2014 Tony Predictions: Best Featured Actress

In my last post we discussed the supporting men, and today we discuss the supporting women who are up for Tony Awards in just a couple weeks' time.  Predicting these two categories will be tough, as both races are pretty wide open at the moment.  And then you have to take into account that the actress who should win is not always the person who will when, which throws another wrench into any sort of speculation.  But I am nothing if not persistent, so read on to see my best guesses for this year's big winners.

Best Featured Actress in a Play

The always charming Celia Keenan-Bolger was ideally cast as Laura in The Glass Menagerie, even if director John Tiffany let her down with some of his more bizarre choices.

 

Nominees: Sarah Greene, The Cripple of Inishmaan; Celia Keenan-Bolger, The Glass Menagerie; Sophie Okonedo, A Raisin in the Sun; Anika Noni Rose, A Raisin in the Sun; Mare Winningham, Casa Valentina

Many deserving women are nominated in this category, but at the same time there aren't any that seem to demand Tony recognition.  The Cripple of Inishmann, despite positive reviews and the presence of Daniel Radcliffe in the title role, has proven to be a bit of a non-event in terms of box office and awards potential.  That will hurt Sarah Greene's chances, along with the fact that her character comes across as a tad two-dimensional due to the broad nature of playwright Martin McDonagh's script.  A Raisin in the Sun's Sophie Okonedo and Anika Noni Rose will likely cancel one another out, with the final nail in the coffin being the lukewarm critical reception to that revival in general.  Okonedo is not entirely out of the picture, although she does face the significant handicap of playing the same role Audra McDonald inhabited to Tony-winning effect only 10 years ago.

Mare Winningham of Casa Valentina has been this season's stealth awards contender.  She didn't receive a lot of attention when the Harvey Fierstein dramedy opened last month, but has been a regular fixture on Best Supporting Actress lists and won the Outer Critics Circle Award for her work in the show.  She is probably Celia Keenan-Bolger's biggest competition, although the latter drew universal praise for her lonely, damaged Laura in last fall's The Glass Menagerie.  This is Keenan-Bolger's 3rd career nomination, and she still has a lot of goodwill left from her equally praised turn in Peter and the Starcatcher 2 years ago, which only increases her chances of finally winning.  I'm going to give the slightest of edges to Keenan-Bolger, but she and Winningham are so neck and neck that this is almost too close to call.

Should Win:  Toss-up between Mare Winningham (Casa Valentina) and Celie Keenan-Bolger (The Glass Menagerie)
Will Win:  Celia Keenan-Bolger, The Glass Menagerie                                                                     

 

Best Featured Actress in a Musical

Ingenues are deceptively simply roles to play.  With the wrong actress, they become boring or even worse, obnoxious.  Thankfully Lauren Worsham manages to avoid both of those pitfalls while looking absolutely *fabulous* in her Edwardian hat.

 

Nominees: Linda Emond, Cabaret; Lena Hall, Hedwig and the Angry Inch; Anika Larsen, Beautiful: The Carole King Musical; Adriane Lenox, After Midnight; Lauren Worsham, A Gentleman's Guide to Love and Murder

This is certainly an eclectic group of nominees.  Lena Hall does a lot with very little in Hedwig and the Angry Inch, but in this case I think the nomination is the win, and would be very surprised if she was actually called up to the podium on June 8th.  Adriane Lenox is the only previous winner in this group, and although she nails her two big numbers in After Midnight I suspect Tony voters will opt to spread the wealth.  And Anika Larsen is a complete wildcard; despite Beautiful's clutch of nominations I don't consider it to be a serious contender for most awards, but the sheer number of nominations for a show with such a small amount of buzz (despite steadily strong box office) means it must have impressed a lot of people.  Larsen may reap the benefits of that love, especially since Beautiful's subject matter allows her to do more serious "Acting" than many of the nominees in this category.  (Even in musicals, there's the usual awards bias towards dramatic roles, even if it is less pronounced than in plays or film.)

Linda Emond probably deserved to win for her long-suffering wife in the Phillip Seymour Hoffman-led Death of a Salesman (writing these predictions, I'm realizing just how much I disagree with the way the 2012 Tony Awards turned out).  Although I haven't personally seen the show yet, I'm sure Emond is excellent in Roundabout's resurrected Cabaret, but the Tony committee's distaste for that production is probably her biggest stumbling block.  Which leaves us with newcomer Lauren Worsham, who is making a sensational Broadway debut in A Gentleman's Guide to Love and Murder.  Like 2011 winner Nikki M. James, Worsham plays the reliably winsome ingénue in a comedy dominated by two hilarious men, and like James, I think Worsham's ability to turn a potentially boring part into a fully formed, believable character will net her Tony gold this year.

Should Win:  Linda Emond, Cabaret
Will Win:  Lauren Worsham, A Gentleman's Guide to Love and Murder

That takes us through all of the Featured categories; check back soon for my predictions for Best Actor and Actress.  And in the interim, check out the rest of my 2014 Tony Awards coverage below!

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

A Gentleman's Guide to a Jolly Good Time

Review:  A Gentleman's Guide to Love and Murder

Murder, you say? - Jefferson Mays is absolutely killing it as the eight doomed D'Ysquiths in A Gentleman's Guide to Love and Murder.

