2015 Tony Predictions: Best Revival

The Tony Awards take place this Sunday, and about the only talk you'll hear on the Great White Way is speculation on who will win the coveted spinning medallions. I've already explored the writers, directors, and actors I suspect will win Broadway's highest honor, so now it's finally time to tackle the production awards. Whereas the other Tony categories honor individual excellence, the four production awards recognize the collective efforts of the many artists responsible for producing any piece of theatre. These awards are also the most likely to affect a show's box office fortunes, which make them the most desired honors in the entire theatrical community.

As always, I will be predicting who will win, which does not necessarily align with who I would like to win. Should there be a major discrepancy, I will be certain to point it out in my analysis. At the same time, it bears repeating that all of the shows nominated in these categories have plenty of artistic merit, so even if I personally think a different show should win it doesn't mean the likely winner is undeserving. Now read on to find out which of this season's revivals are most likely to strike Tony gold.

Warning: Occasional snark and plenty of speculation to follow.

Best Revival of a Play

The Tony nominated cast of The Elephant Man.

 

Nominees: The Elephant Man; Skylight; This is Our Youth; You Can't Take It With You

This is the unusual category where the majority of nominees are long closed, giving the sole currently running production (West End import Skylight) a tangible advantage over its competitors. In fact, each production's likelihood of winning seems to correlate with how much time has passed since its closing date. The fact that This Is Our Youth was nominated at all remains one of the bigger surprises of this Tony season, as the production struggled at the box office throughout its limited run and closed back in early January. I would be shocked should it actually win, just as I would be similarly surprised to see the well-liked You Can't Take It With You triumph over the weightier dramas in this category (Tony voters tend to be biased against comedies, even ones that have won the Pulitzer Prize).

Although Skylight scored very strong notices, I actually think the Bradley Cooper led Elephant Man will be triumphant this year. That starry revival exceeded all expectations both artistically and at the box office; it was the talk of the town during its limited engagement, and the fact all three principal actors are nominated for Tony Awards shows what a strong impression they and the production made. The feeling towards Skylight seems respectful rather than passionate, which I think will ultimately be the British import's downfall. Then again, absolutely no one expected A Raisin in the Sun to triumph in this category last year, which makes me wary of another surprise this year. I am still officially predicting The Elephant Man, but it only has a slight advantage against its currently running competitor.

Will & Should Win: The Elephant Man

 

Best Revival of a Musical
 

I know I don't predict technical awards on this blog, but The King and I is totally winning Best Costumes. Look at that DRESS!

 

Nominees: The King and I; On the Town; On the Twentieth Century

This category is the most cut and dry of the production categories. Arguments can be made for the exuberant On the Town and better than expected On the Twentieth Century, but neither production can compete with the unadulterated brilliance of Lincoln Center's The King and I. Bartlett Sher's masterful revival of the oft-produced Rodgers and Hammerstein classic has been deemed a definitive production by many in the industry, and is my personal favorite production of this Broadway season (new, revival, musical, or otherwise). Expertly acted, superbly sung, and visually stunning, it calls to mind everything wonderful about the traditional Broadway musical without ever feeling dated or tired.

Should The King and I fail to win this category I would strongly disagree, but could at least accept a victory for the incredibly entertaining On the Town. That production does everything a revival should; it takes a long forgotten show and makes the piece feel exciting, relevant, and fresh again, resulting in one of the most unceasingly entertaining productions of the season. On the Twentieth Century would be a harder choice to defend, as despite a top notch cast the script is starting to show its age. In fact, without leading lady Kristin Chenoweth and the oafish Andy Karl I think the show would be forgotten almost the moment it ends. But these are all a moot points, as Lincoln Center has been the front runner for this award since The King and I was even rumored. The fact the resulting production meets and in my opinion surpasses their much beloved South Pacific from several seasons back just seals the deal.

Will & Should Win: The King and I

Check back this Friday for my take on the two most important races of the season, Best Play and Best Musical. In the meantime, feel free to catch up on the rest of my Tony coverage below!

Nominations React

Best Book & Score

Best Direction & Choreography

Best Featured Actor

Best Featured Actress

Best Actor

Best Actress

2015 Tony Predictions: Best Actress

The 2015 Tony Awards are less than one week away, and the buzz surrounding the upcoming telecast has reached a near deafening volume. As I do every year, I am steadily working my way through predictions for all of the major categories, and today I tackle two categories that are on the opposite ends of the predictability spectrum. One race is practically a foregone conclusion, while the other is so neck and neck that we may not fully process who wins until reading the news in the papers Monday morning. As always, I will make sure to predict not only who will win but who deserves to win, doing my best to keep personal feelings at bay so I can objectively judge the competition (but trust me, I have *very* strong opinions about Best Actress in a Musical). 

