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!

2016 Tony Award Predictions: Best Actress

The Tony Awards are almost here, and although I'm *slightly* behind on my prediction articles I am determined to get the rest of them out before Broadway's big night. It's time to tackle the last of the acting races, Best Actress in a Play and Best Actress in a Musical.

As always, I will use a combination of personal experience and popular opinion to determine who is most likely to walk away a winner Sunday night. And should the person most likely to win not match who I think is more deserving to win, I will be sure to point it out in my analysis.

Warning: Occasional snark and plenty of speculation to follow.

Best Actress in a Play

Jessica Lange in Roundabout Theatre Company's revival of Long Day's Journey Into Night.

Nominees: Jessica Lange, Long Day's Journey Into Night; Laurie Metcalf, Misery; Lupita Nyong'o, Eclipsed; Sophie Okonedo, The Crucible; Michelle Williams, Blackbird

An eclectic mix of performances are represented in this year's Best Actress in a Play category, although it looks increasingly likely that Oscar and Emmy-winner Jessica Lange will end June 12th one step closer to a coveted EGOT (that's an Emmy-Grammy-Oscar-Tony sweep for those of you who don't know). While I personally found the way Lange was directed to be problematic, there's no denying that her morphine-addicted Mary Tyrone is often a force of nature. It helps that the role is also one of the all-time great acting challenges in American drama, and that the currently running Long Day's Journey Into Night is the most recent of all the nominated productions.

I can't really imagine a scenario where one of the other actresses manages to wrest this award away from Lange. Metcalf was probably the only saving grace of the critically lambasted Misery, but I suspect most Tony voters have long since forgotten that Stephen King adaptation. Sophie Okonedo managed one of the most surprising Tony wins in recent memory when she won a Featured Actress Tony for A Raisin in the Sun two years ago, but I don't think the English actress will manage such an unexpected victory this time around. And while Lupita Nyong'o and Michelle Williams both earned strong notices in Eclipsed and Blackbird respectively, it doesn't appear that they inspire the same kind of passion among voters as Lange does.

Will Win: Jessica Lange, Long Day's Journey Into Night

Should Win: Lupita Nyong'o, Eclipsed

Best Actress in a Musical

Cynthia Erivo is here to stay with her star-making performance in The Color Purple.

Nominees: Laura Benanti, She Loves Me; Carmen Cusack, Bright Star; Cynthia Erivo, The Color Purple; Jessie Mueller, Waitress; Phillipa Soo, Hamilton

Let's be honest: this award is probably already being engraved with Cynthia Erivo's name. She is simply sensational as the much maligned Miss Celie in John Doyle's stripped down version of The Color Purple, giving the kind of diva performance that is the stuff of theatrical legend. Everyone I have talked to, from theatre geeks to those who went to see The Color Purple primarily for Jennifer Hudson, has been absolutely floored by Erivo's powerhouse performance and roof-rattling voice. And when was the last time an actress routinely commanded a mid-show standing ovation the way Erivo does during her 11 o'clock anthem "I'm Here?" I'd say not since Patti LuPone's "Rose's Turn" in the 2008 Gypsy, which I consider the single greatest musical theatre performance I have ever seen.

The other actresses are all incredibly talented, and in another year would be fiercely competitive. Laura Benanti is perfection in She Loves Me, with the role of perfumerie clerk Amalia Balash seemingly tailor made for her comedic chops and golden soprano. Phillipa Soo immediately impressed me during her Off-Broadway debut in Natasha, Pierre, and the Great Comet of 1812, and is equally amazing as the emotional rock upon which Hamilton is built. I haven't seen Jessie Mueller in Waitress, but I have yet to see the Tony-winner give a bad performance, and by all accounts Carmen Cusack is one of the best things about this season's Little Show That Could, Bright Star. Yet Erivo has the combination of talent and incandescent star wattage that only comes about once in a blue moon, and will surely be awarded Broadway's highest honor because of it. (I mean, just listen to this performance from The Late Show with Stephen Colbert and tell me you don't want to give Erivo every award imaginable.)

