Extremely Early 2016 Tony Predictions: Part I

The Christmas decorations are packed away, we're beginning to see which New Year's resolutions are actually going to stick, and the weather has become decidedly cold and snowy. It is definitely late January in New York City, which means we're just over halfway through the 2015-2016 Broadway season. As has become tradition here at Broadway Etc., I am once again taking stock of the new crop of fall shows to see which ones are in the best position to be remembered when the Tony Award nominations are announced on May 3rd.

As always, handicapping the Tony Awards in an inexact science, but based on some historical trends along with good old fashioned gut instinct I'm ready to make some predictions. Of course, anything can happen depending on how well or poorly the spring shows are received, but here's my take on how things stand so far.

Best Musical

Thomas Jefferson's (Daveed Diggs) coming home...to the Tony Awards.

I know it's early in the season and there are a *lot* of new musicals scheduled to open in the spring, but I think it's safe to call this category for Hamilton. It is easily the most important musical of the 21st century, and I honestly believe future generations will talk about this show the same way we talk about groundbreaking works like A Chorus Line and Rent. It's also just really fucking good, a near perfect fusion of writing, direction, and performances that has floored everyone who's been lucky enough to snag a ticket. As for what other shows will be competing against Lin-Manuel Miranda's hip-hop juggernaut, at this point only On Your Feet and School of Rock seem to be viable contenders. Whether either makes the cut largely depends on whether the Tony committee ends up selecting four or five Best Musical nominees, as the spring musicals would have to be rather disappointing to not account for at least half of this category. I will give the slight edge to Andrew Lloyd Webber's return to form with School of Rock, as a lot of critics seemed skeptical of their enjoyment of On Your Feet, but regardless of what happens I expect a healthy Broadway and regional life for both productions.

Best Play

The (future) Royal Family, as portrayed in British import King Charles III.

This fall has been fantastic for everything except new plays on Broadway. Of the five eligible productions, only British import King Charles III received the kind of critical accolades that will help Tony voters remember it come May (all of the fall plays will be closed by the time Tony nominations are announced). At this point China Doll and Misery are best known for the shortcomings of their famous headliners - both of whom are rumored to be getting line prompts via earpiece - than for the quality of their scripts, and Our Mother's Brief Affair has been met with the kind of muted enthusiasm that often greets Manhattan Theatre Club productions. The fact that Roundabout's divisive Therese Raquin is even a possibility speaks to the uncompetitive nature of the fall plays, but I suspect King Charles is the only we'll actually be talking about come Tony Tuesday.

Best Revival of a Musical

The Color Purple headliners Cynthia Erivo and Jennifer Hudson are blowing the roof off that theatre nightly.

This has already been an amazing season for musical revivals, and in my opinion every one thus far has been at least nomination worthy. That said, unless something goes horribly wrong I have to imagine that Roundabout's spring revival of She Loves Me makes the cut, and if Shuffle Along is ruled a revival then it stands a strong chance of getting one of the four Best Musical Revival nominations (there aren't enough eligible productions to allow for the addition of a fifth nominee). John Doyle's sensational striped down production of The Color Purple is the safest bet for inclusion in the category, and at this point looks likely to take the whole thing. Bartlett Sher also seems to have a standing invitation to the Tony Awards, and regardless of what you think about the modern dress framing device he added to Fiddler on the Roof the rest of the production is so well done I can't imagine it being left out. At this point, there's a legitimate chance that Deaf West's highly effective Spring Awakening gets ignored to make room for Shuffle Along (the latter's producers are pushing hard for a revival classification), and that seems almost criminal. This is the most competitive by far of the production categories, and is almost certain to result in at least one legitimate snub.

Best Revival of a Play

There's no stronger critical catnip than British actors digging into a meaty drama, as the ecstatic reception of this season's A View from the Bridge proves.

This is the category that tends to change the least between the fall and the spring, as most of the eligible productions are limited runs that have opened and closed by the time winter rolls around. From the fall crop of play revivals, I would say two are almost guaranteed to be among this year's Tony nominees: the critically lauded A View from the Bridge and Noises Off. Should a third play from the fall make the cut, it's a toss up between Fool for Love, The Gin Game, and Sylvia. I will give the slight edge to Fool for Love for being the most respected piece of writing of the bunch, as it is very hard to be competitive in this category without strong writing. Despite the love for stars James Earl Jones and Cecily Tyson, the most common response to this fall's revival of The Gin Game seemed to be, "How did this win the Pulitzer?" Meanwhile, Sylvia is most likely to be remembered for Annaleigh Ashford's star turn as the titular pooch, which could well land the actress among this year's nominees for Best Actress in a Play.


That's my take on where the production categories currently stand. Check back soon for my thoughts on the acting races, and in the meantime don't be afraid to share your thoughts in the comments!

The Rhythm is Gonna Get You

Review: On Your Feet!

Ana Villafañe and the cast of On Your Feet!, clearly having an absolute blast.

