Extremely Early 2017 Tony Predictions: Part II

As January turns to February, we are experiencing the proverbial calm before the storm. The spring Broadway season swings into gear next month, before the floodgates truly open in March and April. There are a mind boggling 22 productions slated to open between now and the Tony eligibility cutoff date, featuring a proliferation of both known and up and coming talent which makes my yearly tradition of assessing which fall performers are well-positioned for Tony recognition that much harder.

As history has repeatedly shown, the Tony Awards tend to favor currently running and recently premiered productions (hence the glut of scheduled spring openings). While a decent performance in a well-reviewed spring show can be enough to snag a nomination, actors must truly impress critics and Tony voters if they hope to be remembered for their work in a fall show. On the other hand, should the spring shows prove disappointing, a solid performance in a fondly remembered fall production suddenly looks very strong by comparison. It's all a carefully weighted guessing game, so read on of my extremely early - and subject to change - predictions for the major acting races. (You can catch up on my predictions about potential Tony-nominated productions here).

Best Actor in a Play

Denis Arndt and Mary-Louise Parker in Heisenberg.

While there are clear critical favorites among the fall musicals (Falsettos, Dear Evan Hansen, and Natasha, Pierre, and the Great Comet of 1812), the already opened plays are more evenly matched with no obvious frontrunners. For Best Actor in a Play, I think the three gentlemen to keep your eye on are Heisenberg's Denis Arndt, The Encounter's Simon McBurney, and The Present's Richard Roxburgh. Arndt's performance seems like the safest bet given the actor driven nature of Heisenberg, but a nod for McBurney would be a way to honor the entirety of his work on the well-reviewed The Encounter (he also wrote and directed the piece) which seems unlikely to be remembered elsewhere. And Roxburgh can't be ruled out for his excellent work in a play that has been marketed on Cate Blanchett's appeal but ultimately centers around Roxburgh's rakish intellectual.

And then there's John Slattery, whose performance in The Front Page is a bit of a wildcard. Slattery is the only member of the starry ensemble comedy deemed eligible in the Lead Actor category, and the play was certainly well liked, ending up on several Best of 2016 lists. But Slattery was essentially overshadowed in the press by his costar Nathan Lane, despite Lane not making his first appearance until almost an hour into the show (Lane seems like an almost guaranteed Featured Actor nominee). I would expect two of these four men to make the cut, but Slattery feels like the longest shot at the moment.

Best Actor in a Musical

Ben Platt as the title character in Dear Evan Hansen.

There is a clear frontrunner in this category, not just for a nomination but for the eventual trophy. Ben Platt's turn as the title character in Dear Evan Hansen has been the talk of the fall season, a hugely admired performance anchoring a hugely admired show. The buzz surrounding him feels very similar to the buzz which greeted Cynthia Erivo upon her Broadway debut last season, and that worked out very well for the Color Purple star. There's definitely competition on the horizon - Jake Gyllenhaal in Sunday in the Park with George and Andy Karl in Groundhog Day immediately spring to mind, and as much as I'm not looking forward to his performance in Charlie and the Chocolate Factory one cannot deny the Tony's love of Christian Borle - but as of this moment, the Best Actor statue is Platt's to lose.

A case can definitely be made for Josh Groban to work his way into this category, with the recording star doing a very admirable job of embodying the withdrawn Pierre in The Great Comet. Holiday Inn's Bryce Pinkham had more to do in his show than Groban, and one should never underestimate how difficult it is to anchor one of those old-fashioned song and dance spectacles, but Pinkham's inclusion here feels like a long shot. And there's always the possibility Tony voters will decide they like Christian Borle's more measured work in Falsettos than his presumed scenery chewing in Charlie and nominated the former performance instead. Groban still feels like the most likely to be in consideration though, after the surefire Platt.

Best Actress in a Play

Oscar-winner Cate Blanchett and Richard Roxburgh in The Present.

Of the fall actresses, the one I'd most expect to see remembered with a Tony nomination is Mary-Louise Parker for Heisenberg. The Tony-winning actress received across the board raves for her complex, nuanced performance in the two character drama, and there aren't enough female-driven plays on the horizon to put her nomination in jeopardy (unless the shows without name stars over deliver on the acting front). I also think the committee will reward Cate Blanchett's long awaited Broadway debut with a Tony nomination as a way to encourage the actress to come back sooner rather than later, hopefully in a show that makes better use of her talent than the occasionally obtuse The Present. That said, even though she has been deemed a lead you could convincingly argue that Blanchett's character is really a supporting one, which could hurt her chances. An unexpectedly weak showing from the spring actresses could also open up a slot for Janet McTeer's scheming Marquis de Merteuil in Les Liaisons Dangereuses, although it is a long shot.

