2015 Tony Awards React

Kelli O'Hara poses backstage with her newly acquired, long overdue Best Actress Tony Award. All is right with the Broadway community.

SHE FINALLY WON!!!!!

Sorry, had to get that out of the way. My love of Kelli O'Hara is well documented, as is my belief that she should have won a Tony Award long ago. But as they say, better late than never, and now that she is finally "Tony Award-winner Kelli O'Hara" we can focus on my other thoughts about this year's Tony winners and live telecast.

For those who are keeping score, this year I correctly predicted 11 of the 17 categories discussed on this blog for a rather unimpressive 65% accuracy rating (for the complete list of winner, check here). The featured acting categories are what really screwed me over, as I failed to correctly predict a single winner from any of them. I will take solace in the fact the featured categories were some of the most contested races of the evening, with insider opinion very split over who would actually walk away a winner. And honestly, while I enjoy being right, seeing the award races play out exactly how they're expected to doesn't make for a very good telecast.

Here are some more of my thoughts on this year's Tony Awards, broken down by subject:

Winners

A visibly moved Annaleigh Ashford thanked "everyone she's ever met" while accepting her Best Featured Actress Tony for You Can't Take It With You, in one of the many charming acceptance speeches from last night's awards.

I have never been more happy to be wrong than when Kelli O'Hara's name was announced for Best Actress last night. I and many others thought Kristin Chenoweth would win for her flashier performance in On the Twentieth Century, once again keeping O'Hara from the recognition she so rightly deserves. And don't get me wrong, because Chenoweth certainly gives a Tony worthy performance in the Roundabout revival, but O'Hara is positively radiant in The King and I and long overdue for Broadway's highest honor. Seeing the visibly moved O'Hara receive a standing ovation was the highlight of the evening, and I loved everything about O'Hara's acceptance speech ("I don't need this, but now that I have it I've got some things to say").

I do think cutting to Chenoweth immediately after O'Hara's speech was a little awkward. Yes, the pint sized diva was the co-host of the evening, but the bit about her being upset at her loss hit a little too close to home. After winning most of the industry awards this year for a show that is clearly close to her heart, Chenoweth understandably was disappointed and maybe should have been allowed at least a commercial break to regain her composure.

Also, congratulations to both Annaleigh Ashford and Ruthie Ann Miles on their well deserved Featured Actress wins. Both are incredibly talented performers who have been paying their dues in steadily higher profile gigs, and it was wonderful to see their excitement and gratitude for their somewhat surprise wins. I do think Miles (whom I *adored*) benefited from voters being forced to pick which of the three Fun Home actresses they liked the most, splitting the votes enough to allow her to win. It's hard not to be a little disappointed for Judy Kuhn, who is probably overdue for a Tony and will hopefully win one in the next few years. And as Sydney Lucas proved with her incredible performance of "Ring of Keys" she is certainly a force to be reckoned with, and should she continue to pursue the theatre I foresee several more nominations in her future.

I'm happy to say I overwhelmingly approve of this year's winners. I'm glad to see that Tony voters weren't scared off by Fun Home's more challenging subject matter, and to see that chamber musical's all female writing team honored with nods for both book and score was wonderful (now if only their speeches had been televised). The Curious Incident of the Dog in the Night-Time was by far my favorite play of the season and I'm thrilled for all the recognition it received, even if I personally thought Hand to God's Steven Boyer was *slightly* more deserving of the Best Actor trophy than the still phenomenal Alex Sharp.

The only category that actively upset me was Christian Borle's frankly undeserved Featured Actor win for Something Rotten!, as the actor's incredibly selfish performance has no relation to the rest of the cast. Why is he the only one with an accent? Why does he only ever talk at other characters rather than to them? Why does his self indulgent preening lack the self-aware edge of the rest of the show's humor???? Most upsetting of all is the fact that Borle, who has proven himself rather versatile over the years (see his work on Smash, the NBC live musicals, or even the MTV telecast of Legally Blonde), has chosen to essentially reprise his Tony wining Peter and the Starcatcher character for Rotten. I would have seen the award go to literally anyone else in this category.