Warning: Occasional snark and plenty of speculation to follow.

Best Actress in a Play

Dame Helen Mirren will likely be adding "Tony winner" to her extensive list of accomplishments following her universally praised performance as Elizabeth II in The Audience.

Nominees: Geneva Carr, Hand to God; Helen Mirren, The Audience; Elisabeth Moss, The Heidi Chronicles; Carey Mulligan, Skylight; Ruth Wilson, Constellations

I could do my usual routine of listing the pros and cons of each nominee, but let's be honest: does anyone really expect someone besides Helen Mirren to win this award? Mirren is one of the most universally respected and beloved actresses in the business, reprising her Oscar-winning portrayal of Queen Elizabeth II in a play that has already won her an Olivier Award (the West End equivalent of the Tony). She was a front-runner for Best Actress from the moment the show was announced, and at this point she is looking like a virtual lock.

None of this is meant as a slight to the other actresses, all of whom did fine work and seem like lovely people. Hand to God's Geneva Carr has been particularly charming on the awards circuit due to her palpable excitement at just being nominated; she has repeatedly said she thought she would be replaced by a name star at some point during the play's remarkable journey from Off-Off-Broadway to the Great White Way. Elisabeth Moss and Ruth Wilson both have the disadvantage of their shows having already closed (Moss' prematurely), and even if she doesn't win Carey Mulligan will surely be welcomed back with open arms whenever she decides to return to Broadway. But this is Mirren's year, and I would imagine even her competitors agree that she is entirely deserving.

Will and Should Win: Helen Mirren, The Audience

Best Actress in a Musical

As Lily Garland in On the Twentieth Century, Kristin Chenoweth has found the best showcase for her talents since Wicked 12 years ago.

Nominees: Kristin Chenoweth, On the Twentieth Century; Leanne Cope, An American in Paris; Beth Malone, Fun Home; Kelli O'Hara, The King and I; Chita Rivera, The Visit

This category has been a major sore spot for me the past few years, and will continue to be one until Kelli O'Hara wins this damn award already! She is one of the all-time great singing actresses, and for me ranks behind only Audra McDonald as the most consistently captivating performer on contemporary Broadway. The fact that six-time nominee O'Hara has yet to win Broadway's highest honor is simply ludicrous, and something I desperately hope the voters rectify this year for her absolutely stellar work in Lincoln Center's The King and I. Yes, the lack of a Tony obviously hasn't hurt the golden-voiced soprano's career - she works more consistently than just about anyone else - but it's the principle of the matter, dammit!

Unfortunately, O'Hara once again finds herself going toe to toe with two of Broadway's most beloved divas, previous Tony winners Chita Rivera and Kristin Chenoweth. O'Hara should be most concerned about Chenoweth, who after a disappointing run in 2010's Promises, Promises and long absence has returned in top form with her gutbusting performance in On the Twentieth Century (fun fact: both women attended the same university and studied under the same vocal instructor). Chenoweth's unique set of comic gifts make the actress difficult to cast in most revivals, but the role of Lily Garland fits the pint-sized dynamo like a glove. Chenoweth's performance is also the showier of the two, though comparing her farcical antics to O'Hara's naturalistic charisma points out the inherent problems with trying to pick a "best" actress in such a wide-ranging medium.

As much as it pains me to say it, I think public sentiment may be leaning towards Chenoweth. O'Hara is so reliably excellent and prolific that I think a segment of the community takes her brilliance for granted (similar to how the universally praised Meryl Streep has 19 career Oscar nominations but "only" 3 actual wins). And if I'm being as objective as possible, it is very hard to argue against Chenoweth; her only slight missteps in Twentieth Century stem from weird directorial choices rather than any failings on the actress' part. I will continue to root hard for O'Hara, and think she has a legitimate chance at finally getting her due after years of being overlooked. But if Chenoweth is called to the stage Sunday night, I can't say I'll be surprised. I just hope she has more than 20 seconds to change her wig this time around.

