2016 Tony Award Predictions: Direction and Choreography

Tony season is upon us, and all of Broadway is buzzing with excitement in preparation for the industry's big night. While speculation on winners seems more muted this year due to the presumed dominance of Hamilton, the fact of the matter is we had a very strong season with a lot of Tony-worthy work. Combined with Tony voters' recent penchant for spreading the wealth (you have to go back to the 2012 ceremony to find a single production that took home more than 5 awards), it's entirely possible Lin-Manuel Miranda's juggernaut loses a couple races. Not to mention the play categories, which Hamilton can't win and are fairly competitive this year.

As always, I will do my best to predict the winners in the direction, production, and acting categories. And since who will win does not always match up with who deserves to win, I will make sure to point out any discrepancies in my analysis.

Warning: Occasional snark and plenty of speculation to follow.

Best Direction of a Play

Mark Strong (center) and the cast of A View from the Bridge.

Nominees: Rupert Gould, King Charles III; Jonathan Kent, Long Day's Journey Into Night; Joe Mantello, The Humans; Liesl Tommy, Eclipsed; Ivo Van Hove, A View from the Bridge

It's an incredibly competitive season when it comes to the directing races, and although it sounds cliche this year it truly is an honor just to be nominated. Tony voters don't have an easy decision to make when it comes to Best Direction of a Play, as this season in particular saw a number of bold directorial concepts driving some of the best reviewed works of the season.

I am a bit puzzled by Jonathan Kent's inclusion here, as his directorial choices for Long Day's Journey Into Night were at the heart of what didn't work for me in that revival (namely, the inconsistent acting styles and poorly conceived blocking). I think he can be ruled out of the running, as can Rupert Gould, mostly due to the fact that King Charles III has been closed long enough it appears to have faded from most people's memory. Liesl Tommy has done some absolutely lovely and subtle work on Eclipsed, but I fear she probably didn't put enough of her own personal stamp on the show to win, because whether it's fair or not the Tonys have a tendency to recognize flashier nominees. 

Which would also seem to rule out two-time Tony-winner Joe Mantello for the understated The Humans, but that production is one of the best reviewed plays of the season and a win for Mantello could be viewed as acknowledge of his work on it and the well respected Blackbird. There are few directors who can coax honest, complex performances out of their actors like Mantello, an exceedingly rare skill everyone in the industry recognizes and admires. But I ultimately think Tony voters will reward avante garde director Ivo van Hove, who afters years of working abroad and Off-Broadway burst onto the Great White Way this season with two incredibly well received revivals of Arthur Miller classics. Giving van Hove the prize allows voters to recognize the work he's done on both A View from the Bridge and the currently running The Crucible, the culmination of a season of boundary pushing work from the Belgian director.

Will & Should Win: Ivan van Hove, A View from the Bridge

Best Director of a Musical

The cast of the little musical that could, Hamilton.

Nominees: Michael Arden, Spring Awakening; John Doyle, The Color Purple; Scott Ellis, She Loves Me; Thomas Kail, Hamilton; George C. Wolfe, Shuffle Along

Wow. The strength of this year's Best Director of a Musical nominees is just astounding. While many people expect Thomas Kail to take this award for his fascinating, fluid staging of Broadway's latest blockbuster, I suspect the actual vote will be a lot closer than expected, and if there's going to be a surprise on Tony night this category might be it. 

Scott Ellis' production of She Loves Me is practically perfect, one of the best representations of that musical gem we're ever likely to see, and his light but assured hand was essential in achieving that level of quality. John Doyle completely reconceived The Color Purple from the ground up, reclaiming it in the eyes of many critics who were underwhelmed by the original production. I have a couple of nitpicks with Doyle's directorial choices, but overall it is an outstanding production that could not have happened without him. And I'm even more impressed with Michael Arden's work on Spring Awakening; his use of American Sign Language didn't feel like a gimmick, but actually added new layers of meaning and beauty to a piece which became as much about the alienation of the deaf characters from the rest of society as it did about angsty teens singing rock songs.

