2014 Tony Awards Reaction

Love it or hate it, Hugh Jackman's Music Man rap with rappers LL Cool J and TI was definitely one of the more memorable moments of Sunday's Tony Award telecast.

Sunday night saw Hugh Jackman host the 68th Annual Tony Awards, celebrating Broadway's best and brightest and making some theatrical history along the way.  It marked an official end to the speculation and handwringing about who would win big, and unlike in recent years the awards were pretty evenly split.  No show scored more than 4 wins, and most of the productions with multiple nominations managed to take home at least one award.

I have lots of thoughts about this year's ceremony (which wasn't my favorite, but more on that in a bit), but before I delve into them the real question is how well did I do with my annual Tony predictions?  The answer is not great, only correctly predicting 12 of the 17 categories I blogged about.  That makes for a barely passable 70% average, although in my defense almost nobody predicted that A Raisin in the Sun would walk away with 3 awards.  I don't even have the satisfaction of my "Will Win" guesses being supplanted by my "Should Win" choices, although given the way the nominations turned out I had a feeling this year would see some out of left field winners.

As far as the winners go, I (like pretty much the entire Broadway community) was absolutely thrilled to see Audra McDonald win her record-shattering, much deserved sixth Tony.  McDonald now officially has more Tonys than any performer ever, with the added bonus of being the only woman (person?) to win a Grand Slam in all four performance categories.  This is impressive in and of itself, but the fact that she did all of this as a black woman (parts for women of color are hard to come by, and convincing producers to go with colorblind casting is often even harder) and by the age of 43 is positively mind-blowing.  McDonald is clearly a once in a lifetime talent and my hands down favorite Broadway performer, and despite my stone cold heart I got a little teary eyed watching McDonald be overcome with emotion at the thunderous applause and standing ovation that followed the announcement of her win.  The fact that the always classy McDonald gave such a genuine, heartfelt acceptance speech just made the moment all the more charming.

I must admit my disappoint that Jessie Mueller won over Kelli O'Hara, and although I have not seen Beautiful I cannot imagine what she's doing that tops O'Hara's exquisite work in The Bridges of Madison County.  While there's no denying that Mueller is talented and she clearly has a winning personality (watching her impromptu dance with Jackman was another highlight of the evening), O'Hara is long overdue for some recognition from Tony voters.  Extremely talented, gracious, and a tireless worker (she has rarely been far from a stage since her breakthrough performance in The Light in the Piazza 9 years ago), O'Hara is also that rare actress who has shown no inclination toward film work, and it would be nice to see the Broadway community show her some thanks for passing up the more lucrative film world to keep doing theatre.  When we look back at her career, I firmly believe that Francesca in Bridges will be one her crowning achievements and a role everyone agree she should have won for.

As for the telecast itself, like the award winners it was something of a mixed bag.  Hugh Jackman was certainly a game host, although his bits rarely landed as well as they seemingly should have.  Perhaps we've just been spoiled by three straight years of the incomparable Neil Patrick Harris, but Jackman's routine seemed off.  His jokes got chuckles instead of guffaws, and his Music Man rap was so out of left field it was difficult to enjoy because of the "Is this really happening?" factor.   And then there was the hopping.  Oh, the much debated hopping.  Even after seeing the film musical clip that inspired it, Jackman's opening still doesn't make a whole lot of sense, and most people had to Google what he was referencing to begin with.  It will probably be many year's before a Tony opening tops NPH's "It's Not Just for Gays Anymore," but given Jackman's skills as a song and dance man it would have been nice to see him tackle a glitzy production number.  The closest we got was his dynamite tapping with the cast of After Midnight.

The production numbers from the nominated shows generally went off without a hitch.  Seeing the 3 summer headliners of After Midnight sing was a treat, and the performance managed to highlight most of the show's extremely talented ensemble without seeming manic.  Neil Patrick Harris absolutely killed with his performance of "Sugar Daddy" from Hedwig, and seeing Samuel L. Jackson's reaction to having his glasses licked was absolutely priceless.  I thought the producers of A Gentleman's Guide to Love and Murder came up with a brilliant way to perform the show's most impressive song ("I've Decided to Marry You") while still giving us a taste of Jefferson Mays' multi-character performance by having him introduce the song as 3 of the 8 doomed D'Ysquiths.  Even productions like Violet and Les Miserables, which I didn't particularly enjoy in the theatre, came across well on TV.  And Idina Menzel gave us the best awards show vocal of her career, completely erasing any sour taste her nervous Academy Awards performance left us with.

That said, I could have done without the two preview numbers from next season.  The Sting performance from the upcoming The Last Ship was a snoozefest (most of the people at the Tony party I hosted decided to check their phones during his performance) and had the exact opposite of the desired effect by making me less interested in seeing the show.  The number from Finding Neverland was a bit livelier, mostly because Jennifer Hudson can sing pretty much anything (someone please book her for a guest stint in After Midnight!).  But ultimately that performance was even more dubious because the song made zero sense out of context and Neverland isn't even officially confirmed for Broadway.  I thought these blatant ads distracted from the celebration of the current season's work (the nominal purpose of the awards), and were doubly shameful considering the In Memoriam segment was booted from the telecast to make room for them.  I would have much rather seen that segment and a performances from The Bridges of Madison County then two performances that probably bear no resemblance to the finished product we'll see when (and if) the shows open on Broadway.

Overall, this was one of the less enjoyable Tony broadcasts in recent years for me.  Which is a shame, because I actually felt that this season, despite the absence of a runaway hit, was a very strong one for the Broadway community.  But there's always next year, and in the meantime congratulations to all of the winners!

2014 Tony Predictions: Best Play and Musical

And then there were two.  The Tony Awards for Best Play and Best Musical are the most coveted of all theatrical awards, because they are the only two that have any proven effect on box office receipts.  I don't believe for one second that the beautifully done but decidedly different Once would still be running if not for its Best Musical win two years ago, and Kinky Boots was just another show until it won the big prize last year and then suddenly became one of the hottest tickets in town.  And while the Best Play recipient doesn't receive as much of a box office boost, winning the Tony definitely increases interest in the play, ensuring a far greater number of regional and amateur productions in the future

 

So which two shows can look forward to a raised profile after Sunday's awards?  Read on to find out!

Best Play

Walter White Bryan Cranston and the cast of All the Way.

 

Nominees: Act One; All the Way; Casa Valentina; Mothers and Sons; Outside Mullingar

The Best Play category definitely caused the most surprise when this year's nominations were announced.  Despite a general consensus that this season was not a particularly strong one for new plays, this was the only category to benefit from the rule change that allowed an increased number of nominees.  It definitely left people (myself included) scratching their heads, especially when arguably stronger fields like Best Musical and Best Revival only produced four nominees apiece.