Best Actress in a Musical

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

I've saved this category for last because it is by far the most competitive; in fact, this is shaping up to be a Tony race for the record books. Among the major names starring in spring musicals: Patti LuPone and Christine Ebersole in War Paint; Bette Midler in arguably the most anticipated musical of the season, Hello, Dolly!; Phillipa Soo in the musical adaptation of Amelie; and Annaleigh Ashford in Sunday in the Park with George. (Glenn Close is not eligible for her starring role in Sunset Boulevard, having previously won the Tony for the same role in 1995.) There's also two-time nominee Laura Osnes in the new musical Bandstand, newcomer Eva Noblezada in Miss Saigon (the role which made Lea Salonga a star), and rumblings of a very strong performance from Jenn Colella in the new musical Come From Away (assuming she is deemed a lead actress and not supporting).

In short, there's a lot of competition out there, and if it is as strong as everyone assumes that doesn't bode well for the fall performers. Natasha, Pierre and the Great Comet of 1812's Denee Benton seems the most likely to break into the race, assuming support for the boundary pushing musical remains as strong as when it initially premiered. Benton is also one of the only women currently eligible for this award; Stephanie J Block's showstopping performance in Falsettos has been deemed a supporting turn, as has Rachel Bay Jones' heartbreaking work in Dear Evan Hansen (I expect both to be nominated for Best Featured Actress). Which leaves Benton as the sole woman standing, and even her position is precarious barring a category expansion.


And those are my current predictions for the 2017 Tony Award nominees! This is obviously all subject to change based on the spring season, and I will certainly be revisiting this topic prior to the official nominations being announced on May 2nd. In the meantime, let me know what you think in the comments!

Extremely Early 2017 Tony Predictions: Part I

January and February are traditionally slow months for Broadway, both in terms of show openings and ticket sales. They are also times of changeover, as older shows close up shop to make way for the incoming crop of spring production. A whopping 23 shows will open between now and April 27th, the cutoff for Tony Award eligibility, which means only the most well received fall productions even have a chance of cutting through the spring buzz to secure nomination slots in May. And as I do every year at this time, it's time to discuss which shows are in the best position to do just that!

This fall produced a lot of work critics deemed good but not great, which leaves plenty of room for things to change depending on the strength of the spring shows. With few critical or commercial hits among the fall shows, all these predictions should be taken with a grain of salt, with many vulnerable to missing out on nominations should the spring prove especially fruitful artistically.

Best Musical

Ben Platt and the cast of Dear Evan Hansen.

While it seems a tad early to make this prediction, my gut tells me we have already seen the 2017 Tony winner for Best Musical. Both Dear Evan Hansen and Natasha, Pierre, and the Great Comet of 1812 opened to excellent reviews and robust box office, putting them in excellent position to be remembered with nominations. The boundary pushing productions are also the kind of inventive work the Tony committee has increasingly favored in the past few years, making it even more difficult to imagine either show being shut out of the highest profile awards race.

If the spring shows prove to be unexpectedly weak (unlikely, but possible), then there's a possibility for Holiday Inn or A Bronx Tale to sneak into contention. A Bronx Tale is the more likely of the two to break out, as Holiday Inn seems to have been too slight for most critics and will be long closed by the time nominations are handed out. And while I found aspects to appreciate in both In Transit and Paramour, neither is really Best Musical material, making their nominations extremely unlikely.

Best Play

Mary-Louis Parker and Denis Arndt in Manhattan Theatre Club's Broadway production of Heisenberg.

Currently, the only shows that quality for this category are The Encounter; Heisenberg; Oh, Hello on Broadway; and The Present. With a robust slate of new plays coming this spring, including Broadway transfers of the incredibly well received Sweat, Oslo, and Indecent, I expect only one fall play to make it into Tony consideration. I'm split on whether to call things for The Encounter or Heisenberg, but I lean toward the latter due to it being the most "play-like" (although the increasingly progressive Tony voters could well opt for the experimental but well received The Encounter instead). Should the spring shows disappoint there's even an outside chance the partly scripted, partly improvised Oh, Hello makes the cut, although as this is both a playwriting and production award the improvised segments could hurt the comedy's chances.

Best Musical Revival

Lincoln Center's much heralded revival of William Finn and James Lapine's Falsettos.

