Looking Ahead to the 2016 Tony Awards

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.

While this isn't a resource dedicated to theatre, I'd be remiss if I didn't include the interview Broadway producer Scott Rudin did with Terry Gross on Fresh Air. He had some wonderful insights into the backstage world of Broadway. Additionally, if you go into the Fresh Air archives, you can find some excellent interviews with other theatre personalities, including Stephen Sondheim, Sheldon Harnick, and John Kander.

Happy reading/listening!


Yes, I know I posted this last year. And yes, I still think it applies.

The 2015 Tony Awards: The Host & Best Musical Nominees

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

— Dave Itzkoff (@ditzkoff) June 8, 2015

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).

Tony, Tony, Tony!

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!

The 2011 Tonys: Just Because You Try Doesn't mean You Succeed

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.

My Thoughts on the 2011 Tonys (Part I): The Host and the "Extra" Production Numbers

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.

The 2011 Tony Awards: First Reactions

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.

Live Blogging the 2011 Tony Awards

"The Book of Mormon" Original Cast Recording is On Sale at Amazon

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.

Burning Questions for the 2011 Tony Awards

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)!

One Week Until the Tonys

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.

Upcoming Theatre Events (Tony-Related and Otherwise)

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.

Looking Ahead to the 2011 Tonys

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.

Stupid Digital Television

I'm visiting my brother, and while he has a digital converter box, CBS is not coming through. This means I'm missing the Tonys. This also means that, much to my chagrin, I will not be able to do my usual deconstruction/critique of the Tonys on my blog. Stupid digital television...

Looking Ahead to the Tonys

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.
• I want Sean Hayes to win Best Actor in a Musical just so the guy who wrote this article can go suck it. Incidentally, the writer has tried to backtrack and say that he was trying to start a dialog (insert an eye roll here).

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.

Tony Fever

The Tony Awards are just a few days away, but I have been very bad about posting anything about them. However, I hope to remedy that this weekend! Stay tuned...

More "Ragtime"

To get the full effect of the spine-tingling opening number, watch the original cast's performance from the 1998 Tony Awards. Even though the number is abridged (in the musical, it runs a full 10 minutes and introduces the main characters), it will give you a better sense of what on earth is going on. As an added bonus, you can play "Hey, isn't that...?" Besides Audra McDonald and Brian Stokes Mitchell, the original cast featured Marin Mazzie and an incredibly young Lea Michele (long before she played Wendla in Spring Awakening or Rachel on Glee)

The 2009 Tony Awards: Proving that You Can Be "Whelmed"

Finally, here is my take on the dizzying highs and terrifying lows of the 2009 Tonys:

The Highlights:

• I have never been a big fan of Hair, but their showing at the Tonys won me over. "Hair" was fun and energetic, and "Let the Sunshine In" was transcendent. Watching the cast run into the aisles, dance with the other nominees and audience members (Elton John looked so happy), and throw flowers was a nearly perfect moment. Overall, the cast's overwhelming enthusiasm and passion were infectious, and I liked how humble the entire cast and production team seemed, even as they won for Best Revival of a Musical. I also loved how happy Gavin Creel looked when he was giving a standing ovation to the three actors who won Best Actor in a Musical for Billy Elliot. That's class.
• Neil Patrick Harris wasn't given much to do, but he was a great host (for the little time that we saw him). He was smart, charming, funny, and subtle, which made him a breath of fresh air after the insanity that was Whoppi. His closing number was also fantastic. Dear Tony producers: Please bring NPH back next year (and let him do more)!
• Angela Lansbury's speech was lovely - very articulate and gracious. She also did a wonderful job presenting Jerry Herman the Lifetime Achievement Award.
• Anne Hathaway looked so damn happy to be there, and it was nice to see a young, talented Hollywood actress (I know, she started off in theatre, but still) be so excited at the ceremonies. Whether she was introducing "Hair," enjoying Liza's performance, or just reacting to whatever was happening onstage (the cameras kept cutting to her for some reason), she looked like she was psyched.
• I know that this is complete schadenfreude, but I'm convinced that the theatre gods were smiting Bret Michaels. I've watched his collision with the set numerous times on YouTube, and it never fails to make me giggle like a schoolgirl.
  
• The three boys who won for Billy Elliot (David Alvarez, Trent Kowalik, and Kiril Kulish) were adorable. Even though they were a little flustered, it was obvious that they had rehearsed what they were going to say. More importantly, their speech was heartfelt.
  

The Lowlights - There were so many, but here are the worst of the worst (at least in my book)

• The technical aspects of the show were atrocious! As a former theatre techie, I hope that someone (perhaps multiple someones) got fired for the shoddy, shoddy work that was done on Tony night. The horrible sound problems, the ADHD-inducing camera work, and other technical snafus were inexcusable, especially when you consider that this show was for THEATRE AWARDS!!! I loved how Audra McDonald and Marcia Gay Hayden were very quick to point out the technical problems that occurred during their brief segments. Honestly, I've worked with high school kids who might have done a better job.
• Usually the Tonys does a pretty good "In Memorium" segment. In past years, the audience was very respectful (unlike the Oscars, no one clapped until the end of the montage). However, this year's was painful on several levels. In addition to the producer/ director's questionable choice of using a choral version of "What I Did for Love," the camera work made it impossible for us at home to see who was being shown on the screens. Also, for the first time in my memory, the audience clapped for specific people during the montage, which made a potentially moving moment a morbid popularity contest.
  