But in the end, I do think Hamilton will prevail, and it's hard to argue with that outcome. The show is one of the single most electrifying evenings of theatre I've ever experienced, and the show's narrative clarity and theatrical effectiveness comes as much from Kail's staging as it does from Lin-Manuel Miranda's words and music.

Will & Should Win: Thomas Kail, Hamilton

Special Shout Out: Scott Ellis, She Loves Me

Best Choreography

Leslie Odom, Jr. and the cast of Hamilton performing "The Room Where It Happens."

Nominees: Andy Blankenbeuhler, Hamilton; Savion Glover, Shuffle Along; Hofesh Shechter, Fiddler on the Roof; Randy Skinner, Dames at Sea; Sergio Trujillo, On Your Feet

Can I just say how refreshing it is to see such strong nominees in this category? There was a period a few years ago where we were lucky if one musical a season produced Tony-worthy choreography, but ever since Newsies there has been a steady increase in the number of dance heavy shows on Broadway and I couldn't be happier. All of the nominated choreographers have distinctive, exciting styles that created some of the most memorable production numbers of the season.

That said, this is really a two horse race between Andy Blankenbeuhler and Savion Glover, as both men have created a bevy of inventive, pulse pounding routines for their respective shows. Glover's tap choreography is integral to almost all of the most effective moments in Shuffle Along, including the roof raising opening number and the edge of your seat tap battle in the middle of the show's second act. Blankenbeuhler's dancers barely stop moving throughout the entirety of Hamilton's three hour runtime, and for the first time in the previous Tony-winner's career I didn't find the effect distracting. I also adored his lyrical, abstract take on the show's climatic duel between Hamilton and Burr, one of the most beautiful and moving moments in the entire show. As both Blankenbeuhler and Glover already have Tony Awards it's hard to say either one is due, and while I have a *slight* preference for Glover's tap dancing I suspect Hamilton's momentum will bring Blankenbeuhler his second career win.

Will Win: Andy Blankenbeuhler, Hamilton

Should Win: Savior Glover, Shuffle Along

Let me know who you're rooting for in the comments, and be sure to check back soon for further Tony predictions. In the meantime, don't forget to check out my previous commentary below:

Best Book and Score

Hamilton Takes His Shot, and It's a Bullseye

Review: Hamilton

Phillipa Soo and Lin-Manuel Miranda as Eliza and Alexander Hamilton.

 

There are many reasons why Hamilton is an historic, groundbreaking, and important show, the kind of genre-defining work of genius destined to be mentioned along with the likes of A Chorus Line and Rent as a musical that changed the definition of what was possible on the Broadway stage. But all of those reasons stem from the show's chief strength, which is the fact that it is quite simply an incredible achievement in musical storytelling. Lin-Manuel Miranda's hip-hop magnum opus manages to convey both the epic sweep of our country's history and the personal drama occurring in the lives of those who shaped it, distilling the ideals of the American Revolution down to their essence and presenting them in a package that is wildly unexpected and yet completely intuitive. Hamilton functions on so many levels simultaneously that it's somewhat mind-blowing, and yet the show is also one of the most accessible productions currently playing Broadway.

On its most basic level, Hamilton is the life story of Alexander Hamilton, the "Ten Dollar Founding Father" who came to America as an immigrant, helped usher it through the turmoil of the Revolution, and ultimately created the basis of the financial system that has allowed it to become one of the most prosperous nations in the world. But what makes the show so exciting, so viscerally engaging and interesting, is that it is about so much more than one man's life. It is about the very ideals our country was founded on, the same political and philosophical quandaries that trouble today's world leaders as much as they did the rowdy bunch of colonists who rebelled against England's rule in 1776. Hamilton doesn't just speak to how our country was then, but how it is now, a parallel made all the more apparent thanks to the wholly contemporary prism through which this story is presented.

