ABT 2019 - Swan Lake

Only two ballets left in my season - oh no!  I'm sad to see the season come to an end, I've enjoyed it so much.  Last night, the balcony was finally full; too bad it has to be an old workhorse that gets butts into seats.  But I'm glad the house was full for such a lovely performance, the screaming and cheering were thunderous throughout the performance of Swan Lake, which I hope made the dancers very proud.

I've seen Swan Lake a lot; I was just re-reading some of my previous blog posts about it.  It's fun to remember past dancer combinations and reactions - I mean, mainly my reaction is "I loved it!", but I have loved some performances more than others.  I really had a grand time at last night's rendition.  I'd have to put it up near the top of my all-time favorites, but it certainly didn't exceed my gold standard of all Swan Lake evenings (remind yourself of that one HERE).  

It was a happy coincidence that the dancer I most wanted to see dance Odette/Odile was the one scheduled on my regular night, Christine Shevchenko.  I've enjoyed her in other pieces and I was anxious to see her take on this classic.  I was a little less excited that her partner was James Whiteside, who I'm ever-so-fond of, but he can be lackluster in his characterizations (though his dancing and partnering are always first-rate).  I'm happy to report that Shevchenko and Whiteside were terrific together, very in sync and with tons of chemistry.  I'm sure as they develop as a pair, they'll get even better.  But they were already pretty great last night.

photo credit: Gene Schiavone

I admit I don't normally find Whiteside to be a compelling actor, but his throughline as Siegfried (I was surprised to see this was my first time seeing him in this role, I've seen him as Purple Rothbart in the past) was definitely more  sympathetic than I've seen before.  If I still feel he hasn't figured out some things yet (like, why does he leave his party? I don't see his reasoning), I'm at least glad to see forward movement in the acting area.  His dancing is always terrific, strong and powerful, yet extremely light and airy.  So I enjoyed his performance a lot, more than I thought I would, to be honest.  Joseph Gorak (who I was just complaining that I don't see enough) again played Benno, Siegfried's friend; I've seen him do the role a number of times and it's a nice one for him.  It shows his openness and natural ease with characterization and it gives him opportunities to dance beautifully without a lot of partnering (which I can only assume is the problem with his advancement/casting).  The peasant pas de trois was delightful, with Gorak, Cassandra Trenery and the sparkling Skylar Brandt.  They were all lovely and got huge rounds of applause.  Oh, speaking of huge rounds of applause, a great dancer from ABT's past, Martine Van Hamel, played Siegfried's mother and the crowd ate her up.  She was great, with wonderful mime.

photo credit: Gene Schiavone

Once we got to the lake, the first standout was the swan corps de ballet.  They were all terrific (I should mention here that as the lights went up before the start of the show, there was an announcement about many substitutions, I didn't get them all.  I'll only mention one a little later, but I won't be able to point out any of the individual swan dancers, since I have no clue if they were replacements or not), the four cygnettes were very uniform and clean, and the two solo swans were also lovely.  Christine Shevchenko was really lovely as Odette.  She was very soft and lyrical, with gorgeous arms and a beautiful back, and her mime was very expressive.  I could see the fear, then love come onto her face while Siegfried was wooing her.  I noticed she had a very birdlike head movement at the start and end of her first scene, as she was going in and out of her swan guise.  I thought she was gorgeous all around, though I will admit I didn't cry during that famous pas de deux.  I wasn't completely engaged emotionally, but again, I think that will come.  It was only her second go-round in the role.  The audience, however, adored her.  There was much riotous applause after all of her solos and duets with Whiteside.  He, as usual, was a wonderful partner, very attentive and secure.  I never worried for an instant during the difficult lifts, and I worry about most other principal male dancers.