This fall only saw two musical revivals, the much anticipated Falsettos and the are-they-really-bringing-that-back Cats. Personally, I don't understand how the awkwardly constructed Falsettos is so beloved by the theatrical community, and I say that as a gay man. Based on my personal observations, one's enjoyment of this revival was directly tied to one's familiarity with the show beforehand; if you already knew Falsettos, the revival was practically perfect, whereas if you were unfamiliar with the show the flaws in the writing were more apparent (I fall into the second category). That said, I cannot imagine a scenario in which Falsettos doesn't get nominated for Best Revival, even if there are a lot of spring shows to fend off on the way to actually winning this category. The chances of Cats fending off Hello, Dolly; Sunset Boulevard; Miss Saigon; and Sunday in the Park with George for a nomination seem laughable.

Best Play Revival

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

There are currently for productions eligible in this category: The Cherry Orchard, Les Liaisons Dangereuses, The Front Page, and Jitney. With a similar number of play revivals opening in the spring, I'm fairly confident in predicting a 50/50 spread between fall and spring nominees, which would allow for two of the above plays to make the cut. The Cherry Orchard was met with some of the harshest reviews of the season, while Les Liaisons sparked at best muted admiration, which leaves The Front Page and Jitney as the presumptive nominees. The very well reviewed Jitney is probably the most competitive, as most reviews for The Front Page agreed the play was starting to show its age despite tremendous work from an all-star cast (the routine complaints about a slow first act will also hold the show back).


And those are my current predictions; let me know if you agree or disagree in the comments! And check back soon for early assessments of the Leading Actor/Actress races.

Cate is Great, but "The Present" is Average

Review: The Present

Richard Roxburgh and Cate Blanchett in Andrew Upton's The Present.

In her long awaited Broadway debut, Oscar-winning actress Cate Blanchett proves every bit as formidable and entrancing onstage as she is onscreen. Able to tap into coquettish charm and window rattling fury with equal authority, Blanchett possesses such a magnetic stage presence you can scarcely take your eyes off her, even when she sits silently fuming at a table in the background. Without trying, the actress absolutely dominates any scene she's in while remaining fully in service of both character and story. Unfortunately, the role of Anna Petrovna in Andrew Upton's new work The Present doesn't quite demand or deserve an actress of Blanchett's stature, which undermines Blanchett's Broadway bow despite her undeniable talent.

The play is loosely adapted from Anton Chekhov's Platonov, chronologically the first play written by the celebrated dramatist but not produced until well after his death. The fact that Platonov is rarely performed is the first indication of underlying issues with the material, as is the fact the author himself considered the play unfinished. The basic outline involves Russian widow Anna Petrovna gathering friends and acquaintances at a dilapidated country estate to celebrate her birthday, most notably the sardonic tutor Mikhail Platonov. Over the course of the long weekend various inner demons and repressed romantic feelings come to the fore, ultimately upending everyone's lives. Upton's adaptation, which moves the action forward a century to 1990s Russia, makes a decent attempt at unifying the narrative's disparate threads, but ultimately feels confused and conflicted in both tone and style.

The first act hews most closely to what classic Chekhov, in that it introduces a bevy of well-to-do members of Russian society obsessing over the past and the unerring progression of time. Act II takes a hard left turn into completely unexpected territory involving shotguns and dynamite, making it the play's most memorable but also the most bizarre. This darkly comic act heavily centers on Blanchett's character, showcasing the actress' many gifts and the manic energy provided by the script's comedic impulses; if the whole show maintained the tone and pace of Act II, it would be often insane but also compulsively watchable. Unfortunately, Act III changes tones once again to become a dreamlike succession of two and three character scenes, before the play returns to something more recognizably Chekhovian in the final act (along with paying off the literal Chekhov's gun introduced in the show's opening moments).

As mentioned, Blanchett is superb throughout, although those buying a ticket primarily for her may be disappointed to learn the real protagonist is Richard Roxburgh's Platonov. And while The Present would definitely benefit from featuring Blanchett more prominently, Roxburgh is quite a treat in his own right. His rakish performance perfectly highlights why the other characters find Platonov both intoxicating and infuriating, and yet Roxburgh is also capable of portraying deep anguish and regret. His Platonov emerges as a deeply conflicted man, a passionate soul stymied by his quiet country lifestyle whilst simultaneously drawing great comfort from said lifestyle. The most interesting scenes highlight the complex interplay between Blanchett and Roxburgh, who share excellent chemistry and a high mastery of their craft.

