2017 Tony Awards Final Thoughts

Tony host Kevin Spacey in Sunday night's opening number.

And that's a wrap! With Sunday night's Tony telecast, the curtain has officially fallen on the 2016-2017 Broadway season, bringing with it a freshly minted crop of Tony winners. And while I have plenty of thoughts on the ceremony as a whole, let's start by looking at how well I did during my annual predictions. Here are this year's actual winners, with the asterisk denoting races I correctly predicted:

Best Musical: Dear Evan Hansen*
Best Play: Oslo*
Best Revival of a Musical: Hello, Dolly!*
Best Revival of a Play: Jitney*
Best Actress in a Musical: Bette Midler, Hello, Dolly!*
Best Actress in a Play: Laurie Metcalf, A Doll’s House, Part 2
Best Actor in a Musical: Ben Platt, Dear Evan Hansen*
Best Actor in a Play: Kevin Kline, Present Laughter*
Best Featured Actress in a Musical: Rachel Bay Jones, Dear Evan Hansen*
Best Featured Actress in a Play: Cynthia Nixon, The Little Foxes
Best Featured Actor in a Musical: Gavin Creel, Hello, Dolly!*
Best Featured Actor in a Play: Michael Aronov, Oslo
Best Direction of a Musical: Christopher Ashley, Come From Away
Best Direction of a Play: Rebecca Taichman, Indecent
Best Choreography: Andy Blankenbuehler, Bandstand
Best Book of a Musical: Steven Levenson, Dear Evan Hansen
Best Score: Benj Pasek and Justin Paul, Dear Evan Hansen*

For those who aren't great at math, that's 10 out of 17 correct, or a fairly unimpressive 59% success rate. The creative categories are where I struggled the most, as they were the source of the night's biggest surprises. I don't think anyone, including Christopher Ashley and Rebecca Taichman, expected their wins in the direction categories, which made for two of the most entertaining speeches of the night thanks to their genuine shock and happiness.

By contrast, the acting races all went down pretty much as expected, and as a result we didn't see anyone truly lose it the way some of the most memorable Tony winners do (no Nikki M. James style "butterfly" moments here). Don't get me wrong, I liked all of the speeches, and I truly don't have a problem with any of the winners; no one was robbed of their Tony this year, although there are a couple of races I was hoping might go a different way. (We love you, Stephanie J. Block, and you will get your Tony someday!)

The most memorable speech of the night was hands down Bette Midler's. In what may be a Tony record, Midler spoke for nearly 5 minutes as she thanked everyone from her cast, producers, and designers on down to her teachers. The orchestra eventually gave up trying to play her off and just let her speak, and while some people might have a problem with Midler taking so much more than her allotted time it's clear the audience was eating it up. It also helps that Midler was genuinely thrilled to win, and had nothing but effusive praise for her cast and crew. Thanks to a ridiculous behind the scenes feud between Hello, Dolly's lead producer and the Tony telecast, we did not get to see any of Midler's already legendary performance as Dolly Levi, so I'm fine with giving the star as much stage time as possible.

Speaking of the performances, I have to say the individual show producers by and large bungled their song selections. Almost all were poor representations of the show that were incredibly difficult to process out of contest, and I don't think the majority of shows were shown to their full advantage. Miss Saigon made the incredibly off-putting decision to open with an onstage murder and crying mother, although thankfully Tony nominee Eva Noblezada's incredible voice and performance salvaged things (they should have just started with her singing). Groundhog Day picked the sappiest song in its repertoire, and the Natasha, Pierre & The Great Comet of 1812 was just plain chaotic.

And God bless David Hyde Pierce, but nobody was interested in seeing a cut song from Hello, Dolly! when that score is literally brimming with standards. It's not Pierce's fault that producer Scott Rudin decreed Bette Midler wouldn't perform unless they could do the performance from the Shubert Theatre, and he did an admirable job with a number that in the context of the show is actually quite charming. But there are three *obvious* choices in that score for Tony performances ("Put On Your Sunday Clothes," "Before the Parade Passes By," and the title song, which would have been my preference), and Rudin should have sucked it up, paid for the duplicate set, and given the people what they wanted, which was Midler front and center.

As host, I thoroughly enjoyed Kevin Spacey's easygoing vibe, which provided a nice contrast from James Corden's overly labored hosting gig last year (I know I'm in the minority, but I thought the late night host and Tony winner was trying way too hard). I think the opening number was a bit too "inside baseball" for the telecast, as you can only really appreciate it by having seen all of the parodied shows, which the majority of people watching have not. But Spacey sold it, and his repeated impersonations of other celebrities throughout the telecast were some of the evening's highlights. They also reminded anyone who may have forgotten that Spacey is an actor's actor, and he will hopefully be back on Broadway sooner rather than later. Finally, Spacey's repeated references to the fact that he was nobody's first choice for this gig were genius, as making fun of himself allowed him to make fun of others without seeming mean spirited ("Let's go before Bette Midler thanks anyone else").

Overall, I thought this year's Tonys were fine, although disappointing considering the strength of this Broadway season. The one area the Tonys usually excel at, the musical numbers, was marred by poor song choices that didn't do a good job of introducing the shows to people who didn't already know them. And oddly enough, the announcement of winners this year was somehow less interesting than last year even though last year we all knew Hamilton would dominate. But the most important aspect of the Tonys is celebrating the year's best and brightest, and this year I thought voters did an excellent job of rewarding those who truly deserved it.

2017 Tony Award Predictions: Best Revival

The 71st annual Tony Awards are this Sunday, and my annual predictions keep rolling right along. It's now time to discuss the prestigious production awards, those which honor an entire show rather than an individual part of it. Of all the award categories, a win here has the most noticeable impact on a show's box office, as well as its future prospects when it comes to potential tours and regional productions. 

As always, I will use a combination of personal opinion, critical consensus, and industry buzz to determine the most likely winner. So on to the Best Revival categories!

Best Revival of a Play

The cast of Jitney on Broadway.

Nominees: Jitney; The Little Foxes; Present Laughter; Six Degrees of Separation

Manhattan Theatre Club, one of the biggest not-for-profit players on the New York theatre scene, has a hit or miss track record when it comes to their Broadway seasons. But this year has been nothing but hits, with all three of their Broadway productions (Heisenberg, Jitney, and The Little Foxes) earning both critical acclaim and fairly healthy box office. Which is why it seems inevitable that MTC will take home the Tony for Best Play Revival this year, with the only question being which production it will win for.

