Next Sunday is the 2016 Tony Awards, and as usual, I feel more than a little unprepared for the show. However, I also think I'm better informed than I have been for the past few years thanks to a wealth of online resources (and because it seems pretty certain that Hamilton will be a juggernaut). Below are a few of my favorites just in case you are looking to do some cramming for the Tonys or in case you are looking for some great information on Broadway and theatre.
My go-to resource for all things Broadway is BroadwayRadio. I've been a longtime listener to their Sunday podcatsts (and Peter Filichia wrote the first theatre book I ever bought for myself). Recently, they've expanded their podcast, so they have one each weekday morning in addition to the one on Sunday. These daily podcasts are shorter (usually around 15 minutes each), and they include review round-ups for shows that have just opened as well as news related to Broadway and the theatre world. The hosts (James Marino and Matt Tamanini) have an obvious love of theatre, and their well-informed and strong opinions are always thoughtful and engaging. Additionally, BroadwayRadio seems to be acquiring new theatre-related shows on a weekly basis, so this is definitely a resource to check out!
Love them or hate them, The New York Times is a wealth of information on Broadway, and their Tony Awards section is extensive, with news, interviews, and videos. I also love following the theatre critics' liveblog and Twitter accounts during the awards telecast.
According to the liner notes for a CD I bought many years ago (when I still bought CDs), “Edelweiss,” Rogers
and Hammerstein’s song about the Austrian flower, is one of the most moving
songs ever.Even without the hyperbolic wording, it is
easy to scoff at such a thought.The
song seems like a sentimental side note within an even more sentimental musical and movie,
a minor selection within the maudlin excess that is The Sound of Music.At first
glance, it doesn’t even seem to completely fulfill the definition of moving.For most of the population, moving means grandiose
declarations and copious weeping.Undoubtedly, musical theatre has offered numerous songs with more
outright passion and pathos; from the Rogers
and Hammerstein canon alone, songs such as “We Kiss in the Shadows,” “I’m in
Love with a Wonderful Guy,” and “You’ll Never Walk Alone” offer considerable
dramatic flair.By comparison,
“Edelweiss” is a short, simple, and somewhat repetitious love song to
nature.It lacks the tragedy of young
lovers separated by circumstance, the exhilaration of falling in love for the
first time, or the comfort in understanding that no one is truly alone.
However, to simply dismiss
“Edelweiss” as a clichéd ode to flowers does a great disservice to the song and
its composers.One part of the song’s
undeniable appeal and moving quality does have to do with its context within the film version of The Sound of Music.
Alone in the spotlight, seeing the Nazi
guards waiting to take him into custody so he can fight in the army, Captain
Von Trapp starts singing this simple tribute to his homeland, a place that,
according to the Nazis, no longer truly exists.In the film version, Christopher Plummer’s purported dislike of the
project makes it even more meaningful.Even as he manfully sings and strums, Capt. Von Trapp’s voice cracks as
he realizes the enormity of what has happened.For just a moment, Plummer’s cynicism fades, and he allows the audience
to see the vulnerability and sadness lurking beneath the stoic façade.His family, led by the incomparable Julie
Andrews, joins in and urges the audience to sing too.I still remember my 8th grade
teacher’s explanation of this moment – “It’s like singing the National Anthem
in the face of defeat.
Despite the intense emotions
associated with the scene, a close examination of the song reveals its considerable
strengths without the context of Nazis, Austria, and Julie Andrews.“Edelweiss” was Oscar Hammerstein’s final work before succumbing to
cancer.Unlike the obvious morality of
“You’ll Never Walk Alone” or “Climb Ev'ry Mountain,” “Edelweiss” offers a more
restrained method of inspiration.While
time and life are fleeting, some things remain unchanged.In this sense, “Edelweiss” is also one of the
most Romantic (with a capital R) of Rogers
and Hammerstein’s songs; nature remains constant and provides a sense of
comfort within this ever-changing world.The music takes a similarly understated and simplistic approach.Stripped of histrionics and vocal gymnastics,
the tune emulates traditional folk music.This is not a song that lends itself to lush orchestrations or
complicated choral arrangements; instead, it embraces the sincerity and
spontaneity that usually only comes with impromptu singing.
As for its inclusion on the most
moving songs of all times list, it is difficult to take a sale-priced CD at the
bookstore as the world’s foremost authority on music.However, in the case of “Edelweiss,” perhaps
it is on to something…
The 2015 Tony Awards were earlier this month, and while I came in knowing very little about the shows, I found it to be a mostly entertaining night. While there were some egregious missteps (flat jokes, problematic musical numbers, the deeply awful "In Memorium" presentation), overall, it was an entertaining and enjoyable night celebrating theater. While there are some great play-by-plays and reviews online (The New York Times always has a great Tonys section), I wanted to add my thoughts to the ones already out there. So, let's rewind to earlier in the month and relive the great and not-so-great moments.