Since John Patrick Shanley's Outside Mullingar only received one nomination, I can't imagine the long-closed show actually managing a win here.  And although it has its supporters, I think Mothers and Sons is pretty much out of the running as well.  That is as it should be; the play touches upon some emotional issues, but does none of them justice thanks to poor writing, haphazard characterization, and uneven performances.  There is enough support of MTC's Casa Valentina that I would consider it a dark horse candidate, although I think playwright and industry icon Harvey Fierstein has gone back to the drag/crossdressing well one too many times for voters to award him the big prize.  The always genial Fierstein will just have to content himself by counting the royalties from the still-running Newsies and Kinky Boots.

The "race," if you can even call it that, is between Lincoln Center's Act One and political drama All the Way.  The heavy use of quotation marks comes from the fact that pretty much everyone agrees that All the Way is destined to win on Tony night, having won every other Best New Play award of the season.  The long and sometimes meandering Act One does seem to hold a special place in the hearts of older industry folk, but All the Way is the play to beat.

Should Win: I've only seen one of the nominees, so I don't really feel qualified to answer this one
Will Win: All the Way

 

Best Musical

Just as protagonist Monty Navarro steadily slays all the D'Ysquiths between him and his inheritance, A Gentleman's Guide to Love and Murder has steadily taken on every challenger this awards season.

 

Nominees:  After Midnight; Aladdin; Beautiful: The Carole King Musical; A Gentleman's Guide to Love and Murder

This is another race that was over virtually before it began.  If any show besides A Gentleman's Guide to Love and Murder wins this award on Sunday, it will be the biggest shock since Avenue Q toppled the mighty Wicked ten years ago. 

That is not to imply that the other nominees aren't worthy.  After Midnight will be penalized by Tony voters for being "just" a revue rather than book musical, but it is a lovingly rendered and highly entertaining revue that features the most talented group of music makers on Broadway (both the singers and the fantastic jazz band).  I personally loved Aladdin, as did many others.  In my opinion it is the most successful Disney stage adaptation yet, at least when it comes to incorporating new material in with the pre-existing songs and plot (the added material in Disney benchmark The Lion King has always felt tacked on to me).  But other people felt that the slick presentation took away from the emotional heart of the piece, and that keeps it from being a real contender for the Best Musical prize.

The only show that poses any sort of threat to Gentleman's Guide is Beautiful, the modest musical about the life of singer/songwriter Carole King which has been steadily winning converts since it premiered in January.  Beautiful has proven to be a reliable box office draw, something that is very important to the out-of-town voters who would prefer to give the Tony to something that will tour well.  But the Broadway theatrical community has gotten pretty sick of jukebox musicals, especially ones that so clearly ape the formula that made Jersey Boys a success.  It would be almost hypocritical for the people who complain so loudly about the lack of originality in musicals to pass over Gentleman's Guide in favor of Beautiful, no matter how much they may like Jessie Mueller as Carole King.  Plus, Gentleman's Guide's modernization of the Gilbert and Sullivan blueprint feels positively refreshing in the current Broadway landscape, reminding everyone just how much fun an old-fashioned musical farce can be.

Will and Should Win: A Gentleman's Guide to Love and Murder


And that brings me to the end of my Tony predictions for 2014!  We'll find out how right (or wrong) I was on Sunday night, and until then you can review all of my predictions and commentary below.

2014 Tony Nominations React
Best Direction and Choreography
Best Book and Score
Best Featured Actor
Best Featured Actress
Best Actor
Best Actress
Best Revival

2014 Tony Predictions: Best Actor

The Tony Awards are drawing closer every day, and I continue to work my way through predicting the winners in all of the major categories.  Having already covered the Featured Actors and Actresses, I now turn my sights toward Broadway's leading men.  I will be using all of my soothsaying ability to determine who will win, and chiming in when I think that individual doesn't line up with the person who should win.

 

Also, before I go any further, I want to address the number of complaints people made about snubs after this year's nominations were announced.  Yes, big names like Denzel Washington, James Franco, and Daniel Radcliffe didn't get nominated.  Not everyone can make the cut; that's just how these things work, and I doubt anyone actually believes these men are more entitled to a nomination because of their celebrity status.  These people weren't snubbed so much as unlucky, because to me the idea of a "snub" means the actor was passed over in favor of someone far inferior.  Looking at these categories, I don't see anyone I can actively point to and say, "He didn't deserve to be nominated."  Yes, I probably would have swapped out Rocky's Andy Karl for The Bridges of Madison County's Steven Pasquale, but that is a personal preference, and Karl certainly earned his slot.  So let's just put all this snub talk to bed and go about making our predictions!

Best Actor in a Play

Given his fondness for lying and manipulating people, it only makes sense the meth dealer Walter White would find himself right at home in politics.

 

Nominees: Samuel Barnett, Twelfth Night; Bryan Cranston, All the Way; Chris O'Dowd, Of Mice and Men; Mark Rylance, Richard III; Tony Shalhoub, Act One

This category could be renamed "Bryan Cranston and the Four Other Guys," because he is the clear frontrunner.  I am very happy Samuel Barnett was nominated for his understated, beautifully acted Viola in last fall's Twelfth Night, but the chances of him winning are extremely small.  Similarly, Tony Shalhoub is unlikely to beat out his higher profile competition given the indifference the Broadway community has for Act One.  And while Mark Rylance can never be completely ruled out of the game, the double nominee stands a much better chance of winning for his supporting work in the aforementioned Twelfth Night.

Cranston's biggest competition is Chris O'Dowd for playing the awards-baiting role of Lenny in Of Mice and Men.  Not to spoil a 75-year-old play, but Lenny is both developmentally disabled and meets a tragic end, an almost textbook character arc for a Tony-winning dramatic role.  However, by all accounts Cranston is a force of nature in All the Way, rarely leaving the stage during the play's 3-hour runtime and singlehandedly raising the show's artistic credibility.  Hopefully Cranston has room for on his shelf for a Tony to accompany his three Emmy Awards, because I'd call him a virtual lock for a Best Actor win.

Will and Should Win: Bryan Cranston, All the Way

 

Best Actor in a Musical

A denim crop top, fishnets, AND gold lame pumps?  You betta werk!!!

 

 

Nominees: Neil Patrick Harris, Hedwig and the Angry Inch; Ramin Karimloo, Les Miserables; Andy Karl, Rocky; Jefferson Mays, A Gentleman's Guide to Love and Murder; Bryce Pinkham, A Gentleman's Guide to Love and Murder

Two of these fine gentleman are doing heroic work in deeply misguided productions, and both their last names begin with "K."  Andy Karl has somehow figured out a way to channel Sylvester Stallone while still making his Rocky feel like authentic and unique, but the show is such a deeply flawed piece I can't imagine him actually winning.  Meanwhile, Ramin Karimloo's Jean Valjean is perhaps the best-sung out of all the nominees, and the West End sensation is one of the only things that makes the ponderous Les Miserables revival bearable.  Karimloo is definitely a contender, but ultimately I think voters will pick one of the remaining three gentlemen for the big prize.