The Little Foxes has all the elements that add up to Tony gold. It is currently running, features a much praised cast (several of whom are up for individual awards), and plenty of buzz thanks to the fact that stars Laura Linney and Cynthia Nixon play the two primary roles in repertory. But my gut tells me it will be MTC's other revival, the long-awaited Broadway bow of August Wilson's Jitney, that actually brings home the prize on Sunday night. Despite being the only nominee not currently running, Jitney was universally beloved by critics as serious art, and it's recent Drama Desk win only increases the production's profile and chances of winning. Six Degrees of Separation and Present Laughter will have to settle for just being nominated, as neither piece has inspired the kind of passion that makes people vote for you over other worthy options.

Will Win: Jitney

Best Revival of a Musical

Tony-nominee Kate Baldwin, Tony-nominee Bette Midler, Beanie Feldstein, and Taylor Trensch in Hello, Dolly!

Nominees: Falsettos; Hello, Dolly!; Miss Saigon

This award is currently Hello, Dolly's to lose, and not just because of the sensational performance of Bette Midler in the title role. From top to bottom, this is one of the best realized productions of the season, and arguably the best Dolly we're likely to see in our lifetime. Composer Jerry Herman reportedly turned down multiple offers to revive this Golden Age classic over the years, waiting for just the right cast and director to make the show sing. He has found it in Jerry Zaks' sumptuous staging, which honors the show's old school roots while simultaneously making it feel fresh and new again. The sets, costumes, lights, choreography, and performances all add up to pure theatrical magic that will win over even those who aren't especially enamored with Hello, Dolly! as a show (as structurally, it admittedly has some faults).

The only thing that could spoil Dolly's victory lap would be a late in the game surge for Lincoln Center's Falsettos. The toast of the town when it opened this fall, the Broadway return of William Finn's signature work at one point appeared to be the show to beat, but the long months between its early January closing and now make it difficult to envision an actual win. Working in the show's favor is its incredibly appealing quartet of leads, who have been dutifully making the press rounds throughout Tony season professing their love for the show and one another. Their charm and innate likability could help remind voters what they liked so much about the show to begin with, but overcoming Dolly is a major uphill battle. And compared to its two competitors, Miss Saigon just doesn't have the acclaim or buzz to pull off an upset.

Will and Should Win: Hello, Dolly!

Check back soon for my predictions in the all important Best Play and Musical races, and catch up on the rest of my 2017 Tony coverage below!

Nominations React

Best Book and Score

Best Direction and Choreography

Best Featured Actor

Best Featured Actress

Best Actor

Best Actress

2017 Tony Award Predictions: Best Actress

The march towards the 2017 Tony Awards continues, and so do my annual predictions! As always, I will be using a combination of personal opinion, critical consensus, and industry buzz to determine the most likely winners, which don't necessarily line up with the most deserving winners. Should the two diverge, I will make sure to point that out in my analysis.

Now that we've tackled the Lead Actors, let's move on to Broadway's leading ladies!

Best Actress in a Play

Laura Linney and Darren Goldstein in Manhattan Theatre Club's production of The Little Foxes.

Nominees: Cate Blanchett, The Present; Jennifer Ehle, Oslo; Sally Field, The Glass Menagerie; Laura Linney, The Little Foxes; Laurie Metcalf, A Doll's House, Part 2

Both Cate Blanchett and Sally Field are the recipients of not one but two Academy Awards each, which will surely ease the sting of not winning the Best Actress in a Play Tony this year. Blanchett's work in The Present was phenomenal, but the play itself proved off-putting to a large segment of the theatre community; combine that with the fact it closed several months ago and Blanchett is an extreme long shot. Sally Field's work in The Glass Menagerie is much more recent, but Sam Gold's divisive, stripped down approach to the Tennessee Williams classic did her no favors, handicapping Field to the point where I can't imagine her winning.

Jennifer Ehle doesn't often perform on Broadway, but when she does she has an excellent Tony track record. Prior to Oslo, Ehle had just three Broadway credits to her name, and two Tony wins to go with them, so counting her out of the race would be foolish. But her remaining two competitors, The Little Foxes' Laura Linney and A Doll's House, Part 2's Laurie Metcalf, are both overdue for Tony glory, as despite multiple nominations neither has ever won. Linney's recent win at the Drama Desk Awards along with the higher level of buzz for Manhattan Theatre Club's starry revival give her the edge, and I expect her name to be called on Sunday night. But one cannot rule out Metcalf, especially considering the high level of love the Tony nominators showed for A Doll's House, Part 2.

Will and Should Win: Laura Linney, The Little Foxes

Best Actress in a Musical

Bette Midler in the title role of Hello, Dolly!

Nominees: Denee Benton, Natasha, Pierre & The Great Comet of 1812; Christine Ebersole, War Paint; Patti LuPone, War Paint; Bette Midler, Hello, Dolly!; Eva Noblezada, Miss Saigon

Let us stop and take a moment to appreciate the embarrassment of riches that is this year's Best Actress in a Musical category. This season brought us two-time Tony-winners Patti LuPone and Christine Ebersole at the top of their respective games, and yet both seem like long shots to win the award! Either performance would be worth the price of admission to War Paint; the fact that you get both makes it true must see theatre for any musical aficionado, a thrilling night of two titans doing what they do best.  Newcomer Eva Noblezada is also sensational in Miss Saigon, a worthy successor to Lea Salonga in the role of Kim and someone I hope we will be seeing much more of in the coming years. (I am less enthralled with The Great Comet's Denee Benton, but am glad to see Broadway continuing to embrace diverse casting options.)

However, this award is destined to go to Bette Midler, whose performance in Hello, Dolly! is truly one for the record books. I have seen quite of bit of theatre in my eight years living in New York, including industry stalwarts like Audra McDonald, Kelli O'Hara, Sutton Foster, Bernadette Peters, and the aforementioned LuPone and Ebersole. And I have *never* seen a star turn quite like Midler's, who exceeds any and all expectations you might have for her to deliver a transcendent, triumphant Dolly Levi that feels every bit as definitive as Carol Channing's. There is no learning the kind of star quality Midler has - you're either born with it, or you aren't - but it is coupled with a supreme talent and precise deployment of her many skills that appears effortless. It may be 50 years since her last Broadway musical (as a replacement in the original production of Fiddler on the Roof), but it was worth the wait, and will be rightly rewarded with every Best Actress award around, including the Tony.

Will and Should Win: Bette Midler, Hello, Dolly!
Special Mention: Glenn Close in Sunset Boulevard, who is ineligible for this year's Tonys (having already won for the same role) but is giving a whole new generation the chance to see her breathtaking Norma Desmond

Agree? Disagree? Let me know in the comments, and keep checking back throughout the week for more Tony coverage from Broadway, Etc. You can catch up on anything you may have missed below:

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

2017 Tony Award Predictions: Best Featured Actor

June is bustin' out all over, which means that we're getting down to the wire when it comes to this year's Tony Awards. Broadway's highest honors will be handed out on June 11th, and I'm here to predict which lucky performers and productions will receive them. As always, these predictions combine personal opinion, critical plaudits, and industry buzz to determine the most *likely* winner, not necessarily the most *deserving* one. If I personally would vote for someone else, I will make sure to point that out in my analysis.