The Hosts - I have to admit that I'm torn about Kristin Chenoweth and Alan Cumming. On one hand, they brought a lively sense of irreverence to the proceedings. At their best, it was a little like watching the Tonys with your two snarky, opinionated theatre friends who mock everything but in a loving and joyous way (as opposed to a bitter and angry way). For instance, watching Alan Cumming plug Josh Groban's performance for 90 minutes or so was funny because it was obvious that Cumming thought the constant reminders were obnoxious. I also enjoyed the little musical interludes that the hosts did before the commercial breaks.
However, there were times when the hosts (or the writers or both) went too far and the jokes landed with a thud or failed to launch at all. Case in point: After an amazing performance from Fun Home (more on this in a moment), the audience was treated to a lame E.T. joke. As Dave Itzkoff at the Times put it:
If you're really mad at Game of Thrones, remember you could have seen this on the Tonys. pic.twitter.com/sgUPKkUVet
Let this be a lesson that sometimes less is more and that, if you are going to do a lame joke, then at least plan to do it after a crappy performance.
The Best Musical Nominee Numbers Fun Home - For most people, this was THE number of the night. Sydney Lucas, who plays the youngest version of Allison, showed some major acting and singing chops in "Ring of Keys." While this number doesn't seem like an obvious one for a Tonys telecast (most shows went for big, splashy, and fun production numbers), it was perfect.
Something Rotten! - While it was very meta (the song is all about musicals and the sometimes preposterous tropes and conventions they contain), it was a nice way to kick off the night. Also, anything that mocks Les Miserables gets a pass in my book.
The Visit - It is always nice to see Chita Rivera performing, especially when she is performing Kander and Ebb. Sure, it was befuddling (Chita is dancing with a younger version of herself, and according to those who have seen the show, the men in masks are supposed to be eunuchs), but it's Chita and Kander & Ebb.
An American in Paris - I don't know why, but I have an unexplainable animosity towards this show. I think that part of it stems from the fact that it (according to all accounts, rightfully) bested On the Town in the choreography category, but the Tony number it selected didn't endear it to me either. It was the perfect example of why medleys don't usually fare well in this venue. It was overstuffed and rather confusing (if you didn't know anything about the show, this probably wouldn't help you).
I know it has been a while since I've blogged here, but tonight is Tony night!
While I know next to nothing about the nominated shows this year, I'm still excited. In a sense, this makes tonight's broadcast even more interesting to me since it will (in theory) give me a chance to learn more about the shows, and I won't get too upset if a show I love doesn't win.
I plan to have a reactions post on the Tonys up later this week. Stay tuned!
Many, many things of note happened while I was taking
a break from the blogosphere, and one of the most interesting (at least to me
in relation to this blog) was the strange creature that was Smash. When
it was first announced, people were taken with its solid pedigree from both the
film/tv (Stephen Spielberg! Anjelica Huston! Debra Messing!) and theatre (Marc
Shaiman and Scott Wittman! Theresa Rebek! Megan Hilty!) worlds, and its
premiere opened to a lot of fanfare and some solid reviews. However, almost
from the beginning, the show was plagued with numerous problems in front and
behind the cameras.
A lot has been said about the rise and fall of Smash,
including an intriguing behind-the-scenes look by Marc Shaiman,
the insightful and delightfully dry review by The New Yorker’s Emily Nussbaum,and a series of recaps from The A.V. Club,
the latter of which includes the wonderfully snarky (and accurate) summation of
the series as a “long parade of talented people and Katharine McPhee realizing
the show with such promise they signed on for has become… this.” Given all of
this and the fact that the show lasted a mere 32 episodes, it seems like
everything that needs to be said about Smash has been said. However,
thanks to the magic of YouTube and its “Watch It Again” section, I found myself
revisiting some of Smash’s highlights and lowlights, which got me to thinking
about the show as a whole.
One of the issues with Smash is that it often
garnered the wrong kind of attention, especially near the end of its brief
tenure. After a thrilling pilot, which culminated with Ivy (Megan Hilty) and
Karen (McPhee) vocally duking it out with the rousing “Let Me Be Your Star,”
the show made a series of missteps that alienated its natural fanbase (theatre
people). The characters lacked subtlety and consistency, deus ex machina seemed
to happen every week (Grace Gummer comes to help her mother [Anjelica Houston]
see the error of her ways before going off to count trout or salmon or
something), and even the most basic plot points and details seemed ridiculous.
By the show’s end, the small audience that remained mostly consisted of
hate-watchers who wanted to comment on Karen’s awfulness or Julia’s (Messing)
questionable scarf choices and annoying son. In all honesty, reading the recaps
and forums at places like the departed Television without Pity were much more
entertaining and lively than anything depicted in the Smashverse.
However, thinking about the show and watching clips a year
after it ended has been an enjoyable experience. Yes, the show is still deeply
flawed, and yes, Karen/McPhee continues to be its weakest link, a distinction
that is impressive since the show had so many problems. However, minus the
animus and the derisive, if often deserved, commentary surrounding the show in
its death throes, Smash is indeed entertaining in a non-ironic way.