The rest of the cast provides fine support in roles with murkier character arcs than Anna and Platonov, often giving performances far better than what is on the page. Particularly strong are Chris Ryan and Toby Schmitz as Platanov's former students Sergei and Nikolai, both on the verge of settling into midlife with partners who may or may not be right for them. And in the pivotal role of Sophia - Sergei's wife and a past lover of Platanov - Jacqueline McKenzie makes such seamless sense of her character's abrupt shifts in affection you almost don't notice how poorly they're integrated into the plot (Sophia's actions seem primarily dictated by story needs, rather than character motivations).

Director John Crowley mostly stays out of the way of his actor's performances, which keeps the staging from feeling unnecessarily flashy but occasionally leaves the action feeling unfocused. Alice Babidge's scenic design isn't particularly impressive, except for how quickly it manages to transition from act to act. Similarly, the costumes (also by Babidge) and lighting (be Nick Schlieper) avoid calling attention to themselves in favor of letting the performances and script do the heavy lifting.

For gifting Broadway with the immense talent that is Cate Blanchett, The Present is to be commended, even if it is an imperfect vehicle for such an accomplished performer. Hopefully Blanchett will find the time in her busy film schedule to return to the New York stage in one of the truly great theatrical roles; she has tackled both A Streetcar Named Desire and Hedda Gabler in her native Australia, either of which would offer her far more material to work with should she choose to reprise them. Until then, The Present will have to do, even if Blanchett's star presence isn't quite enough to make you forget you're watching an awkwardly formed but well-acted play.

The Best Shows of 2016: Part II

I've already revealed the first half of my Best of 2016 list, and now it's time to reveal my picks for the Top 5 Shows of 2016. As always, the criteria for making this list is as follows: the show must have officially opened in 2016, and it must have been seen by yours truly. Think of it as more of a list of personal favorites than a definitive "best of" list (since I did not manage to see several highly acclaimed productions).

Here are my Top 5 Shows of 2016:

5) Bright Star

Carmen Cusack and Paul Alexander Nolan in Bright Star.

Like American Psycho before it, Bright Star is another show from the spring of 2016 that just didn't have the kind of run it truly deserved. Unlike American Psycho, Bright Star actually had a fair number of critical champions, and word of mouth from those who actually saw it was quite strong. Steve Martin and Edie Brickell's bluegrass score was a true stunner, especially on repeated listening, and while the story was perhaps predictable it was never anything less than involving. In fact, it is a testament to the show's strength that audiences remained emotionally invested despite the big reveal being fairly obvious from the outset. And the cherry on top of this already wonderful cake was the star making performance of Carmen Cusack in the lead role of Alice Murphy, playing the spunky literary editor as both an exuberant youth and a stern adult. Cusack astounded with her big voice and even bigger emotions, and will hopefully become a much more regular fixture on the New York stage in the years to come.

4) Waitress

Jessie Mueller and the cast of Waitress.

There was never any doubt that Hamilton would dominate the 2016 Tony Awards, leaving Sara Bareilles' positively delightful Waitress a perpetual runner up. In my opinion, this feel good musical confection (the first Broadway tuner to boast an entirely female creative team) was the second best new show of the 2015-2016 season, exceeding expectations thanks to an absolutely charming book, score, and cast. Bareilles, director Diane Paulus, and librettist Jessie Nelson have crafted a romantic drama with a ton of heart, one which hews close enough to tradition to remain comforting while packing just enough twists to hold your interest. And anchoring everything is Jessie Mueller's towering, Tony-nominated performance as Jenna, the small town waitress with big city aspirations. Mueller possesses a depth of feeling few actors have, and powerhouse vocals that make a mighty feast of Bareilles' soaring melodies. By the time Mueller finishes her 11 o'clock stunner "She Used to Be Mine" (one of the most gorgeous showtunes of the past several seasons), she has left absolutely everything on the stage, and the audience is all the better for it.

3) Noises Off

The company of Roundabout Theatre Company's revival of Noises Off.

Few plays have managed the sustained levels of hilarity found in Noises Off, the gold standard of farce written by playwright Michael Frayn in 1983. This season saw an absolutely sensational revival mounted by Roundabout Theatre Company (which had one of its best seasons in ages) which produced over two hours of near continuous laughter. Every member of the ensemble had multiple moments of gut busting hilarity, be it Megan Hilty looking for her missing contact, Andrea Martin struggling to remember where exactly to place the sardines, or Kate Jennings Grant literally rolling across the stage trying to remove an errant prop. There was such a dizzying array of comic genius on display that it was impossible to fully appreciate everything in a single viewing, and the nearly wordless second act was the most bravura example of comedic excellence I have perhaps ever witnessed. A true masterwork in every sense of the word.