Do you think this year's Best Actress races are as locked down as I do, or do you expect someone else's name to be called Sunday night? Let me know in the comments, and don't miss out on the rest of my 2016 Tony coverage below:

Nominations React

Best Book and Score

Best Direction and Choreography

Best Featured Actor

Best Featured Actress

Best Actor

2016 Tony Nominee Predictions: Part II (Best Actor/Actress)

We're only a few short days away from the announcement of the 2016 Tony nominees, and as has become tradition here at Broadway, Etc. I'm doing my best to predict who they'll be! Today we'll be discussing the starring turns from this past season most likely to compete for Broadway's highest honor, using my completely improvised combination of honest evaluation, understanding of theatre trends, and gut feelings.

This year also marks the first time the main acting categories can expand to a potential seven nominees each, provided there is a two- or three-way tie for the 5th slot. I find it highly unlikely that will happen, given the nominating committee's recent tendency towards the lowest possible number of nominees, but it is technically possible. So in each category I will be selecting wildcard picks, the performer or performers I think most likely to prompt a category expansion or unseat one of my official nominees.

So without further ado, let's get on with the show!

Best Actor in a Musical

Danny Burstein and the company of Fiddler on the Roof.

I have gone on record with my belief that Danny Burstein is one of our most gifted character actors, and the fact he has yet to win a Tony Award despite five career nominations is borderline criminal. His towering Tevye in Fiddler on the Roof will certainly net him nomination number six, and I sincerely hope this is the year he finally wins. He will surely be joined by American Psycho's Benjamin Walker, who has been roundly praised for his portrayal of serial killer Patrick Bateman and has been nominated for every other guild award thus far.

And, surprisingly enough, those are the only two actors I'm ready to call sure things in this category. Hamilton presents an interesting conundrum in that both Lin-Manuel Miranda and Leslie Odom, Jr. are eligible here, and no one seems quite sure if the committee will nominate one, both, or if they will effectively cancel one another out. In recent years we've seen several pairs of male leads pitted against one another (Andrew Rannells and Josh Gad in The Book of Mormon, Stark Sands and Billy Porter in Kinky Boots, and Jefferson Mays and Bryce Pinkham in Gentleman's Guide), so I am inclined to think both men make the cut. If only one of them is nominated, my money's on Odom, Jr.; quite frankly, he's the better actor, and the nominators may decide that the book and score nominations coming Miranda's way are more than enough praise for Broadway's resident genius.

With the men of Shuffle Along all being ruled Featured rather than Leading Actors, the way seems clear for School of Rock's breakout star Alex Brightman to score his first ever Tony nomination. We also cannot rule out Zachary Levi for his utterly charming work in She Loves Me, a show quickly proving to be an awards season favorite and in my opinion one of the best productions of the season.

Nominees: 
Alex Brightman, School of Rock
Danny Burstain, Fiddler on the Roof
Lin-Manuel Miranda, Hamilton
Leslie Odom, Jr., Hamilton
Benjamin Walker, American Psycho

Wildcard:
Zachary Levi, She Loves Me (I would love love *love* to see him make the cut)

Best Actor in a Play

Frank Langella in Manhattan Theatre Club's production of The Father.

In this category, I think the closest we have to surefire nominees are a pair of British actors who were roundly praised for their performances last fall. Tim Pigott-Smith earned across the board raves for his portrayal of the title character in King Charles III, and Mark Strong was equally lauded for his work as Eddie Carbone in the avant garde revival of A View from the Bridge. When it comes to spring shows, Broadway treasure Frank Langella seems to have a seventh career nomination coming his way for his work in The Father, with the three-time Tony-winner routinely cited as the best thing about the production.