The Hosts

Say what you will about Kristin Chenoweth, but she is not afraid to make herself look stupid in pursuit of a laugh.

I think we were always aware of what a superb host Neil Patrick Harris is, but the two years since the charming star's last Tony hosting gig have proven what a difficult act he is to follow. The telecast producers clearly had trouble locking down a host; typically he or she is announced several months in advance, but we didn't find out Alan Cumming and Kristin Chenoweth would be co-hosting until the day before the nominations came out. And while both Tony winners are charming individually, they were clearly underprepared, most likely due to Chenoweth's busy schedule. Between performing On the Twentieth Century eight times a week and attending all of the press events and awards luncheons that come with being a Tony nominee, Chenoweth likely didn't have a lot of time or energy to devote to the telecast, and unfortunately it showed in how few of the hosts' jokes landed.

At least Chenoweth was game to try anything and seemed happy to be there; Cumming often looked like his mind was on something else. Harris may be gun shy about hosting after the scathing reviews he received for this year's Oscar ceremony (which, in typical NPH fashion, the Tony presenter managed to acknowledge and mock in a way that didn't seem uncomfortable or bitter), but I hope next year's Tony host(s) at least have enough time to find their grove. Chenoweth and Cumming seemed to be encountering a lot of their material for the first time, and their costume-based bits forced categories like Best Book and Score to be presented during commercial breaks instead of on air like they belong.

The Performances

11-year-old Sydney Lucas dazzled during her performance of "Ring of Keys" from 2015 Best Musical winner Fun Home, proving beyond a doubt that she earned her Best Featured Actress nomination this year.

Honestly, these were all over the map and generally disappointing. Broadway show producers, repeat after me: NO MORE MEDLEYS. Medleys rely on the audience's familiarity with the material to supply a lot of the context, something you cannot count on unless you have a very well known revival (we're talking Sound of Music/West Side Story levels of pop culture saturation) or a preexisting score of pop songs (which were originally designed to be stand alone pieces before being shoehorned into a stage show). Pick your show's best, most accessible number, use your allotted 30 second introduction to set it up, and go with it. If that means one or more of your Tony nominated leads gets left out of the number, so be it. I'm sure they would prefer the increased exposure and ticket sales a well-executed Tony number brings to a minute or two of TV time.

Very few of this year's performances came across as well as they do in the theatre. Fun Home worked because they picked a single, complete song that doesn't require extensive knowledge of the show's plot to follow (and also because Sydney Lucas is amazing). The King & I got away with the medley format because of the incredible, enduring popularity of the Rodgers & Hammerstein cannon both as complete shows and as stand alone musical numbers. On the Twentieth Century came across as manic and disjointed because they tried to cram not one, not two, but FOUR separate songs into their allotted 4 minute time slot; the resulting performance didn't do justice to the production or Kristin Chenoweth's central performance, both of which are significantly better and less forced than what was shown on TV.

The placement of the numbers is important as well, although this falls more on the telecast producers than the shows themselves. Something Rotten's showstopping "A Musical" came across as oddly subdued on the telecast, possibly because it took place right after Chenoweth and Cumming's low-key opening number. And unfortunately, some musicals just lack any songs that can be readily enjoyed out of context, which is why the excellent The Visit seemed so bizarre and off-putting on television (in the theatre, the show is still very bizarre, but delightfully so).

I will give the telecast producers this: they mercifully cut the ill-conceived preview numbers from last year, both of which made me *less* interested in the shows they were meant to advertise. And while the announcement of Josh Groban's scheduled performance initially raised eyebrows (how many acceptance speeches would be moved to commercial to accommodate here), I was pleasantly surprised when it was revealed he was singing over the reinstated "In Memorium" segment. The Jersey Boys performance was unsurprisingly boring and exceedingly unnecessary, but having them sing over the credits didn't steal anyone's speech time or production number slot, so I say no harm, no foul.


