2017 Tony Award Predictions: Book and Score

In just a few short weeks, the American Theatre Wing will hand out the 71st Annual Tony Awards, celebrating the best of Broadway this past season. As is tradition, I will once again use my unique combination of personal opinion, critical analysis, and industry buzz to try and predict the winners of this year's awards!

2017 is going to be a lot trickier to predict than 2016, since we aren't able to vote Hamilton down the line. While nothing has been the game changing, record setting blockbuster that Hamilton was (and continues to be), there are multiple excellent productions vying for Broadway's top prize this year, and no clear front runner among them. Many of the big races could go a multitude of ways, particularly among the new musicals, so take everything I say with a grain of salt. Also remember that I am predicting who I think will win, not necessarily who I think deserves to win; if I personally disagree with the way things seem to be going, I will be sure to point it out in my analysis.

So let's start this year's Tony predictions off with two of the tightest races of the night, Best Book and Best Score!

Best Book of a Musical

The company of Come From Away.

Nominees: Irene Sankoff and David Hein, Come From Away; Steven Levenson, Dear Evan Hansen; Danny Rubin, Groundhog Day; Dave Malloy, Natasha, Pierre, and the Great Comet of 1812

This year's Tony nominees showed a clear consensus among the nominating committee regarding the strongest new musicals; the nominated shows for this, Best Score, and the coveted Best Musical trophy are identical. Even more interesting/exciting is the fact that an argument could be made for any of these shows in any of the categories (well, except for Groundhog Day). I honestly don't know which way the Tony voters will swing.

Since Great Comet received the most total nominations this year, it should always be considered in contention for a win. However, I think Best Book is a long shot for the little Off-Broadway musical that could, as Dave Malloy's through composed work lacks any traditional book scenes. This is *not* meant in any way to disparage the structural bones Malloy has hung his mesmerizingly eclectic score on, but I don't know if enough people grasp how a musical without dialogue still has a book for him to win. 

Come From Away and Dear Evan Hansen are neck and neck here, and both are incredibly deserving. Conventional wisdom would have Tony voters rewarding Steven Levenson's more easily noticed work on Evan Hansen, which has both depth and cultural relevancy while expertly balancing comedy and pathos. But the way married writing team Irene Sankoff and David Hein seamlessly weave in and out of song and dialogue in Come From Away is truly a marvel, and their years of workshopping have resulted in a show where I honestly wouldn't change one word. They could easily score an upset over Levenson, and the more I think about it, the more I think they will.

Will and Should Win: Irene Sankoff and David Hein, Come From Away

Best Score

Lucas Steele and Denee Benton in Natasha, Pierre, and the Great Comet of 1812

Nominees: Irene Sankoff and David Hein, Come From Away; Benj Pasek and Justin Paul, Dear Evan Hansen; Tim Minchin, Groundhog Day; Dave Malloy, Natasha, Pierre, and the Great Comet of 1812

Once again, I think we can rule out Groundhog Day (this will be a recurring theme in my predictions). In this case, Tim Minchin's music seems to actively work against the storytelling, with roughly half the musical numbers eliciting a response of "Why is there a song here?" His overly verbose compositions are also difficult to decipher in the theatre, and in general this is one nomination I don't feel is deserved (I would have picked War Paint's Scott Frankel and Michael Korie instead). And while I won't completely rule out Come From Away's Irene Sankoff and David Hein, especially if the show ends up having a strong night, I think a win for score is a long shot for the Canadian duo. Their folk-influenced songs are lovely, but not as memorable as the remaining two nominees. 

Dear Evan Hansen and Great Comet represent two very different compositional philosophies, so the ultimate winner is largely up to Tony voters' sensibilities. For all the pop leanings of Dear Evan Hansen's contemporary score, Benj Pasek and Justin Paul have ultimately written recognizable, hummable showtunes. These are narrative driven songs of the highest quality, ones that strike a fine balance between melodic invention and accessibility, and their haunting "For Forever" is probably my favorite new song of the season. On the opposite end of the spectrum is Dave Malloy's incredibly adventurous fusion of such disparate genres as Russian folk music, electronica, and even opera into the dizzying symphony of Great Comet's auditory landscape. It isn't for everyone and rubs certain audience members the wrong way, but others (myself among them) find its unconventional nature to be its strongest asset.