Between A Gentleman's Guide to Love and Murder's two Tony-nominated leads, I think Bryce Pinkham has the harder role, but he pulls it off with such ease that you'd never know it.  Pinkham has the perfect roguish charm to make protagonist Monty Navarro (who, lest we forget, is a *serial killer*) someone you not only like but actively root for, grounding the show so that his costar Jefferson Mays is free to chew the scenery as all 8 members of the despicable D'Ysquith clan.  But Mays has garnered the lion's share of critical praise and adoration, and his flashy multiple roles could very well net him a second Tony Award.

And then there's Neil Patrick Harris, the Emmy-nominated television star who's multiple stints as Tonys host make it easy to forget he hasn't actually performed on Broadway in 10 years.  Harris' go-for-broke performance as the titular transgendered rocker in Hedwig and the Angry Inch is perhaps the biggest surprise of the season, dazzling in both its fearlessness and complexity.  Harris is simultaneously hilarious (his razor-sharp comic timing is on full display) and moving (especially in the show's latter half), proving he is the perfect actor to introduce this cult musical to a wider audience.  Although Mays is not out of the question, I'm predicting a win for Harris, who in addition to being fantastic also has years of goodwill built up from his hosting of the past three Tony Awards.

Should Win:  Bryce Pinkham (A Gentleman's Guide to Love and Murder) or Neil Patrick Harris (Hedwig and the Angry Inch)
Will Win: Neil Patrick Harris, Hedwig and the Angry Inch


Check back soon for what are possibly the most competitive races of the season, Best Actress in a Play and Best Actress in a Musical (subtitle: The Broadway Hunger Games).  And while you're waiting, check out the rest of my Tony predictions below!

2014 Tony Nominations React
Best Direction and Choreography
Best Book and Score
Best Featured Actor
Best Featured Actress


2014 Tony Predictions: Best Featured Actress

In my last post we discussed the supporting men, and today we discuss the supporting women who are up for Tony Awards in just a couple weeks' time.  Predicting these two categories will be tough, as both races are pretty wide open at the moment.  And then you have to take into account that the actress who should win is not always the person who will when, which throws another wrench into any sort of speculation.  But I am nothing if not persistent, so read on to see my best guesses for this year's big winners.

Best Featured Actress in a Play

The always charming Celia Keenan-Bolger was ideally cast as Laura in The Glass Menagerie, even if director John Tiffany let her down with some of his more bizarre choices.

 

Nominees: Sarah Greene, The Cripple of Inishmaan; Celia Keenan-Bolger, The Glass Menagerie; Sophie Okonedo, A Raisin in the Sun; Anika Noni Rose, A Raisin in the Sun; Mare Winningham, Casa Valentina

Many deserving women are nominated in this category, but at the same time there aren't any that seem to demand Tony recognition.  The Cripple of Inishmann, despite positive reviews and the presence of Daniel Radcliffe in the title role, has proven to be a bit of a non-event in terms of box office and awards potential.  That will hurt Sarah Greene's chances, along with the fact that her character comes across as a tad two-dimensional due to the broad nature of playwright Martin McDonagh's script.  A Raisin in the Sun's Sophie Okonedo and Anika Noni Rose will likely cancel one another out, with the final nail in the coffin being the lukewarm critical reception to that revival in general.  Okonedo is not entirely out of the picture, although she does face the significant handicap of playing the same role Audra McDonald inhabited to Tony-winning effect only 10 years ago.

Mare Winningham of Casa Valentina has been this season's stealth awards contender.  She didn't receive a lot of attention when the Harvey Fierstein dramedy opened last month, but has been a regular fixture on Best Supporting Actress lists and won the Outer Critics Circle Award for her work in the show.  She is probably Celia Keenan-Bolger's biggest competition, although the latter drew universal praise for her lonely, damaged Laura in last fall's The Glass Menagerie.  This is Keenan-Bolger's 3rd career nomination, and she still has a lot of goodwill left from her equally praised turn in Peter and the Starcatcher 2 years ago, which only increases her chances of finally winning.  I'm going to give the slightest of edges to Keenan-Bolger, but she and Winningham are so neck and neck that this is almost too close to call.

Should Win:  Toss-up between Mare Winningham (Casa Valentina) and Celie Keenan-Bolger (The Glass Menagerie)
Will Win:  Celia Keenan-Bolger, The Glass Menagerie                                                                     

 

Best Featured Actress in a Musical

Ingenues are deceptively simply roles to play.  With the wrong actress, they become boring or even worse, obnoxious.  Thankfully Lauren Worsham manages to avoid both of those pitfalls while looking absolutely *fabulous* in her Edwardian hat.

 

Nominees: Linda Emond, Cabaret; Lena Hall, Hedwig and the Angry Inch; Anika Larsen, Beautiful: The Carole King Musical; Adriane Lenox, After Midnight; Lauren Worsham, A Gentleman's Guide to Love and Murder

This is certainly an eclectic group of nominees.  Lena Hall does a lot with very little in Hedwig and the Angry Inch, but in this case I think the nomination is the win, and would be very surprised if she was actually called up to the podium on June 8th.  Adriane Lenox is the only previous winner in this group, and although she nails her two big numbers in After Midnight I suspect Tony voters will opt to spread the wealth.  And Anika Larsen is a complete wildcard; despite Beautiful's clutch of nominations I don't consider it to be a serious contender for most awards, but the sheer number of nominations for a show with such a small amount of buzz (despite steadily strong box office) means it must have impressed a lot of people.  Larsen may reap the benefits of that love, especially since Beautiful's subject matter allows her to do more serious "Acting" than many of the nominees in this category.  (Even in musicals, there's the usual awards bias towards dramatic roles, even if it is less pronounced than in plays or film.)

Linda Emond probably deserved to win for her long-suffering wife in the Phillip Seymour Hoffman-led Death of a Salesman (writing these predictions, I'm realizing just how much I disagree with the way the 2012 Tony Awards turned out).  Although I haven't personally seen the show yet, I'm sure Emond is excellent in Roundabout's resurrected Cabaret, but the Tony committee's distaste for that production is probably her biggest stumbling block.  Which leaves us with newcomer Lauren Worsham, who is making a sensational Broadway debut in A Gentleman's Guide to Love and Murder.  Like 2011 winner Nikki M. James, Worsham plays the reliably winsome ingénue in a comedy dominated by two hilarious men, and like James, I think Worsham's ability to turn a potentially boring part into a fully formed, believable character will net her Tony gold this year.

Should Win:  Linda Emond, Cabaret
Will Win:  Lauren Worsham, A Gentleman's Guide to Love and Murder

That takes us through all of the Featured categories; check back soon for my predictions for Best Actor and Actress.  And in the interim, check out the rest of my 2014 Tony Awards coverage below!

2014 Tony Nominations React
Best Direction and Choreography
Best Book and Score
Best Featured Actor

2014 Tony Predictions: Book and Score

Continuing my Tony predictions for the 2013-2014 Broadway season, it's time to turn my eye towards the writing of this season's musicals.  Since musicals are a collaborative art form, they are arguably harder (and definitely take longer) to write than a regular play, and there are a lot more places where something can go wrong.  It is also possible for elements of a show to succeed while the production as a whole doesn't, which is why this year's Best Book and Best Score categories aren't just copies of the Best Musical nominees.  So which shows will win the Book and Score Tonys on June 8th, and are they the same as the shows that deserve to win?  Find out below!

