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

Welcome to Falsettoland

Review: Falsettos

The cast of Falsettos, one of the most hotly anticipated musicals of the fall season.

Alternatively messy and engaging, the first Broadway revival of William Finn and James Lapine's Falsettos highlights the core strengths and weaknesses of the piece in sometimes unexpected ways. Originally premiering on Broadway in 1992, the show is composed of two one act musicals (which debuted Off-Broadway in 1981 and 1990 respectively) that chart the growth of gay protagonist Marvin's unorthodox family over the course of two years. While some of the narrative specifics are deeply tied to the late '70s/early '80s setting, this production thankfully proves the show's core themes of love, family, and identity are universal and still relevant despite the huge advances in gay rights and the advent of marriage equality. Unfortunately, this production also highlights how the William Finn who wrote March of the Falsettos, the basis for Act I, is a far inferior writer to the William Finn who wrote Falsettoland, the basis for Act II.

In Act I, we are introduced to Marvin, who has left his ex-wife Trina and their son Jason to live with his male lover, Whizzer. The breakup of Marvin's traditional family unit has left all three in various states of distress, leading each to seek the help of Mendel, a therapist with questionable professional ethics who ultimately becomes involved with Trina. The second act moves the action forward two years and sees everyone obsessing over the planning of Jason's upcoming bar mitzvah, while also introducing the specter of the AIDS crisis.

Act I proves to be a rather disjointed affair, more of an impressionistic character study than a coherent narrative. The young Finn has yet to refine his signature off-kilter sensibility, which comes across as manic here and lacks the thematic coherence which connects his later flights of fancy. Musically the writing isn't anywhere near as complex or interesting as Finn's later work, and as a result both the performers and director James Lapine (who also wrote the book) seem slightly adrift as they struggle to sell the material. The songs don't build the way you want them to, and Lapine attempts to compensate for this lack of emotional momentum by having the performers constantly rearrange the pieces of David Rockwell's jenga cube of a set. Layer onto this Spencer Liff's awkwardly flailing choreography - which often hinders the performer's ability to enunciate their lyrics - and the first half of Falsettos becomes an exhaustively busy journey with characters that aren't particularly likable or compelling.

Act II is a much richer and more rewarding experience, as it's clear that in the nine years between writing March of the Falsettos and Falsettoland Finn vastly matured as a songwriter and storyteller. Centering the act on Jason's impending bar mitzvah gives Finn and Lapine a stronger foundation to build their characters' quirky behavior around, and Finn becomes much more adept at tempering his characters' off-putting neuroses with humanizing qualities. Even with the introduction of two additional characters - Cordelia and Dr. Charlotte, the "lesbians next door" - everyone feels more nuanced and alive in the second half, and the show does a better job of balancing its wry cynicism with deeply felt emotion. With stronger writing to work with, Lapine and the cast are able to relax; the busy choreography is all but abandoned, and Lapine's staging is less self-consciously showy. The two halves are integrated enough that it would rob Act II of some of its impact to completely throw out Act I, but the jump in quality is pronounced.

The best unifying element of this revival is the strength of its cast, all of whom range from good to great. As Marvin, Christian Borle abandons the scenery chewing that has defined his last two Broadway outings to deliver a more nuanced, believable characterization. Unfortunately, the first half of the show really highlights Marvin's self-serving qualities, something you wish Borle was able to undercut with some tenderness to make him a more likable protagonist. The second act gives Borle a lot more opportunity to show different sides of Marvin, and ultimately your heart breaks with him during the show's final scene (which also features the most striking image of Lapine's staging).

Andrew Rannells is a competent foil as Whizzer, although you wish the show afforded him more of a chance to show off his comedic chops. Brandon Uranowitz brings much appreciated authenticity to his portrayal of Mendel, and young Anthony Rosenthal's innate charm makes the temperamental Jason feel like a real preteen rather than an adult author's caricature of one. Tracie Thoms and Betsy Wolfe are a welcomed presence as the next door neighbors, with Thoms notably in very fine voice throughout.

But the cast's biggest standout is Stephanie J. Block, back on Broadway for the first time since her Tony-nominated turn in The Mystery of Edwin Drood. As Trina, Block blossoms into the most compellingly drawn and engaging character in the show, to the point where she often feels like the lead in what is ostensibly Marvin's show. Block is certainly its emotional center, which makes her effortless delivery of "I'm Breaking Down," one of the most broadly comedic songs in the show, all the more impressive. Block offers a fascinating peak beneath Trina's determinedly perfect facade, showing us a woman not wholly prepared to deal with the curveballs life has given her and yet soldiering on anyway. It is a marvelously accomplished performance which is endlessly watchable and yet never overstated.