2) Dear Evan Hansen

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

I have yet to see the show's much lauded Broadway transfer, but given the stellar shape Dear Evan Hansen was in when I saw it at Second Stage Theatre in the spring I have not qualms about naming it one of the best of the year. Benj Pasek and Justin Paul have written a searing contemporary score, bursting at the seams with emotion and drive and delivering on all the promise they showed in the Tony-nominated A Christmas Story several years back. The wholly original narrative about an awkward teen's misguided attempt to capitalize on his unexpected internet fame speaks directly to our modern social media obsessed culture, while also touching upon universal concerns about belonging and our place in the world. Director Michael Mayer has crafted an energy-infused staging that owes no small debt to his brilliant work on the Pulitzer Prize-winning Next to Normal, and in an ensemble of fine actors special mention must go to Ben Platt's jaw-dropping work as the title character. The young star's performance must be seen to be believed, and already has the town buzzing in a manner similar to the talk surrounding eventual Tony-winner Cynthia Erivo's work in The Color Purple. Tickets are not easy to come by, but definitely worth the investment, especially for those who enjoy supporting entirely original musicals.

1) She Loves Me

Laura Benanti and Zachary Levi in She Loves Me.

Perfection. It is not a term I use lightly, but it is wholly appropriate when describing Roundabout Theatre Company's transcendent revival of Bock and Harnick's classic musical romance She Loves Me. Every facet of the production, from the gorgeous set and costumes to the pitch perfect performances and direction, exuded such love for both the piece and the theatre in general that it was positively infectious. Laura Benanti and Zachary Levi were superbly cast as the feuding perfumerie clerks secretly made for one another, sharing an electric chemistry and a masterful understanding of how to act a song. The supporting cast was also excellent, including a deliciously smarmy and gloriously sung turn by Gavin Creel as the womanizing Kodaly. And words seem hardly adequate to describe the comedic perfection that was Jane Krakowski as the lovelorn Ilona, whether she was doing the splits or sharing the details of her life changing "Trip to the Library." Broadway musicals simply don't get any better than this.


And there you have it! Those are my Best Shows of 2016. For next year, I will have to make a resolution to be better about reviewing all the shows I see (it's a shame I didn't write down my thoughts about American Psycho, Bright Star, or Waitress while they were fresh). Be sure to keep checking this blog space for reviews of all the big spring shows, and don't be shy about sharing your favorites of the year in the comments.

Happy New Year!

The Best Shows of 2016: Part I

As we approach the end of a calendar year which has seen plenty of political upheaval and more than a few untimely celebrity deaths, it feels even more necessary to remember all the good that 2016 had to offer. On this blog, that means looking back on the best shows of 2016, those productions which moved, challenged, and entertained us while also showcasing the abundance of talent in New York City.

In order to be eligible for inclusion, a production must have had its official opening night in 2016, and it must have been seen by yours truly. And since I have neither the means nor the time to see everything which premieres in a given year, there will obviously be some worthy omissions from this list, so don't take a show's exclusion as indication that I didn't like it. (Except Falsettos; while I don't think it's a bad production, I honestly don't understand why this clunkily constructed musical is causing such a fuss among critics.)

Here are the first 5 of my Top 10 Shows of 2016; the rest will follow shortly!

10) Eclipsed

Lupita Nyong'o and Zainab Jab in the Broadway production of Eclipsed.

The 2015-2016 Broadway season was heralded for its diversity, both onstage and off, and there were few more compelling examples of that diversity than Eclipsed. Written, performed, and directed by women of color, Danai Gurira's play brought a fresh and authentic perspective to the story of women struggling to survive during the Liberian Civil War. And while the women's circumstances were often harrowing and deadly serious, Gurira's play was also incisively funny and ultimately hopeful, refusing to allow its characters to become victims of their circumstances. Expertly portrayed by stunningly accomplished group of actresses (including Oscar-winner Lupita Nyong'o in a thrilling Broadway debut), the wives at Eclipsed's center emerged as powerful and intelligent women who each found their own ways of coping with the horrors which surrounded them. It demonstrated just how much giving underrepresented perspectives a voice can invigorate the American theatre, and one can only hope that Broadway will continue to support this kind of probing work.

9) In Transit

Margo Seibert, Moya Angela, and the company of In Transit.

