2014 Tony Predictions: Revival

The big day is fast approaching, and there are only four Tony categories left for me to predict.  The production categories are perhaps the most coveted of all Tony honors, since they recognize the entire show and not just one individual element.  These categories also caused an unusual amount of anticipation when the nominations were announced due to the recently enacted rule change allowing for anywhere between 3 and 5 nominees, depending on the number of eligible productions.  Now that we have our official contenders, it's time to discuss who will win, and whether or not they are the most deserving.

Best Revival of a Play

Stephen Fry and the company of last fall's all-male revival of Shakespeare's Twelfth Night.

 

Nominees: The Cripple of Inishmaan, The Glass Menagerie, A Raisin in the Sun, Twelfth Night

First, I want to reiterate my surprise that there are only four Best Revival of Play nominees, given the overwhelming number of incredibly well done revivals that premiered during this season.  It's a shame that neither of the Patrick Stewart/Ian McKellan repertory plays made the cut, and that Roundabout's highly regarded productions of little seen plays were also completely excluded.  That said, whether there had been a fifth nominee wouldn't have mattered, because this race has been between The Glass Menagerie and Twelfth Night since both premiered to critical raves last fall.

To me, the clear choice here is Twelfth Night.  I do not understand the critical praise showered upon The Glass Menagerie; I thought it was one of the worst things I saw last fall, well cast but ultimately ruined by John Tiffany's overly conceptual direction.  Meanwhile, Twelfth Night managed to take a play I've never cared for and make me love it, a feat all the more impressive considering it's one of Shakespeare's most performed comedies.  The gentlemen in the all-male Twelfth Night also acted circles around every other ensemble on Broadway this season, and with the benefit of hindsight on the now closed productions I think enough Tony voters realize Twelfth Night is more worthy of recognition.  I won't rule out a win for Menagerie the way I'm ruling out the pleasant Cripple of Inishmaan and Kenny Leon's acceptable retread of A Raisin in the Sun, but the smart money is on the Bard's comedy.

Will and Should Win:  Twelfth Night

 

Best Revival of a Musical

Neil Patrick Harris and his onstage band, The Angry Inch.

 

Nominees:  Hedwig and the Angry Inch, Les Miserables, Violet

Hedwig and the Angry Inch deserves this one by a mile.  It's the only one of the three nominees I don't have reservations about, and it managed to successfully scale up an intimate show for a big Broadway house.  Neil Patrick Harris is excellent in the title role, and director Michael Mayer has done a fantastic job staging the piece so it is both slick and fluid.  Meanwhile, Violet is a well-intentioned production of what to me is a problematic show, and despite the game actors it doesn't manage to completely overcome the script's structural issues and somewhat cliché message.  And Les Miserables is just awful, a shameless cash grab prompted by the *very* recent film version that lacks both the spectacle and the heart of the original production.  Despite heroic work by Ramin Karimloo as Jean Valjean, the rest of the cast sings with varying levels of proficiency and almost none of them act their roles with any conviction, making you feel every minute of the show's 3-hour runtime.  I have seen Les Miserables a half-dozen times over the years, and this revival is the first time I've thought the show is too damn long.

I supposed there is a slight chance Les Miserables wins, especially if the out-of-town voters pool their efforts behind it because it will tour better than the other shows (which probably won't tour at all).  But the sheen seems to have already worn off on the musical epic, while Neil Patrick Harris and Hedwig are white hot.  The fact that the latter production is also the most deserving just seals the deal.

Will and Should Win: Hedwig and the Angry Inch


Check back soon for my final 2014 Tony predictions, and check out the rest of my awards coverage below!