They really pulled out all the stops after the intermission, in the Black Swan pas de deux.  They were both just powerful and fast and on fire.  Shevchenko's fouettes were terrific and she threw in some arm movements I hadn't seen before, which was cool.  And she had an unsupported arabesque that went on forever, it drove the crowd wild.  Whiteside was also leaping higher than I'd seen him leap before, which was also cool.  I had thought I was going to see Alexandre Hammoudi as Purple Rothbart, but apparently I didn't hear the announcement that Calvin Royal III would be playing him instead.  Well, Royal was also ON FIRE.  He was amazing, seducing everyone within his gaze, and his dancing was bold and sexy.  He had a problem with the unsupported arabesque, but he made it work inside his characterization.  I was tremendously impressed with him and it reminded me that I really want to see him as Siegfried someday.

photo credit: Rosalie O'Connor

After Siegfried has betrayed Odette and runs back to the lake, there's a little section of interpolated music with the swans in front of the curtain (while the set is being changed behind) that I normally tune out of, but it was quite good last night.  And the swans dancing was extremely thrilling after the deaths of Odette and Siegfried.  Thomas Forster was the Lizard Rothbart (and, again, how he can do so much great acting inside a rubber lizard suit, I'll never know) and he was incredible in that last scene.  My heart was actually racing and I'm normally just ready for the curtain call after the leads leap to the hereafter.  So that was exciting.  

The crowd was on their feet and gave a lot of love and loud applause to the company once the ballet was over.  My seat neighbor, who had grumbled about kids and their phones throughout the evening, leaned over and told me that I was the best person he had ever sat next to.  Actually, before the second act started, he leaned over and said "If I forget, I want to thank you for being an excellent seat neighbor."  I giggled at that, I must confess.  Then after the ballet was over, he sort of waxed rhapsodic about how he wished he could clone me and I was perfect to sit next to.  Well, there you have it!  Maybe from now on, I should mention MY qualities as a seat neighbor in a post!  You never know who's going to appreciate you!  He put a sweet little topper to a lovely evening.  I will never get sick of watching Swan Lake and I'm grateful to dancers who work so hard to learn, grow, and are ready to thrill me.

A Dreaded Round-Up Post

I just can't get around it, I have to lump a few shows together to try to catch up on my posting.  I have three shows this week and three more next week.  I went to a seminar last week that taught us about "brain dumps," so consider this my blogging brain dump that will help clear my brain for the fun stuff that's ahead.  I'll just offer a few thoughts on various recent stops on my magical tour.

A couple of years ago, I attended a reading of Carla Ching's Nomad Motel and enjoyed it quite a lot.  So when it was announced to be part of the Atlantic Theatre's season, I was greatly looking forward to it.  And when it was announced that the amazing Christopher Larkin, who I found to be brilliant in Hansol Jung's Wolf Play, would be in it, that made it even more tempting!  So a work pal and I headed to the Atlantic's smaller space to check it out.

photo credit: Ahron R Foster

Nomad Motel deals with disenfranchised teens trying to find their way in the world, despite parental and societal obstacles.  It also talks about what makes a home and how you can find your own family, outside of genetics.  Molly Griggs is Alix, who is supporting her family because her mother is incapable of handling things herself, and Larkin is Mason, living alone in a large house because his father is working in Hong Kong.  The twists and turns of Alix and Mason's relationship, with each other and with their parents, are engaging and utterly realistic.  Their dialogue and interactions were authentic and I bought their tentative connection to each other; how they learned from each other on how to keep dreams alive was also terrifically written.  I did think the production was rather leisurely paced and would perhaps have enjoyed more directorial oomph throughout, but I found Ching's characters, dialogue and storytelling to be first rate.  I look forward to seeing more of her work.  And I'm still co-president of the Christopher Larkin fan club, he's terrific.  

photo credit: Bjorn Bolinder

One of my very favorite performers is Jeremy Lawrence - each time I see him in Street Theater, he blows me away; I've also enjoyed his one-man play about Tennessee Williams, Talking Tennessee, over the years.  He has a cabaret piece called Lavender Songs: A Queer Weimar Berlin Cabaret that he's performed around the country and I've always kicked myself that I kept missing it.  Finally, I was able to catch the performance in the cabaret space at Pangea.  And I am ever so glad I did.