Miranda's score is a work of unadulterated genius, fusing many disparate influences into a crystalized, coherent whole that is immediately engaging, emotionally appealing, and constantly surprising. Expertly crafted rap battles form the basis of political debate, a close knit group of sisters adopt the vocal stylings of a Destiny's Child-esque girl group, and jealous political rivals express their vaulting ambition in the form of hard hitting club thumpers. This throughcomposed work is filled with sly lyrical references to everything from contemporary politics to Rodgers and Hammerstein, all packaged into intricately rhymed passages so dense with meaning that repeated listening only reveals more and more layers of nuance. Yes, the show can be classified as a rap musical, but there are also soaring R&B ballads, tightly harmonized choral numbers, and enough subconscious-permeating melodic hooks that even the staunchest detractors of contemporary music will probably leave humming a bar or two.

Not only is Miranda's score exceptional - quite possibly the best theatrical writing of the new millennium - but his airtight plotting packs an astounding amount of detail into the show's never boring two hour and forty-five minute runtime. Miranda never sacrifices historical accuracy for narrative clarity, and the intercutting between Hamilton's personal life and the larger historical canvas is so deftly handled you'll never once question what's going on. The show was already remarkable during its Off-Broadway run earlier this year, but Miranda has used the time between the show's world premiere and Broadway bow to tighten the storytelling even further. Every minute of the production is not only necessary but also supremely interesting, with nary a wasted subplot or musical motif to be found.

While Miranda's writing pulses with a vivacious life all its own, the production's staging kicks things into overdrive. Director Thomas Kail and choreographer Andy Blankenbuehler work together so seamlessly their contributions look like the work of a single (supremely gifted) individual; Hamilton hits the ground running and only picking up steam from there. Dancers appear and disappear throughout David Korins' deconstructed wood and mortar set, and both Kail and Blankenbuehler make excellent use of the double turntable Korins has provided them. The actors rarely stop moving, and yet this never veers into manic or distracting territory thanks to the sheer inventiveness and unerringly dramatic composition of the evening's stage pictures. Coupled with Paul Tazewell's top notch riffs on eighteenth century clothing and Howell Binkley's *incredible* lighting design, the show is a sumptuous visual feast of intricate staging to rival anything Broadway has ever seen. (Tip: while the orchestra view is no doubt incredible, the full genius of Kail and Blankenbuehler's intricate formations and Tazewell's outstanding lights can only be fully appreciated from the mezzanine.)

And then there's the cast. This is the kind of supremely talented ensemble whose work is destined to become the stuff of theatrical legend, lead by Miranda's fearless performance in the title role. The composer-lyricist-actor acquitted himself very nicely Off-Broadway, but here he has taken things to the next level with his multi-faceted portrayal of the "young, scrappy, and hungry" Founding Father. Miranda perfectly captures the combination of charisma and outspokenness that made Hamilton such an influential figure in early US politics, and also demonstrates just enough personal arrogance that you understand why the author of the Federalist Papers provoked so much scorn among his political rivals.

Counterbalancing Miranda's fire is Leslie Odom, Jr.'s slow burn portrayal of Aaron Burr, the lawyer and politician who famously shot Hamilton in a duel. Odom, Jr. slinks in and out of the narrative during the show's first half, calmly collected while Hamilton's revolutionary fire makes the latter a natural center of attention. But behind Odom, Jr.'s smile is a growing hunger that glistens in his eyes as Burr watches Hamilton go on to greater and greater things, an ambition that boils over during the actor's full-throttle, showstopping performance of "The Room Where It Happens." Other actors portraying famous historical figures include Christopher Jackson as an imposingly dignified George Washington, Jonathan Groff hamming it up as the embittered and foppish King George III, and Daveed Diggs in a star-making dual turn as the showboating Marquis de Lafayette and legendary author of the constitution Thomas Jefferson.