• Oh Alice Ripley - I and many others had a great deal of good will towards you, and you managed to diminish it or completely kill it with your acceptance speech for Best Actress in a Musical. Yelling at the audience was jarring and unnecessary (for a moment I wondered if she was channeling her mentally unstable character from Next to Normal), and a lot of people thought the entire speech was condescending and pretentious. This is unfortunate because you are talented, and from all reports, your Tony was well-deserved. Next time, work being likable instead of insufferably arrogant and loud.
  
• While featuring some touring shows might have seemed like a good idea in theory, the reality was a terrible, confusing, off-key mess. The worst of the three definitely was Mamma Mia!, but Jersey Boys and Legally Blonde the Musical were awful as well. Jersey Boys needs to be retired from the Tonys for at least a decade or two - according to one site, the show has been featured three times in the past four years. There were other shows, like the straight plays, that deserved to be featured.
• The straight plays continue to get the shaft. While they actually got to have a tiny clip on the broadcast this year, the clips were less than 20 seconds each (I got my stopwatch out and timed them). I would much rather see the straight plays get some respect than suffer through another damn performance of "Dancing Queen."

The Tonys (part III)

For those of you in cyber world who want even more about the Tonys, here are my thoughts on the production numbers from the "Best Revival of a Musical" shows for your reading pleasure:

• West Side Story - WSS opted to go the classic route with "The Dance at the Gym." However, I've got mixed feelings about this. On the plus side, Jerome Robbins's choreography was still a feat to behold, the cast was very talented, and this number was a great way to incorporate the entire company in a very organic way. It also did a good job showcasing the leads (particularly Karen Olivio), and even Tony and Maria got a nice moment in the frenzy. Unfortunately, the camera work was sub par (an ongoing theme in this year's broadcast), which made the translation to television a little odd. Also, compared with the great version of the same number done at the Tonys for Jerome Robbins' Broadway, it didn't quite live up to its potential greatness. All in all, however, I thought it was one of the better numbers of the night. It was infinitely understandable and accessible, even people who aren't that familiar with the story (are there people not familiar with WSS?).
• Guys & Dolls - Poor G&D. Not only were they critically trounced, they also had some horrible sound issues, resulting in a stage hand running onstage at the beginning of the number to give Tituss Burgess a new mic. Their offering was the perennial favorite "Sit Down, You're Rocking the Boat," and Burgess recovered admirably to deliver the number, but the number seemed a little low-energy. What could have been an electrifying showstopper was only "meh." Another problem was the insane backdrop - it was unnecessary, and I initially thought that the Tony crew screwed up and were showing a screensaver behind the cast. Sadly, this was a G&D production choice, and it shows us just why this revival didn't work out so well. Also, why did show's producers decide to not use their leads (Lauren Graham, Oliver Platt, Craig Bierko, and Kate Jennings Grant)?
  
• Hair - The highlight of the monstrous opening number was Hair's giddy "Let the Sunshine In." Sadly, since they had already used that song, they had to go with something else for their main number, and so they turned to the show's title song. On the plus side, the cast was very energetic and their enthusiasm and excitement was palpable (please take a lesson from them, touring companies - they are the real thing). I wasn't crazy about the staging - personally, I thought that they either should have stayed on the stage or had more actors start out in the audience. However, Gavin Creel managed to practically molest James Gandolfini (which seems like a double-edged affront since Gandolfini is bald) without getting a hit placed on him, so it was successful on that account. Best line regarding this goes to Dave Itzkoff on the NYT live blog: "Yeah, you go up to James Gandolfini and run your fingers through his scalp. I dare you."

Coming up in a future post: the highlights, lowlights, and WTF? moments. Stay tuned!

The 2009 Tonys (Part II): Now with 50% More Liza

Looking for more reviews/ snark on the Tonys? Well, here is my second post (the first post can be found here) on the 2009 Tony awards broadcast, featuring the "Best New Musical" production numbers:

• Shrek the Musical - This should be the poster-child for why a good movie does not always make a good musical. Besides not featuring the talents of Sutton Foster and Brian D'Arcy James (who were both nominated for Tonys), the entire Duloc number seemed more suited for an amusement park than Broadway. Even the little "Welcome to Duloc" song, which was hysterical in the movie, fell flat. However, I must give props to Christopher Sieber for being able to dance and do an entire show on his knees. That's impressive!
  