2014 Tony Nominations React
Best Direction and Choreography
Best Book and Score
Best Featured Actor
Best Featured Actress
Best Actor
Best Actress

2014 Tony Predictions: Best Featured Actor

Today marks the first round of predictions for what I call the Big 12 categories (the 4 production and 8 acting Tonys handed out each year).  The reason I call them the Big 12 is they are generally seen as the most prestigious of the various Tony awards, and are the ones that are most likely to be bragged about in marketing materials and future Playbill bios.  In short, they seem to be the awards people care about the most, perhaps because they are the easiest ones for non-industry people to assess. 

 

Now normally at this point I would say "ladies first," but the fact of the matter is that the Best Actress and Featured Actress races this year are just more interesting and exciting, so I am saving those for later.  So without further ado, let's talk about this year's Featured Actor contenders!

Best Featured Actor in a Play

Actor Mark Rylance has publicly stated he doesn't believe in the use of microphones during live theatre, probably because he gets tired of doing a mic drop after every sensational performance.

 

Nominees:  Reed Birney, Casa Valentina; Paul Chahidi, Twelfth Night; Stephen Fry, Twelfth Night; Mark Rylance, Twelfth Night; Brian J. Smith, The Glass Menagerie

The obvious choice in this category is Mark Rylance.  A two-time Tony-winner who consistently receives critical raves, Rylance's take on Twelfth Night's love-struck Olivia was the talk of the town during the fall and winter months.  Rylance, choosing to emphasize Olivia's petulance and childishness rather than her regal nature, was responsible for more laughs per minute than any other performer this season, with a performance completely supported by Shakespeare's text while still feeling fresh and original.  Rylance certainly has my vote, and for months I've been convinced that this race was his to lose.

However, the fact that two of his hilarious costars also received nominations may cause vote splitting among Tony voters trying to choose their favorite actor from that all-male production.  If too many Twelfth Night fans decide to vote for Paul Chahidi (arguably the best Maria every) or Stephen Fry (a very funny Malvolio), it may allow Brian J. Smith to sneak in a surprise win for his portrayal of the pivotal Gentleman Caller in last fall's critically lauded The Glass Menagerie.  If Casa Valentina had more momentum behind it then Reed Birney might have a chance as a dark horse candidate, but I think critical affection for both Twelfth Night and Menagerie is simply too strong for Birney to overcome.  I'm still predicting a win for Rylance, but I won't be completely shocked if Smith is called up to the podium instead.

Will and Should Win:  Mark Rylance, Twelfth Night

 

Best Featured Actor in a Musical

You ain't never had a friend like Aladdin's James Monroe Iglehart, who has been bringing the house down 8 times a week during his showstopping rendition of the Oscar-nominated "Friend Like Me." 

 

Nominees: Danny Burstein, Cabaret; Nick Cordero, Bullets Over Broadway; Joshua Henry, Violet; James Monroe Iglehart, Aladdin; Jarrod Spector, Beautiful: The Carole King Musical

This race is much closer than Featured Actor in a Play, and there are several ways I can imagine it going.  I personally would consider Jarrod Spector the least likely winner, but at the same time the Tony voters clearly have a lot of affection for Beautiful.  As a two-time nominee Joshua Henry is automatically a more competitive than he would be otherwise; being nominated twice proves that the first time wasn't a fluke, and shows Tony voters clearly respect the up and coming performer.  But I just don't think this is Henry's year, which leaves us with three equally compelling candidates.

Aladdin's James Monroe Iglehart is one of the breakout stars of this Broadway season, stopping the show nightly with his fantastic rendition of "Friend Like Me."  Scene-stealing turns do quite well in the Featured categories, and the fact that Iglehart has made the role his own after Robin Williams' iconic work in the film version is mighty impressive.  But Bullets Over Broadway's Nick Cordero has been a consistent figure in every awards race this season, and has even won a couple of the guild awards for his gangster with a heart of gold (Cordero is also the center of his own big production number).  I wouldn't be surprised if he won, but I also have to handicap him since Tony voters are clearly less enamored with Bullets than some of the other awards-granting bodies.