Now let's tackle the first two of the eight acting races!

Best Featured Actor in a Play

John Douglas Thompson in Jitney.

Nominees: Michael Aronov, Oslo; Danny DeVito, The Price; Nathan Lane, The Front Page; Richard Thomas, The Little Foxes; John Douglas Thompson, Jitney

Again, I have unfortunately not seen any of the nominated performances in this category. However, the Featured Acting in a Play categories tend to be the biggest source of out of left field winners, so perhaps that isn't such a handicap. These are the races where star power and industry reputation have the least bearing on the outcome, as this is where Tony voters like to reward the hardworking journeyman actors who may not get the chance to headline a show but are supremely talented. Some years, it seems like being too big of a name can actively hurt a performer's chances in this category.

Which makes me think a 3rd trophy for Nathan Lane is unlikely, despite his performance being the most lauded and best remembered aspect of the starry Front Page revival. However, I don't think name recognition will hurt Danny DeVito's chances, as despite a decades-long career in TV and film The Price marked the veteran character actor's Broadway debut. DeVito is certainly a contender, as is Richard Thomas, given that The Little Foxes is one of the buzziest plays of the season. And with a history of unexpected winners in this category, I wouldn't be at all surprised if either Oslo's Michael Aronov or Jitney's John Douglas Thompson manages a win despite being on very few people's radar. In fact, in a somewhat daring move, I'm actually going to predict a win for Thompson, as I think critical appreciation for Jitney will prove surprisingly strong at the Tonys.

Will win: John Douglas Thompson, Jitney
Should win: Abstain

Best Featured Actor in a Musical

Gavin Creel (right) and Beanie Feldstein, Taylor Trensch, and Kate Baldwin in Hello, Dolly!

Nominees: Gavin Creel, Hello, Dolly!; Mike Faist, Dear Evan Hansen; Andrew Rannells, Falsettos; Lucas Steele, Natasha, Pierre, and the Great Comet of 1812; Brandon Uranowitz, Falsettos

I have to say, I truly loved Mike Faist's performance in Dear Evan Hansen, especially upon second viewing. The way he subtly shifts Connor Murphy's persona in front of your eyes to match the evolving backstory Evan creates during the song "Sincerely Me" is truly something to behold, a complex bit of stage magic that appears effortless. That said, I think Faist has about zero chance of actually winning this award given his more high profile competition.

While I was absolutely blown away by Andrew Rannells in The Book of Mormon (I think he deserved the Best Actor Tony that year), I don't think his role in Falsettos showcased him to the best of his ability. Whizzer is more of a plot device than a character, and the lack of much emotional depth to play probably torpedoes any real chance Rannells has at winning. I was far more impressed with Brandon Uranowitz's work in the same show, which felt the most authentic to the period and character while also being delightfully nuanced. Unfortunately, Falsettos is long closed and while I typically don't believe vote splitting is as big an issue as some make it out to be, having two nominees from a closed show could well cancel one another out.

The true competition is between Gavin Creel and Lucas Steele. Not necessarily for me, as Lucas Steele has long been my least favorite performer in the quite good cast of Natasha, Pierre, and the Great Comet of 1812. But I seem to be in the minority, as Steele already won a Lucille Lortel Award for playing the same role in the show's original Off-Broadway incarnation. That said, Gavin Creel is a beloved member of the Broadway community who at this point feels overdue for a Tony Award. (His *stellar* work in last season's She Loves Me went criminally unrecognized by the nominations committee.) And Creel is quite good in Hello, Dolly!, combining a boyish innocence with great comic timing and a glorious tenor to bring hapless shop clerk Cornelius Hackl to vivid life. I'm predicting this is Creel's year, although Steele could still score an upset.

Will and Should Win: Gavin Creel, Hello, Dolly!

Those are my predictions; feel free to share yours in the comments section! Check back soon for my Featured Actress predictions, and in the meantime you can catch up on the rest of my 2017 Tony Awards coverage below.

Nominations React
Best Book and Score
Best Direction and Choreography

"Hello" Bette, in a Truly Divine "Dolly"

Review: Hello, Dollly!

Bette Midler in the iconic title song from Hello, Dolly!

They just don't make them like this anymore. That old adage applies to both Hello, Dolly!, the Jerry Herman-Michael Stewart penned musical currently being revived at the Shubert Theatre, and most especially to star Bette Midler, appearing in a Broadway musical for the first time in 50 years. Midler possesses a luminous star quality the likes of which few performers can equal, and exudes it so naturally and effortlessly that she appear to glow from within. In the title role of this first class revival, Midler delivers the sort of legendary star turn that will be remembered for years to come, a must see theatrical event that has already set tongues wagging and ticket prices soaring. And Midler is worth every cent.

The plot of Hello, Dolly! finds professional matchmaker (and dance instructor, and makeup consultant, and a host of other eclectic professions) Dolly Gallagher Levi looking for a suitable wife for the well known "half a millionaire" Horace Vandergelder. Throughout the course of one extremely busy day, Dolly's meddling manages to find suitable mates for Vandergelder's niece Ermengarde, his shop attendants Cornelius Hackl and Barnaby Tucker, and last but not least Dolly herself. In all honesty, the farcical plot is of secondary importance to Herman's immortal songs and Midler's performance, and falls apart upon closer inspection. But you'll be far too entertained by Midler and the rest of this sparkling production to care.

It cannot be overstated how much Midler brings to the title role, so long associated with original star and theatrical icon Carol Channing. The award-winning actress and recording artist has such mastery over the show's particular brand of comedy that she elicits belly laughs with the merest gesture or change in inflection. A spritely presence with a mischievous twinkle in her eye, Midler sends an electric energy over the footlights and into the rafters, demanding your full attention lest you miss whatever piece of comic genius she has cooked up next.

Midler is so good that one of the highlights of the show involves neither dialogue nor music, but watching the Divine Miss M (as her fans have dubbed her) devour a turkey leg, some dumplings, and a boat a gravy. The specificity of intention and attention to detail sells this and every other moment of Midler's performance, which feels both tightly honed and spontaneous all at once. Just when you think you've seen every trick in her arsenal Midler produces a new one, including genuine pathos in her conversations with her dearly departed husband, Ephram. These moments provide a level of emotional stakes to the piece that is unexpected yet wholly welcome, grounding the show and Dolly before switching back to side splitting musical shenanigans.