There are some very good performances that transcend the terrible character
development; Hilty, Messing, Jack Davenport, Houston, and even Jeremy Jordan,
who was saddled with a character that seemed custom-made to be awful, did the
best they could with what they were given. Hilty, by far, was the highlight of
the show, and she was able to give Ivy dignity despite the character’s
whiplash-inducing turns. The other aspect of the show that truly stood out to
me upon rewatching the clips was the musical numbers. There were some stinkers,
to be sure (I had a very hard time connecting to Hit List, a show whose
dislikable characters rival the ones found in Smash), but many of the
songs are quite good. Shaiman and Wittman’s contributions, including the Bombshell
songs and the wonderfully campy “A Thousand and One Nights” (ignore McPhee's contributions and concentrate on Raza Jaffrey and the rest of the cast), stand out. The
second season brought some stellar numbers from Andrew McMahon, Joe Iconis, and
Pasek and Paul. Even when the show’s plot was cause for secondhand
embarrassment, the musical numbers, for the most part, were interesting and
sometimes even excellent.
A great deal of blame has been heaped on McPhee, and she (or
at least her character) was a major part of the problem. While people formed
factions along party lines (Team Ivy or Team Karen), the issue of Team Karen
was the Karen was very difficult to root for. Set up as the person that the
audience was supposed to identify with and want to see succeed, Karen ended up
being not the likable everywoman or even a flawed if ultimately sympathetic
protagonist but an object of scorn who managed to be both insipid and
incredibly unpleasant. McPhee isn’t blameless when it comes to Karen’s
awfulness, but she also isn’t entirely at fault. Although another actress
(Laura Osnes, a true Broadway ingénue who also got her break from reality
television, was considered for the role and would have been a better fit) could
have brought out Karen’s more likable characteristics and perhaps even a sense
of genuine goodness and vulnerability, the writing for the character undermined
the ultimate goal of making her relatable. As Nussbaum cogently puts it in her
article, Karen is a “human humblebrag” and “a one-note character [who McPhee]
then took… down a half-note.”
McPhee’s acting chops are decidedly not up to the job of
transforming Karen from a passive-aggressive Mary Sue to an actually likable
character, but that isn’t the only problem at work. Despite Smash’s
attempts to tell us that Karen is the most awesome, most special, most
talented actress ever to appear on the Great White Way, McPhee doesn’t have the
incandescent sparkle needed to match the rapturous praise her character
receives in heaps. She also suffers by comparison to Hilty and the head-to-head
competition between Karen and Ivy that is dictated by the script. In most
cases, Hilty wins hands down. However, this isn’t to say that McPhee is
untalented; there are moments where she did an okay job with Marilyn (please
don’t throw things at me), and numbers like “Public Relations” show moments of
the sparkle that the other characters constantly attribute to Karen.
Unfortunately, this small glimmers do not an entire character make.
Over 365 days and 1,000+ words later, I’m still awed and
entertained by the rapid rise and fall of Smash. The awe comes from the
fact that such a talented group of people was able to assemble and make a
television show about musical theatre in the first place, and the entertainment
comes from both the show’s better moments and the enmity it inspired in its
implosion. However, despite hindsight being 20/20, moments of Smash
remain thrilling. With that in mind, I’m ending with two more of my favorite
moments:
Yes, this is a little too "Up with People," especially since the song is about suicide, but I enjoy this version of song a great deal. If only the rest of Hit List were as raw and energetic as this.
It was a toss-up between "Let's Be Bad" and "The National Pastime" for this slot, but Hilty has so much great subtext in this number that it wins.
When I first came across Something's Coming, Something Good in my local Barnes & Noble, I immediately knew that I had to buy the book. As a theatre junkie and a huge fan of West Side Story, I thought that this book would be a great addition to my library (yes, I do have a musical theatre/theatre subset within my books). After reading the book, I've found that my initial enthusiasm might have been a little premature. Misha Berson offers an interesting and well-written look at West Side Story, but rather than presenting new scholarship or perspective on the show and its creation, the entire book is more as a compilation of previous research and information.
The book examines West Side Story from its origins to its role as a touchstone of American culture. The most engaging chapters come early in the book, as Berson addresses the show's staging, music and lyrics, and choreography. I also appreciated the chapter dedicated to the film version of the musical, which included a list of differences between the movie and the stage show. These chapters are very heavy on the research, but Berson integrates other people's thoughts and ideas in a way that is cohesive and easy to read.
Unfortunately, some of the other chapters suffer by comparison, and several seem like filler added to make the book longer. The most egregious chapters are "The Rise of the Dancer-Choreographer," "Broadway's Youth Musicals," and "West Side Story and the Rise of Juvenile Delinquency." These chapters seem unnecessary and distract from the strong scholarship that Berson brings to the rest of the book. For instance, I'm still scratching my head over the inclusion of the youth musicals chapter. Not only are the included shows unsurprising (Hair, Rent, and Spring Awakening are all mentioned), but the few connections Berson attempts to draw between these shows and West Side Story are obvious at best. These factors, combined with the fact that the chapter is a slight three and a half pages (and one page is a picture), makes me wonder why this chapter wasn't cut altogether. What makes this truly lamentable is that the basic idea (West Side Story's influence on later musicals about teen angst and rebellion) has the potential to be much more interesting than the actual chapter suggests.
