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

Fear No More, for Shakespeare in the Park Has Done It Again

Review: Cymbeline

Hamish Linklater as the oafish Cloten and Lily Rabe as the pure-hearted Imogen in Shakespeare in the Park's latest production of William Shakespeare's Cymbeline.

Director Daniel Sullivan and actors Lily Rabe and Hamish Linklater have become beloved staples of the Public Theatre's annual productions at Central Park's Delacorte Theatre, tackling some of Shakespeare's greatest works with an unfailing dedication to excellence. This season the three acclaimed artists have teamed up for a pared-down version of Shakespeare's late career romance Cymbeline, and the results are quintessential Shakespeare in the Park: superbly acted, highly accessible, and fully embracing the open air setting for an evening of theatrical magic.

One of the Bard's less performed works, Cymbeline is actually the story of the title character's daughter, Princess Imogen. Against her father's wishes, Imogen has married a commoner named Posthumus Leonatus, a move which so outrages King Cymbeline that he banishes Posthumus to Italy. With Posthumus out of the way, the Queen - who is not Imogen's mother but Cymbeline's second wife - attempts to secure her family's royal position by marrying her loutish son Cloten to the princess, who despises him. Meanwhile, Posthumus makes a wager with the boastful Italian Iachimo that Imogen's heart is so pure it is incorruptible, leading Iachimo to travel to England and attempt to seduce the fair princess. There is also a subplot involving a war between Rome and Britain over unpaid monetary tributes, not to mention the mystery of Cymbeline's missing sons.

The plot is one of the most complex in all of Shakespeare, but thanks to Sullivan's expert direction and uniformly strong performances from the cast, this Cymbeline is easy to follow even without the benefit of the synopsis included in the program. This high level of accessibility is even more impressive given Sullivan's decision to double and triple cast most of his ensemble of 9 to fill the play's 16+ speaking roles. Smart costuming by David Zinn and distinctive hair and wig designs by Charles G. LaPointe combine with the physical malleability of the cast so that there is never any confusion over who is playing whom and when, adding to the production's magical quality and the evening's general sense of fun.

Rabe has tackled many of Shakespeare's most famous ingénues during her time in the park, and her Imogen is every bit the equal to her Portia and her Beatrice from seasons past. Rabe instantly commands the stage with her unmistakably regal presence, bringing an inner fire to Imogen while at the same time keeping the character's melodramatic leanings in check. When Rabe espouses the play's many rich and varied declarations of love she is utterly believable, and her sincerity grounds a work filled to the brim with credibility-straining coincidences. The luminescent actress can also access deep reserves of sorrow at the drop of a hat, crying giant, glistening tears during several of the production's more heart-wrenching moments.

Rabe's real-life partner Linklater tackles the dual roles of Imogen's exiled husband Posthumus and her unwanted suitor Cloten. As Posthumus, Linklater is an appealing romantic lead who is also capable of portraying the deep-seated rage that propels the character's actions through much of the second half (like Othello, Posthumus is a tad too quick to believe the worst about his wife). But Linklater's true showcase and the actor's clear favorite is the impossibly dim Cloten, who he plays to hammy perfection. Linklater fills Cloten's scenes with side-splittingly funny business while finding every conceivable joke in the character's dialogue, and his over the top rendition of "Hark, Hark the Lark" is one of the evening's highlights. (All the play's original music is provided by Next to Normal composer Tom Kitt, who offers work as strong and melodically interesting as any he's written for the musical stage.)

Patrick Page is wonderfully imposing as the title character, tiptoeing right up to the line of absurdity without actually crossing it. Kate Burton is suitably despicable as his second wife, clearly having a blast with the Queen's conniving ways. The surprise with Burton is that she is perhaps even more entertaining and convincing as Belarius, the disgraced nobleman who has been secretly raising Cymbeline's missing sons for the past twenty years. Four time Tony-nominee Raul Esparza struggles to find the right balance between Iachimo's smarmy, off-putting personality and the play's comedic leanings, failing to find the humor in his character's introductory scene and generally being a bit too terrible of a person for audiences to fully surrender to the evening's many charms. It is by no means a bad performance, but with Sullivan and the rest of his cast choosing to highlight the text's humor Esparza stands out in the wrong way.

