The Best Shows of 2013: Part 1

Greetings, internet!  It's been a while.  I'm sorry I haven't been around (working a full-time job and taking a much needed vacation have kept me occupied for the past month), but I certainly wouldn't forget to post my annual list of the Best Shows of 2013!

For those who haven't seen one of my Best Of lists before, there are two very simple criteria for a show to make the list:  1) It must have opened and been seen by yours truly during the 2013 calendar year (so any show I haven't personally seen is automatically disqualified); and 2)  Said show must have been good.  I am happy to say that I saw much more good theatre than bad, and looking back I'm glad I've been taking baby steps towards seeing more Off-Broadway shows, as some of my most interesting nights at the theatre were spent in the tinier venues away from the hustle and bustle of the Great White Way.  This year, I am only writing a brief paragraph about each show rather than giving every entry it's own post, so without further ado here is the first half of my Best Shows of 2013 list!

10) Kinky Boots

The sex is in the heel:  Billy Porter is Broadway's reigning diva as Lola in Kinky Boots

From the moment it was announced, Kinky Boots always sounded like a fun night in the theatre.  Focusing on a struggling shoe factory that decides the road to financial stability lies in manufacturing women's shoes for men, this Cyndi Lauper-Harvey Fierstein-Jerry Mitchell collaboration is a perfectly lovely concoction.  The show is by no means groundbreaking (many of the same themes were addressed equally well in Fierstein's other drag musical, La Cage aux Folles), but there are some charming tunes, a stunning star turn by this year's Tony winner Billy Porter, and more glitter and sequins than you can shake a six-inch heel at.  I never would have predicted Kinky Boots' incredible box office performance, but there are certainly less deserving shows that have run much longer (*cough*Cats*cough*).

9) Vanya and Sonia and Masha and Spike

Surely it's obvious who Sigourney Weaver's self-absorbed Masha has dressed as (and David Hyde Pierce makes an adorably droll dwarf).

Christopher Durang finally won his first Tony Award for this farcical riff on unfulfilled desires and our youth obsessed culture.  Durang's comedy aims both high and low, equally at home with insider references to Anton Chekov and politically incorrect Hellen Keller jokes.  While Durang's script is good, the play's powerhouse cast is what pushed Vanya and Sonia into must-see territory.  Kristine Neilson and David Hyde Pierce both gave tour de force performances, each gifted with the kind of stand-out moments actors often dream about (Neilson's bittersweet second act phone call, Pierce's explosive rant against the younger generation).  The supporting cast was just as accomplished, and the show was one of the better examples of ensemble acting on the boards during the spring and summer.  Vanya and Sonia was the definition of laugh-out loud funny, and certainly earned its place among the year's best comedies.

8) Far From Heaven

It's autumn in Connecticut, but Kelli O'Hara's career as one of New York's best singing actresses is far from over.

Following the surprise success of Grey Gardens, composer Scott Frankel and lyricist Michael Korie once again tackled source material that seemed to defy musicalization.  This story of a 1950's suburban Connecticut housewife watching her picture-perfect life crumble around her and the small solace she finds in her relationship with her black gardener lives in the small moments, and musicals typically thrive on the big and flashy.  But Frankel and Korie once again proved what deft observers of the human condition they are, mining the story for all of its thematic richness and making it sing with some of the most beautiful music to grace the New York stage this season.  The pair also received a gift from the musical theatre gods in leading lady Kelli O'Hara, doing some of her most nuanced work to date.  I really hope this show finds its way to Broadway, as there is a distinct lack of serious musical theatre being written these days.  Until then we'll have to "make do" with O'Hara's next project, the Jason Robert Brown-scored Bridges of Madison County.

