2017 Tony Award Predictions: Best Featured Actress

We are fast approaching Broadway's biggest night, which means I will continue my annual tradition of predicting Tony winners! Using a combination of personal opinion, critical praise, and industry buzz, I will do my best to pick the people and productions who will be honored by the American Theatre Wing on June 11th. And if the person who *will* win doesn't match up with who I think *should* win, I will be sure to mention it in my analysis.

On to the Best Featured Actress races!

Best Featured Actress in a Play

Condola Rashad (right) and Laurie Metcalf in A Doll's House, Part 2.

Nominees: Johanna Day, Sweat; Jayne Houdyshell, A Doll's House, Part 2; Cynthia Nixon, The Little Foxes; Condola Rashad, A Doll's House, Part 2; Michelle Wilson, Sweat

Two different productions have produced multiple nominees in this category, which if you subscribe to the idea of vote splitting means that The Little Foxes' Cynthia Nixon should be the winner by default. And while that is a possibility, it seems unlikely to me, as Nixon has far buzz than her costar Laura Linney. They may not be competing in the same category, but thanks to the production's repertory conceit they are playing the same roles, and the consensus seems to be that Linney is better at both of them.

A Doll's House, Part 2 gives us the higher profile names, as both Jayne Houdyshell and Condola Rashad are well established in the New York theatre scene. Houdyshell just won this award last year, and while winning back to back Tonys is not unheard of (just ask Judith Light), I would be surprised to see the veteran actress take the trophy home again this year. Her costar seems a far more likely winner, having been nominated for three of her four Broadway outings without winning. Tony voters clearly like Rashad, and the fact that she's in the most nominated play of the season certainly doesn't hurt her chances. It is entirely possible Sweat's Johanna Day or Michelle Wilson pull off an upset, but this feels like Rashad's year to me.

Will Win: Condola Rashad, A Doll's House, Part 2
Should Win: Abstain

Best Featured Actress in a Musical

Stephanie J Block in Falsettos.

Nominees: Kate Baldwin, Hello, Dolly!; Stephanie J. Block, Falsettos; Jenn Colella, Come From Away; Rachel Bay Jones, Dear Evan Hansen; Mary Beth Peil, Anastasia

What a category! This is probably the most competitive of the musical acting races, as the nominees here gave what may be scene for scene the best performances of the season. The only scenario I simply can't envision is Mary Beth Peil winning for Anastasia, a musical that didn't really set critics or Tony voters on fire. And while it's not impossible that a swell of love for Hello, Dolly! brings Kate Baldwin to the winner's podium, it is improbably, as the awkwardly written role doesn't do the delightful soprano any favors (no matter how lovely her rendition of "Ribbons Down My Back" might be).

This is really a three way race between Stephanie J. Block, Jenn Colella, and Rachel Bay Jones, an embarrassment of riches that we are lucky to have. Block was by far the best thing about Falsettos, a fascinating portrait of a regular woman struggling to hold on to her sanity after her entire life is upended when she learns her husband is gay. A beloved member of the Broadway community who has yet to win the coveted Tony Away, Falsettos is Block's best work to date, as evidenced by the thunderous applause which greeted her big solo every evening.

Rachel Bay Jones also plays a mother struggling to keep her head above water in Dear Evan Hansen, and her layered portrayal acknowledges Heidi Hansen's flaws while also celebrating her bravery and humanity. Jones' performance of the Act II ballad "So Big/So Small" is simply devastating thanks to her emotional honesty and vulnerability, and by the end of the song you want her to be your mother as well. It's a very difficult act to compete with, which is why I think she will ultimately win over Block and the winsome, inspiring Jenn Colella, who's powerhouse performance of "Me and the Sky" in Come From Away is one of the most thrilling musical moments of the season.

Will Win: Rachel Bay Jones, Dear Evan Hansen
Should Win: Stephanie J. Block, Falsettos (but make not mistake, Jones is phenomenal and more than earns this award)

Check back over the next week for the rest of my Tony predictions, including the Lead Actor/Actress races and the all important Best Musical category. Until then, share your own thoughts in the comments, and catch up with the rest of my 2017 Tony coverage below:

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

A Small Show with a Big Heart

Review: Come From Away

Tony-nominee Jenn Colella (left) and the cast of Come From Away.