Given all of these factors, I do recommend Something's Coming, Something Good, albeit with some reservations. This would be a great resource for someone who has just found the show or for a theatre director who needs to brush up on the show's history and conception. Berson has certainly done her research, and references to previous biographies, books, documentaries, magazine articles, and interviews abound. With all of this information, this book provides a good springboard for those who want to do further research into the show and read the primary sources Berson quotes. There is also a very fun section on references to the show in popular culture, which would be a great way to introduce it to a theatre class.
In short, this book provides a great introduction for people who want to learn more about the show, and it even makes sense as a quick reference guide for those of us who know a great deal about the musical's origins and influence. However, don't be afraid to skip some of the lighter chapters that only have a tangential relationship with the show.
Follies, straight from Washington D.C.'s Kennedy Center, recently opened on Broadway, and the reviews have been mostly positive. Although I probably won't be able to get up to NYC to see the show (funding and time are not on my side right now), YouTubers have been diligently putting up videos from the Kennedy Center production, and I'm certain that some videos from Broadway will be up soon. With that in mind, I thought it might be interested to look at and compare three interpretations of one of my favorite numbers from Follies: "You're Gonna Love Tomorrow/Love Will See Us Through" from the Loveland section and starring the younger versions of our four main characters (Phyllis and Ben/Sally and Buddy).
From the Papermill Playhouse Production (1998)
Although this wasn't a Broadway production, it was perhaps the next best thing. Starring Ann Miller, Donna McKechnie, and a host of other notables, this production received a lot of attention. Although the sound and video quality isn't great, you can really see the talent of the cast and the vision of the choreographer (Jerry Mitchell). I particularly like the pairing of Meredith Patterson and Michael Gruber. They do a nice job portraying their characters' brittle veneer of sophistication without delving into caricature.
From Sondheim: The Birthday Concert (2011)
Yeah, I know this wasn't a production, but there is a lot to like about the staging and interpretation of this version. Although I really don't like Jen Colella's take on "You're Gonna Love Tomorrow" (I'm giving Matt Cavanaugh a pass because he's more subtle than Colella), Laura Osnes and Bobby Steggart totally won me over with their adorableness in "Love Will See Us Through." Their wide-eyed sweetness is a charming counterpoint to the utter smarminess of the other couple.
On a terribly shallow note, I think that Jen Colella is a perfect example of why you shouldn't get a tattoo in a super-conspicuous place (or why, if you do, you might want to wear a dress with sleeves).
Kennedy Center Production (2011)
Based on this video, I'm torn about this version of the song(s). The Ben/Phyllis duet is fine if not terribly exciting, while the Buddy/Sally version is just too broad for me to get behind. I feel like the entire "Love Will See Us Through" piece is done with too much of a knowing wink to the audience; the couple's discomfort is obvious and palpable. Although I know that we are supposed to get that Sally is not terribly happy for having to settle for Buddy, pulling it back just a bit would have helped the number immensely. One thing that I really liked about Osnes and Cavanaugh's interaction (see the concert version) is that the Sally/Ben interaction is subtle but very telling. By this point in the show, we don't need to be hit over the head with the fact that Sally is not happy with Buddy. Trust me, we know.
Since there were only two musicals nominated for "Best Revival of a Musical," I'm going to analyze/snark on the numbers from both the revival musicals and the new musicals in one post. Besides being more expedient (I'm feeling a little guilty for neglecting the Tonys last week), I've found that I didn't have a lot to say about many of the numbers.
The "Best Revival of a Musical" Production Numbers
How to Succeed in Business Without Really Trying
Daniel Radcliffe certainly gave it the old college try when leading the cast in a rendition of "The Brotherhood of Man." Even though I'm not a big Harry Potter fan, I was rooting for Radcliffe to do a good job, and I wasn't disappointed. Although he isn't the best singer, I thought that his performance overall was very charming. He has a nice stage presence and is a surprisingly good dancer. The overall staging of the number was good, even though I'm not the biggest fan of Rob Ashford (seriously, sometimes less is more), and the entire ensemble had good energy. The exception to this was John Larroquette. I'm not certain if he decided to play his character as being preternaturally bored, but he really didn't seem to be enjoying himself at all. My favorite part is, in the last 30 seconds or so of the number, Larroquette is hidden in the back of the formation to disguise the fact that he isn't a dancer and that he isn't really dancing. This, obviously, does not work.
Anything Goes - The show's title song was performed by the lovely and talented Sutton Foster and ensemble. While there wasn't anything wrong with it per se, it managed to be perfectly adequate without being all that memorable or special. I wonder if my ennui with the number in general stems from its overexposure. I feel like I had seen Foster sing and perform "Anything Goes" numerous times (in rehearsal footage, on the show's site, and on various talk shows). Perhaps Foster was feeling the same, since she was missing her trademark spark.