Midler's performance would be worth the price of admission alone, making the fact that the rest of the production is such a joy feel like a bonus. Director Jerry Zaks and choreographer Warren Carlyle have polished this old warhorse of a show to a brilliant shine, embracing the piece's old fashioned charms rather than trying to dress them up with modern bells and whistles. Santo Loquasto's sets are the kind of beautifully painted, stylized backdrops that haven't been seen on Broadway in years, demonstrating that for all the technological razzle dazzle of projections the old ways of doing things remain surprisingly effective. When Midler makes her entrance in a carriage drawn by a "horse" that is clearly two dancers inside of a costume, the old fashioned stagecraft makes the moment more memorable, not less. (And the way Midler graciously acknowledges the thunderous applause which greets her while staying in character is yet another testament to her unparalleled professionalism.)

Loquasto has also designed jaw droppingly gorgeous costumes, a pastel potpourri resplendent in detail and tailored to perfection. They are so entrancing that "Put On Your Sunday Clothes" becomes a breathtaking showstopper despite the fact it is literally just a parade of costumes. His staging for songs such as this and the opening "I Put My Hand In" shows that Carlyle knows the value of precise, minimalist movement, but he's also more than capable of having the ensemble leap and twirl their way through big productions like the appropriately titled "Dancing" or "The Waiters' Galop." Zaks keeps just as tight a handle on the book scenes, giving the production such buoyancy and pep that it flies along and ends far before you want it to.

And while Midler's performance is the headlining attraction, her costars are all first rate. David Hyde Pierce, decked out in mutton chops and an authentic Yonkers accent, is delightful as the cantankerous Vandergelder, particularly during his Act II opener "Penny In My Pocket." As Cornelius and Barnaby respectively, Gavin Creel and Taylor Trensch are a riot, clowning around in high fashion during their small town clerks' big city adventures (rarely has the word "pudding" been so hilarious). Kate Baldwin sings like a dream and mugs with the best of them as hatshop owner and object of Cornelius' affections Irene Malloy, and newcomer Beanie Feldstein is equally winsome as her assistant Minnie Fay. So deep is this production's roster of talent that they landed Tony-nominee Jennifer Simard for a side splitting single scene turn as Ernestina, Vandergelder's crass date to the fanciest restaurant in town.

Simply put, this is as good a production of Hello, Dolly! as you are ever likely to see, an unadulterated delight from start to finish. Everything about this loving tribute to Broadway's Golden Age is done at the highest possible level, a pure joy that will have you exiting the theatre humming the tunes and dancing on air. Midler's performance is one for the history books, joining the ranks of all time great star turns thanks to her talent, tireless work, and megawatt star quality. When she descends that grand staircase to the opening chords of the title song in Dolly's signature red dress and resplendent feathered headpiece, it is as if time stops, and you don't just agree but inarguably know that Midler, like Dolly, is truly back where she belongs.

2017 Tony Nominations React

Past Tony-winner Jane Krakowski and nominee Christopher Jackson announce the 2017 Tony Award nominees.

It's Tony Tuesday!!!! Early this morning Jane Krakowski and Christopher Jackson announced the nominees for the 71st annual Tony Awards, with Natasha, Pierre, and the Great Comet of 1812 leading the pack with 12 nominations, followed closely by hot ticket revival Hello, Dolly! with 10. (You can see a complete list of the nominees here.)

I have lots of thoughts about this year's nominees, but first let's see how well I did with my predictions. An asterisks represents a nominee I correctly predicted, while an asterisk in parentheses is a wildcard selection that made the grade:

Best Musical
Come From Away*
Dear Evan Hansen*
Groundhog Day*
Natasha, Pierre & The Great Comet of 1812*

Best Play
A Doll’s House, Part 2
Indecent*
Oslo*
Sweat*

Best Revival of a Musical
Falsettos*
Hello, Dolly!*
Miss Saigon*

Best Revival of a Play
Jitney*
The Little Foxes*
Present Laughter*
Six Degrees of Separation*

Best Performance by an Actor in a Leading Role in a Musical
Christian Borle, Falsettos*
Josh Groban, Natasha, Pierre & The Great Comet of 1812*
David Hyde Pierce, Hello, Dolly!
Andy Karl, Groundhog Day*
Ben Platt, Dear Evan Hansen*

Best Performance by an Actress in a Leading Role in a Musical
Denée Benton, Natasha, Pierre & The Great Comet of 1812
Christine Ebersole, War Paint*
Patti LuPone, War Paint*
Bette Midler, Hello, Dolly!*
Eva Noblezada, Miss Saigon*

Best Performance by an Actor in a Leading Role in a Play
Denis Arndt, Heisenberg*
Chris Cooper, A Doll’s House, Part 2
Corey Hawkins, Six Degrees of Separation
Kevin Kline, Present Laughter*
Jefferson Mays, Oslo

Best Performance by an Actress in a Leading Role in a Play
Cate Blanchett, The Present*
Jennifer Ehle, Oslo
Sally Field, The Glass Menagerie(*)
Laura Linney, The Little Foxes*
Laurie Metcalf, A Doll’s House, Part 2*

That's 28 out of 35 correct guesses, which makes for a fairly good 80% accuracy rating. However, if I'm being honest that figure is misleading as I ended up prediction one more nominee in all of the production categories, figuring the breadth of work this season would lead to the close vote totals that cause category expansions. That was not the case, showing that the Tony nominators were generally in agreement on which shows they liked best.

As for the nominees themselves, they went pretty much as expected. I was clearly wrong about enthusiasm for The Great Comet having cooled, as it leads the pack in nominations including a somewhat surprising nod for lead Denee Benton as Best Actress. It's not a choice I'm entirely behind, but I'm probably biased due to my unadulterated adoration of Phillipa Soo in the show's Off-Broadway incarnation, and there isn't an actress I think is more deserving who was left off the list (including Soo, who is poorly used in the not fully realized Amelie).

I'm pleasantly surprised to see Dear Evan Hansen's Mike Faist and Falsettos' Brandon Uranowitz among the Best Featured Actor nominees, as I though both gentlemen did great work in somewhat thankless roles. (In particular, Faist's turn on a dime modifications to his character during the charming "Sincerely Me" number is some of the best subtle musical acting of the season.) Part of me also wishes Tony voters had found space for Hello, Dolly's Gavin Creel *and* Taylor Trensch in this category, as their Cornelius and Barnaby are both fantastic and neither performance would be as successful without the other's support.

As for omissions, I'm bummed about War Paint's relatively modest showing, although I can't say I'm surprised. I loved the show, but the Drama Desk and Outer Critic's Circle nominations made it clear that a lot of the New York theatre scene was lukewarm to everything about it except its sensational leading ladies. I will take solace in the show's $1 million+ weekly box office and the feeling that it will be a show people will slowly discover and appreciate as time goes on.