Every year I seem to have a soft spot for at least one show that is dismissed by critics and the audience at large. And while In Transit is by no means the best show I've ever seen ignored by the theatre community at large, it has a lot more to offer than most reviews would lead you to believe. For one, the a cappella score lends the musical a sound unlike any other, a deceptively complex composition with multi-layered harmonies and carefully crafted vocal lines. The performances are all charming, and the characters show us an underexplored facet of the human experience: the transition from the idealistic, impassioned twenties to the more measured but no less intense thirties. The show's New York specific humor and beast of a score will like hold this show back from having much of a life outside of the city, which is unfortunate but perhaps fitting for a show where the setting is as much a character as any of the people in the narrative.

8) The Woodsman

The Off-Broadway company, both human and puppet, of The Woodsman.

At some point, almost everyone who sees enough theatre will start to decry the lack of originality, bemoaning the abundance of "safe" productions with traditional structures and narratives. Shows like The Woodsman prove there is still plenty of invention to be found for those willing to seek it out, offering one of the most thrillingly theatrical experiences of the year. Using very little dialogue, this one-act prequel to the Wizard of Oz was story theatre at its best, utilizing sound, puppetry, and wildly inventive stagecraft to tell the story of how the Tin Man lost his heart. The seamless ensemble, led by the show's writer and director James Ortiz, transported the audience to a dark yet entrancing corner of the merry old land of Oz while tapping into primal emotions which transcend mere words. Thankfully this delightful production was recorded for posterity, and can be streamed right now from BroadwayHD.

7) American Psycho

Benjamin Walker (center) and the cast of American Psycho.

One of the most divisive productions of the year, those who saw American Psycho either really loved it or really didn't. I happen to fall into the former category, being completely smitten by how brazenly the show flaunted the conventions of Broadway to tell the story of ladder climbing serial killer Patrick Bateman. Benjamin Walker was absolutely sensational as the murderous title character, creating a perfectly controlled facade only to let it crumble piece by piece as Bateman became more and more detached from reality. How this actor failed to score a Tony nomination is beyond me, but it is one of the great oversights of the 2016 awards season. Combine Walker's excellence with stunning set and projection design, pitch perfect satire of 80s consumerism (embodied to perfection by Morgan Weed's delightfully shallow Courtney), and a pulsating electronic score by Duncan Sheik and you have one of the most memorable musicals of the year. A show that deliberately pushed so many buttons was always facing an uphill battle towards commercial success, but this wonderfully inventive show has all the makings of a cult hit that will be discovered and loved by theatre aficionados for years to come.

6) Natasha, Pierre, and the Great Comet of 1812

Josh Groban and the Broadway cast of Natasha, Pierre, and the Great Comet of 1812.

Honestly, I would have loved to rank this as the best show of the year, as I did the Off-Broadway production in 2013. Unfortunately, the Broadway transfer of Dave Malloy's 19th century Russian fantasia Natasha, Pierre, and the Great Comet of 1812 isn't quite as magical in its bigger home, but it remains one of the most jaw-droppingly inventive musicals of the decade. Once again director Rachel Chavkin and set designer Mimi Lien have created an immersive world for this sung-through tale of intrigue and seduction to take place in, utilizing every available inch of the heavily renovated Imperial Theatre to further the illusion of being in a different time and place. The score is a dizzying collection of seemingly disparate elements, effortless interwoven by Malloy to create something wholly original and unlike anything to grace the Broadway stage. The performances are all quite good, including recording superstar Josh Groban in his Broadway debut. Perhaps most exciting of all is the fact that such innovation is being rewarded not just with critical praise but packed houses, which will hopefully encourage even more musical experimentation in the future.

Be sure to check back at the end of the week for my Top 5 Shows of 2016!

Let's Talk About Sex (18th Century French Sex)

Review: Les Liaisons Dangereuses

Janet McTeer and Liev Schreiber in the Donmar Warehouse revival of Les Liaisons Dangereuses

There aren't many plays like Les Liaisons Dangereuses, the highly verbal and erotic drama currently being revived at the Booth Theatre. Period costumes and flowery language help elevate this tale of calculated seduction in 18th century France, making a script where virtually every scene is about sex seem like one of the classiest plays around. And while there are some interesting ideas to be found hiding underneath the deliciously decadent dialogue, this import from London's Donmar Warehouse ultimately feels like more style than substance despite some truly compelling performances.