Best Musical Production Numbers
Catch Me if You Can - After a brief appearance and intro by Aaron Tveit, Norbert Leo Butz led the ensemble in "Don't Break the Rules," which many have cited as the high point of the show. Unfortunately, this doesn't speak that well to the show's merits, since my co-bloggers and I found the number very "meh." Unlike "Anything Goes," I don't fault the performers, since Butz and company are giving it their all. Instead, I think that the song in and of itself is flawed, and no amount of showmanship could have saved it. My favorite thought regarding this number comes from The Craptacular's Twitter feed: "Don't Break the Rules" plays a lot less compelling/exciting when its not preceded by like, 40 minutes of boring sh*t."
Sister Act - I have a soft spot for Sister Act (the movie). While Petina Miller has a nice voice and a great stage presence, she and the rest of the sisters weren't enough to make me forget the excellent ensemble in the movie. That said, "Raise Your Voice" wasn't bad, but I don't know if it would convince people to buy tickets. For me, it made me want to get the movie from Netflix rather than go to New York to catch the show.
The Scottsboro Boys - This number presents a conundrum. On one hand, it was well-written, well staged, and well performed by the actors. However, I have a problem with the fact that the number really, REALLY wasn't all that representative of the show as a whole. I don't know if the producers and the director (Susan Stroman) thought that doing a representative number was less important than showcasing the talents of the cast, but it did come off as very strange. Based on the number, you would think that this would be a lighthearted musical about friendship (trust me, it is not).
The Book of Mormon
The Book of Mormon broke with the trend of the evening (and the trend of most musical numbers performed at any given Tony Awards) by not doing a big ensemble number. In fact, "I Believe" is essentially a solo performed by Elder Price, with some unwitting (and very reluctant) assistance from the Ugandans at the end of the number. While I would have liked to have seen Josh Gads be featured in some way (not only was he not in this number, the camera didn't even cut to him when they were announcing the nominees for "Best Actor in a Musical"), I appreciated the break from big production numbers. Andrew Rannells did a wonderful job being believably sincere and appropriately earnest, and he has a great voice. I also thought that, unlike the Scottsboro number, this song perfectly encapsulates The Book of Mormon. After hearing this quasi-power ballad, you would definitely know what you were getting into if you decided to see this show.
I've had (almost) 24 hours to ruminate on the Tonys, and while I'm not nearly as pessimistic as I was last night, I'm still somewhat disappointed. It wasn't bad at all, but it was predictable and (on occasion) mind-numbingly boring. With few exceptions, this was not from lack of effort. Neil Patrick Harris sang, danced, and hosted his little heart out, and a lot of people, from Hugh Jackman to Bono to Daniel Radcliffe, were incredibly good sports. Perhaps I was expecting too much (this is an ongoing problem with me and the Tonys); I found the entire show serviceable and competent but not terribly exciting.
The Host - As I said, Neil Patrick Harris did a nice job. While some people might disagree, I would much, much rather watch NPH host than Hugh Jackman (or, God forbid, Sean Hayes, Whoopi Goldberg, or Rosie O'Donnell). He was charming and kept the momentum of the show going for the most part. That said, I do think he was trying too hard. The effort he was putting into being his usual lovable self was almost palpable, and I wanted to give him a hug and tell him to chill for a few moments. However, when he was on (such as the opening number, the hysterical glue joke regarding the War Horse, the showdown between him and Jackman, and even the rap, which was much better than I gave it credit for last night), he was good.
The Opening Number - I liked the idea of having an original number for the opening (rather than a mash-up of all the nominated shows). Besides being somewhat coherent (at least in theory), it also incorporated a lot of the shows without trying too hard. It was cute, but the most memorable part of it was Brooke Shields's epic screw-up that seemed to go on way too long. In fact, I couldn't remember much of the opening until I saw it on YouTube. This is not a good sign. However, it does get kudos for me for having the audacity to have NPH sing about how Broadway isn't just for gays while being hoisted aloft by a bunch of sailors who are shaking their butts in time with the music. That's special (in the best way possible).
The "Extra" Numbers from Shows that Were Not Nominated this Year - Many people argue that the Tonys have become one long commercial for shows (mostly musicals), and the number of extra numbers from shows not nominated doesn't help disprove that theory. Although most of these numbers were not as awful as the extra numbers we've gotten in the past (Young Frankenstein and the intolerable Mamma Mia! numbers come to mind), that doesn't mean they were good.
Memphis - Dammit, Tony Awards. Stop making me watch this damn number from Memphis. "Steal Your Rock 'n' Roll" was boring last year, and it was even worse this year. The inclusion of the small children dancing in the aisles only made me surlier, since it was obvious applause bait. If Memphis comes back next year, I might even start praying for the return of Jersey Boys, if only because that show has okay music.