I'm genuinely shocked by Allison Janney's exclusion from the Best Actress in a Play race. I have not seen the show, but in my mind she is definitely the selling point and would be my primary reason for buying a ticket, and I've heard no rumblings about her being disappointing. I also wish they had found room for Jennifer Laura Thompson from Dear Evan Hansen, who is just as good as her rightfully nominated costar Rachel Bay Jones. And while I haven't seen enough of the Best Actor in a Play nominees to argue that Gideon Glick was snubbed, I do think he did exceptional work in Significant Other.

Check back in the coming weeks for my annual Tony predictions, as well as reviews of at least 3 more nominated productions I haven't quite had time to write yet. And feel free to weigh in with your own thoughts on this year's nominees in the comments!

2017 Tony Nomination Predictions: Part II

With the industry anxiously awaiting the announcement of this year's Tony nominees on Tuesday, it is once again time for me to put on my prognosticator's hat and predict who will be among the lucky crop of nominees. I've already weighed in on the production categories, so now it's time to look at individual performances.

As always, these predictions represent my best synthesis of personal opinion, critical acclaim, and Tony trends. There is always the possibility an extremely close vote could cause certain categories to expand beyond the traditional 5 nominees, and although I don't expect that to happen I will still be picking a Wildcard performer in each race. The Wildcard is the person I think the most likely to force a category expansion, or unseat one of my official picks. Now on with the show!

Best Actor in a Musical

Ben Platt as the title character in Dear Evan Hansen.

Unlike the wide open production races, there is a definite front runner in this race, and his name is Ben Platt. Best Actor in a Musical has been Platt's award to lose ever since Dear Evan Hansen burst onto the scene last fall, and the young actor deserves every bit of praise he has received. His performance as the awkward, depressed title character is revelatory, a perfect mixture of comedy and pathos that is gorgeously sung and heartrendingly acted.

The only person who offers any kind of threat to Platt is Groundhog Day's Andy Karl, fresh off an Olivier Award win for the same role and much in the news of late due to an unfortunate onstage injury. Karl is quite good as the acerbic Phil Connors, his innate likability helping get the audience on Phil's side long before the events of the show turn him into a decent human being. The performance isn't quite in the same league as Platt's (no leading man is this year), but it is more than enough to ensure the beloved Broadway stalwart a nomination.

The performers rounding out this category aren't as obvious, but I'm reasonably confident Josh Groban will find himself Tony-nominated for his Broadway debut in Natasha, Pierre, and the Great Comet of 1812. I also think Jon Jon Briones will be nominated for his seductively charismatic work as Miss Saigon's Engineer; if a whitewashing controversy couldn't stop original Engineer Jonathan Pryce from winning a Tony, having an equally good and ethnically appropriate actor has to be good for at least a nomination. And as much as I personally dislike Christian Borle's acting, the two-time Tony-winner will probably be nominated for one of his two qualifying roles this year, hopefully the more subdued and less hammy Falsettos. 

As for dark horses, I would keep my eye on A Bronx Tale's Nick Cordero, a previous nominee for his work in the short lived Bullets Over Broadway, and one should never rule out David Hyde Pierce, who is playing opposite Bette Midler in one of the buzziest shows of the season. (Remember, Jake Gyllenhaal is not eligible as the producers of Sunday in the Park with George withdrew the show from Tony consideration.)

Nominees: Christian Borle, Falsettos; Jon Jon Briones, Miss Saigon; Josh Groban, Natasha, Pierre, and the Great Comet of 1812; Andy Karl, Groundhog Day; Ben Platt, Dear Evan Hansen
Wildcard: Nick Cordero, A Bronx Tale

Best Actor in a Play

Kevin Kline in Present Laughter.

This category is almost completely wide open, as no play's leading actor has broken out in the way that nets you awards consideration. The one exception is Kevin Kline, who is a lock for his expert comedic skills in the latest revival of Present Laughter. The question is who will join him.

Significant Other provided quite the meaty role for Gideon Glick as a gay millennial struggling with existential angst as he loses his best friends to their romantic partners. Despite the play's premature closing, I suspect Glick will be remembered by the nominating committee. I also have to imagine that Academy Award-nominee Mark Ruffalo will be nominated for his work in Roundabout Theatre Company's well-liked revival of Arthur Miller's The Price. And while some found The Present off-putting, its leading man Richard Roxburgh did fine work in a very tricky part.

Rounding out the category is most likely Denis Arndt, the septuagenarian actor who made his Broadway debut this past fall opposite Mary-Louise Parker in Heisenberg. But at the same time, I have to believe past Tony-winner Jefferson Mays is at least in contention for his work in Oslo, although that show has struggled to build much awards momentum despite a clutch of positive reviews. And a nomination for Simon McBurney would be a way for Tony voters to recognize the actor/director/writer for his unique (and well reviewed) solo show The Encounter without having to nominate the play itself.

Nominees: Denis Arndt, Heisenberge; Gideon Glick, Significant Other; Kevin Kline, Present Laughter; Richard Roxburgh, The Present; Mark Ruffalo, The Price
Wildcard: Simon McBurney, The Encounter

Best Actress in a Musical

Bette Midler as the title character in Hello, Dolly!

Yet again, this season brought us some sensational leading lady performances in an eclectic array of musicals. The name currently on everyone's lips is Bette Midler for headlining the smash hit revival of Hello, Dolly! Composer Jerry Herman reportedly turned down multiple offers to revive the show due to his dissatisfaction with the actresses under consideration for the title role, but was instantly sold when the Divine Miss M was mentioned. As Midler's sensational star turn has been greeted with ecstatic reviews, including a rave in The New York Times the likes of which head critic Ben Brantley rarely gives, it appears Herman's instincts were correct. Midler is a guaranteed nominee and probable winner, although she does face some stiff competition.

While War Paint's chances of being nominated in the production and writing categories are shaky, there's absolutely no way Patti LuPone and Christine Ebersole miss out on Best Actress nods. Excluding either would be the very definition of a snub. And Anastasia's leading lady Christy Altomare has received both an Outer Critic's Circle and Drama Desk nomination this week, making it extremely likely that Tony voters will follow suit. And while she has failed to make an appearance among the nominees in any of the guild awards, I really have trouble imagining Miss Saigon's extraordinary Eva Noblezada being left out on Tony Tuesday.

Luckily for all of the above performers, Glenn Close is not eligible for a Tony this year, as she already won one for her absolutely transcendent Norma Desmond in Sunset Boulevard when the show originally premiered. And Stephanie J. Block (Falsettos), Rachel Bay Jones (Dear Evan Hansen), and Jennifer Laura Thompson (Dear Evan Hansen) have all been deemed supporting actresses, so look for them to make an appearance in that category. If anyone is going to unseat one of the above performers, it's going to be two-time nominee Laura Osnes for the late season entry Bandstand.