Playwright Christopher Hampton's 1987 drama - probably best known as the basis of the Oscar-winning film Dangerous Liaisons - centers around ex-lovers Le Marquis de Merteuil and Le Vicomte de Valmont, wealthy members of Paris' elite who entertain themselves by seducing others for sport. In an act of revenge, Merteuil has asked Valmont to seduce the virginal Cecile, who has been promised to the only man to ever to break off a relationship with Merteuil before she was ready to end it. But Valmont has his sights set on Madame de Tourvel, the strictly conservative wife of an absent husband. Merteuil and Valmont agree to help manipulate both women into compromising positions, while also having their own reasons for wanting to rekindle their own relationship (she seems to actually love Valmont, while he seems mostly interested in the sex).

It's a complex web of motivations which seem even more alien given the use of French titles in place of actual names, but Hampton's plotting is razor sharp and provides everything an attentive audience member needs to follow the action. It also helps to view the play with the assumption that practically every line of dialogue is intended as a double entendre, many of them dressed up by the playwright's wonderfully verbose dialogue. The characters may be French, but their command of the English language makes listening to them speak entertainment unto itself. If there is any fault to be found with Hampton's script, it's that he places the story's climax (pun very much intended) at the end of a rather long first act, which makes Act II feel more scattershot and less impactful by comparison.

The performances range from serviceable to very good indeed, with the divide being split almost entirely down gender lines. Tony-winner Janet McTeer is entrancing as Le Marquis de Merteuil, an incredibly complex and modern woman struggling against the social confines of her gender. McTeer's understanding of the power of stillness makes her an almost regal presence, with her expressive eyes conveying an immense amount of information behind Merteuil's carefully controlled visage. McTeer oozes sex appeal, and seeing her character turn that appeal on and off at will underscores how much Merteuil's considers her sensuality not just a source of pleasure, but a weapon. Watching McTeer peel back the various layers of her character is the most thrilling aspect of the evening, ultimately revealing a vulnerability that is quite tragic despite her sometimes monstrous actions. She's also quite funny, especially when the Marquis is forced to deal with those unable to keep up with her vast intellect, adding even more depth to a truly fascinating figure.

Liev Schreiber is more problematic as the womanizing Valmont. For an actor who has demonstrated immense sexiness in other roles, his lack of sex appeal in the role is not just disappointing but a detriment to the story. Valmont is constantly engaged in secret trysts with a whole host of characters, many of whom willing throw themselves at him, and without that kind of inescapable charisma it's difficult to comprehend exactly why everyone is so willing to bend to his every whim. Schreiber's choice to play Valmont as at least slightly intoxicated at all times doesn't help, although the decision is certainly justified by the large amount of stage business involving glasses of alcohol.

In supporting roles, Elena Kampouris provides welcome comic relief as the almost impossibly naive Cecile, and Mary Beth Peil makes the most of her limited scenes as Valmont's world weary aunt. But the true standout is Birgitte Hjort Sorensen making her Broadway debut as the intensely pious Madame de Tourvel. Sorensen's eyes and body language speak volumes, projecting an immense strength and inherent goodness that makes it appropriately difficult to watch her being seduced. You feel the pain her burgeoning attraction to Valmont causes her, and the character's eventually fate is perhaps the most moving aspect of the production.

Director Josie Rourke stages the piece with an eye towards the surreal, using highly choreographed scene changes combined with haunting original music by Michael Bruce to draw you into the bewitchingly exotic milieu. Tom Scutt's deconstructed set design, which reimagines the sprawling houses of the aristocracy as aging villas with exposed plaster and brick, further contributes to the otherworldly quality of the production. (Scutt also designed the ornate costumes.)

Those unfamiliar with Les Liaisons Dangereuses will find plenty to appreciate in this current revival, while at the same time probably becoming aware that it isn't always successful in realizing the lofty ambitions of the piece. Hampton's dialogue and his script are quite good, if a tad long by modern tastes, and this production has two truly captivating performances by Janet McTeer and Birgitte Hjort Sorensen. If only Liev Schreiber were able to match these two ladies' performances, this could be a truly electric production, rather than the entertaining but somewhat inconsequential one it is.

The Great Comet Arrives

Review: Natasha, Pierre, and the Great Comet of 1812

Josh Groban (r) and the company of Natasha, Pierre, and the Great Comet of 1812

After a sensational run Off-Broadway in 2013, Dave Malloy's wildly inventive, boundary pushing musical Natasha, Pierre, and the Great Comet of 1812 arrives on Broadway with a production which does its best to recreate the magic of that original, supper club set run. Scenic designer Mimi Lien has gone all out in reconfiguring the spacious Imperial Theatre into something approximating the joy of her fully immersive original design, and director Rachel Chavkin uses every ounce of her seemingly boundless talent to create a fluid staging the utilizes every possible inch of the stage and the audience. And while much of the show is undeniably brilliant, there are moments where it appears Chavkin and company have become so concerned with amping the show up for Broadway they sometimes undercut the effectiveness of their storytelling.