And there you have it. The 2015 Tony Awards are now on the records books, and the 2015-2016 Broadway season is already in swing with the just opened Jim Parsons vehicle An Act of God. Please keep following this blog for theatre reviews and opinions throughout the year, and check back next May to see what shows and performers are up for next year's awards (I have a feeling this Hamilton show will do alright for itself).

2015 Tony Predictions: Best Play and Musical

It all comes down to this. On Sunday, the American Theatre Wing will crown the latest crop of Tony Award winners, representing the best and brightest of the Broadway theatre season. As the industry's highest honor, the Tonys prompt huge amounts of speculation every season, as winning can provide the boost needed to send an actor's career to the next level or ensure a struggling production runs long enough to turn a profit. 

There are only two categories remaining in my annual Tony predictions, and they are the two biggest: Best Play and Best Musical. More than any other award, a win in one of these categories can mark the turning point where an obscure property becomes a long-running, oft produced hit. It automatically generates more interest in the ticket buying public, and specifically for musicals can be the different between turning a profit and closing at a loss. (For a case in point, last year's well reviewed A Gentleman's Guide to Love and Murder struggled at the box office until winning the Best Musical prize, and has since recouped its investment.) So which new play and musical will have the honor of being selected as Broadway's best? Find out below.

Warning: Occasional snark and major speculation to follow.

Best Play

Alex Sharp in one of the many visually stunning scenes from The Curious Incident of the Dog in the Night-Time.

Nominees: The Curious Incident of the Dog in the Night-Time; Disgraced; Hand to God; Wolf Hall Parts I & II

What does it say about the Tony Awards when Pulitzer Prize winner Disgraced is the least competitive Best Play nominee? The implications of that could fill an entire blog post on their own, but what it primarily says is that having your show running during voting season is almost essential to winning. Tony voters don't have the longest memories, and in a competitive season such as this the probing Muslim-American drama just couldn't find the traction to stick with voters past its March 1st closing date.

The other three contenders are all currently running and each has its champions, although there seems to be less fervor surrounding the Royal Shakespeare Company's Wolf Hall double bill. Which leaves London import The Curious Incident of the Dog in the Night-Time and scrappy underdog Hand to God to battle it out for the big prize, with the former the clear favorite. Curious Incident, in addition to being the most visually stunning play of the season, is a well written and cleverly nuanced coming of age story about an autistic youth, wonderfully embodied by likely Best Actor winner Alex Sharp. It has also won every Best Play award of the season, an uninterrupted winning streak that is hard to ignore.

Yet you can't completely dismiss Hand to God and its passionate supporters, who would love to see a wholly American play take this award (although given the last 3 Best Play winners were all home grown successes, it's getting harder to argue the Tonys are biased towards British imports). An edgy, unpredictable work, Hand to God ultimately becomes so focused on shocking the audience it loses sight of its thematic core. Playwright Robert Askins clearly has something to say, but you get the impression he hasn't quite figured out how to say it, whereas Curious Incident knows exactly what it wants to communicate and does so beautifully. While I won't entirely rule out a Hand to God upset, I think Curious Incident both deserves and will win this award for combining a beautiful script about an important subject with a highly inventive, top tier production.

Will & Should Win: The Curious Incident of the Dog in the Night-Time

Best Musical

The three different incarnations of Alison Bechdel, the lesbian cartoonist whose graphic memoir inspired the boundary pushing chamber musical Fun Home.

Nominees: An American in Paris; Fun Home; Something Rotten!; The Visit

Of the four Best Musical nominees, I probably got the most enjoyment out of watching the frankly insane The Visit unapologetically tell its story of love, greed and revenge. But as fascinating as Kander and Ebb's final show is, it definitely has the smallest chance of winning here, scoring only half as many nominations as any of its competitors. A couple months ago, word on the street was that Something Rotten! would be the musical to beat this season, but its disappointing showing at the other industry awards makes it look less competitive than it once did. I suspect the show is a little too derivative of past Tony winners Spamalot and The Producers to really impress the voters, but given its recent million dollar weeks I think the show will run regardless of what happens Sunday night.