And then there is the reliably great Danny Burstein, a Broadway stalwart who despite 5 career nominations has yet to actually win a Tony Award.  Burstein was robbed (ROBBED!) when Once's Steve Kazee won for his merely adequate Guy over Burstein's revelatory Buddy in Follies, and there is a building consensus among the Broadway community that it's about time the hardworking Burstein got his moment in the sun.  But Tony voters are even cooler towards Cabaret than they are towards Bullets, and I fear Burstein will be passed over once again.  I will give the edge to Iglehart, but Cordero is a strong possibility as well.

Should Win:  Danny Burstein, Cabaret
Will Win:  James Monroe Iglehart, Aladdin (which for the record would not be nearly as egregious as picking Kazee over Burstein in 2012)


Be sure to check back daily over the next two weeks to get all the latest Tony coverage.  Next up are the ladies competing for Best Featured Actress, followed by the Lead Actors and Actresses.  And you can catch up on the rest of my Tony coverage by checking out the links below:

2014 Tony Nominations React
Best Direction and Choreography
Best Book and Score



2014 Tony Predictions: Best Direction and Choreography

It's that time of year again.  With the 2014 Tony nominations announced and the awards ceremony set for Sunday, June 8th, all of Broadway is buzzing with speculation on who will win Broadway's highest honor.  Well, add my voice to the cacophony, because it's time once again for me to give my semi-educated opinion on who is most likely to win on Tony Sunday.  As in past years, I will be focusing primarily on what I call the Big 12 awards (Musical, Play, Revival, and the 8 acting categories), along with Direction, Choreography, Book, and Score. 

Through a time-honored combination of first hand experience, industry scuttlebutt, and gut feeling, I will be naming both the person or production I think most likely WILL win, along with who I think SHOULD win.  These two unfortunately do not always overlap; I am still upset with how the 2012 awards went down, particularly Best Actor in a Musical (Danny Burstein was ROBBED!) and Best Revival of a Musical (Follies was perfection).  Hopefully the voters will be a little more just this year, although without a clear front-runner in most of the categories I have a feeling we're in for at least one off-the-wall winner.  Now without further ado, let the predictions commence!

Best Direction of a Play

Stephen Fry has died of laughter, a common occurrence for audience members of Tim Carroll's all-male Twelfth Night

 

 

Nominees:  Tim Carroll, Twelfth Night; Michael Grandage, The Cripple of Inishmaan; Kenny Leon, A Raisin in the Sun; John Tiffany, The Glass Menagerie

 

 

It sure was nice of the Tony nominators to recognize Michael Grandage and Kenny Leon, but the idea that either one of them is in contention for the actual award is slightly ludicrous.  Leon's work on A Raisin in the Sun has drawn mixed reactions (once again, he has coaxed phenomenal performances out of his actresses while neglecting his central actor), and despite its 6 Tony nominations The Cripple of Inishmaan has almost no momentum behind it.  This race is firmly between the directors of last fall's critical darlings, Twelfth Night and The Glass Menagerie.  Both shows took put fresh spins on well-worn classics, although in my opinion only one of those spins actually proved illuminating to the text.  But I am in the minority when it comes to my low (extremely low) opinion of John Tiffany's work on Menagerie, and he could very well walk away with the top prize.  But considering Tiffany just won a directing Tony in 2012, and that Tim Carroll's production of Twelfth Night was the funniest, freshest production I have ever seen despite (because of?) his adherence to Shakespeare's original practices, I think Mr. Carroll is well-positioned for a much deserved win on Tony Sunday.

 

Will and Should Win:  Tim Carroll, Twelfth Night

 

Best Direction of a Musical

Being a serial killer didn't look nearly so enchanting in Sweeney Todd.