The show adapts a mere sliver of Leo Tolstoy's epic novel War and Peace, focusing on the attempted seduction of the young, beautiful Natasha by the rakish Anatole. Natasha's betrothed is off fighting in the war, so she moves to Moscow with her godmother Marya and cousin Sonya. The gorgeous newcomer soon becomes the toast of Moscow society, eventually catching the eye of the womanizing (and married) Anatole. And what about Pierre? The nobleman, an old friend of Natasha's fiance and Anatole's brother-in-law, serves as the evening's narrator, watching his contemporaries' passions while wistfully longing to experience a similar sort of fervor.

As cheekily acknowledged in the show's "Prologue," the details of the plot can be a bit complicated to the uninitiated, but Malloy's excellent writing and Chavkin's direction do such a good job of focusing your attention that the synopsis in the program proves largely unnecessary. Through his eclectic, complex, and constantly surprising score, Malloy ensures that the mood and emotions of the story are always crystal clear even when the details of the narrative get convoluted. The score borrows from a host of influences, from traditional Russian folk songs to electronica to opera, all interwoven so seamlessly that none of them feel out of place. Malloy has made some additions to the score since the show's Off-Broadway premiere, which has pushed its runtime *just* past what it really wants to be. Calling the show bloated or self-indulgent would be too harsh, but a couple of sequences do overstay their welcome (especially the extended "Balaga" song and dance in the second act).

The cast remains largely the same as the Off-Broadway production, barring two notable exception. With original lead Phillipa Soo gone on to post-Hamilton fame, the role of Natasha is now played with winsome charm by Denee Benton. Benton expertly portrays Natasha' girlish enthusiasm and wonder as she becomes caught up in the excitement of the big city, and her handling of the character's big solo "No One Else" is exquisite. She navigates the deceptively difficult vocal demands of the role with aplomb, and despite a tendency to play the comedy a bit broad she grounds the show with her emotional honesty.

The other major new cast member, and arguably the reason this boundary pushing show was able to secure a Broadway berth at all, is multi-platinum recording star Josh Groban as Pierre. Gamely wearing a fat suit and sporting quite an impressive beard, Groban is admirably committed to telling the show's story without hijacking the narrative to make everything about him. He makes quite the accomplished Broadway debut, and if his Pierre could stand to be a tad more world-weary it is hardly detrimental to the show. Malloy has written a new song specifically tailored to show off Groban's instantly recognizable voice, which is thrillingly sung and definitely increases Pierre's presence in the show's first act.

The rest of the cast does fine work, although many of them have adopted the same tendency towards overplaying that Benton has. It's never enough to really hurt the show, and all of them are smart enough to trust in the power of stillness when it really matters, but there's a tad too much indicating as opposed to embodying emotion. The worst offender is Lucas Steele as Anatole, who becomes such a cartoonishly pompous preener it can be hard to understand why Natasha is so drawn to him. On the flip side, Brittain Ashford has only improved since originating the role of Sonya, with her quietly devastating "Sonya Alone" one of the emotional highlights of the evening. Amber Gray is a welcome fiery presence as Anatole's sister Helene, and Grace McLean's Marya is at turns both funny and frightening. McLean is particularly effective during the one-two punch of "In My House" and "A Call to Pierre," which also marks one of Malloy and Chavkin's most sustained sequences of brilliance.

Design-wise, the show is a sumptuous feast for the senses. In addition to Lien's set of gorgeous red velvet walls with gold accents, Bradley King's absolutely phenomenal lighting design is essential to the show's visual impact. King lights both the stage and the audience with laser-like precision, and all of the production's most striking images owe a huge debt to his work. Nicholas Pope's immersive sound design captures of the feeling of being in the middle of the action even for those not lucky/wealthy enough to be seated onstage, adding to the sonic landscape created by Malloy's music and orchestrations. Paloma Young's costumes for the leads are also gorgeous, although her ensemble outfits tend towards being overly busy.

Lest there be any confusion, Natasha, Pierre, and the Great Comet of 1812 is an excellent work of theatre, and exactly the kind of challenging, boundary pushing production Broadway needs more of. The critiques above are nitpicks that only stand out because the rest of the show is so well done, and will likely go unnoticed by those experiencing the show for the first time. But those who saw and loved the Off-Broadway incarnation may be a tad disappointed that the Broadway mounting doesn't quite equal the previous production's artistic success, even though this richly detailed mounting still has plenty to offer.