This race will ultimately come down to An American in Paris versus Fun Home, and it remains almost too close to call. Fun Home is the more prestigious of the two shows, both better constructed and better realized. Yet something about the show left me cold, and even though I appreciated the piece's ambition and the skill of all involved, I wasn't moved by it the way I expected to be. There is also the question of whether the road producers are willing to vote for a dark, challenging musical about a lesbian cartoonist and her closeted father when they could vote for a crowd pleasing dance show packed with familiar Gershwin tunes that will surely pack their regional houses. The other industry awards don't provide much indication as to which way voters are leaning, as Fun Home's Off-Broadway run occurred last season and therefore the two shows have not been in direct competition (Fun Home dominated last year, while American in Paris has been riding high this year).

Until a couple of days ago, I would have predicted a victory for An American in Paris. But as I write this, I really think the voters will do the right thing and vote Fun Home the Best Musical of 2015. It is certainly better written, and arguably better performed (although the American in Paris cast is quite talented). And recent Tony voting patterns show that many of the supposed obstacles to a Fun Home victory aren't really issues at all. Kinky Boots' win and subsequent success across the country proves that road voters and audiences aren't inherently terrified of "gay" shows, although the glitzy drag musical is a much more sanitized and widely appealing production. And if the road producers vote strictly for the most commercial production, last year would have seen Beautiful or Aladdin triumph over Gentleman's Guide. So at the last minute, I am changing my official prediction from American in Paris to Fun Home, and hoping that the Tony voters don't disappoint me.

Will & Should Win: Fun Home
Incredibly Close Second Where Winning Odds Are Concerned: An American in Paris


And there you have it. Those are my official predictions for the 2014-2015 Tony season. Check back on Monday to see my thoughts on this year's winners and the Tony telecast itself, and be sure to check out any of the coverage you may have missed below.

Nominations React
Best Book & Score
Best Direction & Choreography
Best Featured Actor
Best Featured Actress
Best Actor
Best Actress
Best Revival

2015 Tony Predictions: Best Revival

The Tony Awards take place this Sunday, and about the only talk you'll hear on the Great White Way is speculation on who will win the coveted spinning medallions. I've already explored the writers, directors, and actors I suspect will win Broadway's highest honor, so now it's finally time to tackle the production awards. Whereas the other Tony categories honor individual excellence, the four production awards recognize the collective efforts of the many artists responsible for producing any piece of theatre. These awards are also the most likely to affect a show's box office fortunes, which make them the most desired honors in the entire theatrical community.

As always, I will be predicting who will win, which does not necessarily align with who I would like to win. Should there be a major discrepancy, I will be certain to point it out in my analysis. At the same time, it bears repeating that all of the shows nominated in these categories have plenty of artistic merit, so even if I personally think a different show should win it doesn't mean the likely winner is undeserving. Now read on to find out which of this season's revivals are most likely to strike Tony gold.

Warning: Occasional snark and plenty of speculation to follow.

Best Revival of a Play

The Tony nominated cast of The Elephant Man.

 

Nominees: The Elephant Man; Skylight; This is Our Youth; You Can't Take It With You

This is the unusual category where the majority of nominees are long closed, giving the sole currently running production (West End import Skylight) a tangible advantage over its competitors. In fact, each production's likelihood of winning seems to correlate with how much time has passed since its closing date. The fact that This Is Our Youth was nominated at all remains one of the bigger surprises of this Tony season, as the production struggled at the box office throughout its limited run and closed back in early January. I would be shocked should it actually win, just as I would be similarly surprised to see the well-liked You Can't Take It With You triumph over the weightier dramas in this category (Tony voters tend to be biased against comedies, even ones that have won the Pulitzer Prize).

Although Skylight scored very strong notices, I actually think the Bradley Cooper led Elephant Man will be triumphant this year. That starry revival exceeded all expectations both artistically and at the box office; it was the talk of the town during its limited engagement, and the fact all three principal actors are nominated for Tony Awards shows what a strong impression they and the production made. The feeling towards Skylight seems respectful rather than passionate, which I think will ultimately be the British import's downfall. Then again, absolutely no one expected A Raisin in the Sun to triumph in this category last year, which makes me wary of another surprise this year. I am still officially predicting The Elephant Man, but it only has a slight advantage against its currently running competitor.