Spider-Man: Turn Off the Dark - The Spider-Man producers went an interesting route for the number they selected for the Tonys. Rather than focusing on the flying and acrobatics, we got a duet between a very bored-sounding Mary Jane and Peter. I can't help but wonder if they opted for this because 1) the issues with bringing the rigging to the theatre or 2) they wanted to appeal to more traditional audience tastes (See! It has a love story! Just like Oklahoma!). Either way, I'm not convinced this was the best choice. Besides downplaying the comic book aspects of the show, it also proved that hearing other people sing the songs of Bono and The Edge isn't that interesting.
Company - I wanted to like "Side by Side by Side," and it wasn't awful, but it wasn't great either. It was mostly "meh" and didn't seem nearly as rehearsed or polished as the version taped by the New York Philharmonic. The inclusion of the three girlfriends was understandable (hey, people need to get their Christina Hendricks fix) but clumsy. That said, I'm still excited about seeing the show this week.
Oh Tony Awards. Every year I think that this year's telecast might be better than last year's, and every year you manage to prove me wrong. It wasn't anything was obviously wrong per se. Unlike past years, the sound wasn't awful and no one got hit in the head with the set. However, it was just so boring that even I (a theatre devotee with an aversion to sports) was tempted to change the channel to the NBA finals just for something more exciting. Even live blogging it with the snarky but reluctant help of my brother and sister didn't make this year's awards any more exciting.
However, I will do some roundup posts on the evening's events, including posts dedicated to the performances for Best Musical and Best Revival of a Musical. Stay tuned for critiques, kudos, and snark aplenty later this week.
Are you ready for the Tonys? I'm not quite there yet, but I'm getting closer thanks to Amazon, which is offering a digital download of The Book of Mormon original cast recording (please don't call it a soundtrack :) for the bargain price of $1.99. This is an excellent deal if only because you get to hear the awesome "You and Me (But Mostly Me)," a song that pays homage to (or savagely rips on) the power ballads from Wicked. Besides mocking Wicked, a show that I find too overly earnest and bombastic to fully embrace, I love that the song addresses the idea that, in spite of the many "buddy stories" in our culture, the partnership is usually very uneven.
If you want something even more irreverent (and borderline offensive) but still funny, check out "Baptize Me," a song that takes something that sounds like a conventional romantic duet and puts a distinctly unique twist on it.
The Tonys are coming! The Tonys are coming! Now that the day is almost upon, I'm actually pretty psyched. Besides the fact that I get to virtually watch it (and comment on it) with my siblings, there are a number of burning questions that the awards will answer. Here are a few, in no particular order:
Will Neil Patrick Harris have more to do than he did when he hosted two years ago? My best guess is "Yes" since he and (most of) the members of the New York Philharmonic concert production of Company are doing a number on the telecast.
Just how upset are people over the aforementioned number from Company? According to the This Week on Broadway podcast for this week, there has been some grumbling about the fact that Company, a show that isn't currently on Broadway, isn't nominated for a Tony, and is being shown in movie theaters later this month, is getting some precious airtime on the awards. While I sort of get the whining, all I can ask is:
How many times has the Tony Awards telecast subjected us to the horrors of Mamma Mia! and Jersey Boys? Seriously, at least this is fairly new. Also, it's Sondheim, who is, by his very nature, awesome. Now stop complaining or I'm going to make you listen to the touring cast of Mamma Mia! belt out a substandard version of "Dancing Queen" again.
Just how badly will the straight plays be treated this year? Every year, it seems like the straight plays are pushed into the corner in favor of the flashier musicals. However, given that this was a rather dismal year in terms of musicals (both original and revival) and an EXCELLENT year for straight plays, I'm hoping that the straight plays gets some much-deserved attention. With shows like Warhorse, The Normal Heart, Born Yesterday, and Jerusalem, the competition for the play categories is fierce!
Speaking of Warhorse, will we get to see those awesome horse puppets during the show? My money is on "yes."
Will Spider-Man: Turn off the Dark make an appearance? While I could not care less about this musical, I sort of want to see it on the Tonys because odds are that it would be very snark-worthy.
Will The Book of Mormon make a clean sweep of it? The charmingly irreverent (or is it irreverently charming?) musical from the creators of South Park is nominated for 14 Tony Awards, and some critics are predicting that they will make a clean sweep of things in these categories. While the musical sounds funny and charming, and is doesn't take itself too seriously like some past shows I could mention (ahem, Spring Awakening), I find myself rooting for other nominees in some of the categories. For one, I'm hoping that The Scottsboro Boys get some well-deserved love and attention. However, since the Tony voters tend to have a block mentality when it comes to voting, as evidenced by the sweep that the entertaining if unexciting and often pedestrian musical The Producers, so who knows what will happen?
Just how charming will Daniel Radcliffe be in the How to Succeed... number? Even though I'm not a huge Harry Potter fan, Radcliffe seems adorable and very grounded, so I'm rooting for him to blow the audience away with his performance.
