2017 Tony Awards Predictions: Direction and Choreography

With the Tony Awards less than 2 weeks away, it's time to really dig in and start making predictions about the people and productions who will receive Broadway's highest honor on June 11th. As always, I will be using a combination of personal opinion, critical acclaim, and industry buzz to determine who I think is most likely to win each of the major races. As these are predictions about who will win rather than who I think should win, sometimes my personal favorite will be the underdog. If so, I'll be sure to point that out in my analysis.

On with the predictions!

Best Direction of a Play

Tony nominees Laura Linney and Cynthia Nixon in The Little Foxes.

Nominees: Sam Gold, A Doll's House: Part 2; Ruben Santiago-Hudson, Jitney; Bartlett Sher, Oslo; Daniel Sullivan, The Little Foxes; Rebecca Taichman, Indecent

I'm at a bit of a disadvantage in this category, as I have shamefully not seen any of the nominated productions. That said, all of these nominees are very well regarded, which makes for a race that could go any number of ways. Personally, I think Bartlett Sher is the least likely winner, as Oslo seems to lack the momentum that some of the other big plays have. I think Rebecca Taichman may run into a similar obstacle with Indecent, a play many people greatly admire but that doesn't seem to be anyone's favorite, a major problem when Tony votes are often emotional as much as they are analytical.

A Doll's House: Part 2 is the most nominated new play of the season, which puts director Sam Gold in a very strong position. However, he is also the most recent Tony winner of the bunch, having just won in 2015 for Fun Home. I suspect most Tony voters would prefer to spread the love, and the fact Gold also helmed the highly divisive, stripped down, modern dress revival of The Glass Menagerie this spring doesn't help matters.

Ruben Santiago-Hudson has made a name for himself as one of the top interpreters of August Wilson's work, a cannon that has enjoyed renewed admiration thanks to the Oscar-nominated film version of Fences and the highly lauded Broadway premiere of Jitney, which Santiago-Hudson is nominated for. Helming the one production not currently running is generally a Tony handicap, but this might be a case of absence making the heart grow fonder. Then again, Santiago-Hudson is just as likely to be undone by Daniel Sullivan's work on the buzzy revival of The Little Foxes, the fifth Broadway production of Lillian Helman's drama which turned out far better than anyone expected it to. There's also the fact that Sullivan is one of the most respected directors in the industry, but has curiously only won the Tony once, all the way back in 2001 for Proof. Sullivan seems overdue for a second Tony win, and I think The Little Foxes is the show that will bring it to him.

Will win: Daniel Sullivan, The Little Foxes
Should win: Abstain

Best Direction of a Musical

Tony nominees Mike Faist and Ben Platt in Dear Evan Hansen.

Nominees: Christopher Ashley, Come From Away; Rachel Chavkin, Natasha, Pierre, and the Great Comet of 1812; Michael Greif, Dear Evan Hansen; Matthew Warchus, Groundhog Day; Jerry Zaks, Hello, Dolly!

I *have* seen all the nominees for Best Direction of a Musical, and with the exception of Matthew Warchus' overly busy, unfocused take on Groundhog Day I can easily make a case for any one of them. I have long admired Michael Greif's steady directorial hand in contemporary musicals, but despite helming some of the most influential shows of the past 20 years (including Rent and Next to Normal), Greif remains Tony-less. He really feels overdue for a win, and with Dear Evan Hansen he has once again taken a show that tackles big concepts and made it feel intensely personal.

On the opposite end of the spectrum, no one can argue four-time winner Jerry Zaks is overdue for a Tony, which I suspect will cause Tony voters to lean towards one of the other contenders. But one must also consider that Zaks has given us what may well be a perfect production Hello, Dolly!; it certainly feels like a definitive rendition of the old war horse, one that honors the iconic original production while also injecting new life into a show that was in very real danger of feeling dated. And with over 20 years between now and his last Tony win (for the 1992 Guys and Dolls revival), Zaks could prove to be a dark horse contender.

But ultimately, I think Tony voters will go with Rachel Chavkin's exhilarating, immersive staging of Natasha, Pierre, and the Great Comet of 1812, a show many doubted would survive the move from an intimate site-specific Off-Broadway production into a more traditional Broadway house. I'm not entirely sure the move was successful, but one can't deny that Chavkin is largely responsible for the most memorable aspects of the transfer, utilizing the cavernous Imperial Theatre to great effect. I personally am more impressed with Christopher Ashley's subtly brilliant work on Come From Away, but it probably isn't showy enough to beat out Chavkin.

Will Win: Rachel Chavkin, Natasha, Pierre, and the Great Comet of 1812
Should Win: Michael Greif, Dear Evan Hansen

Best Choreography

Corey Cott, Laura Osnes, and the cast of the Bandstand.