Lawrence plays the role of cabaret chanteuse Tante Fritzy, a drag performer in the years during the rise of Hitler.  All of the songs Tante Fritzy performs are authentic songs from the period, written by gay and lesbian artists (many of the songs have English lyrics translated by Lawrence himself) - they are not only delightful or moving songs, but pointed commentary on the treatment of 'outsiders' in Germany in the late '20s and early '30s.  Of course, the parallel to the terrors of today is completely chilling.

Tante Fritzy is an enchanting performer, including everyone in the audience in her performance; the piece is put together brilliantly, with the spiral into fear and defiance reflected by the numbers and the vocal quality that gets more reflective and tremulous as the show descends into sadness.  I wasn't prepared to be so moved by the arc of Lavender Songs, and I was on the verge of tears many times throughout the evening.  I was also punched in the gut by the last line, which is a reminder that we need to be vigilant and make sure the mistakes of the past don't return.  If this entertaining and thought-provoking cabaret piece comes your way, definitely check it out.  

I believe I've mentioned in the past that I'm a huge fan of Donald Margulies - I love his storytelling skills, his beautifully specific dialogue for universally recognizable characters, and the worlds he creates.  I will admit that in this busy time, I almost missed his new piece, Long Lost, playing at Manhattan Theatre Club's Off-Broadway space.  Thankfully, I got a random discount ticket offer and was happy to pick up a ticket for one of the last preview performances.  

Long Lost is about estranged brothers who are unexpectedly reunited after being apart for ten years.  Lee Tergesen is Billy, the black sheep of the family - tales of his misdeeds are unspooled slowly throughout the play; he's also a fast talker, who we're never really sure is telling the truth or building a lie.  Kelly AuCoin is the younger brother, who has pulled himself up by his bootstraps and now has the picture perfect life (or so we think).  His pain is always showing on his face, even when he's trying to mollify everyone.  Annie Parisse plays his wife and Alex Wolff plays their teenaged son.  All four cast members are smart, interesting performers who create authentic characters you feel sympathy for (even Billy, although he behaves pretty badly at times).  Seeing a story of people who are broken, who long to connect but often can't, is always moving to me.  Fractured families are also of particular interest to me right now (I enjoyed how the brothers remembered their youths differently, which is completely realistic to me), so I'm glad I made the time to see Long Lost.  There were unexpected moments, lots of humor, and illustrations of the difficulty of human connection.  I can always count on Donald Margulies to shine a compassionate light on characters who need it.  And being able to count on someone is a grand thing. 

Preview Thoughts on Toni Stone

My schedule has been so jam-packed that I hadn't been able to find a time to get tickets to Lydia Diamond's new play Toni Stone, produced at Roundabout's smaller Off-Broadway house, the Laura Pels.  Last week, an office chum had an extra free ticket (wahoo!), so happily, I squeezed in one.more.show.  I would pay for it later in the week with a near-exhaustion collapse, but oh my, Toni Stone was worth it...

I'm a big fan of Lydia Diamond, her play Stick Fly intrigued me, plus she is just a delightful person.  I'm also a big fan of baseball AND a big fan of stories of women who never got the credit they deserved!  Oh, and since last season's Choir Boy, I'm also a fan of choreographer Camille A Brown, who put together the wonderful movement that represented the baseball in the story.  So all signs pointed toward my enjoying Toni Stone and enjoy it I did.  I went with my office chum a little early over to the theater and we treated ourselves to the special Toni Stone cocktail: it was supposed to have ginger liqueur, pear liqueur, mint and sparkling wine in it.  I'm pretty sure it was just a big plastic cup of champagne, which I guess I was ok with.  I was maybe the tiniest bit tipsy before the play even started.  It didn't matter, though, I would've loved this play regardless.

photo credit: Joan Marcus

Toni Stone is about the sadly-forgotten Marcenia Lyle Stone, also known as Toni, who was the first woman to play as a regular on a big-league professional baseball team.  She played for the Indianapolis Clowns, a team in the Negro Leagues, in 1953, but her breakthrough has been pushed aside over the years and she is barely known anymore.  In this production, the absolutely incredible April Matthis plays Toni and she makes you want to know everything about this fascinating woman who shouldn't be a footnote, but a major entry in baseball history.  Matthis' performance is simply fantastic and a real tour-de-force.