Will & Should Win: The Elephant Man

 

Best Revival of a Musical
 

I know I don't predict technical awards on this blog, but The King and I is totally winning Best Costumes. Look at that DRESS!

 

Nominees: The King and I; On the Town; On the Twentieth Century

This category is the most cut and dry of the production categories. Arguments can be made for the exuberant On the Town and better than expected On the Twentieth Century, but neither production can compete with the unadulterated brilliance of Lincoln Center's The King and I. Bartlett Sher's masterful revival of the oft-produced Rodgers and Hammerstein classic has been deemed a definitive production by many in the industry, and is my personal favorite production of this Broadway season (new, revival, musical, or otherwise). Expertly acted, superbly sung, and visually stunning, it calls to mind everything wonderful about the traditional Broadway musical without ever feeling dated or tired.

Should The King and I fail to win this category I would strongly disagree, but could at least accept a victory for the incredibly entertaining On the Town. That production does everything a revival should; it takes a long forgotten show and makes the piece feel exciting, relevant, and fresh again, resulting in one of the most unceasingly entertaining productions of the season. On the Twentieth Century would be a harder choice to defend, as despite a top notch cast the script is starting to show its age. In fact, without leading lady Kristin Chenoweth and the oafish Andy Karl I think the show would be forgotten almost the moment it ends. But these are all a moot points, as Lincoln Center has been the front runner for this award since The King and I was even rumored. The fact the resulting production meets and in my opinion surpasses their much beloved South Pacific from several seasons back just seals the deal.

Will & Should Win: The King and I

Check back this Friday for my take on the two most important races of the season, Best Play and Best Musical. In the meantime, feel free to catch up on the rest of my Tony coverage below!

Nominations React

Best Book & Score

Best Direction & Choreography

Best Featured Actor

Best Featured Actress

Best Actor

Best Actress

What She Did For Love

Review: The Visit

Chita Rivera is positively captivating as the mysterious, possibly malevolent woman at the center of Kander and Ebb's The Visit.

Octogenarian Chita Rivera returns to Broadway in the final collaboration between songwriting powerhouses John Kander and the late Fred Ebb, and the resulting production is the most bizarrely fascinating new musical of the season. Thrillingly theatrical and unapologetically boundary pushing, The Visit is a dark musical fable that slowly seeps under your skin, spellbinding in its sheer audacity and brazen subversion of expectations. A fitting end to one of the most legendary partnerships in musical theatre history, John Doyle directs the piece with a sublimely chilling efficiency that highlights the many pleasures of both the show and Rivera's star turn, which is yet another jewel in her vast crown of iconic performances.

Scott Pask's gorgeously decrepit scenic design instantly sets the mood for the dark, occasionally disturbing tale that follows, which finds the mysterious and ethereal Claire Zachanassian returning to her hometown after decades abroad. Now the world's wealthiest woman, Claire arrives with a butler and two blind eunuchs in tow, only to find the formerly prosperous town in economic ruin. Having heard of her impending arrival, the townspeople have gathered to beg Claire to use some of her vast fortune to restore the town's former glory, something she agrees to do provided certain conditions are met. The wealthy benefactor's ghastly demands shock the townspeople, hitting her former lover Anton particularly close to home.

Revealing too much more about the plot would spoil the surprise, so suffice it to say that Claire is not a woman to be trifled with. The more you learn about what she's done in her time away the more appalling she appears, and yet Kander, Ebb, and bookwriter Terrance McNally treat Claire not just with understanding but also genuine compassion. She has her reasons for what she's done, and it soon becomes clear that the townsfolk are no saints either, creating an excitingly complex web of moral ambiguity that sees the audience's allegiances shifting from moment to moment. The Visit explores several hallmarks of Kander and Ebb's long career, such as the easily corruptible nature of justice, society's habitual shirking of responsibility, and an unending compassion for the victims of civilization's flawed systems even when said victims have become rather unsavory people themselves.