7) Big Fish

Norbert Leo Butz is certainly the "hero" of the fall musical season, giving an electric performance in the lead role of the unfairly underrated Big Fish

The critics were rather lukewarm to this Susan Stroman-directed tuner, and the box office has unfortunately followed suit, prompting the show to post a December 29th closing date.  It really is a shame, because Big Fish is one of the more interesting and complex projects to make it to Broadway in the past few seasons, and it's inherently theatrical premise (a travelling salesman prone to telling tall tales) has produced some of the fall's most stunning visuals.  Stroman is in top form with her inventive staging, which finds room for dancing elephants, a USO-inspired production number, and one of the few effective uses of slow motion in a live theatrical production.  The preternaturally talented Norbert Leo Butz is makes a strong case for Tony Award #3, with his decades-spanning characterization providing the show it's heart and soul.  He is ably matched by Kate Baldwin as his ever-faithful wife and Bobby Steggert as his estranged son.  If you haven't seen it yet, run out to catch Big Fish before it disappears forever at the end of the month.

6) A Gentleman's Guide to Love and Murder

Why are all the D'Ysquith's dying?  From laughter, I'd wager.

This stunning debut by unknowns Robert L. Freedman and Steven Lutvak is the fall's best reviewed new musical, and rightly so.  Smartly written and beautifully sung, there is enough wit and invention in Gentleman's Guide's two-and-a-half hours to fill several lesser musicals.  Although the ghoulish-sounding plot involves Monty Navarro systematically bumping off eight members of the wealthy D'Ysquith clan in order to inherit an earldom, this musical farce is one of the funniest, most entertaining shows of the new season.  Jefferson Mays strikes comedic goal as all eight of the doomed D'Ysquiths, and Bryce Pinkham is adorably understated as the well-meaning but murderous Monty.  But the cast's real finds are Lisa O'Hare and Lauren Worsham, the two golden voiced women making their Broadway debuts.  Watching the pair fight for Monty's affections is positively thrilling, and the trio's Act II showstopper "I've Decided to Marry You" is as close to musical comedy heaven as you're likely to find this season.


That's the first half of my list.  Come back soon for my Top 5 of 2013, and also keep an eye out for my companion (and much snarkier) piece, the Worst Shows of 2013.

2013 Tony Predictions: Best Play and Musical

It’s finally here!  Broadway’s big night is upon us, and I’ve saved the two biggest categories for last.  The Best Play and Best Musical awards not only represent the highest possible achievement in American theatre, but they also guarantee a new work a place in the history books forever more.  Winning either of these awards not only increases the Broadway mounting’s chances of turning a profit, but greatly increases the amount of money a show can make from subsequent tours and regional mountings. 

 

Of course, such a prestigious award always comes with its fair share of controversy.  There are some that feel the Tony Awards have a habit of honoring commercial viability over artistic excellence, and there are plenty of fantastic, enduring works of theatre that went home empty handed on Tony night (Ragtime and West Side Story come to mind).  But the awards still mean something, and more often than not the shows honored are excellent artistic achievements even if they aren’t necessarily the *most* deserving.  So which shows will be the big winners tonight?  Read on to find out.

 

Best Play

Only Christopher Durang would find a way to connect Chekhov and Snow White.  That's gotta be worth some kind of award right there.

 

Nominees:  The Assembled Parties; Lucky Guy; The Testament of Mary; Vanya and Sonia and Masha and Spike

 

An interesting and eclectic assortment of shows, this year’s Best Play race isn’t as chock-full of the high-minded (and oftentimes stuffy) dramas that Tony voters usually fawn over.  The biggest surprise in this category is probably the inclusion of the Fiona Shaw-led The Testament of Mary, a show that posted its closing notice the same day as the announcement.  I can’t imagine it winning, but as they say, it’s an honor just to be nominated.

Heading into the awards season, I thought The Assembled Parties would be a much stronger contender than it’s turned out to be.  Mounted by highly respected Manhattan Theatre Club, the show was roundly praised by critics for its nuanced writing and all-around excellent performances.  But with only three Tony nominations to its name, the show is definitely this year’s dark horse; it *could* win, but the chances of that actually happening are miniscule.

This is really a two-way race between Lucky Guy and Vanya and Sonia and Masha and Spike.  The final work written by the beloved Nora Ephron before her death, Lucky Guy is one of the biggest commercial successes of the season, and features bona fide movie star Tom Hanks in his Broadway debut.  But for all of the kind words written about Lucky Guy, I get the sense that most people know it is not a great play, and are cutting it some slack due to their nostalgia for its departed author.  Meanwhile, Vanya and Sonia has been racking up the wins in this season’s other awards races, and despite a prolific career playwright Christopher Durang has never actually won a Tony.  I think this is the year that changes, and it will mark the first time an outright comedy has won the Best Play trophy since Lost in Yonkers won back in 1991.