photo credit: Sara Krulwich

As played by Matthis, Toni is funny, quirky, loving, and completely obsessed with the game of baseball.  She frequently rattles off baseball stats when she doesn't know what else to say.  The play goes back and forth in time, to describe the highs and many lows in Toni's life and career.  As a groundbreaking woman of color, she had to endure so much ridicule from her family, baseball crowds, other players, and management.  The fact that she remained completely and utterly herself is a triumph. The other eight performers play both her baseball teammates, as well as other important people in Toni's life.  The cast is, across the board, superb, with special mention to Kenn E. Head as Millie, Toni's only female friend, a kindly prostitute and another societal outcast.  Their relationship was so beautifully written.

Actually, each character, and there are a lot of them portrayed in this two-act piece, is written with much detail and specificity.  You got to know everyone as an individual, but also as a part of the team/society.  I just loved the way Diamond wrote this piece that seems as regimented, and as unexpectedly loose, as a baseball game.  The play is really a lot of fun, with laughs and enjoyable lessons about someone who deserves to be celebrated.  But the end of the first act is one of the most pointed excoriations of racism I've seen in a long time, while maintaining the loose, improvisational quality of the rest of the show.  I don't want to spoil the scene or the moment, but I had to mention it because I've been talking about it since I saw the show, and I've been thinking about it even more.  It was absolutely brilliant.

Even if you don't like baseball, you should definitely see Toni Stone.  In our lifetimes, there are so many people and stories that have been silenced or pushed aside - I am so drawn to stories that open our eyes to these lives and these people who endured so much to pave the way for others to follow.  And besides the delight of the play itself, I really believe April Matthis is giving a performance that people will be talking about for a long time; she is truly spectacular.  Thumbs way up to Roundabout for putting together this story about a strong woman, led by a female production team.  Now if they could do it more frequently in their Broadway houses, I would be delighted...

ABT 2019 - Manon

I am sorry for all the delays in my posting - work has been crazy, then I was under the weather for a bit.  I will try to get out some posts this week and not combine into one big long droning report...

I haven't seen the ballet of Massenet's Manon in five years (you can remind yourself of my review of two performances HERE).  I was very much looking forward to seeing Sarah Lane and Herman Cornejo debut in the leads last week, though I have to admit I'm tired of women on stage being punished for owning their sexuality.  But I just have to look past the bothersome stories and focus on the beautiful dance being created on stage or else I'd never go to the ballet again!

There was an interesting article in the NY Times last week about Manon and its problematic storyline, but there's no denying that Kenneth MacMillan created masterful solos and pas de deux for the characters.  Plus, there's one drunk pas de deux that was amazing in its technical difficulty and humor throughout.  This ballet gives a lot of dancers the opportunity to put on glorious costumes, plus act and dance at the same time.  I can see why ABT programmed it, because many of their principal ladies at the moment are terrific actresses.

from Instagram

Manon is about a woman who goes from being an idealistic girl in love with an impoverished student to being a courtesan who enjoys her married lover's wealth (and what it can buy her) to a weak and dying woman.  It's quite a journey for a ballerina and Sarah Lane was definitely up to the challenges.  Her dancing was exquisite, all silky and self-aware when dancing with her patron, and passionate and free when dancing with her young lover, played by the divine Cornejo.  He hasn't performed at all yet this season, I don't think, so I was very grateful to get the chance to see him dance.  Apparently, he's been waiting to dance Des Grieux for a very long time.  I found him to be entirely worth the wait - his passion, especially in the last scene, was quite breathtaking.