Best Book of a Musical

Jefferson Mays gets a lot of credit for his 8 scenery chewing characters in A Gentleman's Guide to Love and Murder, but bookwriter Robert L. Freedman gave him some great material to work with.

 

Nominees:  Woody Allen, Bullets Over Broadway; Chad Beguelin, Aladdin; Robert L. Freedman, A Gentleman's Guide to Love and Murder; Douglas McGrath, Beautiful: The Carole King Musical

It's very hard to imagine a scenario where A Gentleman's Guide to Love and Murder's Robert. L. Freedman doesn't win this category.  Gentleman has the most Tony nominations of any show this year, clearly illustrating the Tony committee's fondness for the musical farce.  And since Gentleman's Guide doesn't really have any production numbers or marquee value stars, that love is entirely based on the show's witty, tightly paced writing.  Like most musical comedies, the destination isn't all that interesting (or even all that clear), but the journey there is filled with smart dialogue and characters that walk fine line between being large enough to elicit laughs and believable enough for the audience to invest in.

Given the ambivalence towards Bullets Over Broadway, I doubt Oscar-winner Woody Allen is much of a contender here (and whether true or not, the recent child molestation scandal will surely deter a few voters from supporting him).  The book of Beautiful was generally the most derided aspect of that show in critical reviews, and although I think Chad Beguelin did a better job than previous Disney musicals of incorporating new elements into the existing material, Aladdin's charms lie mostly in its musical numbers.  This one is deservedly Freedman's to lose.

Will and Should Win: Robert L. Freedman, A Gentleman's Guide to Love and Murder 

Best Score

Jason Robert Brown turned The Bridges of Madison County from a trashy, critically derided novel into a legitimate work of art.  That should be worth a couple of Tony Awards on its own.

 

Nominees:  Alan Menken, Howard Ashman, Tim Rice and Chad Beguelin, Aladdin; Jason Robert Brown, The Bridges of Madison County; Steven Lutvak and Robert L. Freedman, A Gentleman's Guide to Love and Murder; Tom Kitt and Brian Yorkey, If/Then

This category is so lopsided it isn't even a race; it's just a formality between Jason Robert Brown and his second Best Score Tony.  The music for The Bridges of Madison County is one of the greatest examples of sustained artistic excellent in the past decade, gloriously sung by two of the most gifted vocalists working on Broadway today.  Epically grand and breathtakingly gorgeous, the score is packed to the gills with songs that stop the show with their sheer beauty (the picturesque yet mournful opening "To Build a Home," the folksy "Another Life," Kelli O'Hara's Act II stunner "Almost Real," and the climactic duet "One Second and a Million Miles").  Even the show's detractors were forced to admit that Brown's score is a masterwork, easily the best thing this gifted composer has ever written.

The only team with even the slightest possibility of scoring an upset is A Gentleman's Guide to Love and Murder's Steven Lutvak and Robert L. Freedman.  Their Gilbert-and-Sullivan-esque score has more melodic invention than is apparent on first listen, and their deft lyrics are overflowing with wit and a decidedly cheeky sense of humor.  But this isn't a Wicked/Avenue Q situation, where the latter's consistently clever score surprisingly beat out the former's uneven mix of modern classics ("Popular," "Defying Gravity") and inert clunkers (anything involving the Wizard).  Bridges is fantastic from end to end, and will rightly win the Tony Award for its sustained excellence.

Will and Should Win: Jason Robert Brown, The Bridges of Madison County


Keep checking back throughout the next two weeks for more Tony predictions and commentary!  And catch up on any coverage you may have missed by checking out the following:

2014 Tony Nominations React
Best Direction and Choreography


2014 Tony Predictions: Best Direction and Choreography

It's that time of year again.  With the 2014 Tony nominations announced and the awards ceremony set for Sunday, June 8th, all of Broadway is buzzing with speculation on who will win Broadway's highest honor.  Well, add my voice to the cacophony, because it's time once again for me to give my semi-educated opinion on who is most likely to win on Tony Sunday.  As in past years, I will be focusing primarily on what I call the Big 12 awards (Musical, Play, Revival, and the 8 acting categories), along with Direction, Choreography, Book, and Score. 

Through a time-honored combination of first hand experience, industry scuttlebutt, and gut feeling, I will be naming both the person or production I think most likely WILL win, along with who I think SHOULD win.  These two unfortunately do not always overlap; I am still upset with how the 2012 awards went down, particularly Best Actor in a Musical (Danny Burstein was ROBBED!) and Best Revival of a Musical (Follies was perfection).  Hopefully the voters will be a little more just this year, although without a clear front-runner in most of the categories I have a feeling we're in for at least one off-the-wall winner.  Now without further ado, let the predictions commence!

Best Direction of a Play

Stephen Fry has died of laughter, a common occurrence for audience members of Tim Carroll's all-male Twelfth Night

 

 

Nominees:  Tim Carroll, Twelfth Night; Michael Grandage, The Cripple of Inishmaan; Kenny Leon, A Raisin in the Sun; John Tiffany, The Glass Menagerie

 

 

It sure was nice of the Tony nominators to recognize Michael Grandage and Kenny Leon, but the idea that either one of them is in contention for the actual award is slightly ludicrous.  Leon's work on A Raisin in the Sun has drawn mixed reactions (once again, he has coaxed phenomenal performances out of his actresses while neglecting his central actor), and despite its 6 Tony nominations The Cripple of Inishmaan has almost no momentum behind it.  This race is firmly between the directors of last fall's critical darlings, Twelfth Night and The Glass Menagerie.  Both shows took put fresh spins on well-worn classics, although in my opinion only one of those spins actually proved illuminating to the text.  But I am in the minority when it comes to my low (extremely low) opinion of John Tiffany's work on Menagerie, and he could very well walk away with the top prize.  But considering Tiffany just won a directing Tony in 2012, and that Tim Carroll's production of Twelfth Night was the funniest, freshest production I have ever seen despite (because of?) his adherence to Shakespeare's original practices, I think Mr. Carroll is well-positioned for a much deserved win on Tony Sunday.

 

Will and Should Win:  Tim Carroll, Twelfth Night

 

Best Direction of a Musical

Being a serial killer didn't look nearly so enchanting in Sweeney Todd.

 

Nominees:  Warren Carlyle, After Midnight; Michael Mayer, Hedwig and the Angry Inch; Leigh Silverman, Violet; Darko Tresnjak, A Gentleman's Guide to Love and Murder

 

This is a much tighter race than Best Direction of a Play, with the only nominee I can't picture winning being Violet's Leigh Silverman.  Her work on the small scale musical has its charms, but the production as a whole is a tad underwhelming and the sheen of good reviews has already started to fade.  Director Warren Carlyle arguably had the most to do with his show's success, since the jazz review has no script to speak of and therefore draws all of its structure from the strength of Carlyle's direction and choreography (Carlyle is also the only director/choreographer to score dual nominations this year).  Unfortunately for Carlyle, Tony voters have a not-so-subtle bias against revues, which will probably keep him from actually winning here.