There are essentially two routes Broadway shows can go these days to justify their ever-growing price tags: elaborate spectacle that puts the money onstage, or theatrical craft so elevated its clearly the result of years of skill sharpening. Come From Away, the deeply moving and gloriously uplifting new musical now playing Broadway, thankfully opts for the latter, arriving in New York as a highly polished gem of a musical with the added bonus of not being based on any preexisting source material.

Written by Broadway newcomers Irene Sankoff and David Hein, Come From Away is inspired by the amazing true story of Gander, Newfoundland, which saw 38 planes and their accompanying 7000 passengers diverted to the small Canadian town when US airspace closed after the terrorist attacks of September 11th, 2001. And while this ensemble driven show doesn't shy away from the horrific aftereffects of that fateful day, it is also overflowing with inspiring stories of human kindness and mankind's capacity for love. The residents of Gander welcomed 7000 strangers into their homes without a moment's hesitation, feeding and clothing their multicultural visitors for 5 days until the planes were cleared to fly again. Yes, you will probably shed a few tears of sadness, but you will shed just as many at the sheer beauty of the simple human kindness on display.

What Sankoff and Hein manage to do so successfully is juxtapose moments of darkness with ones of hope. A particularly moving passage halfway through the intermissionless show illustrates how the many different faiths of the travelers allow them to cope with their grief, just after a Muslim traveler has been harassed during his midday prayers. The scenes seamlessly transition from spoken dialogue to the folk-influenced score and back again, balancing the specificity of the individual characters' journeys with the narrative's overarching themes. Sankoff and Hein have spent years honing the show prior to its New York debut, resulting in a work with nary a word out of place and a single story beat that feels forced or rushed. This is a musical that earns the emotions it elicits rather than manipulating them out of you.

The town of Gander is brought to life by an amazing ensemble of twelve actors, each playing multiple characters with little to distinguish them except changes in accent and some relatively minor costume pieces. So great is the entire cast's skill that not once during the show do you wonder who is playing who, even when they adopt a new persona onstage in front of your eyes. (Dialect coach Joel Goldes deserves special mention for guiding the cast to spot on Newfoundlander and multinational accents.)

While the entire cast is outstanding, Jenn Colella is particularly memorable as Beverley, the first female American Airlines captain and our window into the airlines' perspective on the entire ordeal (her rendition of "Me and the Sky" is a genuinely inspiring girl power anthem and one of the production's highlights). Sharon Wheatley and Lee MacDougall are adorable as a Texas divorcee and English businessman who find love amidst their awful circumstances, and Q. Smith is quietly heartbreaking as a mother waiting to hear from her first responder son. Although they are sometimes only given a line or two of dialogue to establish a character, each actor makes sure you know and care about everyone in the tale, to the point where you are genuinely curious about their fates after the final curtain.

Director Christopher Ashley is the assured captain of this streamlined ship, deftly guiding cast and audience through the show's many emotional highs and lows. With little more than some tables and chairs, Ashley takes us from a plane's cramped interior to a small town recreational center to the crowded confines of the airport's customs office. His directorial approach to the show is minimalist but far from simplistic, as the staging never fails to hold visual and emotional interest (greatly aided by Howell Binkley's outstanding lighting design). There is a kinetic energy that flows throughout the piece even when the characters are standing still, which makes the evening fly by.

Come From Away is a perfect example of the healing power of theatre, a cathartic and uplifting show centered around one of the darkest days in modern US history. Polished to a high sheen by a team of theatrical artisans working at the top of their game, this is must see theatre at its most pure. Do not let the 9/11 ties scare you away; you will cry, yes, but you will also laugh, cheer, and find yourself moved by humanity's ability to lift one another up when we truly need it. Given the dark and sometimes defeated political climate we find ourselves, Come From Away is just the sort of inspiring show Broadway needs right now.

Movie Magic, Lost in Translation

Review:  Chaplin

Rob McClure, refusing to let subpar material ruin his big break on Broadway.

 

You want to like Chaplin, the new musical by composer/lyricist Christopher Curtis and bookwriter Thomas Meehan that’s currently playing the Barrymore Theatre.  The life of silent film star Charlie Chaplin certainly features enough drama to sustain a full-length musical, and the show benefits from several strong performances by a mix of Broadway veterans and relative newcomers.  Unfortunately, an abundance of structural missteps and ill-advised story tangents prevent the show from achieving its full potential, and the resulting work is a frustratingly muddled mess of unfulfilled promise.