Unfortunately, Daniil Simkin injured himself during his gravity-defying performance in Le Corsaire (thank heavens I got to see him!), so he was replaced as Manon's brother by Blaine Hoven, who I've seen quite a bit of this season.  He has always impressed me as a lovely, technically-precise dancer, but he threw down as Lescault!  He was louche, menacing, mercenary, yet still a loving brother (even while selling his sister to the highest bidder).  And his wild abandon (yet still with beautiful control) during the drunk pas de deux was a highlight of this entire season for me.  I found him to be terrific and I'm really looking forward to seeing him take on more lead roles in the future.  I was surprised to see one of my favorites, Joseph Gorak, in a very small role as one of the gentlemen in the brothel.  He stood out to me because of his beautiful carriage and easy, free movement.  I just wonder why he seems to be stuck in the back of the room at the moment (I see he is dancing the prince in Sleeping Beauty later this season, so maybe he's taking it easy or something) - I would so love to see him more often.  I have to admit that I was underwhelmed with the dancer playing the Jailer - my program said it was Roman Zhurbin, but I don't know.  When I looked at him with my binoculars, it didn't look like him to me, and he wasn't his normal fascinating self onstage.  I confess to being confused; maybe it was an off night.

The physical production is gorgeous, with stunning costumes, beautiful sets and lush music (very well-played by the orchestra).  There are times when maybe there are too many of those gorgeously-costumed dancers on stage and it's hard to know where to put focus, but on the whole, even with finding the story extremely problematic (I was describing the plot to a friend and she just grimaced at the absurdity and misogyny running rampant), I had a grand time at Manon.  Lane and Cornejo were sublime and I'm happy to have seen them dance together so beautifully.  Only two ballets left in my season - withdrawal is already starting!

Preview Thoughts on A Strange Loop

This is a really busy week; it's hard to keep up with all the wonderful stuff I've been fortunate enough to see!  Just to warn you today, once again I have to share a caveat that I know and love the creator of the new musical A Strange Loop, so it will be hard for me to be objective.  I just think he's one of the most unique and monstrously talented people I've ever met.  But I don't think objectivity factors into my opinion here because this show is OFF.THE.CHARTS amazing and brilliant!  I can't imagine how anyone would come to an opinion other than that.

Since the show is still in previews, I'll only offer a few thoughts.  Besides, I was so thoroughly undone by this musical, I'm still having trouble collecting my thoughts.  Seriously, I was wrecked.  In the best theatrical way.  I still feel on the verge of ugly sobs when I replay some of the moments in my mind.  I guess what I really want to say is that Michael R Jackson is a force who will be gracing American stages for years to come, if I have anything to say about it.  We need to lift more voices like his - the piece he wrote for the Playwrights Horizons program just illustrates how smart he is and how his thinking can move our industry forward (take a look at that piece HERE).  

photo credit: Joan Marcus

A Strange Loop is a musical about a young musical theater writer of color named Usher, who is writing a musical called A Strange Loop.  He also happens to be an usher at The Lion King (which adds much humor throughout).  The story is relatively episodic, with Usher working through his issues of writing and his issues of life.  He's surrounded by six characters known as the Thoughts - one plays Usher's 'crippling self-doubt,' another is his 'sexuality,' and so on.  Those actors also play various people in Usher's life, often at the same time.  Scenes where all of the actors play Usher's mother are particularly charming.

This musical is riotously funny, with tart insights into the theater industry, and this musical is also blisteringly raw, real, and heartbreakingly sad.  I felt Usher's pain and confusion acutely, and I'll only say that there was one number where I came close to losing complete control of myself and my emotion, it was so thrillingly and theatrically honest.  The songs are all fantastic, with melodies and lyrics that pair so perfectly for what the song is trying to achieve in the story.  The physical production is also incredible - the direction, the choreography, and the musical direction all support and lift the writing to its ultimate potential.

And the cast.  Oh my god, the cast.  Larry Owens plays Usher and I don't know when I've seen such a perfect performance.  He's onstage nearly the entire show; he sings fabulously, he is a tender and special actor, and he just destroyed me.  Really, everyone is so so so good, but he is just another level.  In my perfect world, I will see him do all the shows from now on.  After I see A Strange Loop another 70 times.  