If I was handing out the Tonys, I would give this one to Michael Mayer's bravura work on Hedwig and the Angry Inch.  The show has survived the upgrade from small scale venues to a big Broadway house with its rebellious spirit intact, and that is wholly thanks to Mayer's alterations to the show's premise and his fluid staging.  Also, Neil Patrick Harris didn't just happen upon his stunning performance as the transgendered title character; that kind of magic is the clear product of an actor and director working together in full harmony.  But Darko Tresnjak is at the helm of the year's biggest Tony nominee, and thus gets to reap the benefits of the show's goodwill even though there is hardly anything special about his work on it.  Add in the fact that Mayer already has two Tonys and I'm inclined to think Tony voters will go with Broadway newcomer Tresnjak over the more seasoned Mayer.

Should Win:  Michael Mayer, Hedwig and the Angry Inch
Will Win:  Darko Tresnjak, A Gentleman's Guide to Love and Murder

Best Choreography

Who needs a pesky book getting in the way of all the production numbers?  Not After Midnight, that's for sure!

 

 

Nominees:  Warren Carlyle, After Midnight; Steven Hoggett and Kelly Devine, Rocky; Casey Nicholaw, Aladdin; Susan Stroman, Bullets Over Broadway

I have nothing but the utmost respect for 5-time Tony winner Susan Stroman, and honestly think her two Broadway outings this year (Big Fish and Bullets Over Broadway) were unfairly savaged by the press.  Her production numbers are always full of wit, invention, and an unbridled joy that is the hallmark of Golden Age Broadway, and her involvement will instantly make me more interested in a particular project.  All of that said, Bullets proved extremely divisive among critics and the backlash against the show will prevent her from winning this year.  And while Rocky makes some interesting use of movement, there's just not enough of it to really merit a Tony win.

As a double nominee, Warren Carlyle may be in the best position here.  A win for Carlyle would be an acknowledgement of all his work on the production (similar to how Jerry Mitchell's win last year was an acknowledgement of all of his work on Kinky Boots, not just the choreography) while also leaving Best Director open for someone else.  But the same argument could also be used in favor of Casey Nicholaw, and Best Choreography is his only chance at being acknowledged for all he did to make Aladdin a success.  Nicholaw crafted the year's most buzzed about showstopper - "Friend Like Me" routinely draws standing ovations despite the fact it occurs in the middle of the first act - but Carlyle has won several of the guild awards, making this one a true toss up.  Given this is probably After Midnight's best chance at Tony glory, I think voters will give this to Carlyle, although I would not at all be surprised if Nicholaw won instead.

Should Win:  Casey Nicholaw, Aladdin
Will Win:  Warren Carlyle, After Midnight


That concludes the first entry in my annual round of Tony predictions.  Keep checking back over the next 3 weeks as I work my way through the rest of the big categories, and we'll find out how well (or poorly) I did on June 8th.  Until then, check out the rest of my 2014 Tony coverage below:

2014 Tony Nominations React

What Sould This Year's Tony Nominees Perform?

Remember that time NPH promised us via song and dance that Broadway is "not just for gays anymore?"  He was totally lying, but damn it was entertaining.

My annual predictions for this year's Tony winners are coming soon, so don't you worry your pretty little heads.  But before I dive down that rabbit hole, I thought I'd take a few minutes to write about something a little less serious (but still important): what songs should this year's nominated musicals perform at the big ceremony??? 

After all, the Tony Awards are a national platform where the nominated productions get "free" advertising via their 5-minute performance (rumor has it the shows actually have to cover the physical cost of the performance).  This is often the first and sometimes only exposure a show will get to people who live outside of the tri-state area, so a correctly chosen number can really help drum up interest in the current Broadway production - not to mention any prospective tours.  And as one of the few permanent records of the production, the Tony performance can end up being one of the only ways future generations can have any idea what the show was actually like.

Now, there are a host of considerations that can go into picking this performance, but 9 times out of 10 the answer is simple: go with the production's strongest number.  The one people talk about on their way out of the theatre.  Because the same qualities that make that number a talking point to audience members is going to make potential audience members want to buy tickets to the show.  I personally think it is a bad idea to save the best number for people who actually see the show live.  The Lion King cast performed the show's jaw dropping opening number (an artistic pinnacle the following two-and-a-half hours never quite match) and it certainly hasn't suffered because of it.  Because despite the prevalence of film and television, most people inherently understand that seeing something live is not the same as watching a video, and will gladly pay Broadway prices to be able to say they saw that impressive-looking production from the TV in person.

That said, the numbers get very little setup, so you want to choose something that is still enjoyable without a lot of background knowledge or emotional investment.  This can be a problem for more modern shows that consist mostly of musical scenes rather than traditional songs, as evidenced by Next to Normal's showing at the 2009 Tonys (which struck me as bizarre before having seen the show, but in hindsight is pretty freaking brilliant).  In general, big production numbers read better on TV - especially now that the Tonys are back at the cavernous Radio City Music Hall - and have the added bonus of letting the entire cast perform, which is nice for the performers.  But what if your show doesn't have a number that features everyone, or the big production number excludes the lead actor you really wanted to highlight?  The answer depends on what kind of numbers you have to choose from, although if your production has a name star who's likely to sell tickets you should probably focus on them. 

Now what if the best number of your show is the finale, and you don't want to spoil the ending?  Again, this depends on the show; if it is a plot based production then you should probably opt for something else, but if it's a character-driven comedy I say go ahead and do the finale, because that worked like gangbusters for Hairspray.  And finally, don't commit what I consider the cardinal sin of Tony performances: medleys.  Your 5-minute time slot is short enough without trying to cram several song arcs in there, and it almost inevitably leads to the performance feeling rushed.  Medleys only have a chance of being successful if the songs are exceedingly well know and aren't particularly character based; I would advise against them for everything except jukebox musicals.  For reasons I will never understand Matilda decided to do a medley last year even though those songs aren't known at all (and honestly, the music is one of Matilda's weakest aspects), and it ended up making the show look much weaker than it actually is.

So with those rules in mind, what should this year's nominees perform?  Here are some of my suggestions:

A Gentleman's Guide to Love and Murder - The strongest and most impressive number in the show is the operatic trio "I've Decided to Marry You," and I'm hoping that's what the producers go with.  The song is an excellent example of the Gilbert and Sullivan-esque charms of the score (melodically pretty with extremely witty lyrics), has a sense of fun, and showcases 3 of the 4 leads in a situation that can be easily set up with a one sentence introduction: Monty has two love interests, and they don't know about each other.  The only reason the producers might go against this is if they really want to showcase Tony-nominee Jefferson Mays (a frontrunner to actually win), in which case I suggest having the others sit this one out and doing "Lady Hyacinth Abroad."  The number is a great showcase for Mays and the show's off-kilter humor, and because it serves as that character's introduction is pretty self-contained.