Nominees: Andy Blankenbuehler, Bandstand; Peter Darling and Ellen Kane, Groundhog Day; Kelly Devine, Come From Away; Denis Jones, Holiday Inn; Sam Pinkleton, Natasha, Pierre, and the Great Comet of 1812

This is something of an odd category, as only two of the five nominated productions are what I would consider dance shows. The rest are more movement based, which is by no means a knock against them but does make it harder for me (and Tony voters) to justify giving them what is clearly a dance award.

Honestly, Andy Blankenbuehler probably deserves this award the most, as his shows are always kinetic masterpieces that are propelled by dance as much as anything else. But he just won for Hamilton, and without work that in inarguably better than everyone else's I have trouble imagining voters bestowing this award on him twice in a row. The only other show that is a clear dance show is Holiday Inn, which closed so long ago I feel like most people have forgotten about it (although Denis Jones' high energy work on "Shakin' the Blues Away" is the most memorable dance sequence of the season).

For me, Sam Pinkleton's work on Great Comet is trying way too hard, and the least successful segment of the show is also the one that most heavily features Pinkleton's work, the unnecessarily long "Balaga" number. Similarly, Peter Darling and Ellen Kane's work on Groundhog Day feels forced rather than growing naturally out of the narrative. I'm not sure anyone expects the tap number that appears late in Act II, and it isn't good enough to make you forget that it doesn't really belong. Which almost makes Kelly Devine's work on Come From Away the winner by default, as her choreography at least seamlessly blends with the staging and storytelling rather than being awkwardly inserted into it.

Will Win: Kelly Devine, Come From Away
Should Win: Andy Blankebeuhler, Bandstand

Be sure to check back soon for my predictions on the first of this year's acting categories. In the meantime, share your own thoughts in the comments, and don't forget to check out my previous 2017 Tony coverage.

Nominations React
Best Book and Score

The Great Comet Arrives

Review: Natasha, Pierre, and the Great Comet of 1812

Josh Groban (r) and the company of Natasha, Pierre, and the Great Comet of 1812

After a sensational run Off-Broadway in 2013, Dave Malloy's wildly inventive, boundary pushing musical Natasha, Pierre, and the Great Comet of 1812 arrives on Broadway with a production which does its best to recreate the magic of that original, supper club set run. Scenic designer Mimi Lien has gone all out in reconfiguring the spacious Imperial Theatre into something approximating the joy of her fully immersive original design, and director Rachel Chavkin uses every ounce of her seemingly boundless talent to create a fluid staging the utilizes every possible inch of the stage and the audience. And while much of the show is undeniably brilliant, there are moments where it appears Chavkin and company have become so concerned with amping the show up for Broadway they sometimes undercut the effectiveness of their storytelling.

The show adapts a mere sliver of Leo Tolstoy's epic novel War and Peace, focusing on the attempted seduction of the young, beautiful Natasha by the rakish Anatole. Natasha's betrothed is off fighting in the war, so she moves to Moscow with her godmother Marya and cousin Sonya. The gorgeous newcomer soon becomes the toast of Moscow society, eventually catching the eye of the womanizing (and married) Anatole. And what about Pierre? The nobleman, an old friend of Natasha's fiance and Anatole's brother-in-law, serves as the evening's narrator, watching his contemporaries' passions while wistfully longing to experience a similar sort of fervor.

As cheekily acknowledged in the show's "Prologue," the details of the plot can be a bit complicated to the uninitiated, but Malloy's excellent writing and Chavkin's direction do such a good job of focusing your attention that the synopsis in the program proves largely unnecessary. Through his eclectic, complex, and constantly surprising score, Malloy ensures that the mood and emotions of the story are always crystal clear even when the details of the narrative get convoluted. The score borrows from a host of influences, from traditional Russian folk songs to electronica to opera, all interwoven so seamlessly that none of them feel out of place. Malloy has made some additions to the score since the show's Off-Broadway premiere, which has pushed its runtime *just* past what it really wants to be. Calling the show bloated or self-indulgent would be too harsh, but a couple of sequences do overstay their welcome (especially the extended "Balaga" song and dance in the second act).

The cast remains largely the same as the Off-Broadway production, barring two notable exception. With original lead Phillipa Soo gone on to post-Hamilton fame, the role of Natasha is now played with winsome charm by Denee Benton. Benton expertly portrays Natasha' girlish enthusiasm and wonder as she becomes caught up in the excitement of the big city, and her handling of the character's big solo "No One Else" is exquisite. She navigates the deceptively difficult vocal demands of the role with aplomb, and despite a tendency to play the comedy a bit broad she grounds the show with her emotional honesty.