I guess I should throw in a comment that this is a show that is frank about black queer sexuality, there's some graphic language and sexual situations that discomfited some audience members (there were a few walkouts; their loss), but when the storytelling is so bold and honest and singular, I welcome that frankness.  And you know, every time I think to myself, "I know someone who can write a musical like that," I start crying again.  Michael is so special, please, do yourself (and me) the favor of checking out A Strange Loop.  You will not see a musical like this anytime soon and I want the gatekeepers in NYC to know that this is the work we want to see right now.  This is the work we NEED to see.  Please go.

ABT 2019 - Le Corsaire

I can't believe there are only a few ballet weeks left to my season!  It all goes too quickly.  We're now entering the 'classic' story ballet portion of the season - including ballets that have ridiculous (and potentially problematic) plots but glorious dancing.  The absolute epitome of this is Le Corsaire.

I've spoken before of Le Corsaire and its sections of bravura dancing; the gold standard of that, for me, was when I saw the ballet in 2012 (remind yourself of that review HERE, if you've a mind to).  I just remember being so dazzled that night.  Well, last night was also incredibly dazzling.  The second act pas de trois was one of the most spectacular extended sequences of dance I think I've ever seen.  I gasped more than once, then I finally just started laughing at the sheer unreality of the amazing dancing.  I'll get more into it in a bit.

photo credit: Foteini Christofiolpoulou (from another production)

I had been looking forward to seeing Herman Cornejo dance with beautiful Skylar Brandt last night, but unfortunately he is still injured.  Fingers crossed he'll be better for Manon next week (it's his debut in that ballet, so maybe he's saving himself; fingers crossed).  A guest artist, Brooklyn Mack, danced in his place.  Mack had been brought in for other ballets later this season, but I gather he's danced Conrad (the lead pirate) before, so he stepped in.  The photo at left is from another company's production of Le Corsaire, and that amazing split jump is part of ABT's version, too.  I'm ever so glad to have seen him - he's very heroic and strong, with bold jumps and strong footwork.  His partnering also looked very secure and attentive.  I did think he looked a tad nervous at the beginning, his arms and hands just looked a little too relaxed, but as the evening went on, he took the stage.  Well, when Daniil Simkin wasn't stealing it.  As Conrad's slave Ali, Simkin was ON.FIRE.  As always, his characterization was spot on, he's a really good actor, but his dancing was off the charts.

photo credit: Rosalie O'Connor

In the second act pas de trois, I swear he was doing moves that the human body actually can't do.  I can't describe the way he was twisting his body in the air, and then when he landed, he actually did a sort of backbend that I have never seen before.  I honestly can't describe how thrilling it was (you can see some video footage on Instagram, if you're interested), and still part of the storytelling.  Though, if I were either Brooklyn Mack or the wonderful Skylar Brandt, I would've felt like "I can't follow THAT."  But they did a grand job.  Skylar again sparkled, her turns were so fast and musical and that smile filled the ginormous Met Opera house.  She was grand.  And she had a lovely rapport with Brooklyn Mack, he had quite a sweet lovesick expression on his face that really worked for the character.  The bedroom pas de deux was very lush and romantic, yet playful.  I think Brandt and Mack could be a wonderful pairing to follow through all the ballets.  I hope they bring him back for future seasons.