Other strong contenders include Gabriel Byrne for his quietly devastating work in Long Day's Journey Into Night and Jeff Daniels for his harrowing portrayal of a former child molester in Blackbird. I also wouldn't rule out Jesse Tyler Ferguson's work in Fully Committed; the one man show earned fairly good reviews, and as the sole performer in the show Ferguson obviously played a major role in its success. And while I suspect the show is too long gone to be remembered come nomination time, Fool for Love's Sam Rockwell did get a great deal of praise for his work in the Sam Shepard drama.

Nominees:
Gabriel Byrne, Long Day's Journey Into Night
Jeff Daniels, Blackbird
Frank Langella, The Father
Tim Pigott-Smith, King Charles III
Mark Strong, A View from the Bridge

Wildcard:
Sam Rockwell, Fool for Love

Best Actress in a Musical

Laura Benanti in Roundabout Theatre Company's revival of She Loves Me

As per usual, this is one of the most competitive categories around, although many of the nominees seem set at this point. Past winners Audra McDonald, Laura Benanti, and Jesse Mueller are virtually guaranteed nominations, with all three delivering superb performances in their respective shows. And Hamilton's Phillipa Soo, who I have been raving about since her work in Off-Broadway's Natasha, Pierre, & the Great Comet of 1812 a few seasons back, is doing phenomenal work as the mega-hit musical's emotional anchor; her talent combined with the massive buzz behind the show should be enough to secure her a spot among this year's nominees.

Which leaves only one guaranteed nomination spot left to be filled, and I can't imagine it going to anyone other than The Color Purple's Cynthia Erivo. The British actress is simply sensational as the put-upon Miss Celie, bringing the house down nightly with her soul-stirring rendition of the show's eleven o'clock anthem "I'm Here."

Honestly, all of these women seem like virtual locks, and I would be shocked to see any of them excluded in favor of someone else. Which is not to say there aren't other deserving nominees out there; Carmen Cusack has won herself a lot of fans with her work in the Steve Martin musical Bright Star, and Ana Villafane's spot-on channeling of a young Gloria Estefan has a lot to do with On Your Feet working as well as it does. If any of the leading performance categories were to expand beyond five nominees, it would likely be this one.

Nominees:
Laura Benanti, She Loves Me
Cynthia Erivo, The Color Purple
Audra McDonald, Shuffle Along
Jessie Mueller, Waitress
Phillipa Soo, Hamilton

Wildcard:
Carmen Cusack, Bright Star

Best Actress in a Play

Lupita Nyong'o in Eclipsed

This is the category I have least feel for, as despite the abundance of plays this season many of them have had male leads. One play that bucked that trend is Danai Gurira's all-female Eclipsed, and I expect its Oscar-winning star Lupita Nyong'o to be among the women who hear their name called Tuesday morning. I also have a very good feeling about last year's Best Featured Actress winner Annaleigh Ashford being nominated again for her turn as the titular pooch in this season's Sylvia. And while I personally had some reservations about Jessica Lange in Long Day's Journey Into Night (specifically the way she was directed), she is the one other name I would be genuinely surprised to see excluded from the Best Actress race.

As for the other two slots, they are really up for grabs. Past Best Actress winners Nina Arianda and Linda Lavin are certainly in contention for their work in Fool for Love and Our Mother's Brief Affair respectively. I would give the edge to Arianda, as while both shows have been closed for a while she has managed to at least get a couple of theatre guild nominations this season, while Lavin has been passed over. There's also Michelle Williams to consider for her work in Blackbird, and the very slight chance that Laurie Metcalfe is remembered for doing her best to save the critically panned Misery from itself.

Nominees:
Nina Arianda, Fool for Love
Annaleigh Ashford, Sylvia
Jessica Lange, Long Day's Journey Into Night
Lupita Nyong'o, Eclipsed
Michelle Williams, Blackbird

Wildcard: 
Linda Lavin, Our Mother's Brief Affair


Agree? Disagree? Let me know in the comments. Check back Tuesday afternoon to see how well I did, and in the meantime catch up on the rest of my Tony coverage:

2016 Tony Nominee Predictions: Part I (Production)

A Romance for the Ages, Tonight at Eight

Review: She Loves Me

Laura Benanti and Zachary Levi star as perfectly mismatched lovers in Roundabout's fantastically funny She Loves Me.