Interested in finding out the answers to these questions? Do you have more questions (like: Will the set hit anyone this year)? Please feel free to leave comments below, and be certain to watch the Tonys on Sunday (and join us for the live blog if you can)!
To keep myself entertained while working, I've been listening to the Showtunes station on Pandora a lot. While some of the songs that come up are puzzling (there has been LOTS of Moulin Rouge! and Mulan, with some Taylor Swift thrown in for good measure), I've been enjoying listening to the occasional song from Little Shop of Horrors. Based on the cult film, Little Shop features music by Alan Menken and lyrics by Howard Ashman (who, in my mind, was Mr. Menken's best collaborator).
While many of the songs are amazing (my favorite is "Skid Row," which manages to be catchy and incredibly depressing at the same time), one that's been on my mind a lot (due to Pandora) is "Somewhere That's Green." Performed by Audrey, the sweet but insecure girl who works in the titular shop, the song is just one of Menken's many "I want" songs. However, it is an "I want" song with a twist.
Wait - What's an "I Want" Song? An "I want" song is a song in a musical that expresses a character's innermost desires, which will serve as the main imputes for the show's events. For examples of an "I want" song, you only need to look at any Disney musical. Prime examples of this include "Reflections" from Mulan (stupid Pandora), "Belle" from Beauty and the Beast, and "Go the Distance" from Hercules (yes, guys have "I want" songs too). These songs are also a staple of non-Disney musicals. "If I Were a Rich Man" from Fiddler on the Roof, "Wouldn't It Be Loverly" from My Fair Lady, and "I Want to Be a Producer" from The Producers all fit the bill.
What sets "Somewhere That's Green" apart from most other "I want" songs is the lyrics, which make the song simultaneously funny and heartbreaking. Unlike Belle, who longs for adventure and to get out of the little town where she lives, or Tevye, who longs for riches, Audrey's desires are much more pedestrian. Her "I want" centers around the 1950s ideal, with "a fence of real chain link/ a grill out on the patio/ disposal in the sink" featuring prominently in her dream.
The first time or two you hear the song, the mention of things like "Pine-Sol scented air" and the "big, enormous 12-inch screen" is funny, since these things are more than a little dated and are probably far from our ideal. However, upon closer inspection, this song really captures the bleakness of Audrey's life. She doesn't want adventure, she doesn't want to be rich, and she doesn't want to "go the distance." All she wants is security and a seemingly average life (I'd bet she'd be perfectly happy in Belle's provincial town). While most "I want" songs deal with wanting something much bigger, this song fits the character perfectly, because her life is so bleak that a toaster and and frozen dinners are as much as she can hope for (and are perhaps as great and as unobtainable to her as riches are to Tevye).
The Tony Awards are next Sunday, and I'm slowly but surely getting pumped for the show. Besides the return of Neil Patrick Harris as host, I am very excited about getting to liveblog the event with my siblings. Please come by next Sunday for fun, hilarity, and plenty of snark as we dissect the show in real time. Of course, I will also be doing a recap/review of the show's best, worst, and most wtf moments after the show.
Despite my relative apathy towards the Tony nominees this year, I am jazzed about some of the upcoming theatre-related events that are happening this month. Granted, few of them are occurring anywhere near me, but if you are in New York City or in Washington, D.C., then get ready.
In New York, there's the free Tony Award Documentary Film Series, which features Finding Billy (May 9 - sorry!), Every Little Step (May 16), and Show Business: The Road to Broadway (May 23). This also includes a panel discussion with some excellent speakers. While I haven't seen Finding Billy, I have seen the other two films and can safely say that both are very good. If you're in New York, this is definitely work checking out.
Washington, D.C.'s Kennedy Center is currently showing Stephen Sondheim's Follies, starring Bernadette Peters and Elaine Paige. It is running through June 19.
If you, like me, are not able to jaunt to NYC or D.C., you might be able to console yourself by seeing the New York Philharmonic's version of Company, which was filmed during its incredibly limited run and is being shown in movie theaters across the country.
The Tony Awards are coming up, and I'm hoping to avoid the technical difficulties that I experienced last year when watching them. The list of nominees are available on the New York Times' website (as well as other sites), and while it was an excellent year for straight plays (new shows like War Horse, The Motherfucker with the Hat, and Jerusalem had some great reviews), the musical categories aren't nearly as exciting.
I really don't have a lot to say about the nominated shows this year, since I've been out of the theater loop (due to lack of time and some lack of interest). Barring any unforeseen technical issues on my end, I will do my usual roundup/critique of the show after the event. In the meantime, to get you (and me) geared up for the Tonys, here are some suggested sources:
BroadwayStars.com/ This Week on Broadway: To get more information and thoughts on the Tony Award nominees, as well as predictions of who will win, you should head over to BroadwayStars.com for the This Week on Broadway podcast, where some very thoughtful contributers (including Peter Filichia and Jan Simpson) talk about theater. It is becoming one of my favorite podcasts because the people involved are very knowledgeable and passionate about theatre; even when I don't necessarily agree with their reviews for a show, I admire their insight.