photo credit: Marty Sohl

I thought Sarah Lane was an exquisite Gulnare - just so mournful, but beautiful.  Her dancing was stunningly beautiful.  The garden dream sequence with her and Brandt was gorgeous.  I also enjoyed Melanie Hamrick, Zhong-Jing Fang, and Catherine Hurlin as the odalisques.  They were lovely separately and together.  Aaron Scott was very fiery as Birbanto, but I did miss Craig Salstein in this role.  My ABT MVP, Roman Zhurbin, was the wacky pasha and was his usual delightfully detailed self.  There is no minute when he's on stage when he's not doing something interesting.  All in all, I thought the show was terrifically danced and the orchestra played the Delibes (and others) music wonderfully.  To be honest, though, I did have a moment during the ballet where I thought, hm, is now a good time to be doing a ballet dealing with slaves and the subjugation of women?  Interestingly, ABT put a note in their program about just that topic, which I was glad to read.  I'm happy people are at least thinking of these things.  I found these sentences particularly hopeful:  "Many great classics depict the disturbing social norms of bygone eras.  In our Corsaire, ABT has chosen to adjust certain scenes in tone and character out of respect for those whose lives and status were marginalized.  There may still be images that some find offensive, but we hope our audience members will be transported to the period in which it is set, and realize that such scenes are a reflection, not a validation, of life in those times."  For me, knowing that care is being taken made enjoying this nonsensical ballet that contains moments of transcendent dancing possible.  Other people may not feel that way, but difference of opinion is what makes the world go 'round.  Or something.  

My Tony Predictions - 2019

Actually, these will be more like my hopes, because my predictions never turn out well (for example, my nomination predictions were TERRIBLE, though I did get two of the 'long-shot' guesses right, so yay me).  You may remember, however, that I've only seen one Broadway musical this season, which I didn't particularly enjoy, so I'm skipping most of the musical categories.  I did throw in one or two, since I do have some hopes in those categories.  Also, I'm hoping that the broadcast will be fun and inclusive.  I've heard a rumor that all of the awards will be presented on camera, so fingers crossed it actually happens.  You all know how ticked off I get when the actual creators of the content get relegated to commercials.  Moving on...




BEST PLAY

Choir Boy, Tarell Alvin McCraney
The Ferryman, Jez Butterworth
Gary: A Sequel to Titus Andronicus, Taylor Mac
Ink, James Graham
What the Constitution Means to Me, Heidi Schreck

My prediction: The Ferryman
My hope: What the Constitution Means to Me

I will be fine with The Ferryman winning, I enjoyed it a great deal and Jez Butterworth is a marvel at creating real characters saying tons of fascinating dialogue.  I also loved Choir Boy, but I don't think it has a chance here.  But I just want to see Heidi Schreck on that stage - what she has done with her play, What the Constitution Means to Me, is a marvel.  She has taken years of rage and pain and turned them into a a funny, engaging, gut-wrenching history lesson about the mistakes this country has made and how women have borne the brunt of those mistakes over the years.  I just saw Constitution again the other day and it has deepened and grown; I was so moved and enlightened.  Plus, to indulge in my shallow side, I also have an acquaintance who refuses to acknowledge that Constitution is even a play, so I would have so much pleasure to rub his nose in a win for it...




BEST MUSICAL

Ain't Too Proud - The Life and Times of the Temptations
Beetlejuice
Hadestown
The Prom
Tootsie

My prediction: Hadestown
My hope: Hadestown

Even though I haven't seen Hadestown, it was written by a woman and directed by a woman and it's not based on a movie or a jukebox musical (I know, The Prom isn't either, but it has a male creative team; shallow, remember).  Thank you.


BEST REVIVAL OF A PLAY

All My Sons, Arthur Miller
The Boys in the Band, Mart Crowley
Burn This, Lanford Wilson
Torch Song, Harvey Fierstein
The Waverly Gallery, Kenneth Lonergan

My prediction: The Waverly Gallery
My hope: Burn This

Again, I will be perfectly fine with The Waverly Gallery winning, I enjoyed it and encouraging Kenny Lonergan to write more plays is a good thing.  Actually, I'd be ok with any of these winning (except maybe for All My Sons).  I just want to hear dear Lanford Wilson's name said on that stage and I want more people to do his plays.


BEST ACTRESS IN A PLAY

Annette Bening, All My Sons
Laura Donnelly, The Ferryman
Elaine May, The Waverly Gallery
Janet McTeer, Bernhardt/Hamlet
Laurie Metcalf, Hillary and Clinton
Heidi Schreck, What the Constitution Means to Me

My prediction:  Elaine May
My hope: Elaine May

All of these ladies were terrific (well, I didn't love Annette Bening, sue me), but Elaine May was just transcendent.  Her characterization of a woman sliding into dementia was harrowing, yet she retained humor and humanity.  Plus, hello, she's Elaine May.  Elaine May should win everything.

my boss gave me their Tony swag - whee!