Overall, there is both good and bad to be found in Falsettos, and it's unfortunate that the less successful elements are concentrated in the first half. By the end of the night, Falsettos proves to be an engaging and even moving portrait of an imperfect yet loving family, with the talented cast doing much to smooth over the rough patches at the beginning of the show. When the show stops being concerned with novelty and showiness, it truly sings, illustrating how the trials and tribulations of love and family are the same no matter what your sexual orientation.

A Musical Comedy Stuck in 2nd Gear

Review:  Little Miss Sunshine

Stephanie J. Block, Rory O'Malley, and Will Swenson prove why they're all Tony-nominated actors as they struggle mightily to overcome Little Miss Sunshine's shortcomings.

Perhaps it's fitting that Little Miss Sunshine, the latest collaboration between director/librettist James Lapine and composer William Finn, fails to live up to expectations.  The new tuner, just like the 2006 independent film on which it is based, examines how a dysfunctional family deals with the dashed expectations of their rather run-of-the-mill lives.  And just like in real life, it is borderline painful to watch hard-working and talented people (in this case, the mostly excellent cast) struggle to overcome the bad hand they've been dealt, which here takes the form of a poorly constructed and tonally confused one-act musical.  Not since 2010's deeply flawed Women on the Verge of a Nervous Breakdown has a show sounded so good on paper and so thoroughly failed to deliver on stage.

Like it's filmic counterpart, Little Miss Sunshine tells the story of the unassuming Hoover clan and their cross-country road trip to get 9-year-old Olive (Hannah Nordberg) to the titular beauty pageant.  Family matriarch Sheryl (Stephanie J. Block) works long hours to support her family since her husband Richard (Will Swenson) was laid off of his job.  Richard is hoping to sell the publishing rights to his self-help blog, much to the derision of his foul-mouthed, lascivious father, known only as Grandpa (David Rasche).  Meanwhile Sheryl and Richard's son Dwayne (Logan Rowland) has taken a vow of silence until he achieves his goal of joining the Air Force, and Sheryl's suicidal gay brother Frank (Rory O'Malley) is staying with the family while he recovers from his latest "episode."  When the family finds out that little Olive has been chosen as a last minute contestant, they all pile into the family's VW bus in hopes of making it to the pageant on time.

The source material presents several challenges, none of which are successfully addressed by the creative team.  With the exception of Olive, the family members all seem to barely tolerate one another, giving off the impression they'd rather be anywhere but stuck in a van together.  Yes, the narrative is designed to show these people come to realize how much they love each other, but without even a glimmer of kindness or affection to begin with the first half of the show is a rather miserable experience.  There are hints of interesting and dynamic pairings during the opening scenes, and the show would be better served by expounding on these so there was at least some joy in the opening segments.  For instance, Grandpa may have total disdain for the rest of the Hoover clan, but playing up his affection for Olive would have gone a long way towards making him more bearable (he's easily the show's most insufferable character).  There is an odd bond caused by the shared existentialism of Frank and Dwayne that would be great to see explored further and sooner.  If each character seemed to like at least one other person at the musical's outset, then there would be something to help offset the snarkiness and general misery of what is advertised as a musical "comedy."

Even more devastating is the writing team's inability to settle on a workable tone.  There is a lot of drama and angst on display, but it isn't presented or examined in enough detail for the show to effectively work as serious character piece.  Yet there is enough heavy subject matter - including undertones of marital strife, the burdens of unemployment, and the disappointment of unrealized ambition - that the attempts at comedy never really take off.  The razor sharp wit and gonzo sense of humor so apparent in Lapine's libretto for the duo's last collaboration, The 25th Annual Putnam County Spelling Bee, is inexplicably absent for much of the show.  The scenes set during the "Little Miss Sunshine" pageant have this self-aware cheekiness in spades, and are so effective that it makes you retroactively wish the entire production was an equally over-the-top farce. 

Finn's score is easily the least memorable aspect of the show, which is especially disappointing given the composer's sterling work elsewhere.  There are some fine bits of ensemble music scattered throughout, but these sections are few and far between and unfortunately bookended by fairly clunky solo numbers.  Even worse, almost none of the songs have a clear purpose, lessening their dramatic impact.  There is an extended sequence where Frank encounters the man who prompted his suicide attempt, and though Frank claims to have moved on he continually sings about the other man's physical beauty.  Rather than coming across as a believably mixed set of emotions, the song makes Frank seem bipolar and lacks any kind of internal logic.  There is a flashback to before Sheryl and Richard got married that appears designed to show the love they once felt for each other, but consists of the characters being incredibly ambivalent toward one another until suddenly they aren't.  What are intended to be revealing character moments come across as muddy and confused instead, and leave the audience even more confused about who these people truly are.