After 53 summers at the Delacorte, Shakespeare in the Park has become a New York institution, bringing high quality productions of some of the greatest works in the theatrical cannon to the populace free of charge. Cymbeline is yet another triumph for director Sullivan and lead actors Rabe and Linklater, proving that this trio can work their magic on the Bard's more problematic plays just as easily as they can on populist classics like Much Ado About Nothing or The Merchant of Venice. Despite the intricate plot, this production is a marvel of accessible clarity without once sacrificing the complexities of Shakespeare's beautiful language or his observations on human nature, and is highly recommended for both Shakespearean scholars and the layperson alike.

High Art for a Balmy Summer Evening

Review:  As You Like It

David Furr, Renee Elise Goldsberry, and Lily Rabe in Shakespeare in the Park's As You Like It

The problem with producing Shakespeare is that the Bard only wrote so many plays, which are mounted so often that making any individual production stand-out requires a combination of fantastic actors and strong directorial vision.  Thankfully, the As You Like It which just opened Shakespeare in the Park’s 50^th anniversary season features both in equal measure, breathing (mostly) new life into this oft-produced comedy.

For those unfamiliar with the plot, As You Like It begins when the evil Duke Frederick banishes a host of people, including his niece Rosalind and his daughter Celia, to go live in the Forest of Arden with his usurped brother Duke Senior.  Just before her exile Rosalind meets and falls in love with the young Orlando, who also ends up in the Forest of Arden for separate reasons.  Unfortunately, in order to avoid execution Rosalind has disguised herself as a boy, and when she and Orland meet again he does not recognize her.  What follows is a series of comic misunderstandings involving a host of supporting characters which eventually sort themselves out just in time for the play’s ending.

As You Like It has never been my favorite Shakespeare, but remains a popular choice for theatre companies due in part to the showcase it offers for the actress playing Rosalind.  This production is blessed with the sensational Lily Rabe in the central role, who gives a dynamic performance that expertly balances comedy and pathos.  Intelligent and charismatic, Rabe lights up the stage with a captivating interpretation that proves she is one of the most gifted actresses of her generation by being entertaining, moving, and most of all truthful.  It is unfortunate that Rosalind isn’t more of a presence in the first act, as the production sags slightly when Rabe isn’t around to elevate it.

That is not to discredit the efforts of her uniformly excellent costars, who combine to create one of the finest acting ensembles of the year.  As Orlando, David Furr projects a humble and quiet confidence that keeps his lovelorn youth from becoming insufferably saccharine (even the other characters tease Orlando about his overly earnest proclamations of love).  As Rosalind’s cousin and best friend Celia, Renee Elise Goldsberry has excellent chemistry with Rabe and provides a welcome contrast to Rosalind and Orlando’s platitudes.  Oliver Platt makes for a hilarious Touchstone, the court jester who accompanies the cousins into the forest, and the veteran actor is particularly skilled in making the Shakespearean wordplay comprehensible to a modern audience.  And as the melancholy Jaques, Stephen Spinella gives an ingeniously underplayed performance which leaves the audience in stitches (he also does an excellent job with the famous “Seven Ages of Man” speech).

The glue holding this entire ensemble together is director Daniel Sullivan, who scored a similar triumph two years ago with the Al Pacino-led Merchant of Venice.  Sullivan is a fantastic director with an excellent understanding of pace and narrative clarity, and even those unfamiliar with the play’s twists and turns should have no trouble following this production.  Sullivan coaxes wonderfully layer performances out of his actors, and continues to be a wonderful asset to the Public Theatre in general and Shakespeare in the Park in particular.

John Lee Beatty’s set design does a great job of evoking the play’s whimsical setting, and it’s a shame the Delacorte’s thrust staging doesn’t allow him to bring his intricate forest setting further downstage.  Jane Greenwood’s period costumes are quite beautiful, and the original grassroots score by Steve Martin does an excellent job of setting the production’s mood. 

Overall, this As You Like It is a first-rate production of one of Shakespeare’s proven crowd-pleasers, and is an excellent way to spend an evening in Central Park.  Lily Rabe’s Rosalind is a marvel, and Daniel Sullivan’s assured direction helps reinvigorate this comedy even for those who are intimately familiar with it.  The impending arrival of the highly anticipated Into the Woods will likely prevent As You Like It from extending its limited run, so any interested parties should rush over to the Delacorte to catch it before it’s gone.