Will Win: Kristin Chenoweth, On the Twentieth Century
Should Win: Kelli O'Hara, The King and I


That covers all the acting categories. Check back on Wednesday and Friday for my predictions in the four production categories, including the highly coveted Best Musical award. Meanwhile, check out the rest of my Tony coverage below.

Nominations React
Best Book and Score
Best Direction and Choreography
Best Featured Actor
Best Featured Actress
Best Actor

An Highly Entertaining, If Slightly Dated, Ride

Review: On the Twentieth Century

Kristin Chenoweth makes her triumphant return to Broadway in Roundabout's lavish revival of On the Twentieth Century.

She's ba-ack. 5 years after her ill-advised stint in the woefully underwhelming 2010 revival of Promises, Promises, pint-sized powerhouse Kristin Chenoweth has returned to Broadway in the Roundabout Theatre Company's big budget revival of the Tony-winning On the Twentieth Century. Thankfully, this musical farce is a much greater showcase for Chenoweth's multitudinous gifts, including her impeccable comic timing and robust soprano that effortlessly fills the American Airlines Theatre. If Chenoweth and her first-rate costars are occasionally let down by material that is starting to show its age, that does little to diminish the overwhelming fun to be had by those willing to surrender themselves to the show's old school charms.

Chenoweth plays Lily Garland, a glamorous movie star who was plucked from obscurity by Broadway producer Oscar Jaffe before trading the bright lights of Broadway for the allure of the silver screen. A string of flops has left the once successful Oscar deep in debt, and the desperate producer hopes to convince box office magnet Lily to return to the stage by offering her the lead in his (currently non-existent) epic about Mary Magdalene. There's just one problem: Lily hates his guts, and Oscar only has the duration of their shared transcontinental train ride to change her mind and get a signed contract from the temperamental starlet.

As Garland, Chenoweth is absolutely radiant, the character's glamorous aura enhanced by Chenoweth's own innate star quality. She seizes on the material's farcical nature and runs with it, delivering the libretto's old fashioned zingers with a pitch perfect rhythm that often makes the lines seem funnier than they actually are. Chenoweth sounds expectedly stellar singing Cy Coleman's score, which offers the gifted vocalist plenty of chances to show off the lush, full tones of her upper register; that she often produces these high notes while running around the stage or dancing Warren Carlyle's high energy choreography just makes her purity of tone all the more impressive. Chenoweth is such a unique talent that other revivals have had difficulty fitting her into roles written for more conventional types, but Lily suits Chenoweth so well its easy to forget the part wasn't written for her.

Leading man Peter Gallagher missed a large number of preview performances thanks to a much publicized sinus infection, but watching him attack the role of Oscar Jaffe you'd never know it. Gallagher is smooth and assured throughout, even if his role as the show's straight man doesn't present him with the same types of opportunities as Chenoweth's more multi-faceted character. It would be nice if Gallagher and Chenoweth generated a bit more heat during their interactions, although Gallagher's truncated rehearsal period and some bizarre directorial choices are mostly to blame. For instance, the pair have been instructed to sing to audience rather than one another during a key Act I duet, which undermines their character development and makes their relationship's arc less satisfying than it could be.

Andy Karl turns the one-note role of Bruce Granit, Lily's marquee idol boy toy, into a veritable comic feast. Karl displays a particular affinity for comic business, whether it's plastering the train car with his headshots, being constantly shoved into doors, or tossing an entirely game Chenoweth around like a sack of potatoes. Mary Louise Wilson also shines in the small but memorable role of Letitia Peabody Primrose, an exceedingly wealthy religious fanatic that Oscar hopes will bankroll his proposed play. And while they have almost zero bearing on the show's plot, a special shoutout must be given to Rick Faugno, Richard Riaz Yoder, Phillip Attmore, and Drew King as the train's tap dancing porters, whose performance of the Act II opener "Life is Like a Train" proves to be the evening's biggest showstopper.

Visually, this is one of the most stunning productions Roundabout has ever mounted, although it does feel like the show has been squeezed into a smaller space than it should have been. David Rockwell's playful art deco sets perfectly encapsulate the evening's tone, and he has come up with some startlingly effective solutions to the musical's many scenic demands. Costumer William Ivey Long has done it again with his period perfect costumes, all candy colored hues and sophisticated elegance. And everything is beautifully lit by Donald Holder, whose creative lighting design helps to supplement Rockwell's sets in a way that the show feels even more expansive than it already is.