 

Nominees:  Warren Carlyle, After Midnight; Michael Mayer, Hedwig and the Angry Inch; Leigh Silverman, Violet; Darko Tresnjak, A Gentleman's Guide to Love and Murder

 

This is a much tighter race than Best Direction of a Play, with the only nominee I can't picture winning being Violet's Leigh Silverman.  Her work on the small scale musical has its charms, but the production as a whole is a tad underwhelming and the sheen of good reviews has already started to fade.  Director Warren Carlyle arguably had the most to do with his show's success, since the jazz review has no script to speak of and therefore draws all of its structure from the strength of Carlyle's direction and choreography (Carlyle is also the only director/choreographer to score dual nominations this year).  Unfortunately for Carlyle, Tony voters have a not-so-subtle bias against revues, which will probably keep him from actually winning here.

If I was handing out the Tonys, I would give this one to Michael Mayer's bravura work on Hedwig and the Angry Inch.  The show has survived the upgrade from small scale venues to a big Broadway house with its rebellious spirit intact, and that is wholly thanks to Mayer's alterations to the show's premise and his fluid staging.  Also, Neil Patrick Harris didn't just happen upon his stunning performance as the transgendered title character; that kind of magic is the clear product of an actor and director working together in full harmony.  But Darko Tresnjak is at the helm of the year's biggest Tony nominee, and thus gets to reap the benefits of the show's goodwill even though there is hardly anything special about his work on it.  Add in the fact that Mayer already has two Tonys and I'm inclined to think Tony voters will go with Broadway newcomer Tresnjak over the more seasoned Mayer.

Should Win:  Michael Mayer, Hedwig and the Angry Inch
Will Win:  Darko Tresnjak, A Gentleman's Guide to Love and Murder

Best Choreography

Who needs a pesky book getting in the way of all the production numbers?  Not After Midnight, that's for sure!

 

 

Nominees:  Warren Carlyle, After Midnight; Steven Hoggett and Kelly Devine, Rocky; Casey Nicholaw, Aladdin; Susan Stroman, Bullets Over Broadway

I have nothing but the utmost respect for 5-time Tony winner Susan Stroman, and honestly think her two Broadway outings this year (Big Fish and Bullets Over Broadway) were unfairly savaged by the press.  Her production numbers are always full of wit, invention, and an unbridled joy that is the hallmark of Golden Age Broadway, and her involvement will instantly make me more interested in a particular project.  All of that said, Bullets proved extremely divisive among critics and the backlash against the show will prevent her from winning this year.  And while Rocky makes some interesting use of movement, there's just not enough of it to really merit a Tony win.

As a double nominee, Warren Carlyle may be in the best position here.  A win for Carlyle would be an acknowledgement of all his work on the production (similar to how Jerry Mitchell's win last year was an acknowledgement of all of his work on Kinky Boots, not just the choreography) while also leaving Best Director open for someone else.  But the same argument could also be used in favor of Casey Nicholaw, and Best Choreography is his only chance at being acknowledged for all he did to make Aladdin a success.  Nicholaw crafted the year's most buzzed about showstopper - "Friend Like Me" routinely draws standing ovations despite the fact it occurs in the middle of the first act - but Carlyle has won several of the guild awards, making this one a true toss up.  Given this is probably After Midnight's best chance at Tony glory, I think voters will give this to Carlyle, although I would not at all be surprised if Nicholaw won instead.

Should Win:  Casey Nicholaw, Aladdin
Will Win:  Warren Carlyle, After Midnight


That concludes the first entry in my annual round of Tony predictions.  Keep checking back over the next 3 weeks as I work my way through the rest of the big categories, and we'll find out how well (or poorly) I did on June 8th.  Until then, check out the rest of my 2014 Tony coverage below:

2014 Tony Nominations React

Insanely Early 2014 Tony Predictions: Part I

It's never too early to start discussing Tony Award contenders (at least, not for me).  And since we're in the middle of the winter no man's land between the fall and spring Broadway offerings, now is as good a time as any to look back on the first half of this season on the Great White Way.  Obviously we have a lot of shows left to open, so at this point only those who have made a major impression on the theatre-going community can be considered true Tony contenders.  As I do at the end of each theatre season, I'm going to go through all of the major Tony categories and note which productions and people I think have a real shot at recognition come nomination time. 