Musically, The Visit is glorious and intoxicatingly dark. The songs aren't as catchy as the pair's most famous compositions (sadly, Mr. Kander has not provided us with a vamp as instantly memorable as the opening measures of Cabaret's "Wilkommen" or Chicago's "All That Jazz"), but they are hauntingly beautiful and a continual auditory treat. Over the course of its long development the show has been condensed down to one act from the original two, and occasionally you can see where McNally's book scenes were cut to allow more space for the score. The reduced length ultimately works tonally and structurally for the piece - there's not quite enough material to sustain two full acts - but certain scenes and characters would benefit from a little more exploration. McNally's ability to convey a large amount of exposition clearly and concisely is rather admirable, and the fact that he squeezes in enough character moments to keep the cast at least somewhat sympathetic should be commended.

Doyle keeps everything moving along at a fast clip, displaying such a firm understanding of the show's tone and themes that you never once feel confused or disoriented even when the specific details of the plot become hard to follow. His staging is starkly beautiful, augmented by Ann Hould-Ward's costumes and Japhy Weideman's exceptional lighting design. There is a wonderful simplicity to Doyle's work that feels anything but simplistic, and the director has enough trust in his audience and the material that he never succumbs to the urge to spell things out too clearly.

The cast is first rate, anchored by Rivera in a wonderfully layered performance that draws you in from the moment she appears. Few can command a stage the way Rivera does, looking positively regal with her white gown and perfectly poised posture. Not a single gesture or facial expression is wasted, and the actress radiates a mesmerizing mixture of calculated coldness and unbridled joy that is infectious. Her original leading man, Roger Rees, has unfortunately been sidelined due to health issues, but understudy turned replacement Tom Nelis does wonderful work as Anton. In many ways The Visit is as much Anton's story as Claire's, and the two veteran performers bring a wonderful amount of nuance to their onstage relationship.

The supporting cast is just as strong, stacked with so much talent it is almost an embarrassment of riches. As the phantoms of young Claire and Anton, Michelle Veintimilla and John Riddle are fantastically otherworldly and exceedingly well matched. As Anton's wife Matilde, Mary Beth Peil convincingly charts the host of reactions her character has to arrival of Claire and the revelations about her husband's past. Matthew Deming and Chris Newcomer make for pitch perfect eunuchs, simultaneously off-putting and transfixing. And Jason Danieley is sensational as the local schoolteacher who most opposes Claire's deal, delivering a spine-tingling and heart-wrenching rendition of the soaring "The Only One" two-thirds of the way through the evening.

It took a lot of guts to produce something as unflinchingly bizarre as The Visit on Broadway, and artistically that gamble has paid off in spades. Kander and Ebb's haunting final show is a fitting summation of their long career, one which has produced some of the most enduring and important works in the musical theatre cannon. John Doyle's visually captivating production does the material justice, and Chita Rivera proves that even at 82 she's still one of the most formidable singing actresses around. Anyone looking for a boundary pushing evening at the Broadway theatre need look no further, as this is a Visit well worth making.

2015 Tony Predictions: Best Actress

The 2015 Tony Awards are less than one week away, and the buzz surrounding the upcoming telecast has reached a near deafening volume. As I do every year, I am steadily working my way through predictions for all of the major categories, and today I tackle two categories that are on the opposite ends of the predictability spectrum. One race is practically a foregone conclusion, while the other is so neck and neck that we may not fully process who wins until reading the news in the papers Monday morning. As always, I will make sure to predict not only who will win but who deserves to win, doing my best to keep personal feelings at bay so I can objectively judge the competition (but trust me, I have *very* strong opinions about Best Actress in a Musical). 

Warning: Occasional snark and plenty of speculation to follow.

Best Actress in a Play

Dame Helen Mirren will likely be adding "Tony winner" to her extensive list of accomplishments following her universally praised performance as Elizabeth II in The Audience.

