2013 Tony Perdictions: Best Book and Score

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

Best Book of a Musical

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

 

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

 

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

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

 

Should Win:  Harvey Fierstein, Kinky Boots

Will Win:  Dennis Kelly, Matilda the Musical

 

Best Score

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

 

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

 

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

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

 

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

Will Win:  Cyndi Lauper, Kinky Boots

 

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

 

Best Choreography and Direction

2013 Tony Nomination React

An Off-Kilter Family Christmas

Review:  A Christmas Story

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

 

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

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

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

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

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

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

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