonbroadway | 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 |

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!
Posted: March 12, 2014 | Author: beccaonbroadway | Filed under: Broadway, Musical | Tags: adrian, ahrensflaherty, alextimbers, andykarl, margoseibert, musical, review, rocky, rockybalboa, rockybroadway, rockymusical, slystallone, sylvesterstallone, wintergarden |

Well, that was a surprise. I gotta say: I was wary going into ROCKY – and admittedly even remained so on and off throughout Act I – but man oh man, this new musical may be the shock winner of the season. I think you all need to prepare yourselves for a whole lot of “ROCKY is a Knock-Out” headlines.
Before I dive into the details, let me get this out of the way first: I have never seen the movie. I know! I know! None of them! I should get on that stat. I think it gave me a unique perspective though, since I would guess most people attending know the films quite well.
Act I is relatively solid. There is a lot of exposition to cover, and it takes a little time to find its groove, but things kick into gear with Adrian’s first big song, “Raining.” For me though, Act II is where the show totally takes off. It’s non-stop, high energy, and reaches ultimate entertainment value. And have no fear – it includes all of the iconic moments you would expect from a Rocky musical. The training montages are kick-ass. There are Rockys everywhere! Instead of multiple Phantoms crossing bridges or lots of Spidermen flying across the stage, now you get Rockys in grey sweats. Also, the projections of the streets of Philadelphia as he trains are great and manage not to go overboard – what Ghost the Musical was trying to do and failed. Ghost looked over-produced whereas this just looks cool. Cool is key if you’re going to put Rocky Balboa in musical format. Who knew they could successfully make that character sing?
The leads are very strong. There’s the always-reliable Andy Karl in the title role. You may have seen Andy in The Mystery of Edwin Drood, Jersey Boys, or perhaps as the UPS guy in Legally Blonde, to name a few. But this is his first “carrying-the-show” role. He plays a reserved, tough Rocky and doesn’t make a parody out of the iconic Sly impression. He makes it his own yet still honors certain aspects of Stallone’s performance. And then you have Margo Seibert making her exciting Broadway debut as Adrian. And damn, this girl can sing. Here’s an inside look at both the stars and the show itself.
The book was co-written by Stallone and Thomas Meehan (whose award-winning work includes Annie, The Producers, and Hairspray). The new score is written by Lynn Ahrens and Stephen Flaherty, the Tony-winning writing team of Ragtime, A Man of No Importance, and Once on This Island. Or perhaps you’re a fan of the animated film, Anastasia (I sure am). The ROCKY score is full of power ballads, sweet duets, and everyone’s favorite pump-up song, “Eye of the Tiger.” And of course there’s the man of the hour, director Alex Timbers, who returns to Broadway with yet another innovative experiment in new theatricality.
I so want to tell you about what they do for the big fight in the end, but I don’t think it would be fair of me to spoil it. Just know this: it’s awesome. I’ve never seen anything like this in a theatre. It’s excellently choreographed and packed with fantastic lighting and super cool effects. The last 20 minutes were so exhilarating that Matt and I ran out of the theatre with the beat thumping in our heads and our hearts racing. The audience was so worked up by the 15th round that we were all cheering together on the literal edges of our seats. I was practically on my feet shouting “Adrian” too.
This production may just be the punch Broadway doesn’t see coming. Go see it!
ROCKY
Music by Lynn Ahrens and Stephen Flaherty, Book by Thomas Meehan and Sylvester Stallone, Directed by Alex Timbers
Winter Garden Theatre, Opening March 13th
Photo Credit: Matthew Murphy
Pictured: Andy Karl and Terence Archie