WARNING:  Occasional snark and a great deal of speculation to follow.

Best Musical

Smartly written and expertly cast, A Gentleman's Guide to Love and Murder is easily the best of the fall's new musical offerings.

There were actually (surprisingly) a fair number of productions eligible for the Best Musical category over the past six months.  Unfortunately, there are also a lot more new musicals on the horizon, and this fall's shows (especially the ones that have closed) stand a good chance of being overshadowed/forgotten come Tony time.  If I were to pick the show with the highest chance of securing a Best Musical nomination, I would go with A Gentleman's Guide to Love and Murder, which in addition to being hilarious is one of the smarter book musicals to come around in a long time.  If a second fall show sneaks into this category then the well-reviewed After Midnight has a shot, although it's status as a revue rather than a book show hurts its chances with the sometimes snobby Tony voters.

I personally enjoyed Big Fish, but it was a divisive show and that decreases its chances immensely, especially in the face of the formidable-looking spring line-up.  There's also the off chance that Baby Boomer baiting Beautiful scores a surprise nomination, but despite its rosy box office prospects I think it will ultimately be passed over by the more discerning voters.  A Night with Janis Joplin and First Date are ultimately slight entertainments unlikely to gain any serious awards traction, and if Soul Doctor gets mentioned at all on the Tony telecast it will likely be as the butt of somebody's joke.  I mean, does anyone even remember Soul Doctor happened?  And what is it going to take to get a show that lasts more than a few months into the Circle in the Square?

Best Play

As of right now, this is the weakest this category has been in years.  Most of the plays from the fall were star-driven revivals, with only A Time to Kill and The Snow Geese even eligible for this award.  Both were met with critical and audience indifference, and there are enough interesting-sounding plays scheduled for spring that I suspect both will be shut out of the Tonys.  *If* (and that's a very big "if") one of these plays were to be nominated, it would probably be Sharr White's WWI drama The Snow Geese, but I find that highly unlikely.

Best Musical Revival

In something I consider a celebration, there were no musical revivals on Broadway this fall.  Every tuner that premiered was a new show, so currently this is a wide open race.  There are also only 4 revivals scheduled for the spring, and that's assuming Roundabout's remounting of their Tony-winning Cabaret is even deemed eligible for competition (which I suspect it won't be).  So basically, everyone gets nominated!

Best Play Revival

Did anyone think that a 400-year-old Shakespeare comedy would be one of the critical and commercial smashes of the fall season?  But Mark Rylance and the all-male company have made Twelfth Night must-see, hysterical theatre.

Thanks to the repertory productions that took Broadway by storm, there are already plenty of play revivals eligible for this year's Tonys.  The double bill of Twelfth Night and Richard III in particular has been a box office and critical sensation, and I would be shocked if Twelfth Night wasn't nominated (in fact, at this moment I think it's the likely winner).  And while I personally hated it, most critics and audience members have been over the moon about this latest production of The Glass Menagerie, so I'm going to name it the second sure thing in this category.  I also wouldn't be surprised to see one of the Patrick Steward/Ian McKellan shows nominated (probably Waiting for Godot), although their slot is the most endangered should the spring revivals prove particularly strong and/or popular.  Despite fantastic reviews, the Roundabout's revivals of The Winslow Boy and Machinal lack the star power to be serious contenders, and the producers of the Daniel Craig-led Betrayal will likely have to content themselves with the millions of dollars they made from that sold out but not necessarily well-reviewed production.  Betrayal always had the air of being an event that was separate from rather than a part of the Broadway season, and the competition is simply too strong for even the mighty James Bond to conquer.


That's my take on the production races and where they stand so far.  There of course is always the chance for surprises, but history has taught us that shows which fail to make a major impression in the fall don't stand much chance at Tony love once the spring shows open (especially if the fall shows have shuttered before nominations are announced).  I am also making some of these predictions based on the assumed strength of the spring's offerings, so if that becomes a surprise in either direction (really strong or really weak overall), then things will change as well.