Unfortunately, while director Scott Ellis has done a commendable job staging this production, he rarely utilizes his cast or the material in the best way possible. Perhaps Ellis is just exhausted (he already directed this season's You Can't Take It With You and The Elephant Man), but there is a lack of tonal cohesion in this revival that occasionally yields chuckles when it's obvious belly laughs were desired. The gifted cast can sometimes come across as frantic, and Ellis has allowed a few too many contemporary mannerisms to sneak into his blocking. While these often produce laughs, it ultimately comes at the expense of being true to the characters, making some moments stick out for the wrong reasons. At the same time, the material hasn't aged particularly well, and the fact that this production is as enjoyable as it is speaks highly of Ellis' work.

For most theatergoers, the main attraction of this production is the chance to Chenoweth return to the stage after years of film, TV, and concert work. And in that light, On the Twentieth Century is a resounding success, proving once again that given the right material there are few women funnier than Chenoweth (and no musical comedienne can touch her operatic soprano). Roundabout has pulled out all the stops on this production and it shows, from the first rate cast to the beautiful production design. This revival fails to completely overcome the more dated aspects of the material, but there are far worse ways to spend a night in the theatre, and hopefully this production will remind the industry that someone really needs to build a new show around Chenoweth's unique talents. She certainly deserves it.

Most Anticipated Shows of Spring 2015

After a fall filled with star-studded plays and nary a new musical in sight (save The Last Ship), this upcoming spring on Broadway is practically overflowing with productions of all shapes and sizes. Things just keep getting added to the calendar, with the Kennedy Center's revamped revival of Gigi having just announced its impending transfer for this coming March. If anyone has any doubts about the health of the theatre industry, the fact 19 productions (20 if you count each part of the Wolf Hall double bill separately) are scheduled to open in the next 4 months shows there are plenty of shows waiting for their chance in the spotlight. And while all are exciting in their own way, here are the ones I'm most looking forward to:

The King and I

The key art for Lincoln Center's The King and I clearly evokes the same feel as the poster for their smash hit, critically acclaimed South Pacific. Coincidence? I think not.

Lincoln Center Theatre's upcoming revival of Rodgers & Hammerstein's The King and I has me in a tizzy for several reasons. First and foremost, this revival marks the latest leading lady role for the positively sublime Kelli O'Hara, who at this point is second only to Audra McDonald in my personal pantheon of Broadway divas. She reteams with director Bartlett Sher, who helped shape her revelatory performances in South Pacific and The Bridges of Madison County. And like the aforementioned South Pacific, I fully expect Lincoln Center to pour every cent they have into what will surely be one of the most lavish physical productions in years, the mere thought of which has me giddy. Will this year be the one where O'Hara FINALLY wins her long overdue Tony Award? I can't say (only hope), but no matter what I'm sure O'Hara will be perfection in this. I've already got my tickets!

On the Twentieth Century

Roundabout continues its recent tradition of really unfortunate key art; Kristin Chenoweth is virtually unrecognizable despite being this revival's main attraction.

Like many theatregoers, I'm primarily looking forward to this Roundabout revival because it marks Kristin Chenoweth's first Broadway appearance in 5 years. Her last stint on the Great White Way was the horrendous Promises, Promises, a production that wasted Chenoweth's talents and ranks as one of the most frustrating shows I've ever experienced. But her performance in the original cast of Wicked remains a personal favorite, and as her extensive concert work proves Chenoweth is blessed with a formidable voice that can be light as air or shake the rafters. Chenoweth is in danger of becoming a caricature of herself, but this production should bring her back to her musical comedy roots in a role originated by the late, great Madeline Khan. Chenoweth has spoken about her desire to star in the show for years, and seeing a performer tackle a dream role is generally something worth experiencing, which makes me cautiously optimistic for her highly anticipated return.

The Heidi Chronicles

See Roundabout? Sometimes a simple high quality photo is all you need.

I'll admit to being entirely unfamiliar with Wendy Wasserstein's Pulitzer Prize winning play, which put the pioneering playwright on the map; I don't even know the general premise beyond "career woman lives through 3 decades of feminism." But in a landscape dominated by celebrity fronted revivals of Great American Dramas that often feel dusty and dated, its nice to see someone tackle a play that isn't older than the average audience member. As a huge fan of Elisabeth Moss' sterling work on TV's Mad Men, I'm excited to see her make her Broadway debut in a female authored, female directed play about women's issues (a woefully underrepresented viewpoint). Moss may not have the same star power as a Hugh Jackman or Bradley Cooper, but she's every bit as good an actor, and I look forward to seeing her tackle this decades-spanning comedic drama.