The other major new cast member, and arguably the reason this boundary pushing show was able to secure a Broadway berth at all, is multi-platinum recording star Josh Groban as Pierre. Gamely wearing a fat suit and sporting quite an impressive beard, Groban is admirably committed to telling the show's story without hijacking the narrative to make everything about him. He makes quite the accomplished Broadway debut, and if his Pierre could stand to be a tad more world-weary it is hardly detrimental to the show. Malloy has written a new song specifically tailored to show off Groban's instantly recognizable voice, which is thrillingly sung and definitely increases Pierre's presence in the show's first act.

The rest of the cast does fine work, although many of them have adopted the same tendency towards overplaying that Benton has. It's never enough to really hurt the show, and all of them are smart enough to trust in the power of stillness when it really matters, but there's a tad too much indicating as opposed to embodying emotion. The worst offender is Lucas Steele as Anatole, who becomes such a cartoonishly pompous preener it can be hard to understand why Natasha is so drawn to him. On the flip side, Brittain Ashford has only improved since originating the role of Sonya, with her quietly devastating "Sonya Alone" one of the emotional highlights of the evening. Amber Gray is a welcome fiery presence as Anatole's sister Helene, and Grace McLean's Marya is at turns both funny and frightening. McLean is particularly effective during the one-two punch of "In My House" and "A Call to Pierre," which also marks one of Malloy and Chavkin's most sustained sequences of brilliance.

Design-wise, the show is a sumptuous feast for the senses. In addition to Lien's set of gorgeous red velvet walls with gold accents, Bradley King's absolutely phenomenal lighting design is essential to the show's visual impact. King lights both the stage and the audience with laser-like precision, and all of the production's most striking images owe a huge debt to his work. Nicholas Pope's immersive sound design captures of the feeling of being in the middle of the action even for those not lucky/wealthy enough to be seated onstage, adding to the sonic landscape created by Malloy's music and orchestrations. Paloma Young's costumes for the leads are also gorgeous, although her ensemble outfits tend towards being overly busy.

Lest there be any confusion, Natasha, Pierre, and the Great Comet of 1812 is an excellent work of theatre, and exactly the kind of challenging, boundary pushing production Broadway needs more of. The critiques above are nitpicks that only stand out because the rest of the show is so well done, and will likely go unnoticed by those experiencing the show for the first time. But those who saw and loved the Off-Broadway incarnation may be a tad disappointed that the Broadway mounting doesn't quite equal the previous production's artistic success, even though this richly detailed mounting still has plenty to offer.

It's A Complicated Russian Novel, Given a Top-Notch Adaptation

Review:  Natasha, Pierre, & the Great Comet of 1812

 

Phillipa Soo makes a stunning Off-Broadway debut as the title character in Natasha, Pierre, & the Great Comet of 1812.  Please let this be the start of many more star turns to come.

Every so often a show comes along that is so thrillingly original that it’s difficult to describe in words.  Natasha, Pierre, & the Great Comet of 1812 is just such a show, an incredible work of art so unlike what has come before that it must be experienced firsthand to be truly comprehended.  A seamless fusion of disparate and unexpected elements like Russian folk music, electronica, and 19^th century literature that draws equally from the worlds of musical theatre and traditional opera, Natasha is a rollicking good time in the theatre and easily the best new musical of the year. 

The story is adapted from a portion of Leo Tolstoy’s famous Russian epic War and Peace, but don’t for a second let that fact fool you into thinking Natasha is some stuffy, overly romantic period musical.  This self-described “electro-pop opera” makes the source material feel fresh, vibrant, and immediately accessible, distilling the passions and politics of the Russian aristocracy into something relatable to modern audiences without losing an ounce of the setting’s otherworldly appeal.  The plot follows the young and beautiful Natasha, who is madly in love with her fiancé Prince Andrey and goes to live with her godmother in Moscow while anxiously awaiting his return from fighting in the Napoleonic Wars.  During Andrey’s absence she meets and is eventually seduced by the indescribably handsome but morally questionable Anatole, whose brother-in-law Pierre serves as the evening’s narrator.

Through-composed with music and lyrics by Dave Malloy (who also provided the libretto), Natasha features an incredibly complex score that strikes the perfect balance between being immediately tuneful and offering nuanced layers that require repeated listening to fully appreciate.  Staying away from the more traditionally structured songs typically associated with musicals, Natasha’s score is heavily influenced by the operatic model of melodically inventive recitative interspersed with more rigidly formatted arias.  Malloy creates sonically distinct and vibrant worlds for each of the show’s varied settings, from the rapturously beautiful cacophony of the opera to the thumping bass of Moscow’s clubs.  The blending of such anachronistic and diametrically opposed genres only adds to the show’s unique identity, and never once does a musical choice feel inappropriate or ill advised.  Melodic motifs are subtly reused and reconfigured throughout, making the show sound familiar and yet fresh for the entirety of its runtime.