Aladdin - This show is provoking very mixed reactions among industry folks; some people love it, and some think it fails to live up to Disney's high standards (those people are clearly ignoring Tarzan and The Little Mermaid).  But the one number that everyone agrees is spectacular is "Friend Like Me," and Disney would be wise to put their best foot forward.  There are a lot of props and set pieces involved in that number which would make it difficult to recreate at Radio City, but the effort would be worth it, just like it was worth it for Pippin to bring all that circus equipment last year.  If Aladdin does "Friend Like Me," I fully believe they will keep selling out for the next few years.

Beautiful - I haven't personally seen this show, so it's difficult for me to make a recommendation.  As a jukebox musical it could attempt to get away with a medley, although I think it would be a better idea to just put Jessie Mueller front and center and let her do her thing (especially since Carole King songs tend to be more about the entire composition and not just a catchy chorus).  I'd also pick something more uplifting, because this is at heart a tourist show and tourists have proven repeatedly over the years that they just want to be entertained.  Looking at the song list, "(You Make Me Feel Like) A Natural Woman" would probably be the best choice.

After Midnight - This show would actually benefit from a medley in my opinion, and that's what they should do.  Have Fantasia sing a verse and chorus of one of her solos (maybe "Stormy Weather"), then kick things into high gear with a big production number.  Tap dancing is always impressive on the Tonys, and I would definitely recommend something that allows the band to shine as much as the performers.  But don't go crazy with the number of songs; I'd say pick 2 to 3 and knock them out of the park.

Violet - This show has a problem that is becoming more prominent as shows get better about integrating music and story; none of the songs jump out at you as a stand-alone piece.  There are a lot of loooong musical scenes that would have to be cut down (and likely loose some coherence), and the biggest production number (the gospel anthem "Raise Me Up") doesn't involve any of the Tony-nominated stars.  I think the best choice would be "All to Pieces," featuring the main trio of Sutton Foster, Joshua Henry, and Collin Donnell.  It also has the added bonus of being an uptempo song, which is always an easier sell in these types of situations.

Les Miserables - I am very afraid the Les Miz producers will decide these songs are well known and attempt a medley of power ballads, which would be a disaster.  The performers can barely find the emotional grounding to sell the songs in the context of the show; with only a brief snippet to work with I feel like the songs would just become noise.  The obvious choice is for them to do "One Day More," but as their Good Morning America performance proved that number highlights some of the more questionable casting in the show.  If the producers are smart, they will sit Tony-nominee Ramin Karimloo center stage and let him sing "Bring Him Home," the one number universally singled out by critics as a highlight.  Karimloo has the stage presence and vocal chops to fill even the massive Radio City Music Hall, and it will make the revival frankly look better than it actually is.

Hedwig and the Angry Inch - I would advise the producers to take a page out of the Patti LuPone-led Gypsy playbook and allow star Neil Patrick Harris to monologue a bit before breaking into song.  Hedwig is a freeform piece and it would be nice for Harris to be able to communicate some of that feel before belting out one of the show's rock anthems.  We know Harris has the charisma to command such a large venue, and as a likely winner it will be nice to have some record of what his whole performance encompasses.

There are several other currently running shows that aren't nominated, and five years ago that would have meant they wouldn't perform.  But the past few years the producers of the actual Tony Awards have shown willingness to let unnominated but worthy (or not) productions perform, so who knows?  Given her increased profile thanks to Frozen and the infamous Adele Dazeem incident, it would seem silly not to feature Idina Menzel and If/Then in some capacity, especially since that show has actually been one of the better sellers of this spring.  (But then again, it's clear that Menzel suffers from horrible awards-show nerves, so letting her sing would be a risk.) 

Since it didn't snag a nomination and is closing next weekend, I've given up hope that The Bridges of Madison County will be allowed to perform, but since the producers are (shockingly) mulling over a tour maybe they'll get Kelli O'Hara and Steven Pasquale to blow everyone's mind with the rapturous "One Second and a Million Miles."  I don't see the point in having Alan Cumming perform "Wilkommen" on the show again, but I wouldn't mind it if Cabaret let the divisive but undoubted box-office draw Michelle Williams perform one of Sally's big numbers ("Mein Herr" would work better on the telecast, but the title song would involve less work on the production's part).

That's my thoughts on this year's nominees.  And now, I leave you with what is probably the single greatest Tony performance of all time, Jennifer Holiday in Dreamgirls:




What songs do YOU want to see performed on the Tonys?

Insanely Early 2014 Tony Predictions: Part I

It's never too early to start discussing Tony Award contenders (at least, not for me).  And since we're in the middle of the winter no man's land between the fall and spring Broadway offerings, now is as good a time as any to look back on the first half of this season on the Great White Way.  Obviously we have a lot of shows left to open, so at this point only those who have made a major impression on the theatre-going community can be considered true Tony contenders.  As I do at the end of each theatre season, I'm going to go through all of the major Tony categories and note which productions and people I think have a real shot at recognition come nomination time. 

WARNING:  Occasional snark and a great deal of speculation to follow.

Best Musical

Smartly written and expertly cast, A Gentleman's Guide to Love and Murder is easily the best of the fall's new musical offerings.

There were actually (surprisingly) a fair number of productions eligible for the Best Musical category over the past six months.  Unfortunately, there are also a lot more new musicals on the horizon, and this fall's shows (especially the ones that have closed) stand a good chance of being overshadowed/forgotten come Tony time.  If I were to pick the show with the highest chance of securing a Best Musical nomination, I would go with A Gentleman's Guide to Love and Murder, which in addition to being hilarious is one of the smarter book musicals to come around in a long time.  If a second fall show sneaks into this category then the well-reviewed After Midnight has a shot, although it's status as a revue rather than a book show hurts its chances with the sometimes snobby Tony voters.

I personally enjoyed Big Fish, but it was a divisive show and that decreases its chances immensely, especially in the face of the formidable-looking spring line-up.  There's also the off chance that Baby Boomer baiting Beautiful scores a surprise nomination, but despite its rosy box office prospects I think it will ultimately be passed over by the more discerning voters.  A Night with Janis Joplin and First Date are ultimately slight entertainments unlikely to gain any serious awards traction, and if Soul Doctor gets mentioned at all on the Tony telecast it will likely be as the butt of somebody's joke.  I mean, does anyone even remember Soul Doctor happened?  And what is it going to take to get a show that lasts more than a few months into the Circle in the Square?

Best Play

As of right now, this is the weakest this category has been in years.  Most of the plays from the fall were star-driven revivals, with only A Time to Kill and The Snow Geese even eligible for this award.  Both were met with critical and audience indifference, and there are enough interesting-sounding plays scheduled for spring that I suspect both will be shut out of the Tonys.  *If* (and that's a very big "if") one of these plays were to be nominated, it would probably be Sharr White's WWI drama The Snow Geese, but I find that highly unlikely.