• Rock of Ages - This show, along with Shrek, filled the "Never in a thousand years" requirement for "Best Musical." Every year, there is at least one (this year there were two) musical that most people with even a basic familiarity with Broadway knows has a snowball's chance in hell of winning "Best Musical." The production number, which included Mitchell Jarvis approaching Liza Minelli, was a hot mess. It was not helped by the fact that we didn't get an introduction to this number but were just thrown in without any notice (imagine watching a Merchant-Ivory film only to have a reel from This is Spinal Tap spliced in for good measure). Even my love for "Don't Stop Believing" couldn't save this number.
• Next to Normal - I liked this number; it was not splashy or gimmicky (I'm looking at you Rock of Ages and Shrek), but it was very moving and translated well to television. The end of the number was a little confusing, but a quick internet search helped. The actors were great, and Alice Ripley really hit it out of the park in this number. Unfortunately, I lost a lot of my respect for her during her Tony acceptance speech, but more on that later.
  
• Billy Elliot - I really, really wanted to like you. Your creative team was so delightfully articulate and British, and your three young stars were adorable. However, what the hell was up with the number you did last night? It had some very creative choreography, and the child who played Billy is an incredible dancer, but for the life of me, I really didn't get it. Furthermore, I don't think it did a good job of selling the show to the general viewing audience. Some of the short clips they showed when the show won its various awards and even the snippet in the opening number did a much better job of giving audiences a glimpse of what the musical is really like (I loved the little clip of Billy dancing in a row of tutu-wearing girls).

Do you still want more? My take on the "Best Revival of a Musical" numbers, and the ceremony's highlights and lowlights are still to come! I hope to have them posted no later than 6/10.

My Thoughts on the Tonys (part I)

For me, the past few years with the Tonys has been sort of like prom (or graduation or any other "big day" that gets hyped up). I get all excited about it, but the event inevitably lets me down. While I can certainly stand to watch it the entire way through, which is more than I can say for the Oscars, my Tony love has been slipping, and this year's ceremony did little to help revive it:

The host - Oh, Neil Patrick Harris. You are capable of much, much more than the producers, directors, etc. of the show allowed you to do. The closing number (which was very witty, funny, and entertaining) and that shot at Jeremy Piven gave us a glimpse of what the show might have been like if you were allowed more of a part. (For all that is holy, Tony people, you let Whoppi do more last year. And don't get me started on the Tony's seeming obsession with Hugh Jackman).

Anyway, when NPH was on, he was funny, subtle, and cute. He needed to be featured a lot more. According to the live blog at the New York Times, NPH got the biggest press room applause of the night.

The opening number - I admit, I missed the first minute of the opening number because of a washer/ dryer issue, and I ran into my apartment just in time to see a child from Billy Elliot fly into the rafters. That said, watching the opening was very confusing, and I don't think that this can entirely be attributed to my belated start. The pairing of the shows (why juxtapose West Side Story with Guys & Dolls?) didn't make any sense, and the sound issues were out of control. Mikes went in and out, the orchestra overpowered the singers, and at one point, you could hear the people in the audience rather than the people onstage.

What else? We get the craziness of the entire Shrek cast, appearances by Stockard Channing and Dolly Parton, and Bret Micheals of Poison crashing into the set. We also get Liza, looking good but sounding iffy (Anne Hathaway is still excited to see her), and the entire cast of Hair to bring everyone back to sing "Let the Sunshine In." With the ending aside, the rest of the number is just huge and confusing and hard to hear. This is might happen if you gave Cecil B. DeMille Nyquil and then told him to come up with an opening number for the Tonys. NPH says that this is the most expensive opening number in Tonys history. This is a sign that perhaps the show needs to rethink its strategy.

The "Touring Musical" production numbers - Last year, the Tony producers started a dangerous trend by allowing musicals that were not nominated for "Best Musical" or "Best Revival of a Musical" do a number on the show. This year, in order to promote the touring shows (and perhaps to get more people to watch the Tony awards?), someone decided to let shows that are currently touring the U.S. to present a number. And yes, the result was just as boring as it sounds:

• Mamma Mia! - When they announced that this was going to be the first "Touring Musical" number, I knew that it was going to be a long night. Besides singing the ubiquitous "Dancing Queen," the three women performing did not seem at all excited to be there and sounded rather off-key. On a shallower note, I never realized how hideous some of the costumes for the show are. Since it is a show that has high gay-appeal, you would think they would have better outfits.
• Legally Blonde the Musical - Like the monster at the end of a horror movie, this is a musical that just won't go away. While Becky Gulsvig, who is starring in the tour as Elle, was pretty good, the number probably didn't make any sense if you weren't familiar with the musical. The funniest part of this number is that, when the camera cuts to Bebe Neuwirth at the end, she is doing the polite smile and clap even though you can tell she isn't all that into it.
  
• Jersey Boys - Actually, this is probably the monster at the end of the movie. Why won't this show go away? I've never liked the jukebox musical, so I'm pissed that the Tonys have to devote more time to it. Adding to my anger: the niggling thought that this is the same number they did when Jersey Boys performed because it was nominated for "Best Musical" (it wasn't the same number, but it was so damn similar that I don't think it matters) and the fact that they played off the three boys from Billy Elliot, who were so delightfully flustered but still gave good speeches, so that we could be subjected to this dreck. Dammit Tony Awards, get your act together!