The cast struggles mightily to rise above the writing's shortcomings, and do a good enough job that you can't help but wish they had better material to work with.  Stephanie J. Block shows a subtleness and range she hasn't often been asked to use, while still finding moments to show off her comedic chops (if only the score allowed her a better showcase for that phenomenal voice).  Rory O'Malley does some of his most affecting work yet as the deeply troubled Frank, and sounds fantastic on his two main duets.  Richard's straight-laced nature robs Will Swenson of the chance to use the utter fearlessness that made him so beguiling in Hair, but it's nice to see such a talented actor push himself in new directions.  Young Hannah Nordberg is cute as a button as Olive, and Logan Rowland conveys plenty of character despite remaining mute for over half of the show.  There are also two scene-stealing turns by Jennifer Sanchez as Linda the "Bereavement Consoler" and as the reigning Miss California, which point to the show that could have been had the authors chosen to fully embrace the quirkiness that turned Spelling Bee into a surprise hit.  The only actor who fails to make much of an impression is David Rasche as Grandpa, who is saddled with the worse material of the bunch and does little to disguise its shortcomings.

Lapine the director comes across better than Lapine the librettist, managing to keep the staging fresh and interesting despite the fact that over half the action takes place in the confines of an old VW bus.  He somehow manages to make actors running in place and miming the pushing of a van exciting, and knows just how to use Beowulf Boritt's deceptively simple set to maximum effect.  There are also fun touches by costumer Jennifer Capiro (who thankfully gets to costume both a swimsuit and eveningwear competition for the 9-year-old pageant girls) and lighting designer Ken Billington.

But ultimately, all of the talent in the world cannot save bad writing, and unfortunately Little Miss Sunshine features some very bad writing by people who should really know better.  Lapine and Finn have been responsible for some of the most innovative small-scale musicals of the past 20 years, not to mention Lapine's incredible collaborations with musical theatre genius Stephen Sondheim.  How Lapine and Finn managed to drop the ball so completely remains a mystery, and unfortunately their talented cast and crew are left to pick up the pieces.  Even diehard musical theatre fans can find a better use of their time this fall, given the wealth of innovative and inventive new musicals both on Broadway and Off.

Best Shows of 2012: #9

Best of 2012

#9 – The Mystery of Edwin Drood

Damned if there you are!

 

I firmly believe that Rupert Holmes’ The Mystery of Edwin Drood is one of the worst musicals ever written.  Based on Charles Dickens’ unfinished last novel, the show is two hours of uninteresting exposition and merely passable songs that mark time until we reach the musical’s central gimmick, which is letting the audience vote on the mystery’s solution and thereby choose the show’s ending.  The nearly incomprehensible “plot” and exceedingly shallow characters require a top-notch production to mask their many deficiencies and make the show even vaguely tolerable.

Thankfully, the Roundabout Theatre Company’s current Broadway revival is a top-notch production.  Filled to the brim with outstanding performances, the talent involved elevates Drood into a musical confection that’s still devoid of meaning but so much fun you hardly care.  Stephanie J. Block has found the perfect vehicle for her many talents, with her turn as the title character equally highlighting her skills as a musical comedienne and her nearly unmatched vocal prowess.  In any other show, a performance of Block’s caliber would make her the unequivocal star, but this production features so many outstanding supporting turns that Block is but one jewel in a musical crown.

Rising star Jessie Mueller demonstrates remarkable range as the fiery Helena Landless, proving just as entrancing here as she was playing the ingénue Cinderella in this summer’s Into the Woods.  As the musical’s master of ceremonies, Jim Norton turns what could be a rather bland role into one of the year’s great comedic performances, hamming things up with delightful abandon.  Will Chase chews the scenery with infectious, giddy delight as the musical’s villain, and as the object of his lascivious desires Betsy Wolfe is a dream.  The show also boasts Chita Rivera’s return to the Broadway stage after a six year absence, and this living legend proves that she’s still got it.  The sets and costumes are just as impressive as the starry cast, with William Ivey Long’s gorgeous Victorian outfits a particular standout sure to net the designer his umpteenth Tony nomination.

Roundabout’s Broadway productions have been hit or miss in recent seasons, but The Mystery of Edwin Drood is a definite hit.  The not-for-profit has given this musical a far better production than it deserves, and those high standards have resulted in one of the most entertaining musicals of the year.  Anyone looking for a carefree night of bawdy jokes and hammy performances will absolutely adore Drood, and even the most ardent Scrooges in the audience won’t be able to resist cracking a smile or two.