We don't have the other theatre awards to give us any indication of how people are leaning, as the shows had their Off-Broadway premieres in different seasons and so have never been nominated against one another. I think Tony voters will ultimately go with Pasek and Paul, two incredibly talented up and comers who are still riding high on their Oscar win for La La Land. And I will be thrilled for them. But in my heart of heart, if forced to vote, I personally would choose Great Comet, and wouldn't be at all surprised or angry if Malloy wins instead.

Will Win: Benj Pasek and Justin Paul, Dear Evan Hansen

Should Win: Dave Malloy, Natasha, Pierre, and the Great Comet of 1812

Please continue to check back throughout the next two weeks for more Tony predictions, and share your own thoughts in the comments below!

Searching for a Connection, One Post at a Time

Review: Dear Evan Hansen

Ben Platt (center) and the cast of Dear Evan Hansen.

The most satisfying aspect of the Broadway transfer of Dear Evan Hansen, the fantastic new musical which premiered Off-Broadway at Second Stage last spring, is seeing just how well the show has expanded to fill its new theatrical home. Very little has changed from its initial incarnation, but the cast and creative team have deepened and sharpened the show's emotional center to create the most satisfying musical of the current Broadway season. In a theatrical landscape bursting with movie adaptations and big-budget musical revivals, the wholly original Hansen is a breath of fresh air, showcasing a contemporary edge that supports rather than fights its universal appeal.

Loosely inspired by real life events at co-composer/lyricist Benj Pasek's high school, the show opens with the perpetually awkward and lonely Evan Hansen starting his senior year with a broken arm and serious social anxiety. Every day Evan writes himself a letter designed to be encouraging, and through a series of mishaps one of these notes ends up in the possession of troubled fellow student Connor Murphy right before Connor takes his own life. With Evan as the last seeming link to their now dead son, Connor's parents and his younger sister (who Evan has long had a crush on) reach out to Evan in an attempt to ease their grief by learning more about the boys' relationship. And when word of this supposed friendship gets out to the school at large, Evan becomes one of the most talked about - and oddly popular - kids at school.

Much has been made of the contemporary trappings of Evan Hansen; social media, emails, and a host of other methods of electronic communication feature prominently in the plot. But what makes the show truly moving is how the composing team of Benj Pasek and Justin Paul along with bookwriter Steven Levenson so clearly delineate the ways in which these new technologies all exist to fulfill the very basic, primal need of human beings to feel like they belong. At its heart, Evan Hansen is a show about a group of individuals longing for human connection and the lengths they'll go through to get it. The show also offers a compelling, multifaceted look at how different individuals process grief, and the struggles of parenting teenagers in any decade (the show telling opens with a brief song for Evan and Connor's mothers entitled "Anybody Have a Map?").

Pasek and Paul's score effortlessly captures the infinite complexity of these issues, exploring them with intelligence and depth without offering any easy answers. Their soaring melodies and evocative harmonies cut to the very core of these characters, and yet are unabashedly gorgeous in their own right. The duo was Tony-nominated for their Broadway debut on A Christmas Story, but the treasure trove of songs they've written for Evan Hansen far surpasses their work on that charming holiday adaptation. Pasek and Paul assert their mastery of the musical theatre form again and again, be it on Evan's trasnportive "For Forever," the haunting "Requiem" for the Murphy family, or the buoyant and deliciously droll "Sincerely, Me." The pair also wisely knows when to let their songwriting abilities take a backseat to Levenson's excellent scene work, which expertly moves the plot along without making the sacrifices in depth that too many musical bookwriters make in the name of efficiency.

Everything is directed with unerring precision by Michael Greif, the man behind the artistically similar Next to Normal and If/Then. Greif's ability to balance the show's humor and pathos is remarkable, and he knows exactly how long to let a particular moment or scene breathe before seamlessly transitioning to the next story beat. If there is one critique to be had, it's that Greif hasn't quite brought his design team up to his level, particularly the lighting. Japhy Weideman's stylized lighting design helps to emphasize the cold and sometimes isolating nature of internet communication, but his overuse of harsh downlight often leaves actors' faces partially obscured and difficult to read, particularly from the mezzanine.