Check back soon for my thoughts on how the acting races are shaping up so far.

The Best Shows of 2013: Part 2

Last week I published the first half of my Best Shows of 2013 list, and now it's time to reveal the top 5 theatrical experiences I've had all year.  Please note this list is limited to productions I have personally seen, so if your favorite isn't on here it may simply be because I didn't get a chance to see it.  It may also be because I am a contrarian who likes to go against the grain, but it's more likely the first thing.

Here's my Top 5 of 2013:

5) The Last 5 Years



Time will only tell if Adam Kantor and Betsy Wolfe will have the kinds of careers their predecessors Sherie Renee Scott and Norbert Leo Butz went on to have, but I've got my eye on Wolfe. 

I've long held Jason Robert Brown's The Last 5 Years in high regard musically, and in my opinion it is his most accomplished score to date (although with The Bridges of Madison County and Honeymoon in Vegas on the horizon, that may soon change).  What I've never been sure of until seeing this spring's stunning Off-Broadway revival was whether this chronicle of a couple's marriage and divorce works dramatically.  I am happy to report that The Last 5 Years isn't just good music, it's plain good theatre, and this production was directed with supreme invention and sensitivity by Brown himself.  Betsy Wolfe gave a star-making performance as Cathy, finding far more comedy in the role than I ever imagined possible while maintaining a staggering sense of vulnerability and a searing emotional honesty.  Co-star Adam Kantor managed the difficult task of making his lout of a character not only understandable but sympathetic, and the pair's chemistry made the entire show click despite their limited shared stagetime.  Most impressive of all, the pair proved themselves to be equal to the near-legendary performances given by Sherie Renee Scott and Norbert Leo Butz in the original production, which thanks to the original cast recording are as vivid and alive in my mind as if I had seen them in person.

4) Twelfth Night

You'd never guess what a ham was lying underneath Mark Rylance's stately black mourning gown.

Twelfth Night has never been my favorite Shakespeare, and the appeal of seeing Mark Rylance back onstage is the only reason the comedy's current Broadway revival was even on my radar.  As the grieving Countess Olivia, Rylance exceeds even the loftiest expectations, hamming things up to great effect while still maintaining his character's believability and emotional truth.  The surprise for me was just how effective the rest of the all-male cast is, and for the first time in my life I actually found Twelfth Night to be consistently, laugh-out-loud funny.  This often hysterical production may pride itself on its adherence to the practices of Shakespeare's day, but it is also the most accessible interpretation of any of the Bard's works to be seen in years.  New York has been host to a surplus of Shakespeare in recent months, but I have trouble imagining a production more delightful and entertaining than this masterpiece of classical acting.  I have no qualms about recommending this production to anyone, Shakespeare fan or not.

3) Pippin

All hail King Pippin?  Please.  All hail Queen Paulus, who has directed the most satisfying musical revival of the year and continues her string of Tony-winning hits on Broadway.

Diane Paulus has done it again.  In fact, I would argue that Pippin is the crowning achievement of her Broadway career, the perfect melding of show and concept to create one of the most electrifying musicals currently on the Great White Way.  I've had a soft spot for Pippin since performing in the show in college, but will readily admit the problematic book and unconventional structure presents certain challenges for anyone looking to produce it.  Paulus and her sensational cast have overcome all of these obstacles with ease, and never has the musical's opening promise of "Magic to Do" been so completely fulfilled.  Paulus' inclusion of circus elements on top of the Fosse-esque dancing takes Pippin to another level, and the Stephen Schwartz score has never sounded better.  Patina Miller manages to make her interpretation of the Leading Player the equal to Ben Vereen's iconic turn, and is ably matched by stellar supporting turns by Terrance Mann, Charlotte d'Ambroise, and Andrea Martin (who has since left the show).  I've already seen the show twice and would happily return for a third visit to this wondrous celebration of the theatre, expertly helmed by one of the best musical directors working on Broadway today.