For my full review of The Mystery of Edwin Drood, click here.

Murder Can Be Fun (Provided You Have the Right Cast)

Review:  The Mystery of Edwin Drood

The merry muderers of the Music Hall Royale in their rendition of "The Cell Block Tango"

Let’s get one thing straight:  The Mystery of Edwin Drood – the 1985 musical murder mystery with book, music, and lyrics by Rupert Holmes – is a terrible show.  The music is bland, unmemorable, and breaks so many rules of good theatrical composition that the mind boggles.  The poorly constructed book consists of an endless parade of paper-thin characters prattling on about nothing, with an abundance of puns thrown into the mix to distract the audience from the fact that nothing is actually happening.  The show’s central gimmick, allowing the audience to pick an ending for Charles Dickens’ unfinished final novel of the same name, is a good one, but Drood relies so heavily on that conceit that the initial two hours suffer mightily in comparison.  Rarely have I found so few redeeming qualities in a Broadway musical.

Having said all that, the Roundabout Theatre Company’s current revival is an excellent production that manages to transcend all of the script’s shortcomings to emerge as one of the most entertaining musicals of the fall season.  The hilarious and supremely talented ensemble cast features a host of Broadway veterans all doing excellent work, and the magnificent physical production offers a richly colored tapestry on which the show unfolds.  This is an excellent mounting of a horrible show, and only the most jaded audience members won’t find at least some enjoyment among the production’s many charms.

The show is set in the fictional Music Hall Royale of London during the Victorian era, and the resident acting troupe has taken it upon themselves to present a musicalized adaptation of the unfinished Mystery of Edwin Drood.  The show-within-a-show concerns the drug-addicted John Jasper’s unhealthy attraction to the beautiful Rosa Bud, who has been betrothed to marry Edwin Drood since birth.  Other characters in the tale include twin siblings Helena and Neville Landless, their caretaker the Reverend Crisparkle, opium purveyor Princess Puffer, and the town’s resident drunk Durdles.  What any of these characters have to do with one another remains something of a mystery, even after the show’s conclusion, and matters are further complicated by the fact that the Music Hall Royale’s actors are constantly breaking character to make asides or react to scripted mistakes.  Thankfully, the characters of Drood and the fictional actors who play them are brought to such uniformly charming life by the show’s cast that this narrative murkiness doesn’t really matter.

Donning drag to portray the titular character, Stephanie J. Block has found the perfect vehicle to showcase her many talents.  Block’s natural charisma helps taper the character’s more abrasive qualities, and her broadly comedic portrayal provides plenty of belly laughs.  Her spine-tinglingly good voice makes Holmes’ amateurish songs sounds leagues better than they actually are, and her rendition of the show’s finale is positively thrilling.  She also possesses a winning chemistry with Betsy Wolfe’s delightfully coquettish Rosa Bud, and the pair is nothing short of enchanting whenever they share the stage.

Will Chase is clearly having a blast as the cartoonishly sinister John Jasper, and his delight in the role’s over-the-top nature is infectious.  He’s the type of villain you love to hate, even if his excessive snarling sometimes prevents him from making the best use of his strong singing voice.  Andy Karl’s hot-headed Neville Landless is a hoot, and as his twin sister with the “geographically untraceable accent” Jessie Mueller continues to prove that she’s one of the most versatile actresses of her generation.  Doing a complete one-eighty from her equally winning work as Cinderella in this summer’s Into the Woods, Mueller’s Helena Landless emanates a steely resolve and exotic beauty that extends to the back of the balcony and beyond.  Mugging in all the right places and given too few opportunities to demonstrate her superb alto singing voice, Mueller is one of the show’s strongest assets, and although her part is sizeable she still leaves you wanting more.

This Drood also sees the welcome return of the Chita Rivera to the Broadway stage, and the legendary actress makes the most of her limited stage time.  If her Princess Puffer doesn’t quite live up to the insanely high standard the actress has set for herself, Rivera remains the consummate professional and an utter joy to watch.

And then there’s Jim Norton.  As the Chairman and master of ceremonies of the Music Hall Royale, the veteran actor’s virtuosic performance is the highlight of the evening.  Although he initially appears to be little more than a genial guide meant to hold the audience’s hand throughout the freewheeling show, each scene allows Norton to reveal more and more of his vast reserve of talent.  The actor’s deft comic timing makes even the most groan-inducing puns seem hilarious, and the detached, slightly perturbed way in which he introduces scenes and characters only serves to add to his charm.  Norton can turn a raised eyebrow or muttered aside into comedic gold, and when a scripted mishap forces him to assume a more active role in the show-within-a-show Norton unleashes the most hilarious characterization of the night.