Best Musical Revival

In something I consider a celebration, there were no musical revivals on Broadway this fall.  Every tuner that premiered was a new show, so currently this is a wide open race.  There are also only 4 revivals scheduled for the spring, and that's assuming Roundabout's remounting of their Tony-winning Cabaret is even deemed eligible for competition (which I suspect it won't be).  So basically, everyone gets nominated!

Best Play Revival

Did anyone think that a 400-year-old Shakespeare comedy would be one of the critical and commercial smashes of the fall season?  But Mark Rylance and the all-male company have made Twelfth Night must-see, hysterical theatre.

Thanks to the repertory productions that took Broadway by storm, there are already plenty of play revivals eligible for this year's Tonys.  The double bill of Twelfth Night and Richard III in particular has been a box office and critical sensation, and I would be shocked if Twelfth Night wasn't nominated (in fact, at this moment I think it's the likely winner).  And while I personally hated it, most critics and audience members have been over the moon about this latest production of The Glass Menagerie, so I'm going to name it the second sure thing in this category.  I also wouldn't be surprised to see one of the Patrick Steward/Ian McKellan shows nominated (probably Waiting for Godot), although their slot is the most endangered should the spring revivals prove particularly strong and/or popular.  Despite fantastic reviews, the Roundabout's revivals of The Winslow Boy and Machinal lack the star power to be serious contenders, and the producers of the Daniel Craig-led Betrayal will likely have to content themselves with the millions of dollars they made from that sold out but not necessarily well-reviewed production.  Betrayal always had the air of being an event that was separate from rather than a part of the Broadway season, and the competition is simply too strong for even the mighty James Bond to conquer.


That's my take on the production races and where they stand so far.  There of course is always the chance for surprises, but history has taught us that shows which fail to make a major impression in the fall don't stand much chance at Tony love once the spring shows open (especially if the fall shows have shuttered before nominations are announced).  I am also making some of these predictions based on the assumed strength of the spring's offerings, so if that becomes a surprise in either direction (really strong or really weak overall), then things will change as well.

Check back soon for my thoughts on how the acting races are shaping up so far.

The Best Shows of 2013: Part 1

Greetings, internet!  It's been a while.  I'm sorry I haven't been around (working a full-time job and taking a much needed vacation have kept me occupied for the past month), but I certainly wouldn't forget to post my annual list of the Best Shows of 2013!

For those who haven't seen one of my Best Of lists before, there are two very simple criteria for a show to make the list:  1) It must have opened and been seen by yours truly during the 2013 calendar year (so any show I haven't personally seen is automatically disqualified); and 2)  Said show must have been good.  I am happy to say that I saw much more good theatre than bad, and looking back I'm glad I've been taking baby steps towards seeing more Off-Broadway shows, as some of my most interesting nights at the theatre were spent in the tinier venues away from the hustle and bustle of the Great White Way.  This year, I am only writing a brief paragraph about each show rather than giving every entry it's own post, so without further ado here is the first half of my Best Shows of 2013 list!

10) Kinky Boots

The sex is in the heel:  Billy Porter is Broadway's reigning diva as Lola in Kinky Boots

From the moment it was announced, Kinky Boots always sounded like a fun night in the theatre.  Focusing on a struggling shoe factory that decides the road to financial stability lies in manufacturing women's shoes for men, this Cyndi Lauper-Harvey Fierstein-Jerry Mitchell collaboration is a perfectly lovely concoction.  The show is by no means groundbreaking (many of the same themes were addressed equally well in Fierstein's other drag musical, La Cage aux Folles), but there are some charming tunes, a stunning star turn by this year's Tony winner Billy Porter, and more glitter and sequins than you can shake a six-inch heel at.  I never would have predicted Kinky Boots' incredible box office performance, but there are certainly less deserving shows that have run much longer (*cough*Cats*cough*).

9) Vanya and Sonia and Masha and Spike

Surely it's obvious who Sigourney Weaver's self-absorbed Masha has dressed as (and David Hyde Pierce makes an adorably droll dwarf).

Christopher Durang finally won his first Tony Award for this farcical riff on unfulfilled desires and our youth obsessed culture.  Durang's comedy aims both high and low, equally at home with insider references to Anton Chekov and politically incorrect Hellen Keller jokes.  While Durang's script is good, the play's powerhouse cast is what pushed Vanya and Sonia into must-see territory.  Kristine Neilson and David Hyde Pierce both gave tour de force performances, each gifted with the kind of stand-out moments actors often dream about (Neilson's bittersweet second act phone call, Pierce's explosive rant against the younger generation).  The supporting cast was just as accomplished, and the show was one of the better examples of ensemble acting on the boards during the spring and summer.  Vanya and Sonia was the definition of laugh-out loud funny, and certainly earned its place among the year's best comedies.

8) Far From Heaven

It's autumn in Connecticut, but Kelli O'Hara's career as one of New York's best singing actresses is far from over.

Following the surprise success of Grey Gardens, composer Scott Frankel and lyricist Michael Korie once again tackled source material that seemed to defy musicalization.  This story of a 1950's suburban Connecticut housewife watching her picture-perfect life crumble around her and the small solace she finds in her relationship with her black gardener lives in the small moments, and musicals typically thrive on the big and flashy.  But Frankel and Korie once again proved what deft observers of the human condition they are, mining the story for all of its thematic richness and making it sing with some of the most beautiful music to grace the New York stage this season.  The pair also received a gift from the musical theatre gods in leading lady Kelli O'Hara, doing some of her most nuanced work to date.  I really hope this show finds its way to Broadway, as there is a distinct lack of serious musical theatre being written these days.  Until then we'll have to "make do" with O'Hara's next project, the Jason Robert Brown-scored Bridges of Madison County.

7) Big Fish

Norbert Leo Butz is certainly the "hero" of the fall musical season, giving an electric performance in the lead role of the unfairly underrated Big Fish

The critics were rather lukewarm to this Susan Stroman-directed tuner, and the box office has unfortunately followed suit, prompting the show to post a December 29th closing date.  It really is a shame, because Big Fish is one of the more interesting and complex projects to make it to Broadway in the past few seasons, and it's inherently theatrical premise (a travelling salesman prone to telling tall tales) has produced some of the fall's most stunning visuals.  Stroman is in top form with her inventive staging, which finds room for dancing elephants, a USO-inspired production number, and one of the few effective uses of slow motion in a live theatrical production.  The preternaturally talented Norbert Leo Butz is makes a strong case for Tony Award #3, with his decades-spanning characterization providing the show it's heart and soul.  He is ably matched by Kate Baldwin as his ever-faithful wife and Bobby Steggert as his estranged son.  If you haven't seen it yet, run out to catch Big Fish before it disappears forever at the end of the month.

6) A Gentleman's Guide to Love and Murder

Why are all the D'Ysquith's dying?  From laughter, I'd wager.