DidHeLikeIt.com: Ben Brantley might not be everyone's cup of tea, but his website, which features reviews (his and others) on shows is a lot of fun. For an extra dose of Ben, be certain to read his thoughtful article at the Times on the 2011 nominees: "This Time, the Tonys Grow Up and Get It Right."
The New York Times Live Blog of the Nominations: Say what you will about the New York Times and their pay wall (which I have managed to avoid thus far). I love the live blog that they do for different events like the Tony Nomination and the Tony Awards. Even when the awards aren't that exciting, I can count on the live blog for snarky insight and analysis.
I have long had a love affair with musical theatre. When I was younger, this love affair was all-consuming; anything and everything Broadway-related, from Andrew Lloyd Webber to (shudder) Frank Wildhorn, was fair game, and I admit that I had at least two versions of the Jekyll and Hyde soundtrack in my CD collection. However, with age and experience comes discernment. While I still have a fondness for some ALW, my interest in Wildhorn's pedestrian work died before I entered college and any lingering attachment perished when David Hasselhoff played the title role(s) in a televised version of Jekyll and Hyde.
Luckily, college introduced me to the works of Stephen Sondheim, and ever since, I have become a bit of a Sondheim snob. Consequently, when I heard that he was writing a book that included the lyrics for his shows, as well as essays and reflections on the songs, I was psyched (sadly enough, I probably used this exact phrase when telling my students about it. Unsurprisingly, they were not nearly as excited as I was).
Finishing the Hat includes the lyrics for Sondheim's shows from Saturday Night (conceived of before West Side Story, but unperformed until 1997) to the wonderful (if poorly received) Merrily We Roll Along. Interspersed among all of the lyrics are overviews of the shows as well as short essays and notes about the songs (hence the Comments, Principles, Heresies, Grudges, Whines, and Anecdotes from the book's subtitle). The book also contains Sondheim's original notes and reflections on other lyric writers (all deceased), such as Oscar Hammerstein II (Sondheim's mentor), Irving Berlin, and Cole Porter. In short, this book is a musical lover's dream come true.
While the lyrics are the real star of the book (and, as Sondheim noted in his interview with Terry Gross for NPR's Fresh Air, they read very well on the page), I found myself really enjoying his thoughts upon revisiting the lyrics. For instance, his explanation for changing "Rich and Happy" to "That Frank" not only helps us understand his rationale for the change but also gives us a deeper appreciation for the thought that he puts into his music and lyrics. I also enjoyed Sondheim's forthrightness and candor, which rarely devolve into malicious gossip (the closest he gets is in his recollections of The Frogs). He is quick to praise the lyricists who came before him and influenced his work (as his pastiche work in Follies shows), but he also does not hold back when it comes to critiquing their more questionable lyrics. Even as I felt myself getting defensive on behalf of lyricists like Gershwin (whose work Sondheim refers to as "Rhyming poison"), Sondheim uses specific examples to prove his points, and even when I admire the lyricist in question, I often found myself understanding and agreeing with Sondheim's anlysis.
One of the roads I didn't take was taking a course (or set of courses) dedicated to musical theatre. However, Sondheim's Finishing the Hat provides a veritable master class on musical theatre and the thought and care that go into creating a musical. Read it while listening to Sondheim's songs, and you will get the full appreciation of a master at work.
I know that I blogged about 1776 two years ago, it is definitely a musical worth revisiting. While it isn't perfect, there is something very moving about it. Here are two of my favorite moments from the movie adaptation.
In the first scene, Franklin, Adams, and Jefferson fret while the Continental Congress read Jefferson's Declaration of Independence. However, despite (or perhaps in response to) the stress of waiting, the three men find time to bicker over what the national bird should be:
The second scene is considerably meatier and more dramatic. This scene follows the harrowing "Molasses to Rum" number, which one of the delegates from the southern states performs in response to the demands that slavery end. Adams, alone and shattered, tries to rally himself after the delegates leave the hall:
I must admit, I'm not all that jazzed about the Tony Awards this year. Besides the fact that I will watching them with my brother and sister, there isn't a lot that excites me about the performance. While there are some definite heavy hitters among the nominees (the Leading Actor in a Play nominees include Denzel Washington, Alfred Molina, and Christopher Walken), the musicals, which are, to me, the main attraction, don't excite me very much. I'm unfamiliar with the new musicals, and while the revivals have gotten some excellent reviews, the show that I would love to see (Ragtime) has already closed and it isn't likely that they will have a snippet to show during the ceremony.
That said, here are my two wishes for next Sunday's ceremonies:
They actually pay some attention to the plays. Honestly, if Scarlett Johansson and Denzel Washington can't get the nominated plays some television time, then the plays will never get a fair shake.
If you are looking for more Tony fever than I can muster up this year, the New York Times has an entire section dedicated to the Tony Awards. Ben Brantley's Did He Like It site also has a page listing the nominees with illustrations of what Brantley thought of the best play and musical nominees.
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