Should Win:  The Assembled Parties

Will Win:  Vanya and Sonia and Masha and Spike

 

Best Musical

Kinky Boots leads this year's Tony nominations and is one of the frontrunners for the big award, because really, how can you go wrong with drag queens?

 

Nominees:  Bring It On: The Musical; A Christmas Story; Kinky Boots; Matilda the Musical

 

I was as surprised as anyone to see Bring It On and A Christmas Story nominated in this category, but it represents the rare instance where my surprise stems from the fact that the nomination committee and I completely agree.  The four nominated shows this year are the season’s four best new musicals, and I applaud the committee for nominating two shows that could have easily been dismissed due to their limited-run nature (a rarity for new musicals).  However, it must also be said that both shows fall into the category of “it’s an honor just to be nominated,” because this is clearly a race between Kinky Boots and Matilda.

Matilda is the quintessential British import; after an acclaimed run in the London, the production has transferred to New York to similarly rapturous reviews, and seems as concerned with impressing the audience through its sheer theatricality as it is with telling a compelling story.  Meanwhile Kinky Boots is a wholly American creation (albeit one based on a British film) whose primary concern is entertaining the audience through song and dance.  The show avoids being complete fluff by having a message about acceptance of yourself and others, although it is a point made by many, many shows before it and hardly registers due to all the glitz and glamor.

These shows are so neck and neck that even industry veterans aren’t sure which way things will go, but my heart is telling me that Kinky Boots will emerge victorious.  The show is extremely easy to like, and while it breaks little new ground the tuner is extremely well-crafted on all fronts.  The emphasis on more accessible nominees in all the categories this year tells me that the Tony voters are in the mood for something a bit more fun, and I honestly think the theatrical community as a whole has overdosed on British theatre in the past few seasons.  I personally found Kinky Boots to be the most compelling and successful of this year’s new musicals, and think its win will be well deserved.  But I also don’t rule out Matilda, and it will be extremely interesting to see how things turn out this evening.

Will & Should Win:  Kinky Boots

 

And that’s a wrap!  We’ve reached the end of another Tony season, and I have again written exhaustively about my thoughts on all things Broadway.  I hope you’ve enjoyed the coverage, and I thank everyone who has been so supportive of my little hobby.  As you wait for the big show later tonight, feel free to look back on all of my other predictions and Tony-related coverage below.

 

Best Revival
Best Actor
Best Actress
Best Featured Actor
Best Featured Actress
Best Book and Score
Best Direction and Choreography
2013 Tony Nomination React
2013 Tony Roundtable Podcast

2013 Tony Predictions: Best Choreography and Direction

Now that the 2013 Tony nominations have been announced and we’ve all had time to process who’s in the running for Broadway’s biggest honor, it’s time to get down to my favorite part of the awards season: wild speculation about the eventual winners!  Okay, maybe not “wild,” as I really do try to have an informed opinion about these things, but the simple truth of the matter is I can’t see every nominated show and sometimes have to base my predictions on media buzz and second-hand info. 

Like last year, I’ll be writing a series of articles giving detailed analysis of the major Tony races, along with predictions of who will win in each category.  And if I think another nominee is more deserving than the probable winner, I’ll be sure to point that out too.  Unlike last year, you can also look forward to a roundtable podcast discussion in early June where the entire panel will chime in on who they think will win each of the Big 12 (production and acting) categories.  And with all of that said, let’s look at the nominees for Best Choreography and Best Direction!

Best Chorography

Billy Porter and the cast of the high kicking musical Kinky Boots

Nominees:  Andy Blankenbuehler, Bring It On; Peter Darling, Matilda the Musical; Jerry Mitchell, Kinky Boots; Chet Walker, Pippin

This year saw Broadway choreography move away from dance in the traditional sense, which makes predicting the winner in this category more difficult than usual.  Andy Blankenbuehler’s cheerleading routines for Bring It On were easily the musical’s highlight, but the fact that the show closed months ago combined with the lack of traditional dance moves will probably keep him out of serious contention.  And while Pippin features the most visually arresting musical numbers of the Broadway season, my gut tells me that Tony voters credit Diane Paulus and Gypsy Snider for its success more than choreographer Chet Walker.