While history is undoubtedly a boys' club, Hamilton still finds plenty of time to explore the women who exerted a huge amount of influence over the title character, specifically his wife Eliza and her sister Angelica Schuyler. Eliza is perfectly embodied by Phillipa Soo, who plays her with a convincing combination of girlish excitement and quiet strength. Soo's big moments come in the musical's latter half, when Hamilton and his family fall subject to the nation's first sex scandal and a heartwrenching personal tragedy; this is where the actress' carefully laid character work from her earlier scenes really helps to sell Eliza's anguish and inner resolve. And Renee Elise Goldsberry is a revelation as Angelica, with her performance of "Satisfied" ranking among the most blissful minutes of musical theatre perfection in the past ten years.

Much has been written about Hamilton in the past six months, to the point where it seems impossible the show could live up to the hype surrounding it. And yet even with the weight of overwhelming expectations upon it, Hamilton soars thanks to a fantastically talented collection of artists all working at the absolute pinnacle of their respective fields to tell a universally appealing story about men and women striving towards their ideals. The characters may falter, but Hamilton never does, making it the must-see theatrical production of the decade. At one point in the show, the Schuyler sisters sing, "Look around, look around/At how lucky we are to be alive right now." We are all lucky to live in a world where a work as daringly ambitious and wildly successful as Hamilton exists.

"Hamilton" Brings a Revolution to the Public

Review: Hamilton

"Look around, look around/At how lucky we are to be alive" in a world that gives birth to shows like the transcendent Hamilton.

Believe the hype. Hamilton, Lin-Manuel Miranda's hip-hop historical opus that has the entire town buzzing, is every bit as good as you've heard. This kinetic, high-energy production fuses old and new with an energy and drive seldom seen in this world of mass appeal musicals, ironically resulting in a show with wider appeal to both traditional and non-traditional theatregoers than 95% of the past decade's hits. A work of singular vision and uncompromising artistic integrity, Hamilton builds upon the promise of Miranda's In the Heights to become a dazzling celebration of American history and the unlimited malleability of the musical theatre, one of the few distinctly American art forms.

At its core, Hamilton is the story of how an orphaned immigrant used his intelligence and drive to not just make a difference but quite literally change the world. Alexander Hamilton was instrumental in founding this county, laying the groundwork for our entire economic system before his untimely death at the hands of former colleague Aaron Burr. The musical breathlessly covers the life and numerous accomplishments of one of America's least discussed Founding Fathers, while simultaneously showcasing the pulse-pounding energy and excitement of the birth of our nation. Despite dense plotting and potentially dry subject matter, Hamilton is never anything less than engrossing, making centuries old events feel both cool and relevant.

Hamilton eclipses Miranda's Tony-winning In the Heights score in every way possible, expanding on the traits which garnered Miranda notice and rewriting the book on the types of music that can work in the theatre. Completely sung-through, Hamilton contains an abundance of rap passages backed by hip-hop beats, dizzyingly deft in their specificity, inventiveness, and poetic nuance. R&B also features heavily in the score, whether its the tight harmonies of "The Schuyler Sisters" (which reimagines Hamilton's future wife and her sisters as a Destiny's Child-esque girl group) or the smooth yet ominous club rhythms of "The Room Where It Happens." Richly textured harmonies and complex syncopation are the score's hallmarks, but for all the musical skill on display the songs remain accessible, hummable, and thoroughly engaging. The rapid fire rhymes sound as natural as speaking, with everything filtered through just enough of a traditional showtune sensibility to keep things from sounding jarring.

As refreshingly unique as Miranda's score is the show's beautifully multi-ethnic cast, a group of supremely talented individuals who inhabit Hamilton's world seamlessly. No one even partially resembles their real life counterparts, but they convey the essence of these historical figures flawlessly. They reflect the ethnic makeup of modern day America, and in doing so drive home the point that our Founding Fathers' dreams are universal. By the end of the show's knockout opening number the unconventional casting fades to the background, allowing the story to take center stage and boldly commenting on race by refusing to comment on it (the casts' ethnicities aren't even jokingly acknowledged). One can only hope the unmitigated success of Hamilton as a piece of theatre triggers an increased open-mindedness among all creative teams when it comes to color-blind casting.