When people discuss great works of musical theatre, the conversation tends to steer towards shows that have weighty sociological or philosophical themes underlying all their razzle dazzle (think West Side Story, Rent, Hamilton, or any of the works of Stephen Sondheim). Judged by those standards, On Your Feet! is far from a great musical, but it is a highly entertaining one, thanks to the infectious music of Latin crossover sensation Gloria Estefan, high-energy dance routines, and a beguiling central performance by newcomer Ana Villafañe. Polished to a high sheen by all involved, chances are you'll be too busy having fun to really worry about the piece's structural flaws.

On Your Feet! tells the story of Gloria Estefan and her husband Emilio, following the pop singer from her days as a plucky child with the dream through her rise to international superstardom. The show hits all the requisite bio-musical story beats, including her struggles against unsupportive record labels, her romance and eventual marriage to writing partner Emilio, and the pressures fame places upon her and her family. Bookwriter Alexander Dinelaris dutifully shuttles the story from one plot point to another while working in all of the Estefans' biggest hits, providing just enough personal details in the process to keep the characters from feeling like complete caricatures.

Yet Dinelaris also glosses over some key points in Gloria's life and career. The Estefans go from playing small Miami clubs in one scene to fighting the record label over their contractual right to release an English-language recording in the next, but we never see or hear how they got said contract in the first place. They also have a son at some point, who just sort of appears as a nine-year-old without any other indication a significant amount of time has passed. It's not that you can't follow the plot, but a bit more specificity would be appreciated. To Dinelaris' credit (and the Estefans', who were heavily involved in the show's development), the book doesn't shy away from Gloria's sometimes contentious relationship with her mother or the arguments she would have with Emilio over her grueling schedule, which provides just enough dramatic tension to sustain interest between production numbers.

Like Dinelaris' book, Jerry Mitchell's direction is more workman-like than inspired. It gets the job done, but it isn't especially memorable or inventive. The clear highlight of the staging is Sergio Trujillo's exuberant production numbers, which pop with an authentic Latin flair that never gets old. When the entire cast gets onstage to shake their moneymakers to the bouncing "Conga" beat or proudly proclaim "The Rhythm is Gonna Get You," don't be surprised if your toes start tapping along. Both acts end with the cast entreating the audience to get up and dance, and it is a testament to the energetic and fun spirit of the evening that most people need little coercion to comply. (One has to imagine that two-time Best Choreography Tony-winner Mitchell had at least a partial hand in the dances, which helps make up for his run of the mill staging elsewhere.)

Leading the cast in a first-rate Broadway debut is Cuban-American actress Ana Villafañe as Gloria Estefan, and the talented young performer looks and sounds so much like the pop icon that it can be disconcerting. Her voice is a dead ringer for Estefan's, with a glorious lower register that seamlessly transitions into a bright yet powerful belt that mimics the latter's most famous recordings. Villafañe also proves herself quite the capable actress and dancer, radiating the kind of confidence and joy that made Estefan an international superstar and elevating the entire production in the process. She is definitely one to watch, and fits the role so perfectly it's difficult to imagine On Your Feet! without her.

Josh Segarra is both charming and handsome as Emilio Estefan, who first discovered Gloria and shepherded her to superstar status. Much of the show's humor comes at Segarra's expense, from his initial entrance in ridiculous short-shorts to a running joke about Emilio's tenuous grasp on the English language. The actor is game for whatever is thrown his way, and while his singing voice is occasionally overpowered by the orchestra and the rest of the singers that doesn't make his performance any less endearing. Broadway veteran Andrea Burns does fine work as Gloria's initially skeptical mother, delivering the most fully realized character while also getting her own show-stopping moment via flashback.

Visually, On Your Feet! is an appealing combination of the most outlandish and sophisticated elements of the 1980s. Costume designer ESosa utilizes beautiful pastels and jewel tones to make every character pop, and has a lot of fun creating his own riffs on the most iconic 80s fashion. Shoulder pads, leg warmers, and high-waisted everything all get their time to shine in ESosa's work, and he knows exactly how much neon and sparkle to use to capture the decade's boldness without descending into gaudiness. David Rockwell's set often takes a backseat to the costumes, but overall the show has a cohesive look that is tied together using Kenneth Posner's concert-influenced lighting.

On Your Feet! succeeds at what it sets out to do, which is to be an enjoyable piece of escapist entertainment. Ana Villafañe leads an excellent cast of singer/dancers in large scale production numbers set to some of the catchiest songs of the late 80s and early 90s, and like the Estefans' music the show is both upbeat and life-affirming. Those who go in with the right set of expectations will be surprised by how much fun they can have, and those who want their musicals with a bit more meat on their bones probably won't be all that interested in the first place.

A Broadway "Tradition" Continues

Review: Fiddler on the Roof

Danny Burstein as Tevye in the latest Broadway revival of Fiddler on the Roof.