Like many races this season, the category will probably come down to Kinky Boots and Matilda.  Boots is hardly Jerry Mitchell’s best work from a purely choreographic standpoint, but voters may feel like the well-respected director/choreographer is long overdue for a second Tony Award; despite six career nominations in this category, he’s only won once.  A win for Mitchell also allows the voters to recognize his contributions to this season’s most nominated musical while freeing up the Best Director statuette for someone else.  Although Matilda’s Peter Darling has won this award before, my gut tells me that despite his show’s rapturous critical reception Kinky Boots is going to be the big winner on Tony Sunday, including in this category.

Should Win:  Andy Blankenbuehler, Bring It On

Will Win:  Jerry Mitchell, Kinky Boots

 

Best Direction of a Play

Pam MacKinnon's knockout production of the classic Who's Afraid of Virginia Woolf?

Nominees:  Pam MacKinnon, Who’s Afraid of Virginia Woolf?; Nicholas Martin, Vanya and Sonia and Masha and Spike; Bartlett Sher, Golden Boy; George C. Wolfe, Lucky Guy

 

With the exception of Vanya and Sonia’s Nicholas Martin, every member of this category is a repeat nominee.  I think that kind of pedigree will keep Martin out of serious contention, especially given the Tony voters’ bias against comedic plays.  And while Lucky Guy is one of the biggest financial successes of the spring, I’m sensing that the theatrical community at large is starting to feel that their nostalgia for the late Nora Ephron led to a decent play being praised more than it actually merits, which will hurt George C. Wolfe’s chances.

Both Bartlett Sher and Pam MacKinnon managed to pull of the deceptively hard task to making old plays feel fresh without betraying their original intent or layering on a directorial concept that seems inorganic and contrived.  The critical hosannas that greeted both plays were deafening, and in this case I think the Tony voters will opt to recognize MacKinnon over Sher.  Virginia Woolf is a play that industry folks have studied and seen produced countless times; the fact that MacKinnon managed to find something fresh in this oft-produced work, coupled with her ability to coax four absolutely incredible performances out of her actors, practically demands she receive Broadway’s highest honor.

Will & Should Win:  Pam MacKinnon, Who’s Afraid of Virginia Woolf?

 

Best Direction of a Musical

With Pippin, director Diane Paulus has managed to top her own lofty standards.

 

Nominees:  Scott Ellis, The Mystery of Edwin Drood; Jerry Mitchell, Kinky Boots; Diane Paulus, Pippin; Matthew Warcus, Matilda

 

I won’t mince words here:  a win by anyone other than Diane Paulus would be criminal here.  More than any other nominee, Paulus has put such a distinctive stamp on her show that separating the two is nigh-impossible.  She is simply one of the best directors working today, able to apply exciting new concepts to shows most would have written off as hopelessly dated without violating the spirit and artistic vision of the original.  Her Pippin is magical, thanks largely to her insistence on the addition of the circus elements and razor sharp direction that goes a long way towards disguising the show’s narrative flaws.  Factor in the fact that she was also responsible for the Tony-winning Hair and Porgy and Bess, and Paulus is long overdue for some Tony love.

Thankfully, I don’t think any of the other directors really have a chance of dethroning her.  Scott Ellis performed the neat trick of taking a terrible show and making it eminently entertaining, but as the only show not currently running his Drood is at a distinct disadvantage.  And despite several Broadway outings as director, Jerry Mitchell is still viewed primarily as a choreographer and is unlikely to score an upset.  Tony voters’ affection for Matilda’s Matthew Warcus has cooled considerably from its heyday several seasons ago, and while he is Paulus’ biggest competition I just can’t imagine him overthrowing the reigning Queen of the Broadway Musical.

Will & Should Win:  Diane Paulus, Pippin

 

That’s all for now.  Check back soon for my picks for Best Book and Score!