Winsome. Charming. Utterly enchanting. All of these words and more can be used to describe Roundabout Theatre Company's top-notch revival of She Loves Me, the most whimsical and romantic night of musical theatre currently available on Broadway. Every moment of the show has been lovingly rendered by director Scott Ellis and his pitch-perfect cast, which is headlined by Tony-winner Laura Benanti in a role tailor-made to her many and varied theatrical talents.

She Loves Me is based on the same short story that inspired the Tom Hanks-Meg Ryan romance You've Got Mail, and follows parfumerie clerks Georg Nowack and Amalia Balash. Constantly bickering on the job, the pair has simultaneously been falling in love via their frequent, anonymous written correspondence with one other. It is a classic romantic comedy setup that has been musicalized using a gorgeous score by Fiddler on the Roof duo Jerry Bock and Sheldon Harnick, and although the show itself is rarely produced in New York most have likely encountered at least one of its many popular songs (such as that favorite of budding sopranos, "Vanilla Ice Cream").

The premise is uncomplicated and the outcome inevitable, but thanks to Joe Masteroff's intelligent book and Ellis' supremely sensitive direction, this refreshingly intimate musical love story has all the elements required to hold your attention for the duration of its runtime. It is clear that Ellis and his cast have an unabashed love for the material and one another, and that fondness radiates out beyond the footlights to envelope the audience in its warm embrace. By keeping the focus of the story small, She Loves Me also offers far more character development than most shows of its ilk, meaning you will come to genuinely love every one of the characters by the final ultimo.

As Georg and Amalia, Zachary Levi and Laura Benanti make for perfect romantic leads. Their chemistry is palpable and each provides a masterclass in acting a song, whether it be Levi's giddily infectious "She Loves Me" or Benanti's crystal clear and hilarious ode to the aforementioned "Ice Cream." By the time these two temperamental lovebirds realize they are perfect for each other, you are genuinely ecstatic for them, thanks to the pair's charisma, earnestness, and complete sincerity. Benanti's role in particular showcases the actress as few roles can, highlighting her impeccable comic instincts, emotional accessibility, and crystalline soprano in equal measure (and often within the same scene). It is an utter delight to have Benanti back on Broadway after a five year hiatus, and hopefully we won't have to wait another five before being graced with her talents again.

Jane Krakowski is another actress who has spent far too long away from Broadway, having left the Great White Way for the bright lights of Hollywood after her Tony-winning performance in the 2003 revival of Nine. Krakowski is simply sensational as shop attendant Ilola Ritter, skillfully combining easygoing sensuality with convincing naivety as she is constantly taken advantage of by the shop's resident ladies' man, Steven Kodaly (an immensely appealing Gavin Creel). Krakowski goes from slinky kicks and splits in the comic "Ilola" to genuine heartbreak in "I Resolve," all without missing any opportunity to make her scenes as funny as humanly possible. She and Benanti also share fantastic chemistry in their scenes together, making for believable gal pals you wish would spend more time together.

The entire cast is dressed in resplendent 1930's period garb by costumer Jeff Mahshie, which looks all the more gorgeous on David Rockwell's jewel box of a set (the first wow moment of the show is when the exterior facade of the parfumerie open up to reveal its immensely detailed interior right before your eyes). The saturated jewel tones really pop thanks to Donald Holder's lights, and the crisp sound design completes the feeling of being enveloped in the interior of a musical jewelry box.

This has been an outstanding season for musical revivals on Broadway, and She Loves Me is another knockout. A practically perfect production of an underrated show, this revival highlights everything that is splendid about Golden Age musical theatre while removing any hint of dustiness. Like all Roundabout productions, it is scheduled to play a limited engagement, so any and all interested parties should purchase their tickets as soon as possible.