Nominees: Christy Altomare, Anastasia; Christine Ebersole, War Paint; Patti LuPone, War Paint; Bette Midler, Hello, Dolly!; Eva Noblezada, Miss Saigon
Wildcard: Laura Osnes, Bandstand

Best Actress in a Play

Laura Linney (left) and Cynthia Nixon in The Little Foxes.

This category is the most exciting it's been in years, thanks to a welcome increase in female fronted plays. The always excellent Allison Janney seems like a shoe-in for her work in Six Degrees of Separation. Similarly, it appears A Doll's House: Part 2 will give Tony favorite Laurie Metcalf another chance to win the elusive statuette, even as it struggles to catch on at the box office. And let's not forget Heisenberg's Mary-Louise Parker, who scored across the board raves for her complex portrayal of a possibly unstable woman in Simon Stephens' two-hander.

After that, the rest of the nominations could go several ways. Laura Linney has received both Drama Desk and Outer Critic's Circle nods for her dual roles in Manhattan Theatre Club's The Little Foxes, which makes a Tony nod feel almost inevitable (her costar Cynthia Nixon, who alternates in the same roles as Linney, has oddly been ruled a supporting actress). Cate Blanchett and Sally Field are also in the mix, as even though their respective vehicles The Present and The Glass Menagerie proved to be divisive productions, both actresses scored strong reviews for their individual contributions. While Field did well with the guilds, I actually think Blanchett has the better chance at a Tony nod, as she is not competing against the memory of a very recent, well loved production of the same play the way Field is.

Nominees: Cate Blanchett, The Present; Allison Janney, Six Degrees of Separation; Laura Linney, The Little Foxes; Laurie Metcalf, A Doll's House: Part 2; Mary-Louise Parker, Heisenberg
Wildcard: Sally Field, The Glass Menagerie


And there you have my 2017 Tony nominee predictions. Due to a lack of time and overwhelming number of options I will not be predicting the supporting actor and actress nominees this year, but will predict the winners once we know who the contenders are. Until Tuesday, feel free to leave any thoughts you might have in the comments, and check back once the nominees are announced to find out my thoughts!

2017 Tony Nominee Predictions: Part I

Although Mother Nature can't quite decide what season it is, the calendar and abundance of Broadway openings these past few weeks have made it abundantly clear it is in fact late April. Which also means that the Tony  Awards are right around the corner, and as we do every year at Broadway, Etc., it's time to start predicting the nominees!

As always, these predictions represent my best attempt at synthesizing critical consensus, audience response, personal opinion, and past Tony trends to determine which shows are most likely to be singled out on May 2nd. This has proven to be a particularly engaging season with many strong contenders but few clear frontrunners; a strong case can be made for many of the productions and performances that have graced the Broadway boards this season. To acknowledge this competitiveness and the sometimes unpredictable Tony nominators, I will be choosing a Wildcard pick in addition to my official predictions for each of the races discussed. The Wildcard represents the person or production I think is most likely to unseat one of the presumed nominees, or prompt a category expansion where Tony rules allow for it.

So without further ado, here are my first round of picks!

Best Musical

The cast of Dear Evan Hansen.

In a welcome change of pace from last year, there is no preordained winner among this season's new musicals. I absolutely adore Hamilton, but its presence last year made for a very predictable ceremony. This year there are a whopping 13 possible contenders for Best Musical, proving that the Great White Way remains a healthy breeding ground for new works.

I think there are 2 virtual locks for nominations: Dear Evan Hansen and Come From Away. Both shows received across the board raves and have many passionate fans, and it would be shocking to see either excluded from contention. At one point, Natasha, Pierre, and the Great Comet of 1812 also appeared to be a lock for a nomination, but industry excitement for the genre-busting show has cooled considerably since its fall premiere. I still think a nomination is *likely* for Great Comet, but it is no longer guaranteed thanks to the strength of the spring musicals.

Specifically, I think both War Paint and Groundhog Day stand a strong chance of being nominated. Both shows come from respected creative teams and feature some of the buzziest performances of the season. I personally adored War Paint, and despite criticism of its structure being two predictable - the show continually cross cuts between the lives of main characters Helena Rubinstein and Elizabeth Arden - I have trouble imagining it being left off the list Tony Tuesday. Groundhog Day just won the Olivier Award for Best Musical, bolstering the awards prospects of Tim Minchin's follow-up to the beloved Matilda, although success in London no longer automatically translate to success with Tony voters the way it once did. However, Anastasia has done incredibly well with both the Drama Desk and Outer Critic's Circle nods and will give one of these shows a run for their money.

Nominees: Come From Away; Dear Evan Hansen; Groundhog Day; Natasha, Pierre, and the Great Comet of 1812; War Paint
Wildcard: Anastasia

Best Play

The company of Sweat.

This category is more robust than usual, and in a heartening trend most of the major contenders are new American plays (in the past, British imports have dominated this category). Between its strong reviews, current relevance, and recent Pulitzer Prize win, I have to imagine Lynne Nottage's Sweat is all but guaranteed a nomination. I also can't imagine Tony voters passing up the chance to nominate the Broadway debut of fellow Pulitzer-winning playwright and industry stalwart Paula Vogel for her provocative Indecent. And the fact based political thriller Oslo seems practically designed to court Tony voters, which coupled with great reviews makes it a virtual lock as well.

That leaves 1-2 slots open depending on how close the vote tallies are; category expansions are caused by mathematically close races as opposed to a conscious decision by Tony nominators. I actually think the premature closing of Joshua Harmon's Significant Other may help its chances. As the saying goes, absence makes the heart grow fonder, and Tony voters might realize they liked the well-realized contemporary drama more than critical notices would lead you to believe. There is also some good early buzz on A Doll's House: Part 2, though one could argue that the latter is opening too late in the season to really establish itself in the minds of voters. Then again Heisenberg, its most likely competition, has the exact opposite problem, as the two-hander opened and closed ages ago. I'm also not ready to completely rule out a surprise showing by dark horse candidate The Play That Goes Wrong, as it would be very out of character for the typically anglophile Tony voters to only nominate American plays.

Nominees: Indecent, Oslo, Significant Other, Sweat
Wildcard: Heisenberg

Best Musical Revival

Bette Midler leads the cast of Hello, Dolly!

Unlike last year's stellar crop of musical revivals, this season's contenders are a lot less artistically interesting. Not only are the revivals primarily of 80s and 90s megamusicals, which have their guilty pleasures but are hardly the pinnacle of the musical form, but both Cats and Miss Saigon remain so married to their spectacle-oriented original concepts that it can sometimes feel like Broadway is caught in a time warp. Alternatively, Sunset Boulevard has ditched the lavish physical production but retained Tony-winning star Glenn Close, again keeping the ties to the original Broadway mounting front and center.