Malloy has written some truly stunning solos, like Natasha’s soaring “No One Else” or her cousin Sonya’s plaintive “Sonya Alone.”  Yet his true genius reveals itself in the more complex duets and ensemble numbers, which are filled to the bursting point with tight harmonies and elaborate choral writing.  The multi-talented Malloy has also orchestrated his own work to perfection, adding another dimension to the music as the instruments and vocals intertwine in deliciously unexpected ways.  But as beautiful and accomplished as Malloy’s score is, it is always in service of the characters and the story, and it keeps the show moving at a near-breathless pace.

Once the show starts, it doesn’t stop, and even the more introspective moments carry with them a thrilling forward momentum.  Malloy’s score lays the basis for this, but it is amplified and enhanced by Rachel Chavkin’s stunning direction.  Chavkin has gifted the show with an immersive staging that truly makes the audience feel like they are a part of the action, which occurs all around them in a specially designed venue called Kazino created explicitly to house the show.  The actors enter and exit from all sides, often speaking directly to the audience and occasionally roping a spectator or two into the action.  Chavkin’s artful deployment of her actors utilizes the space to its fullest while at the same time maintaining a laser-like focus; you always know exactly where you should look, but there is plenty to hold your attention should you choose to glance elsewhere.

Further enhancing the show’s crystal clear storytelling is the unbelievable lighting design by Bradley King.  King achieves a dizzying number of looks and washes over the course of the evening, highlighting and enhancing the action at every turn.  With just a couple of lights and some colored gels King transports us to a snow-covered Moscow street at night or an elaborate costumed ball in a palatial manor.  King’s work is essential in creating some of the evening’s most striking images, including a final tableau that beautifully abstracts the titular Comet of 1812.  It is a virtuosic piece of design work that stands among the very best lighting designs I’ve ever encountered.

And after all of this praise, I haven’t even touched upon the extraordinarily gifted cast who brings this tale to life.  The story is anchored, from beginning to end, by Julliard graduate Phillipa Soo’s stunning portrayal of Natasha.  Soo embodies Natasha’s youth and charisma while utilizing a staggering emotional honesty and accessibility that makes you feel every step of her journey from childhood innocence into full-grown womanhood.  Soo sings likes a dream and has a remarkable amount of control over her voice, but it is her acting that truly captures the audience and makes Natasha’s story involving, relatable, and ultimately heartbreaking.  Soo is a star in the making, and one can only hope that Natasha is the beginning of a long and illustrious career for the young beauty.

David Abeles is by necessity more restrained as Pierre, a cuckolded husband and academic who spends a majority of the first act on the story’s periphery.  He possesses an everyman quality that makes him feel approachable, and his expressive face and voice allows him to communicate the multitude of emotions roiling beneath Pierre’s stoic surface.  As his adulterous wife Helene, Amber Gray is an unbridled firebrand whose killer, blues-influenced voice is put to particularly good use during the song “Charming.”  And Grace McLean is outstanding as Marya D, Natasha godmother and the grande dame of the Moscow aristocracy.  A welcome bit of comic relief for most of the show, McLean comes into her own during the impassioned one-two punch of “In My House” and “A Call to Pierre” late in the second act.

The only cast member who isn’t quite all you’d hope is Lucas Steele as Anatole.  Undeniably handsome and possessing an impressive tenor, Steele can be hard to understand when singing in his middle register and lacks the emotional believability of his costars.  He has the character’s preening physicality down pat, but doesn’t quite have the chemistry to truly sell Anatole’s wholesale seduction of the innocent Natasha.

That is literally the only negative thing I have to say about the production (and Steele is by no means awful); everything else is top notch.  Dave Malloy has written a truly revolutionary score that deserves to be heard often and repeatedly, and may well prove to be an inspiration to an entire generation of future musical theatre composers.  Rachel Chavkin has directed the piece with precision and sensitivity, in an immersive environmental staging that is a shining example of how such productions should be done.  The refreshingly multi-ethnic cast is a top-notch group of singing actors, and Phillipa Soo in particular establishes herself as an actress to watch.  Natasha, Pierre, & the Great Comet of 1812 is playing a limited engagement through January 5th, so get your tickets now or miss out on the most exciting new musical of the year.

UPDATE:  The show has recently been extended to February 2nd, so you still have time to catch this gem!  I'm already planning my (3rd) trip to this astonishing production.