This stunning debut by unknowns Robert L. Freedman and Steven Lutvak is the fall's best reviewed new musical, and rightly so.  Smartly written and beautifully sung, there is enough wit and invention in Gentleman's Guide's two-and-a-half hours to fill several lesser musicals.  Although the ghoulish-sounding plot involves Monty Navarro systematically bumping off eight members of the wealthy D'Ysquith clan in order to inherit an earldom, this musical farce is one of the funniest, most entertaining shows of the new season.  Jefferson Mays strikes comedic goal as all eight of the doomed D'Ysquiths, and Bryce Pinkham is adorably understated as the well-meaning but murderous Monty.  But the cast's real finds are Lisa O'Hare and Lauren Worsham, the two golden voiced women making their Broadway debuts.  Watching the pair fight for Monty's affections is positively thrilling, and the trio's Act II showstopper "I've Decided to Marry You" is as close to musical comedy heaven as you're likely to find this season.


That's the first half of my list.  Come back soon for my Top 5 of 2013, and also keep an eye out for my companion (and much snarkier) piece, the Worst Shows of 2013.

A Gentleman's Guide to a Jolly Good Time

Review:  A Gentleman's Guide to Love and Murder

Murder, you say? - Jefferson Mays is absolutely killing it as the eight doomed D'Ysquiths in A Gentleman's Guide to Love and Murder.

A Gentleman's Guide to Love and Murder, the delightful new musical comedy that just opened at the Walter Kerr Theatre, is the complete antithesis of everything that has come to define the contemporary Broadway musical, and is all the better for it. Smart, funny, and deliciously tongue-in-cheek, this gem of a show offers a refreshing change of pace from the bombast currently in vogue on the Great White Way, a thinking man's comedy by a couple of Broadway newcomers that is the most entertaining book musical of the fall season.  Even those who generally think themselves too highbrow for shows where the characters break into song are likely to find themselves won over by this Gentleman's many charms.

Set in Edwardian England, A Gentleman's Guide is built from a simple premise that yields increasingly surprising dividends.  Upon his mother's death, young Monty Navarro learns that he is ninth in line to the D'Ysquith (pronounced "DIE-sqwith") family fortune, and takes it upon himself to bump off the eight self-involved nobles standing between him and his inheritance.  He hopes his increased social stature will help win over his longtime love Sibella Hallward, but along the way falls for his beautiful and pure-hearted cousin Phoebe.  And in an ingenious twist, all eight of the D'Ysquith nobles (including two lovely ladies) are portrayed by Tony-winner Jefferson Mays in a bravura performance that is sure to put the versatile actor in contention for a second statuette.  What follows is an evening of unadulterated musical comedy bliss, expertly performed by a sensational cast with some of the most beautiful voices currently on Broadway.

The score by Steven Lutvak and Robert L. Freedman is initially unassuming - the opening number is probably the worst song in the bunch, which is a shame - but quickly grows into a glorious classically-tinged score that has moments of rapturous beauty.  Lutvak and Freedman display a particular gift for counterpoint in the production's many duets, and their ability to write extended musical scenes culminates in the breathtakingly accomplished Act II trio "I've Decided to Marry You," sung by Monty and his two love interests.  The show also contains several dynamite patter songs which show off the duo's sharp and intricate lyrics, which for once are actually audible instead of being drowned out by an over-amplified sound system like in so many other shows.  The score has been masterfully orchestrated by the legendary Jonathan Tunick, who works under the charmingly novel idea that perhaps the orchestra should support the voice rather than compete with it.

Freedman's book keeps the show moving along at a steady clip, quickly establishing the various members of the D'Ysquith clan and just as quickly dispatching with them.  Despite the amount of plot he must cover, Freedman still manages to draw full and complex portraits of the three romantic leads, and the supporting characters have just enough flair to keep them easily distinguishable from one another.  The ending is probably too convoluted for its own good, but just as in the musical comedies of yore the destination isn't really the focus here.  A Gentleman's Guide is all about the journey, and it is a thoroughly entertaining one.

The cast is uniformly fantastic, starting with Jefferson Mays as the eight doomed members of the D'Ysquith family.  The mercurial Mays switches among his various personas with ease, granting each one a different set of quirks and mannerisms that make them instantly recognizable (Mays is greatly aided by Linda Cho's distinctive and gorgeous costumes).  More importantly, Mays makes all of them laugh-out-loud funny, striking a perfect balance between high and low comedy that is essential in establishing the evening's tone.  Mays is particularly memorable as the foppish Henry, who sings a hilarious duet with Monty entitled "Better with a Man," and the Tony-winner also scores as the delightfully self-involved Lady Hyacinth, who spends an entire musical number debating which starving, third world children are most worthy of her charity.

As the affably murderous Monty Navarro, Bryce Pinkham is perhaps the production's greatest discovery.  His Monty is sweet, unassuming, and undeniably British, feeling authentic and believable throughout the proceedings.  Pinkham anchors the entire show with a charming everyman quality that causes you to root for him even though he is essentially an unrepentant serial killer, and the young actor has the ability to suggest a whole host of emotions roiling just below the surface while maintaining his proper British poise (a dichotomy that is wonderfully exploited during the song "Stop! Wait! What!?!").  Pinkham also sings beautifully, with an effortless tenor that is one of the purest male voices to grace Broadway in a good long while. 

He is matched, note for note and scene for scene, by his two spectacular leading ladies.  Lisa O'Hare is ravishing as Monty's first love Sibella, making the character's nonstop rambling and concern with outward appearances endearing rather than off-putting.  O'Hare also flawlessly navigates Sibella's increasing jadedness without ever losing sight of the traits that made Monty (and the audience) fall in love with her in the first place.  Lauren Worsham is just as delightful as the eternally optimistic Phoebe D'Ysquith, radiating a winsome star quality that makes her an equally appealing match for the lovelorn Monty.  Both women are making positively smashing Broadway debuts, and when they sing together or with Pinkman (as in the aforementioned "I've Decided to Marry You") the actresses sound heavenly.

Director Darko Tresnjak deserves full credit for casting such fantastic actors and coaxing such winning performances out of them, although his staging for the show falls a bit short of the high benchmark set by the performers.  Tresnjak nails the tone and keeps the show moving, but his stage pictures are rarely very interesting to look at.  He is partially hampered by Alexander Dodge's set, which in attempting to replicate the feel of an English music hall has effectively halved the amount of available playing space for most scenes.  There's definitely more to the scenic design than initially apparent, although the scattered surprises don't really justify the concessions made in the area of actor mobility.

In the end, A Gentleman's Guide's strengths far outweigh its weaknesses, and the show proves itself one of the most unexpected delights of the fall season.  A refreshing change of pace from the loud, pop-influenced excess of most modern-day musicals, the show marks the auspicious Broadway debuts of both the writing team and a good portion of the highly talented cast.  It is a rare show that manages to be this entertaining while remaining intellectually stimulating, and it would be absolutely scandalous for any true theatre lover to miss it.  A killer good time is practically guaranteed (sorry, I had to).