Yet even when not fully lit, the cast of Evan Hansen is simply sublime from top to bottom. The clear standout is young Ben Platt as the title character, delivering one of the most fascinating and wonderfully textured leading man performances of the season. While Platt's collection of physical tics and awkward mannerisms felt a tad forced Off-Broadway, here they are entirely believable and instantly establish Evan as a lovable loser who can't quite figure out this whole high school thing. Platt's soaring voice is a perfectly matched to a role clearly created around his specific set of talents, and his is the most exciting star turn on Broadway since Cynthia Erivo burst onto the scene in last season's The Color Purple (like Erivo, I expect Platt to do very well come awards season). Platt proves to be an exceedingly accomplished actor for someone so young, effortlessly carrying the evening and making you root for Evan even while cringing at some of the character's more questionable decisions.

Platt is matched scene for scene by the rest of his cast mates, who are universally excellent. Special praise must go to Jennifer Laura Thompson and Rachel Bay Jones as Cynthia Murphy and Heidi Hansen respectively. Both play mothers struggling against obstacles they are woefully unprepared for, and each actress shares their character's vulnerability and strength in equal measure. Your heart will break repeatedly for Thompson as she desperately clings to any scrap of a connection with her departed son Connor, displaying a grief which is heartrendingly real while also allowing us to see the character's lighter side. And Jones is sensational as Evan's mom Heidi, trying her best to raise her son on her own but clearly overwhelmed by her circumstances. Only the most hardened of hearts will remain unmoved by her rendition of "So Big/So Small" near the show's conclusion, a remarkable insightful encapsulation a mother's love and heartache while trying to figure out where their lives go next.

It is rare for a musical to burst onto the scene as fully formed as Dear Evan Hansen, especially one not based on any kind of source material. The contemporary trappings provide a new context for a universal story about longing and acceptance, the struggles we all face in navigating the challenges of day to day life. Superbly written and expertly performed, this is an enthralling musical for the ages, one which deserves to be seen by the widest audience possible.

Grief in the Time of Twitter

Review: Dear Evan Hansen

Ben Platt (center) and the cast of Dear Evan Hansen

One of the best musicals of the year is playing just Off-Broadway on West 43rd Street, where Dear Evan Hansen recently opened at the Second Stage Theatre. Featuring a top-notch score by Tony-nominated songwriters Benj Pasek and Justin Paul along with a host of dynamic performances, Evan Hansen is the definition of a contemporary musical, tackling the concerns and issues arising from our increasingly digital society with wit and deep psychological insight.

The story follows the titular Evan Hansen, an awkward, lonely teen starting his senior year of high school with a broken wrist and very few friends. On the first day of school, a series of misunderstandings leads others to assume Evan is friends with another loner, Connor Murphy, a troubled youth who takes his own life just a few days later. With Connor's family turning to Evan for comfort, the misunderstanding steadily grows thanks to the power of social media and Evan's own questionable choices.

At the heart of Steven Levenson's book is a mature, probing look at grief and how tragedies bind us together in the age of social media and viral videos. The show is not about what led Connor to take his own life (an explanation is never provided or even hinted at), but rather about how those left behind process their grief. It also examines the communal aspects of the way we mourn, and asks how much of the professed sadness on social media stems from a desire to belong to some kind of community, even one bound together by tragedy. Levenson's layered writing manages to tackle these issues in a way that feels both specific and universal, all while keeping the show's action rooted in the fully realized characters at the heart of the story.

Augmenting the emotional exploration of the piece immensely is Pasek and Paul's fantastic pop-rock score, a marvel of modern musical theatre songwriting that packs in all the vocal tricks associated with contemporary music (sky high belting, complex riffs, and tight harmonies) without ever feeling flashy or showy. For all of the pair's giddy musical invention, they ensure that every note and syllable furthers the story and characters, with every song serving multiple functions. Evan's soaring "For Forever" paints a beautiful picture of a (fictional) summer day, setting into motion the story's central deception while simultaneously allowing him to express his innermost desires, all carried off using one of the catchiest melodic hooks of the past few seasons. This kind of complex writing makes every musical number a treat, and the lush orchestrations by Alex Lacamoire make the small 8-person band sound just as rich as a pit twice the size.