2) Matilda

If my school's entrance had looked like this, I wouldn't have wanted to go, either.

Alright, it's time to get real:  Matilda probably deserves that Best Musical Tony more than Kinky Boots does.  I won't begrudge Boots any of it's success, and Matilda has been doing just fine without the big prize, but I cannot recall a more inventive, entertaining new musical on Broadway this year than this adaptation of the Roald Dahl novel.  The wit and ingenuity on display at the Shubert Theatre are second to none, challenging the show's young audience rather than talking down to them and leaving as much (if not more) for the adults to enjoy.  Matthew Warchus' electrifying staging gives the show a driving energy that is infectious (his staging for the "School Song" is perhaps the most breathtaking moment I've seen onstage all year), and the quality of performances he has coaxed out of his young cast is extraordinary.  Everything about Matilda works, and Bertie Carvel's scene-stealing turn as Miss Trunchbull was one for the musical comedy history books.  Young or old, there is plenty to enjoy about Matilda, and anyone who loves inventive new musicals would be doing themselves a disservice by not seeing this fantastic show.

1) Natasha, Pierre, & the Great Comet of 1812

Oh how she blushes.  Amber Grey is just one of the many sensational things about Natasha, Pierre, & the Great Comet of 1812 Off-Broadway.

This Off-Broadway show came out of nowhere and completely blew my mind.  A self-described "electropop opera," this musicalization of a sliver of Leo Tolstoy's War and Peace is the single most astounding show of the year.  Musically, the through-composed score is a treasure trove of invention, fusing disparate elements like Russian folk music, electronica, and even art song into a cohesive whole that never ceases to surprise and amaze.  Given a knockout environmental staging by director Rachel Chavkin that makes use of every nook and cranny of the specially designed Kazino nightclub, Natasha, Pierre, & the Great Comet of 1812 is a swirling concoction of a musical unlike anything I've ever seen, performed by an outstanding ensemble of actors who are firing on all cylinders.  As Natasha, Julliard graduate Phillipa Soo is the find of the season, with a soaring voice and staggering emotional honesty that anchors the show and makes its grand themes feel immediate and accessible.  There are too many amazing actors to mention them all, but Amber Grey, Grace McLean, and Brittain Ashford make particularly strong impressions.

Let me say this in no uncertain terms: GO SEE THIS SHOW!!!  Anyone who has ever complained about the lack of innovation in modern musical theatre owes it to themselves and the art form to support this piece.  And let me know when you're going, because I will gladly join you!


And there you have it.  These are my personal picks for the best theatrical experiences of 2013.  If there are any you think I missed, please let me know, as I'm always looking for recommendations as to which show I should see next.  Here's hoping 2014 is an equally good year for inventive new works!

A "Night" Full of Laughs, Just as the Bard Intended

Review:  Twelfth Night

Don't let the puzzled expression fool you; Mark Rylance knows exactly what he's doing as Olivia in Shakespeare's Twelfth Night

I have a confession: I can't stand Twelfth Night, that perennially popular Shakespearean comedy of mistaken identity.  It always strikes me as dreadfully dull and decidedly unfunny in performance, with the only consistently entertaining parts being the B-plot focused on the servants’ attempts to humble the unbearably pompous Malvolio.  I also have a generalized disdain for companies who mount Shakespeare using the original Elizabethan practices, as the all-male casting is usually there to mask the fact the director has nothing new to say about the play.  So when I heard Twelfth Night was being revived on Broadway with an all-male cast, the only thing that seemed remotely interesting to me was the opportunity to see the incredibly gifted Mark Rylance perform onstage once again.