A Gentleman's Guide to Love and Murder, the delightful new musical comedy that just opened at the Walter Kerr Theatre, is the complete antithesis of everything that has come to define the contemporary Broadway musical, and is all the better for it. Smart, funny, and deliciously tongue-in-cheek, this gem of a show offers a refreshing change of pace from the bombast currently in vogue on the Great White Way, a thinking man's comedy by a couple of Broadway newcomers that is the most entertaining book musical of the fall season.  Even those who generally think themselves too highbrow for shows where the characters break into song are likely to find themselves won over by this Gentleman's many charms.

Set in Edwardian England, A Gentleman's Guide is built from a simple premise that yields increasingly surprising dividends.  Upon his mother's death, young Monty Navarro learns that he is ninth in line to the D'Ysquith (pronounced "DIE-sqwith") family fortune, and takes it upon himself to bump off the eight self-involved nobles standing between him and his inheritance.  He hopes his increased social stature will help win over his longtime love Sibella Hallward, but along the way falls for his beautiful and pure-hearted cousin Phoebe.  And in an ingenious twist, all eight of the D'Ysquith nobles (including two lovely ladies) are portrayed by Tony-winner Jefferson Mays in a bravura performance that is sure to put the versatile actor in contention for a second statuette.  What follows is an evening of unadulterated musical comedy bliss, expertly performed by a sensational cast with some of the most beautiful voices currently on Broadway.

The score by Steven Lutvak and Robert L. Freedman is initially unassuming - the opening number is probably the worst song in the bunch, which is a shame - but quickly grows into a glorious classically-tinged score that has moments of rapturous beauty.  Lutvak and Freedman display a particular gift for counterpoint in the production's many duets, and their ability to write extended musical scenes culminates in the breathtakingly accomplished Act II trio "I've Decided to Marry You," sung by Monty and his two love interests.  The show also contains several dynamite patter songs which show off the duo's sharp and intricate lyrics, which for once are actually audible instead of being drowned out by an over-amplified sound system like in so many other shows.  The score has been masterfully orchestrated by the legendary Jonathan Tunick, who works under the charmingly novel idea that perhaps the orchestra should support the voice rather than compete with it.

Freedman's book keeps the show moving along at a steady clip, quickly establishing the various members of the D'Ysquith clan and just as quickly dispatching with them.  Despite the amount of plot he must cover, Freedman still manages to draw full and complex portraits of the three romantic leads, and the supporting characters have just enough flair to keep them easily distinguishable from one another.  The ending is probably too convoluted for its own good, but just as in the musical comedies of yore the destination isn't really the focus here.  A Gentleman's Guide is all about the journey, and it is a thoroughly entertaining one.

The cast is uniformly fantastic, starting with Jefferson Mays as the eight doomed members of the D'Ysquith family.  The mercurial Mays switches among his various personas with ease, granting each one a different set of quirks and mannerisms that make them instantly recognizable (Mays is greatly aided by Linda Cho's distinctive and gorgeous costumes).  More importantly, Mays makes all of them laugh-out-loud funny, striking a perfect balance between high and low comedy that is essential in establishing the evening's tone.  Mays is particularly memorable as the foppish Henry, who sings a hilarious duet with Monty entitled "Better with a Man," and the Tony-winner also scores as the delightfully self-involved Lady Hyacinth, who spends an entire musical number debating which starving, third world children are most worthy of her charity.

As the affably murderous Monty Navarro, Bryce Pinkham is perhaps the production's greatest discovery.  His Monty is sweet, unassuming, and undeniably British, feeling authentic and believable throughout the proceedings.  Pinkham anchors the entire show with a charming everyman quality that causes you to root for him even though he is essentially an unrepentant serial killer, and the young actor has the ability to suggest a whole host of emotions roiling just below the surface while maintaining his proper British poise (a dichotomy that is wonderfully exploited during the song "Stop! Wait! What!?!").  Pinkham also sings beautifully, with an effortless tenor that is one of the purest male voices to grace Broadway in a good long while. 

He is matched, note for note and scene for scene, by his two spectacular leading ladies.  Lisa O'Hare is ravishing as Monty's first love Sibella, making the character's nonstop rambling and concern with outward appearances endearing rather than off-putting.  O'Hare also flawlessly navigates Sibella's increasing jadedness without ever losing sight of the traits that made Monty (and the audience) fall in love with her in the first place.  Lauren Worsham is just as delightful as the eternally optimistic Phoebe D'Ysquith, radiating a winsome star quality that makes her an equally appealing match for the lovelorn Monty.  Both women are making positively smashing Broadway debuts, and when they sing together or with Pinkman (as in the aforementioned "I've Decided to Marry You") the actresses sound heavenly.

Director Darko Tresnjak deserves full credit for casting such fantastic actors and coaxing such winning performances out of them, although his staging for the show falls a bit short of the high benchmark set by the performers.  Tresnjak nails the tone and keeps the show moving, but his stage pictures are rarely very interesting to look at.  He is partially hampered by Alexander Dodge's set, which in attempting to replicate the feel of an English music hall has effectively halved the amount of available playing space for most scenes.  There's definitely more to the scenic design than initially apparent, although the scattered surprises don't really justify the concessions made in the area of actor mobility.

In the end, A Gentleman's Guide's strengths far outweigh its weaknesses, and the show proves itself one of the most unexpected delights of the fall season.  A refreshing change of pace from the loud, pop-influenced excess of most modern-day musicals, the show marks the auspicious Broadway debuts of both the writing team and a good portion of the highly talented cast.  It is a rare show that manages to be this entertaining while remaining intellectually stimulating, and it would be absolutely scandalous for any true theatre lover to miss it.  A killer good time is practically guaranteed (sorry, I had to).