Miranda tackles the title role with aplomb, his natural charisma keeping Hamilton deeply sympathetic even when his actions veer towards the unsavory (the show strikes the perfect balance between acknowledging its subject's flaws without reveling in them). Miranda has smartly tailored the role to his strengths while stretching himself just enough to keep things interesting; he is particularly affecting during a second act scene which finds Hamilton's oldest son wounded in a duel. As Hamilton's wife Eliza, Phillipa Soo has little to do in the show's first act but several standout moments in the second, including "It's Quiet Uptown" and the haunting ballad "Burn." Brian D'Arcy James* has a scene stealing turn as England's King George, who views the newly formed America with all the jealous disdain of a jilted lover. Christopher Jackson is suitably imposing as George Washington, and Daveed Diggs and Okieriete Onaodowan are hilarious in multiple roles.

As Hamilton's friend/rival Aaron Burr, the phenomenal Leslie Odom Jr. commands the stage in a star-making performance of startling depth, breadth, and nuance. Calling to mind Shakespeare's Iago - although an Iago with a bit more substance behind his grievances - Odom makes it abundantly clear he deeply admires Hamilton, even as Burr's career ambitions put the pair increasingly at odds with one another. Odom's full throttled performance of the aforementioned "Room Where It Happens" is an especially memorable showstopper in an evening full of such numbers, and watching his soul-shattering realization of the cost of his ambition during the show's finale is heartwrenching.

Finally, Renee Elise Goldsberry is an absolute revelation as Eliza Hamilton's older sister Angelica, making a character that could easily fade into the background pop every moment she's onstage. Goldsberry is never less than riveting even before her big number, the dazzling, tour de force "Satisfied." Goldsberry provides a play's worth of character development over the course of this R&B stunner, a breathtaking achievement in songwriting and performance that may well be the highlight of the entire evening.

As the ringmasters of this historical circus, director Thomas Kail and choreographer Andy Blankenbuehler have created one of the most fluid and visually appealing stagings in years. While the pair makes excellent use of David Korins' absolutely gorgeous unit set (complete with a triple turntable), they are never reliant on the set to provide visual interest, constantly finding new and intriguing stage pictures and scene transitions. The pair work so well together its nearly impossible to tell where one's contribution ends and the other's begins, with Blankenbuehler's high-impact choreography growing seamlessly from Kail's propulsive staging and then just as organically fading into the background. Most importantly, Kail and Blankenbuehler have imbued the piece with a forward momentum the keeps things moving throughout the show's 2 hour and 45 minute runtime.

Like any new musical, Hamilton could stand a few tweaks before its impending Broadway transfer, but it cannot be overstated how entertaining, informative, and moving this work already is. Lin-Manuel Miranda has written a work of genius that seems destined to join the pantheon of groundbreaking works like A Chorus Line or Rent, one of the rare new musicals that arrives with a lot of fanfare and still manages to exceeds expectations. The show combines contemporary musical styles with historical subject matter in a manner brimming with wit, invention, and razor sharp intelligence, performed by a thrillingly multi-ethnic cast giving the performances of their lives. This is a show that doesn't just need to be seen but demands to be seen, and anyone lucky enough to snag a ticket to the downtown run is in for the theatrical event of the season. For everyone else, I recommend snatching up a seat to the Broadway run when they go onsale March 8th; whatever you have to pay, it will be worth it to see theatrical history being made.



*Note: Since I saw this show, the role of King George has been taken over by Tony-nominee Jonathan Groff so that Brian D'Arcy James can prepare for the Broadway musical Something Rotten.