Obviously, dramatizing anyone’s life brings with it inherent problems, as real life seldom occurs in steadily rising dramatic action that leads to a clean and tidy end.  Like many showbiz stories, Chaplin does a reasonably good job of chronicling Chaplin’s rise to fame in turn of the century Hollywood, utilizing his troubled relationship with his mentally-ill mother to provide dramatic tension during his virtually unencumbered ascension to superstardom.  But the second act, which chronicles Chaplin’s tumultuous personal life and eventual fall from grace, feels unfocused and haphazard.  In Meehan and Curtis’ libretto, one scene rarely flows smoothly into the next, and coherent character motivations are practically nonexistent.

The show also suffers from an uncertain tone, unsuccessfully attempting to split the difference between low comedy and high drama.  Even the relatively conflict-free first act fails to create many laughs, a sin that seems almost unforgivable in a show whose central figure is one of the all-time masters of slapstick.  Things are generally played straight and very serious, but the authors stop themselves from fully committing to the inherent drama of Chaplin’s life by glossing over its more unpleasant aspects.  The star’s multiple marriages to underage woman aren’t explored in any detail, and his demanding and somewhat unethical directorial methods are given only a cursory mention.  Even Chaplin’s relationship with his mother seems underdeveloped, as he spends a majority of the show avoiding her and we are mostly told rather than shown that her condition is getting worse.

Christopher Curtis’ score also underwhelms, with his sometimes interesting melodic ideas rarely coalescing into fully formed songs.  The only piece of music that feels complete is the jazzy “All Falls Down,” written for a vindictive gossip columnist named Hedda Hopper who has made it her life’s mission to ruin Chaplin’s good name.  And even that song is difficult to enjoy because it comes out of nowhere, forcing the audience to spend much of its duration wondering why a woman who has never even met Chaplin suddenly hates him so much (it apparently has something to do with his refusal to grant her an interview).

Yet the hardworking cast takes this subpar material and performs it with such earnestness and conviction that they almost succeed in making it sing.  In the title role, Rob McClure gives such a tour de force performance that you don’t question for a second why the producers entrusted an unknown with such an enormous part.  McClure has clearly spent hours researching the Little Tramp and perfecting his mannerisms, which pays off in his expert handling of the large amounts of physical comedy and recreation of some of Chaplin’s most famous bits.  He performs all of his numbers with gusto, and imbues the eleven o’clock ballad “Where Are All the People?” with a dramatic weight it honestly doesn’t deserve (like “All Falls Down,” the song comes out of nowhere).  McClure paints as complete a picture of Chaplin as the material will allow, and uses his buoyant, assured performance to cover up many of the writing’s flaws.

Past Tony-nominee Christiane Noll does well with the underwritten role of Chaplin’s mother, cramming one of the biggest character arcs of the night into her limited stage time.  Jenn Colella’s hardboiled Hedda Harper is such a strong presence you end up wishing there was more of her, which would have the added benefit of fleshing out one of the story’s key conflicts.  And as Oona O’Neil, Chaplin’s fourth and final wife, Erin Mackey imbues her character with enough charm and quiet strength that you can almost forgive the fact that she doesn’t appear until midway through Act II, despite being the show’s primary love interest.

Finally, special mention must be made of Zachary Unger, the child actor who plays the young Charlie Chaplin.  Displaying a startling amount of maturity and emotional honesty, Unger could give many adult actors lessons in sincerity.  When he breaks into tears as Chaplin’s mother is taken away to the mental hospital, he’s so convincing you want to run onstage and give him an enormous hug.  (The fact that Unger is cute as a button doesn’t hurt, either.)

From a production standpoint, director/choreographer Warren Carlyle does a serviceable job, although you get the impression that his desire for more dancing hinders the show more than it helps.  Particularly egregious is Carlyle’s decision to end Act I with a chorus of dancing Chaplin lookalikes, a decision so out of left field that the audience will spend most of intermission wondering what he was thinking.  The design team’s creative conceit to construct the sets and costumes using only shades of black and white is a neat idea that isn’t fully realized, and results in the show appearing too dark on more than one occasion.  Meanwhile, the ten person orchestra is in desperate need of a few extra players to provide the show with a richer and fuller sound.

Thanks to the hardworking cast, Chaplin has all-too-brief moments of entertainment and genuine dramatic interest.  Because the performers are so good, you really wish the musical they appear in gave them better material to work with.  The idea of a show about Charlie Chaplin remains an intriguing notion, and one hopes that eventually a great version of the story makes its way to Broadway.  For now, we will have to settle for this half-baked concoction instead.