The cast is first rate, anchored by Ben Platt's searing portrayal of the lonely and lost Evan Hansen. Known primarily for comedic roles in films like Pitch Perfect and musicals like The Book of Mormon, Platt reveals unending wells of deeply felt emotion over the course of the evening. Unafraid of being vulnerable, by the time Platt sings his character's climatic "Words Fail" both he and the audience are reduced to a blubbering mess, the kind of shared catharsis that occurs only when an actor lays their entire soul bare onstage. Yet Platt is also laugh-out-loud funny, mining Levenson's book for all its humor and providing an excellent comedic balance to the show's gut-wrenching pathos. If Platt occasionally overdoes his character's physical tics, the rest of his performance is so compelling you're unlikely to care.

Rachel Bay Jones is fantastic as Evan's mother Heidi, showing us every facet of a single mother struggling "without a roadmap" to be the best parent she can be to her pride and joy. Jones' instantly accessible persona draws you in while her extremely expressive face conveys a wealth of conflicting emotions, all of which finally bubble to the surface during "Good For You." Just a few scenes later, the supremely gifted actress is both heartwarming and quietly devastating during "So Big/So Small," one of the most touching musical moments of the season.

Both Jennifer Laura Thompson and John Dossett are excellent as Connor's parents, offering very different but entirely captivating portrayals of grief. Laura Dreyfuss offers what initially appears to be a generic take on Connor's younger sister, but by the time she gets to her first big solo she reveals a convincingly complex take on someone who both loathes and desperately misses her big brother. And although Mike Faist doesn't get a lot of time onstage as the real Connor Murphy, the character returns multiple times in other people's memories, and Faist's ability to slightly alter his characterization to reflect how each character remembers him is astounding.

Director Michael Greif uses many of the same tricks he employed in past shows like Rent, If/Then, and the Pulitzer Prize-winning Next to Normal, the show Dear Evan Hansen is most obviously inspired by. While this can occasionally make his staging feel derivative, there's no denying that those tricks work, and few directors are better at making a mostly bare stage interesting to look at than Greif. He has also guided his actors to career-defining performances, making for one of the tightest onstage ensembles since, well, Next to Normal.

For all its dark overtones, Dear Evan Hansen proves to be an ultimately uplifting and deeply satisfying piece of theatre, Already more accomplished than the majority of big Broadway offerings this season, the show continues the boundary-pushing experimentation of musicals like Fun Home and the megahit Hamilton, both of which originated Off-Broadway before making their much-acclaimed Main Stem bows. Since producers have yet to announce any transfer plans for this more than deserving show, everyone should rush to see this first rate musical drama while they still can.

2013 Tony Perdictions: Best Book and Score

It’s the middle of awards season here in NYC, and the name on everybody’s lips is “Tony.”  Last time I predicted who would win the coveted statuette in the Choreography and Direction categories; today, I pick who will and should win the awards for Best Book and Score.  At this point I should mention that I have still not seen Matilda, which is obviously one of the major competitors in these races, so there will be some speculation and possible bias going on here.  I reserve the right to change my predictions after seeing the show, and if I do, look for an updated entry at a later date.  But if I don’t start on these articles now I’ll never finish before June 9^th, so let’s get down to business!

Best Book of a Musical

The team behind Matilda must have spent weeks taking courses on how to best impress the American press, because the critics certainly *adored* it.