Nominees: Geneva Carr, Hand to God; Helen Mirren, The Audience; Elisabeth Moss, The Heidi Chronicles; Carey Mulligan, Skylight; Ruth Wilson, Constellations

I could do my usual routine of listing the pros and cons of each nominee, but let's be honest: does anyone really expect someone besides Helen Mirren to win this award? Mirren is one of the most universally respected and beloved actresses in the business, reprising her Oscar-winning portrayal of Queen Elizabeth II in a play that has already won her an Olivier Award (the West End equivalent of the Tony). She was a front-runner for Best Actress from the moment the show was announced, and at this point she is looking like a virtual lock.

None of this is meant as a slight to the other actresses, all of whom did fine work and seem like lovely people. Hand to God's Geneva Carr has been particularly charming on the awards circuit due to her palpable excitement at just being nominated; she has repeatedly said she thought she would be replaced by a name star at some point during the play's remarkable journey from Off-Off-Broadway to the Great White Way. Elisabeth Moss and Ruth Wilson both have the disadvantage of their shows having already closed (Moss' prematurely), and even if she doesn't win Carey Mulligan will surely be welcomed back with open arms whenever she decides to return to Broadway. But this is Mirren's year, and I would imagine even her competitors agree that she is entirely deserving.

Will and Should Win: Helen Mirren, The Audience

Best Actress in a Musical

As Lily Garland in On the Twentieth Century, Kristin Chenoweth has found the best showcase for her talents since Wicked 12 years ago.

Nominees: Kristin Chenoweth, On the Twentieth Century; Leanne Cope, An American in Paris; Beth Malone, Fun Home; Kelli O'Hara, The King and I; Chita Rivera, The Visit

This category has been a major sore spot for me the past few years, and will continue to be one until Kelli O'Hara wins this damn award already! She is one of the all-time great singing actresses, and for me ranks behind only Audra McDonald as the most consistently captivating performer on contemporary Broadway. The fact that six-time nominee O'Hara has yet to win Broadway's highest honor is simply ludicrous, and something I desperately hope the voters rectify this year for her absolutely stellar work in Lincoln Center's The King and I. Yes, the lack of a Tony obviously hasn't hurt the golden-voiced soprano's career - she works more consistently than just about anyone else - but it's the principle of the matter, dammit!

Unfortunately, O'Hara once again finds herself going toe to toe with two of Broadway's most beloved divas, previous Tony winners Chita Rivera and Kristin Chenoweth. O'Hara should be most concerned about Chenoweth, who after a disappointing run in 2010's Promises, Promises and long absence has returned in top form with her gutbusting performance in On the Twentieth Century (fun fact: both women attended the same university and studied under the same vocal instructor). Chenoweth's unique set of comic gifts make the actress difficult to cast in most revivals, but the role of Lily Garland fits the pint-sized dynamo like a glove. Chenoweth's performance is also the showier of the two, though comparing her farcical antics to O'Hara's naturalistic charisma points out the inherent problems with trying to pick a "best" actress in such a wide-ranging medium.

As much as it pains me to say it, I think public sentiment may be leaning towards Chenoweth. O'Hara is so reliably excellent and prolific that I think a segment of the community takes her brilliance for granted (similar to how the universally praised Meryl Streep has 19 career Oscar nominations but "only" 3 actual wins). And if I'm being as objective as possible, it is very hard to argue against Chenoweth; her only slight missteps in Twentieth Century stem from weird directorial choices rather than any failings on the actress' part. I will continue to root hard for O'Hara, and think she has a legitimate chance at finally getting her due after years of being overlooked. But if Chenoweth is called to the stage Sunday night, I can't say I'll be surprised. I just hope she has more than 20 seconds to change her wig this time around.

Will Win: Kristin Chenoweth, On the Twentieth Century
Should Win: Kelli O'Hara, The King and I


That covers all the acting categories. Check back on Wednesday and Friday for my predictions in the four production categories, including the highly coveted Best Musical award. Meanwhile, check out the rest of my Tony coverage below.

Nominations React
Best Book and Score
Best Direction and Choreography
Best Featured Actor
Best Featured Actress
Best Actor