All of that said, it must also be acknowledged that Close is absolutely sensational, both justifying Sunset's return and ensuring its inclusion among this year's Best Musical Revival nominees. The show will surely be joined by Lincoln Center's much lauded (although not by me) fall mounting of William Finn's Falsettos. And while Bette Midler's mere presence was enough to make Hello, Dolly a smash hit before the first preview, let's not forget that both the production and its star received across the board raves, making its nomination all but assured. And since the producers of the Jake Gyllenhall-led Sunday in the Park with George removed their revival from Tony consideration, that leaves one open slot which will almost certainly go to Miss Saigon, which at least pretends to be more than a direct remounting of the original.

Nominees: Falsettos; Hello, Dolly!; Miss Saigon; Sunset Boulevard
Wildcard: Cats

Best Play Revival

The cast of the Broadway revival of August Wilson's Jitney.

In most seasons, the fall produces the brunt of play revivals, presumably because that's when the movie stars needed to guarantee financing/ticket sales are usually free. But in a surprising change of pace, it looks like the majority of nominees in this category will come from the second half of the season. Manhattan Theatre Club is looking likely to be double nominated this year thanks to its critically acclaimed productions of August Wilson's Jitney and Lillian Hellman's The Little Foxes; I challenge anyone to find a negative word written about either show. The Kevin Kline led Present Laughter also seems well positioned for a nomination, as does the Allison Janney fronted Six Degrees of Separation. That's technically a full category right there, although the much-lauded Front Page from the fall seems destined to make the cut as well. The only show that seems at all likely to disrupt this quintet is Roundabout's starry mounting of The Price, which could take the place of the oft-revived Present Laughter if enough Tony nominators have tired of seeing Noel Coward's comedy trotted out every decade or so.

Nominees: The Front Page, Jitney, The Little Foxes, Present Laughter, Six Degrees of Separation
Wildcard: The Price


Agree with my predictions? Think I'm wildly off base? Let me know in the comments, and check back Sunday for my predictions for the major acting races!

Revive This: The Diva Edition

Several months ago, I posted what was intended to be the first in a semi-regular series about musicals I would love to see revived.  Now, many moons later, I have two more shows I'm dying to see some Broadway producer take a risk on.  One of the positive things about this upcoming season is the three announced revivals (On the Town, On the Twentieth Century, and The King and I) are all shows which, in my opinion, merit Broadway revivals.  They are respected properties that aren't produced with a great amount of frequency, and it has been close to two decades since any of them have had a major New York production, making them ripe to be refreshed and reimagined for a new generation.  (The much-rumored but yet-to-be-officially-confirmed transfer of the Kennedy Center's Side Show also fits this description, and I really hope producers announce a theatre and start date soon.)

Here are some other shows I'd like to see tackled on Broadway sooner rather than later:

My Fair Lady

If done right, a revival of My Fair Lady could "make it rain" in Spain and everywhere else; I think there's a lot of money to be made there.

My Fair Lady is, for me, one of the most frustrating musicals in existence.  The score is exquisite, overflowing with classic tunes in the Golden Age mold that just make my heart sing.  "I Could Have Danced All Night" has been attempted by almost every aspiring soprano in existence, but when someone really nails it the song is absolutely thrilling.  The characters and relationships are also much more complex than in your typical musical, and the show raises some really interesting issues regarding identity, appearance and self worth.

Unfortunately, the show is also alarmingly misogynistic.  Henry Higgins is an unforgiveable lout of a character who uses and abuses Eliza at almost every turn because he sees her as a thing instead of as a person, and unlike in George Bernard Shaw's Pygmalion, the musical's Eliza simply puts up with it.  I can't even watch the final minutes of the generally stellar film version because Rex Harrison's smug little grin as he says "Fetch me my slippers" upon Eliza's return makes me want throw everything within reach at the screen.

I would love to see a contemporary (female?) director and cast tackle this undeniably important musical through a modern, more feminist viewpoint.  A first rate revival could provide a blueprint for how future productions can address the narrative's disturbing social underpinnings, similar to how contemporary productions of Shakespeare's The Taming of the Shrew have to find a way to keep Kate strong while she essentially advocates female submission.  Even though I love a lot of Alan Jay Lerner's book, I wouldn't be opposed to slight revisions of the show's final moments to make it a more clearly about Eliza coming to realizer her own value independent of any male influence.  If it was up to me, the show would end with Higgins sobbing while he plays the recording of Eliza, which would simultaneously allow Eliza to embrace her own self worth (by refusing to put up with his bullshit) and make Higgins just a tad more sympathetic, since if played correctly the moment could be Higgins realizing that he did this to himself and not just sobbing because he didn't get the girl.

Caveat: I have ZERO interest in Clive Davis' proposed revival, because his statements about the show and Broadway in general prove he has no understanding of either the theatre or the property.  First of all, its hard to work in a medium as collaborative as theatre when you think no one has done anything worthwhile in decades.  And I don't understand why anyone would think Anne Hathaway, as brilliant as she was in Les Miserables, has the vocal ability to sing Eliza eight times a week.  (I will concede that Colin Firth would likely be an excellent Henry Higgins.)  I want a legitimate production starring actors with legitimate vocal and theatrical talent - someone like Gentleman's Guide Lisa O'Hare or a young Kelli O'Hara - and I want it done big.  Lincoln Center would certainly have the money to pour into a lavish physical production with a full orchestra (which would be essential), and their go-to director Bartlett Sher has proven that when you approach a musical as a drama first and foremost you can reap stellar results (see: South Pacific, The Bridges of Madison County).


Hello, Dolly!

Carol Channing is so synonymous with Hello, Dolly! that producers have been hesitant to produce a major Broadway mounting without him.

Admittedly, part of my reason for wanting a Hello, Dolly! revival is that I have never seen it, and I'm curious what all the fuss is about.  But that larger-than-life reputation is also what makes Dolly such a prime candidate for a Broadway revival.  The show was a phenomenon when it premiered, and although its enduring popularity has led to plenty of regional and amateur productions, it has also caused the show to be looked down upon by certain segments of the theatre-going public.  Because the show is so associated with school productions and low-budget dinner theatre, a common conception is that it is not the type of show "serious" artists would waste their time on.

To which I say "hogcock!" (Tina Fey's brilliant portmanteau of "hogwash" and "poppycock," as heard on the dearly departed 30 Rock.)  Dolly is practically begging for a major New York production featuring the industry's best talent to restore the show's reputation as a fantastic example of musical comedy writing.  Also, the show is so closely tied to memories of Carol Channing - who originated the title role to Tony-winning effect and played it on Broadway and off for over 30 years - that it would be nice to see a different actress be given the chance to put her own stamp on it.