 

Nominees:  Joseph Robinette, A Christmas Story; Harvey Fierstein, Kinky Boots; Dennis Kelly, Matilda the Musical; Douglas Carter Beane, Cinderella

 

In case you’re new to this blog, I want to make it very clear that I despise Douglas Carter Beane’s libretto work, and think Cinderella is the most offensively awful writing he’s done to date.  Not only is his post-modern snark in complete opposition to the overwhelming earnestness of Rodgers and Hammerstein’s score, but Beane fails to make his additions funny or compelling in their own right. His attempt to develop characters beyond their fairytale archetypes falls flat, leading to personality inconsistencies and confused motivations that the talented cast struggles to make sense of.  And the less said about his entry-level lecture on the wonders of democratic rule the better.  A three time Tony nominee, Beane clearly has his fans among the Tony voters, but there are an equal number who thought this Cinderella was a train wreck of epic proportions, and I can’t imagine him winning this category.

Joseph Robinette’s adaptation of A Christmas Story was serviceable but nothing special, and the long-closed show will have major difficulty competing with its still running rivals.  Harvey Fierstein is one of the most consistently excellent librettists in the industry, and his work on Kinky Boots once again demonstrates his uncanny ability to couple witty one-liners with genuine heart and solid story structure, creating honest if exaggerated characters that propel the narrative forward at an effervescent pace.  I imagine that Dennis Kelly’s book for Matilda is equally solid, as the Brits have a knack for strong story structure thanks to their familiarity with the classics of dramatic literature.  I am cheering for Fierstein, but I think this is one category where Matilda has the edge.

 

Should Win:  Harvey Fierstein, Kinky Boots

Will Win:  Dennis Kelly, Matilda the Musical

 

Best Score

Whatever Lola wants, Lola gets.  And Lola wants a Tony for Kinky Boots

 

Nominees:  Benj Pasek and Justin Paul, A Christmas Story; Trey Anastasio and Amanda Green, Hands on a Hardbody; Cyndi Lauper, Kinky Boot; Tim Minchin, Matilda the Musical

 

Kudos to Trey Anastasio and Amanda Green for getting recognition for the underrated Hands on a Hardbody, but this is a case where the nomination is the win, as I can’t imagine a scenario where the pair beats their higher profile competition.  With twelve total nominations and lots of critical love, Tim Minchin is certainly a contender for his work on Matilda, although from a merit-based perspective I think this is one of the British import’s weaker categories.  The score is rarely the strongest element of any British musical, and I think a win for Minchin would likely be viewed as an upset.

I’m torn about who I want to win among the remaining two nominees.  I certainly liked Cyndi Lauper’s score for Kicky Boots, which managed to fuse her distinct pop sensibility with more traditional musical theatre idioms.  She is also the biggest name in this category, and the Tony voters have a habit of rewarding celebrities from other mediums who make credible Broadway debuts.  But in the grand scheme of things, Lauper is unlikely to write another musical anytime soon, if at all, whereas University of Michigan graduates Benj Pasek and Justin Paul would most likely dedicate their lives to writing excellent shows.  Not only is A Christmas Story the most inventive and exciting score of the season (at least in my opinion), but Pasek and Paul are the most promising songwriting team to emerge in years.  I wholeheartedly believe that they could become the next Kander and Ebb or Ahrens and Flaherty, and a Tony win would give them the clout to get future projects off the ground and into production.  Broadway needs to do more to nurture the next generation of musical theatre songwriters or eventually we’ll be left with nothing but revivals and jukebox musicals, and a win for the young duo would definitely be a step in the right direction.  The smart money is on Lauper, but I’m really hoping Pasek and Paul manage to pull an Avenue Q-level upset. 

 

Should Win:  Benj Pasek and Justin Paul, A Christmas Story

Will Win:  Cyndi Lauper, Kinky Boots

 

That’s all for now.  The supporting acting categories are up next, and don’t forget to check out the previous articles in my Tony Predictions series:

 

Best Choreography and Direction

2013 Tony Nomination React

An Off-Kilter Family Christmas

Review:  A Christmas Story

A Christmas Story finally fulfills Broadway's long-standing need for a production number centered around a leg-shaped lamp.

 

Despite its prolific holiday airings on multiple TV stations, I have never actually seen the much beloved film A Christmas Story.  Therefore I cannot judge the musical incarnation, currently playing a limited engagement at Broadway’s Lunt-Fontanne Theatre, on its fidelity to the source material, although judging by the anticipatory laughter from the packed house I assume most of the movie’s major comedic beats survived the transfer intact.  Reviewing this adaptation on its own merits, I unfortunately must report that it’s a hit or miss affair that features promising new talent led astray by some dubious directorial choices.