An American in Paris

Robert Fairchild and Leanne Cope in the pre-Broadway tryout of An American in Paris.

There are some that question whether Broadway is big enough for this stage adaptation of the Oscar-winning film and the similarly dance-heavy On the Town. To these people I say "shut up," because there has been an alarming lack of high level dancing on Broadway in recent seasons. On the Town proved what a shame that is, with a stage full of carefully rehearsed dancers proving just as thrilling as any falling chandelier or flying magic carpet. Yes, this hybrid musical padded out with Gershwin trunk songs will see yet another permutation of "I've Got Rhythm," but considering the song's potential as a showstopper I'll give the creative team a pass. (This will also tide me over until we finally get that Crazy for You revival I've been hoping for). A runaway hit in Paris, I think this American could wind up being one of the highlights of the spring season.

Hand to God

Obie Award winner Stephen Boyer (right) and his foul-mouthed hand puppet Tyrone are just waiting to take Broadway by storm.

This little play that could is coming to the big leagues after critically acclaimed Off-Off-Broadway and Off-Broadway runs. A self-described "hilarious and provocative" dark comedy, the show is about a teen who joins the Christian Puppet Ministry only to have his hand puppet Tyrone take on a vulgar, dangerously irreverent personality seemingly all its own. Foul-mouthed puppets can be comedic gold (Avenue Q continues to run Off-Broadway, even though most predicted it would struggle to last one season back in the early 2000s), and both Hand to God's synopsis and snarky, tongue in cheek marketing campaign have definitely piqued my interest. One can only see The Book of Mormon so many times, and Hand looks poised to strike a similarly comedic/satiric sensibility.

Fun Home

The three different Alisons of Fun Home in the musical's much lauded run at the Public Theatre last winter.

I'm still kicking myself that I didn't make the time to see this critically acclaimed musical during its extended Off-Broadway run back in 2013, so I'm especially excited it's being given a full scale Broadway production featuring almost the entire Off-Broadway cast. One of the rare musicals to make the short list for the Pulitzer Prize, the show is based on the graphic novel memoir of famed lesbian cartoonist Alison Bechdel, which explores her experience coming out and her relationship with her troubled father. Composer Jeanie Tesori hasn't always written my favorite musicals, but she has consistently written interesting ones, with her more dramatic works pushing the boundaries of what a modern musical can be. Fun Home sounds like the perfect opportunity to explore a host of timely LGBT issues from a perspective that is virtually non-existent in contemporary theatre. I expect this to be the critical darling of the spring season and a major competitor come Tony time.

The Visit

Living legend Chita Rivera can't be bothered during the Williamstown Theatre Festival's recent production of Kander & Ebb's The Visit.

One of the last collaborations between the legendary Kander and Ebb, The Visit sounds like just the kind of darkly theatrical show that has always been the pair's bread and butter. Crafted specifically as a starring vehicle for the incomparable Chita Rivera, it's a match made in theatrical heaven (both of Rivera's Tony Awards are for Kander and Ebb roles). Adding to the allure of this production is the fact it's being billed as the 82 year old Rivera's final Broadway appearance, and is therefore likely the last chance I'll ever have to see one of Broadway's all time great actresses in action. I doubt the show has many commercial prospects, so this is definitely one I plan on seeing sooner rather than later just in case its run is as criminally short as the pair's brilliant Scottsboro Boys.


The above list by no means represents all of the shows I'm interested in. I'm certainly curious to see how Doctor Zhivago turns out, but I'm concerned this sweeping literary adaptation will feel like a bygone relic of the 1980s. The insane amount of buzz around Something Rotten certainly demands a closer look, as word of mouth is so strong it convinced producers to skip a planned out of town tryout and open cold on Broadway. The musical's director Casey Nicholaw is one of the best around, but then again the equally talented Susan Stroman's equally buzzed about Bullets Over Broadway disappointed in the exact same theatre a year ago, so I have some reservations. And while I desperately want Finding Neverland to be good, the more I hear about it the more I think producer Harvey Weinstein will ruin it with his misguided, business-oriented meddling (in no universe is Matthew Morrison an improvement over Jeremy Jordan, in either talent or box office drawing power).

Be sure to keep checking this very blog throughout the coming months to see my reviews of the spring Broadway season, and of course my annual and exhaustive coverage of the Tony Awards (which is starting up sooner than you think).