Like the cast, Drood’s physical production is top-notch.  William Ivey Long’s sumptuous Victorian costumes are resplendent in their beauty, utilizing a deep color palette and intricate detail work to jump off the stage.  His attention to detail permeates everything, from the perfectly tailored suit Will Chase wears for the duration of the evening down to a breathtaking gown Stephanie J. Block wears for all of thirty seconds.  Anna Louizos’ set simply and effectively evokes the show-within-a-show’s multiple locations and the English music hall the entire event occurs in (even the lobby has been given a suitable Victorian makeover).  Brian Nason’s lighting design makes both the sets and the costumes pop, and the overall result is a stage that is almost as interesting as the action taking place on it.

The Roundabout’s Broadway productions have been hit or miss for the past few seasons, but the ones that have worked have worked extremely well.  The Mystery of Edwin Drood is an example of a production that works, despite the subpar material’s best attempts to derail the entire endeavor.  The cast is top notch, and the fact that many of them are playing roles outside their typical wheelhouse (and succeeding brilliantly at it) adds an extra layer of enjoyment to their performances.  While it would be a mistake to come to Drood expecting high art or evening coherent storytelling, an abundance of fun and loads of laughs are virtually guaranteed.

Why Legit Vocal Training Matters

Alice Ripley: fierce, fierce actress.  But that voice of hers is a little wonky lately.

Happy fall, everyone!  Now that the weather here in NYC has gotten a little brisk, it’s time to end my impromptu summer vacation from blogging and get back to talking about the theatre.

This is a blog I meant to write a few weeks ago, when I stumbled across this video on Playbill.com.  In the midst of interviewing/goofing off with Broadway’s Stephanie J. Block, musician and internet personality Seth Rudetsky asks Block how familiar she was with the score of her next gig, The Mystery of Edwin Drood, before being cast in the show.  Block admits she’d only heard the soprano ballad “Moonfall,” and sings a few bars before Rudetsky cuts her off and jokingly tells her to “never sing like that again.”

The joke is that Block actually sounds fabulous singing with a legit soprano, but should only belt because that is what she is known for (having been a high profile replacement for roles like Elphaba and Reno Sweeney).  Sky high belting is what’s currently in vogue on Broadway, and Block bemoans the fact that she never gets to sing “Moonfall” at auditions because no one wants to hear her do it.  And the implications of that statement worry me.

If you are an up and coming actor who wants to be on Broadway these days, you have to be able to belt.  Contemporary musicals are almost invariably written as marathon belting sessions, and many classic shows are revived with a more pop-influenced sound.  This isn’t bad in and of itself, and I enjoy a good belt show as much as the next guy.  I lost track of how many times I listened to Rent when it first came out, and one of my biggest complaints about the current Evita revival is the distinct lack of belting done by its leading lady.  BUT legit singing is equally valuable, and should be a major part of any young singer’s training.

When someone learns how to sing in the classical/legit style, two of the most important things they learn are proper placement and breath support.  These form the basis of healthy singing in any genre, and are essential to anyone who wants to have a long career in the industry.  Without them, it is simply a matter of time before nodules or some other type of vocal damage renders a singer unable to manage the demands of doing eight shows a week. 

I would argue the reason someone like Block is able to consistently belt into the rafters is because her background in legit singing taught her proper placement and healthy vocal production.  These principles can be adapted into the contemporary/pop musical vein, but are much easier to practice and learn in classical singing.  The problem with belting and pop-influenced scores is that many of the hallmarks of the style can be achieved through strain and poor technique.  This may work in the short term, but over time it will absolutely destroy someone’s voice (see: Side Show Alice Ripley vs. Next to Normal Alice Ripley, or to use an example from pop music Songs in A Minor Alicia Keys vs. Element of Freedom Alicia Keys).

But since nobody is interested in hearing legit singing, it isn’t being taught as much.  We won’t have proof for another ten years or so, but I fear this is producing a generation of Broadway singers who are using poor technique to wail to the rafters now, but will be unable to sing much of anything by their mid-30s due to all the vocal damage they’ve sustained.  Resilient young voices can handle a fair amount of poor technique, but it will always catch up with you in the end.  Unless something changes, we’re looking at a future where catching that Tony-nominated performance will be a matter of luck, because the actor giving it doesn’t have the vocal stamina to do eight shows a week.  And nobody wants that