A Christmas Story tells the story of young Ralphie Parker, whose only goal in life is to receive a Red Ryder Carbine Action BB Gun for Christmas, despite his Mother’s repeated protestations.  “You’ll shoot your eye out,” she warns.  Ralphie’s Old Man isn’t any more receptive, being more preoccupied with winning a crossword competition and repairing the many, many broken devices around the family’s cozy Indiana home.  Ralphie’s quest for the Red Ryder Gun is really just a framing device that allows the show to explore the various mishaps that befall Ralphie and his family as they prepare for the holidays, which include various schoolyard antics, a pair of pesky bloodhounds, and some questionable home décor.

Given the saccharine sweet nature of most holiday offerings, it’s refreshing to see A Christmas Story present such an off-kilter take on traditions like visiting Santa, picking out a tree, and the all-important Christmas dinner.  While the plot gets stretched mighty thin in order to fill a two-and-a-half hour musical, the characters are endearingly quirky and the less-than-perfect holiday shenanigans feel relatable and authentic.  Joseph Robinette’s libretto commits no major sins, even if a few more sections of overt comedy would have been welcomed.  And the score by Broadway newcomers Benj Pasek and Justin Paul is a delight, establishing the young songwriters as talents to watch.

It’s unfortunate the show suffers from such uninspired direction by John Rando, the Tony-winning director of the similarly cheeky Urinetown.  Rando’s flat staging makes poor use of the stage and Walt Spangler’s set, and fails to provide the speedy pacing that would help disguise the book scene’s shortcomings.  Many of the solos end up feeling static due to Rando’s minimalist staging, but thankfully A Christmas Story also features a smattering of fantasy sequences that are a visual delight.  The Western-themed “Ralphie to the Rescue” casts the dozen-strong youth ensemble as rough-and-tumble gunslingers and sassy saloon wenches, and the speakeasy-set “You’ll Shoot Your Eye Out” is far and away the evening’s highlight.  One of the most adorable things you’ll ever see, the young performers dress up as little gangsters and flapper girls to perform a showstopping tap number that features the best dance solo currently on Broadway, made even more impressive by the fact that dancer Luke Spring is only nine-years-old.

In fact, the kids prove to be the strongest members of the show’s cast.  As Ralphie, Johnny Rabe carries the show with aplomb and finesse, acting and singing like a seasoned pro.  Zac Ballard is adorably weird as Ralphie’s younger brother Randy, throwing himself into the show’s physical comedy with the kind of abandon only a child can muster.  Jack Mastrianni and John Babbo are particularly funny as schoolyard bullies Farkus and Dill, and Jeremy Shinder’s goofy best friend Flick proves to be a welcome addition.

When it comes to the adults, John Bolton and Erin Dilly give their all as Ralphie’s Old Man and Mother respectively, but both actors are ultimately betrayed by some questionable writing and a lack of strong direction.  Bolton adeptly switches from bellowing brute to misunderstood everyman, but these personality shifts lack motivation and result in a schizophrenic performance (although his “A Major Award” production number is a winner).  Dilly’s Mother is suitably maternal, a frazzled but loving housewife who only wants what’s best for her family.  Despite some lovely vocals and fine acting from Dilly, Mother’s two songs fail to add anything interesting to her character, slowing the show down rather than enhancing it.  The rest of the adult ensemble fails to make much of an impression good or bad, and is quickly forgotten once they leave the stage.

Ultimately, A Christmas Story has a lot of things going for it.  A holiday show for those who don’t like holiday shows, it evokes the spirit of the season without resorting to cloying sentimentality.  It’s an exciting Main Stem debut for the promising songwriting duo of Pasek and Paul, who between this and Off-Broadway’s Dogfight are having quite the breakout year.  There are certainly worse ways to spend a December evening, and the show’s scheduled two month limited run seems about right for this particular musical.  A Christmas Story’s imperfections are ultimately a part of its charm, and those looking for a holiday treat will find plenty to enjoy.