How does one reinvent a show centered around the concept of tradition? It is the title of the glorious opening number of Fiddler on the Roof, where Jewish milkman Tevye speaking directly to the audience about the virtues of the well-delineated societal rules in his little town of Anatevka. Throughout the show Tevye and his daughters deviate from the old ways with only the purest of intents, and yet it still causes an enormous amount of trouble for the well-meaning clan. Those traditions end up providing the characters comfort in times of great adversity, and the show ultimately seems to argue that while some change is inevitable there's no need to completely ignore the old way of doing things. Oddly enough, it is a lesson director Bartlett Sher attempts to teach while simultaneously ignoring, as the least successful aspects of this generally first rate revival (the show's fifth) are the areas where Sher most obviously breaks from the traditional way of mounting the show.

Sher has made quite the name for himself staging critically heralded revivals of both plays and musicals, having found particular success with the works of Rodgers and Hammerstein. With Fiddler on the Roof, he once again sweeps away the cobwebs from a script some may view as dated and makes it compelling and relevant. Yet unlike his Tony-winning South Pacific or The King and I, Sher's directorial hand is more apparent here, and not always for the better. He hasn't changed a word of the script, but he has awkwardly grafted a wordless modern dress framing device onto the show that doesn't add anything to the preexisting text. The production design is also purposefully deconstructed for reasons that aren't at all apparent, occasionally distracting from rather than adding to the storytelling.

Now none of the above is meant to in any way imply that Sher's direction is bad. It is often outstanding, breathing fresh life into a show many know by heart. Sher has guided his cast to fully lived performances that feel fresh, exciting, and even slightly dangerous. He has a near matchless understanding of pacing, giving each story beat room to breathe while also keeping everything moving along at such a steady clip the show never drags despite its three hour runtime. He has a stellar eye for simple yet powerful stage pictures, and seamlessly switches gears between broad comedy and heartwrenching drama. Sher has never directed a funnier sequence than "Tevye's Dream," and he his storytelling has rarely been as devastating as it is during the show's emotional climax, which makes his few missteps all the more noticeable.

Sher is aided, as always, by an impeccable cast of theatrical greats working at the top of their game. Headlining this Fiddler is five-time Tony-nominee Danny Burstein in the role of Tevye, and the veteran character actor has arguably never been better. While it would be disingenuous to call Burstein's performance understated - among other things, he gets to play more comedy than he's been given in any role since Adolfo in The Drowsey Chaperone - his performance is not as immediately flashy as one might expect from a role written for the famously outsized Zero Mostel. But it is a deeply felt, fully realized portrayal that builds and builds to an emotional sucker punch of a climax, when one of his beloved daughters decides to marry outside the faith. Burstein is alternatively jovial and genuinely imposing as the role demands, and he handles all the areas in between with such effortless aplomb you forget he's acting at all. His voice also perfectly suits the show's famous score, and his exuberant performance of "If I Were a Rich Man" is every bit the showstopper such a gifted performer deserves.

Burstein's performance forms the blueprint that the rest of the cast follows, as many of his fellow actors also initially appear unassuming while laying the groundwork for what are revealed to be deeply affecting performances. Jessica Hecht's wife Golde at first skews very harsh and shrewish (you definitely understand why Tevye would be scared of her), but she leavens her work with enough moments of tenderness that it is genuinely touching when she struggles to answer Tevye's question of "Do You Love Me?" She is also heartbreaking during the final few scenes, as the aftermath of her third daughter's marriage fully hits.

As daughters Tzietel, Hodel, and Chava respectively, Alexandra Silber, Samantha Massell, and Melanie Moore all have their moments, although it takes them a bit longer to click into their roles. Their performance of "Matchmaker, Matchermaker" isn't quite the homerun you'd expect, but to their credit all three act the song so well it makes you hear the well-known lyrics anew.  Massell also does a phenomenal job with Hodel's "Far From the Home I Love," making the song a late-evening highlight. The structure of the show doesn't provide as much for Adam Kantor (Motel), Ben Rappaport (Perchik), and Aaron Young (Fyedka) to do as the daughter's respective spouses, but all three actors make strong impression with the material they do have. And if Alix Korey's Yente the Matchmaker isn't quite the scenery chewer you'd expect, she is nevertheless absolutely hysterical.

Few shows have proven as durable and iconic a part of the musical theatre cannon as Fiddler on the Roof, and Bartlett Sher has staged this latest revival in a way that reminds even the skeptics how Fiddler achieved that status in the first place. Sher also continues to bring out the best in some of the industry's top talent, guiding Burstein to what may well be considered his crowning achievement. The entire production seems to exist primarily to showcase the actor's many talents, and yet he remains so giving and supportive of his fellow performers he never overshadows the story they are all trying to tell. (I try to leave talk of Tony Awards out of reviews, but if Burstein doesn't finally win an acting trophy for this I don't know what more he can possibly do.) And as always, it is refreshing and invigorating to see such a classic approached with such lavish attention to detail, from the gloriously full orchestra to the finely detailed costumes. Some traditions are worth keeping, and if Fiddler continues to be this entertaining and moving I see no problem with continuing to revive the show every ten years.