BEST ACTOR IN A PLAY

Paddy Considine, The Ferryman
Bryan Cranston, Network
Jeff Daniels, To Kill a Mockingbird
Adam Driver, Burn This
Jeremy Pope, Choir Boy

My prediction: Bryan Cranston
My hope: Adam Driver

I also loved Jeremy Pope SO much, but I'm rooting for Adam Driver.  He's just so singular, I'd love to see that rewarded.








BEST FEATURED ACTRESS IN A PLAY

Fionnula Flanagan, The Ferryman
Celia Keenan-Bolger, To Kill a Mockingbird
Kristine Nielsen, Gary: A Sequel to Titus Andronicus
Julie White, Gary: A Sequel to Titus Andronicus
Ruth Wilson, King Lear

My prediction: Celia Keenan-Bolger
My hope: Fionnula Flanagan

I've loved Celia Keenan-Bolger in many things, so I'd be happy if she won.  I have just loved Fionnula Flanagan for so many years, I'm rooting for her.


BEST FEATURED ACTOR IN A PLAY

Bertie Carvel, Ink
Robin De Jesus, The Boys in the Band
Gideon Glick, To Kill a Mockingbird
Brandon Uranowitz, Burn This
Benjamin Walker, All My Sons

My prediction: Benjamin Walker
My hope: Brandon Uranowitz

Again, no problem with Benjamin Walker winning, his was actually the one performance I appreciated in All My Sons.  I'm just a huge Brandon Uranowitz fan - I've loved him each time I've seen him on stage and it would be a kick to see him win for a play, since he's basically known as a musical theater performer.


BEST DIRECTOR OF A PLAY

Rupert Goold, Ink
Sam Mendes, The Ferryman
Bartlett Sher, To Kill a Mockingbird
Ivo van Hove, Network
George C Wolfe, Gary: A Sequel to Titus Andronicus

My prediction: Bartlett Sher
My hope: George C Wolfe

I love George C Wolfe, end stop.  I always root for him.  And, just to be shallow yet again, please, for the love of all that's holy, don't let the director of Network win again.  I'm not sure I can live in a world where he's a two-time Tony winner.  Ugh.  I almost want to not even say it out loud (or on virtual paper, as it were)...


BEST DIRECTOR OF A MUSICAL

Rachel Chavkin, Hadestown
Scott Ellis, Tootsie
Daniel Fish, Oklahoma
Des McAnuff, Ain't Too Proud to Beg - The Life and Times of the Temptations
Casey Nicholaw, The Prom

My prediction: Rachel Chavkin
My hope: Rachel Chavkin

Please, please, please, let Rachel Chavkin win.  I haven't seen Hadestown, but I have seen a few of the plays she's directed and she's just so imaginative.  I want her to win so so much.


BEST CHOREOGRAPHY

Camille A Brown, Choir Boy
Warren Carlyle, Kiss Me, Kate
Denis Jones, Tootsie
David Neumann, Hadestown
Sergio Trujillo, Ain't Too Proud - The Life and Times of the Temptations

My prediction: Warren Carlyle
My hope: Camille A Brown

Even though Choir Boy wasn't a musical, the choreography Camille A Brown created for the musical interludes was incredible - so musical, and completely personal to each character.  I've never really seen anything like it, and so I want her to win.  


In other categories, I really will be rooting for Dominique Morisseau (Best Book of a Musical), because she's a genius, and for Andre De Shields (Best Featured Actor in a Musical) because he is also a genius.  I've been a fan of his for decades; I once had a long phone conversation with him (equally long story) and he's just a delight.  I desperately want to hear his acceptance speech - he may be my biggest hope, actually, after Heidi Schreck.  He's so beloved in the industry, I think it could be an amazing moment in the broadcast.  Here's wishing good luck to everyone!