I need not have been so cynical; this latest production of the Bard’s comedy is the finest one I’ve ever seen, and one of the most accessible and interesting Shakespearean productions to grace the New York stage in a long time.  For the uninitiated, the show’s main plot concerns twin brother and sister Viola and Sebastian, who become separated during a great storm at sea.  Each has assumed the other drowned, and for reasons that never fully make sense to me Viola decides that her best course of action is to dress as a boy named Cesario and go work for Duke Orsino.  The Duke is madly in love with the countess Olivia, who is in mourning for her dead brother and will not entertain any of Orsino’s advances.  He sends Cesario/Viola to woo Olivia for him, but the countess find herself far more interested in the well-spoken servant "boy" than the lovelorn Duke.  

This contrivance has always been difficult to swallow, not only because the actress playing Viola almost never makes a convincing man but also because when her twin brother Sebastian reenters the picture the two are constantly confused for one another despite incredibly obvious physical differences.  The beauty of this all-male production is that Viola finally makes a convincing man, and the pale makeup and identical costumes she and Sebastian wear make them virtually indistinguishable physically.  The other characters' confusion is finally credible, yet there are enough context clues and subtle differences in physicality for the audience to be able to figure out who’s who.  Samuel Barnett and Joseph Timm - as Viola and Sebastian, respectively - are both fine actors in rather thankless roles, and Barnett in particular does an admirable job of playing the straight man during the play's increasingly ridiculous situations.

But while Samuel Barnett may technically be playing the lead, this production is all about Mark Rylance’s virtuosic performance as Olivia, a hilariously over-the-top rendition that finds laughs in every line of dialogue and bit of stage business.  Most performers tend to emphasize Olivia’s regal air, given her position as a countess; Rylance completely forgoes that route and has created a supremely vain, vaguely stupid woman-child prone to tantrums and side-splittingly inept flirting.  Two-time Tony-winner Rylance has always been an extremely physical actor, and over the course of the evening he throws himself on the floor, scrambles over furniture, hurls props at his fellow actors, and even wields a battle axe for some of the play’s biggest belly laughs.  Although vastly different from the typical interpretation, Rylance’s performance is entirely supported by the text and his unequaled commitment to the role makes it wholly believable.  It's a shame the part doesn’t allow Rylance doesn’t more stage time, but he milks what he has for everything it's worth.

As Olivia’s handmaiden Maria, Paul Chahidi doesn’t even attempt to hide the fact he is a man in a dress, but he also doesn’t comment on the fact.  He merely reacts naturally to the play’s circumstances, and the honesty of his performance allows you to instantly accept him as Maria and enjoy his gleeful mugging.  Colin Hurley is a riot as the constantly drunk Sir Toby Belch, and with Angus Wright’s Sir Andrew Aguecheek as his partner in crime is responsible for some of the biggest laughs not involving Rylance.  And although the character doesn’t really get a chance to shine until the second act, Stephen Fry makes for a masterful Malvolio, the unsuspecting butt of a particularly cruel but also hilarious joke concocted by Maria and Toby.

The intentionally spartan set design by Jenny Tiramani is a refreshing change of pace from the overly elaborate sets that have become the norm these days, and the decision to use onstage seating as an approximation of the thrust staging seen at Shakespeare’s Globe is a nice touch (and watching said audience members double over in laughter provides added entertainment value).  Tiramani is also responsible for the gorgeous period costumes, whose elaborate detail is visible even from the back of the theatre.  Director Tim Carroll makes excellent use of all of this in his staging, which maintains a brisk pace and keeps the focus squarely on the text and the performers.

Twelfth Night is running in repertory with Richard III, and the idea of this same group of actors tackling an entirely different type of play is intriguing, given that they have so thoroughly nailed the spirit of this whimsical comedy.  As Olivia, Rylance proves once again that he is one of the most gifted, versatile, and hardworking actors of his generation, and he is surrounded by equally capable and appealing performers both young and old.  Whether you love Twelfth Night or can't quite comprehend its enduring popularity, this production will leave you smiling.