I believe the inevitable comparisons to Channing are the main reason no New York producer has been brave enough to tackle the show without her (the only Broadway outing not starring Channing was a brief, all black revival with Pearl Bailey in 1975).  You would have to cast a name star, someone who could sell tickets while still having the theatrical chops to actual pull off the role.  There was a brief period a few years back where producers were rumored to be courting Patti LuPone for a planned revival, but that production failed to materialize.  I would suggest a different bit of casting: Kristin Chenoweth.  The Tony-winner has not been shy about her desire to play Dolly, and I believe at this point in her career she has the mainstream clout to actual make a revival financially viable.  Like Channing, Chenoweth is a bit of an oddball comedienne, but in a very different mold - which would help limit comparisons - and she certainly has the comedic and vocal abilities to tackle the gargantuan role.  Plus, in my experience, seeing anyone perform their dream role is generally worth it, because they will pour every bit of themselves into the process.

Are you listening, Broadway?  Someone lock down Chenoweth before she goes back to Hollywood and her concert work.  Surround her with top tier theatrical talent and maybe one other bit of appropriate stunt casting to help guarantee ticket sales.  Don't skimp on the production costs, but don't go crazy either (please, no projections!).   I would be first in what I suspect would be a very long line to see her.

What's So Speacial About the Original Cast?

There have been five Broadway productions of Gypsy, and for many the Ethel Merman original remains the best

One interesting phenomenon among musical theatre aficionados – really all theatre fans, but it’s more pronounced in musical theatre circles – is the near-universal belief that a show’s original cast is always the best one.  No matter how many times a show has been successfully revived or remounted, these fans insist the original group of actors represent the best possible incarnation of a property.  If the work is particularly beloved, suggesting different actors for the lead roles becomes tantamount to sacrilege, and eventually you get people who think the then 43-year-old Sarah Brightman is an appropriate choice to play ingénue Christine Daae in the 2004 Phantom of the Opera film.

The above example is extreme, but the thinking behind it is so widespread that people have paid good money to see a 37-year-old Adam Pascal play Roger in Rent or a septuagenarian Carol Channing do Hello, Dolly!  Those real-life examples can be explained away as people who missed legendary performances willingly suspending their disbelief in order to see great actors recreate their most famous roles, but such reasoning doesn’t justify the idea that no matter how many times Gypsy or West Side Story get done, the original cast will always be the best.

So what’s driving this belief?  Is there any substance to the assertion that the original cast is always the superior one?  In large part, I think the primary reason comes down to mere familiarity.  With musicals, many times the only thing resembling a permanent record of the show is the Original Cast Recording.  This is how the vast majority of fans are first exposed to a show, and it is just about the only way anyone can relive the experience of actually seeing a live production.  The particular set of mannerisms, vocal tics, and acting choices captured by the recording becomes subconsciously ingrained in the listener’s head, and through repeated exposure becomes the accepted or “correct” way the material should be done.  If the person has never actually seen the show in question, then the cast album becomes representative of the ideal version of the property that’s been created in the listener’s head.  Any deviation from this imagined ideal can prove off-putting, even with supposedly open-minded people.

But if the reasoning behind this preference for the original cast seems somewhat arbitrary, that doesn’t mean the resulting wisdom is entirely wrong.  The truth of the matter is that the originating actor often ends up being the best, or at least one of the best, people to tackle a particular role.  If the performer is lucky enough to have the part written expressly for them, the way Gypsy was written for Ethel Merman or The Producers was tailored specifically to Nathan Lane, then of course he or she is going to impress in the role.  Even if the writers don’t have a particular person in mind when creating a character, they will inevitably end up fashioning the part around the person chosen to play it.  If a scene or song isn’t working, any rewrites will almost certainly take the performer’s strengths into account.  In a particularly collaborative environment, the actor may have direct input into the character’s moods and actions, subtly but forever skewing the script towards that performer’s interpretation of the role.

Then there are the times when a performer proves so compelling in a role that it takes on a life of its own, becoming greatly expanded in order to fully utilize that actor’s talents.  Anyone who has read the novel Wicked will tell you Glinda is a much more prominent presence in the musical, because the writers wanted to put for focus on Kristin Chenoweth’s bravura performance.  Stephen Flaherty and Lynn Ahrens wrote the song “Sarah Brown Eyes” in Ragtime specifically to give Tony-winner Audra McDonald more to do, since she was simply too good to leave out of the second act.  Rory O’Malley’s Elder McKinley didn’t even exist is early drafts of The Book of Mormon, but Matt Stone and Trey Parker were so entertained by his antics in the ensemble they crafted a role to better highlight him.  When a role is so specifically tailored to the original performer, their take on it will naturally be one of the strongest.

Original casts (and premiere casts of revivals) also have the benefit of extended rehearsal time to explore their roles.  A typical Broadway musical has about a month of rehearsals and another month of previews, giving the performers plenty of time to discover the nuances of their characterizations and iron out any kinks.  Add to that the months or even years spent workshopping a modern musical, and you have an artist who is intimately familiar with their particular character.  By the time workshops, out-of-town tryouts, and previews are taken into account, Idina Menzel spent three to four years refining her Elphaba, whereas her many replacements got at best a couple weeks of rehearsal before their first public performance.

The massive investment of time, combined with the knowledge that they are the first person to portray a particular role, results in actors feeling a sense of ownership that is difficult to replicate.  The original cast of a show has a heightened investment in making the show succeed, and going through the journey of discovering their characters with the writers and director gives their performances a more fully-realized and believable quality.  In contrast, many subsequent actors are encouraged to replicate the original’s performance, which can create a feeling of inauthenticity in their work.  Even if the production is new, such as a revival with entirely original staging, the shadow of their predecessor can loom large over any actor.  Every woman who’s played Joanne in Company has had to choose between trying to mimic Elaine Stritch (thereby inviting director comparison) or veering from Stritch’s blueprint and likely being criticized for it.

As we have seen, there are a lot of factors that contribute to making the original cast of a particular show the preferred one.  Because of this, I will always try to see a show while the original company is intact, but I have also seen enough replacements and understudies to know that they can be every bit as strong as the original performers.  I’ve also seen some incredible revivals that surely must compare favorably with the originals, such as the Patti LuPone-led Gypsy or the most recent New York staging of Follies.  Ultimately, the right actor in the right role will make for amazing theatre, whether that actor is the first person to ever play that character of the hundredth.  That is what makes live theatre so exciting, and being able to see multiple interpretations of the same show is what keeps me coming back, time and again.