The 2010-2011 Tony Awards

[Okri]

Some comments on people’s thoughts.

1. Did anyone else shudder a little bit when they heard that Anything Goes was being revived? Now, let’s be clear – I’ve never seen a Broadway show. I haven’t been to New York. So I really don’t have much of a horse in this race. But it had a successful, hit revival in the late 80s. It’s been revived two or three times in London since. And it’s not a particularly great piece. It’s fun, and Cole Porter is a genius. But I can think of a half dozen musicals I’d rather see return to the stage with stars and new recordings.

2. If it had to get revived, why did the Roundabout have to do it? My understanding about this company is that classic productions are the raison d’etre, but there’s so much of the canon out there that needs to be explored, so why is this non-profit going for typical star driven revivals?

3. But even then, why did they do everything so typically? Of course Sutton Foster has to play Reno. Of course Kathleen Marshall gets to direct/chorograph? As for Sutton Foster... shrug, I don’t like Thoroughly Modern Millie or The Drowsy Chaperone. Never bothered with Shrek or Little Women.

4. The big thing that helped War Horse win is that it’s a deeply emotional story. Like BJ says, Spielberg is turning the source material into a movie. But more than that, no other nominee really had a lot of support. Check out the New York Drama Critics Awards. On their first ballot, eleven plays scored votes. That’s damn near unheard of. Good People actually won, but both Jerusalem and Motherfucker with a Hat had a bigger presence at the Tony awards.

5. Interesting reminisce on The Normal Heart vs As Is, Tee. I actually never bothered reading The Normal Heart because Larry Kramer’s follow-up (The Destiny of Me??) was rather underwhelming. But I had fond memories of the quaint naivete of As Is (keeping in mind I read it when I was 14 or so)

6. Butz, Foster and Rylance all won their second Tonys. Lincoln Centre Theatre won its second Tony for best play (The Coast of Utopia was the first). In many respects, Lincoln Centre Theatre is like the Focus Features of Broadway, and I have a lot of respect for what they do. I just wish there was more of them.

7. I dunno – “I Believe” made The Book of Mormon look very smug. I look forward to hearing the whole show, though.

[The Original BJ]

I like anonymous's theory: that Book of Mormon chose "I Believe" so as not to spoil a lot of the show's big laughs/surprises. In thinking about some of the other numbers that could have been done (i.e. broadcast appropriate), I realized a lot of them would give away more of the show than the producers probably would have liked (particularly given that they've avoided doing the standard perform-on-the-morning-talk-show-circuit that a lot of Broadway shows do.) So much of the show's wow is based on the fact that no one knew much about it when it landed on Broadway (i.e. it never had out-of-town tryouts, or an Off-Broadway run), so it makes sense they wouldn't want to change their strategy in the middle of blockbuster success.

[flipp525]

For a big, splashy musical, especially one that's so ensemble-based, it was curious that Book of Mormon chose a solo for the telecast. But Andrew Rannells knocks that song out of the park in the show, and did last night.

Presumably, it's the number with the least objectionable (read: bleep-able bits). You've actually seen the show, BJ (I've only heard it on that NPR podcast), so I'll defer to you on that point. Also, from what I've heard, apparently Scott Rudin has the hots for Andrew Rannells, so there's that, too.

I was overjoyed by all the recognition for The Normal Heart, especially since I'm going to see it on Saturday. I was particularly impressed with (and, honestly, totally unprepared for) Ellen Barkin's heartfelt acceptance speech. She isn't exactly someone I would've thought had it in her to pull something like this off. But from what I've heard--and Damien, feel free to jump in here--she knocks the socks off her role (the sole female character in the play). I've heard that when she's on, she's REALLY on. When I performed in the play in college (in the Jim Parsons role), the monologue that Dr. Emma Brookner has towards the end of Act II sent chills throughout the audience. It's a powerful, ferocious scene.

Sutton Foster is absolutely delightful. She did a revue of songs at The Kennedy Center recently and was the talk of the town. And I'm sure Patti LaPone just hated her guts that night. First, for winning a Tony for a role LaPone was unable to parlay into a gong in Anything Goes. And secondly, for just being the belle of the ball that night whereas LaPone barely registered (her contribution to the Company number, while appropriately deferential, was, I'm sure in her mind, an anemic showcase for her ego).

I'm excited to see some of these hot bitches at Broadway Bares XXI on Sunday night!

[anonymous1980]

For a big, splashy musical, especially one that's so ensemble-based, it was curious that Book of Mormon chose a solo for the telecast. But Andrew Rannells knocks that song out of the park in the show, and did last night.

They probably used the Rannells number because it is just about the only number in the musical that would not require a lot of bleeps when performed on network TV.

They could've done "Turn It Off". That number's relatively clean and I believe it's a big elaborate number. But someone speculated it's because the people behind the show decided on a less-is-more type of publicity. They didn't blow one of their big numbers on the Tonys or show clips from the bigger numbers on their website.

I have to add, on the risk of sounding like a teenage theater queen, I think Sutton Foster is a goddess.

[OscarGuy]

Sort of like Blame Canada, one of the weaker songs in South Park: BL&U was nominated in lieu of the better more risque pieces?

[Greg]

For a big, splashy musical, especially one that's so ensemble-based, it was curious that Book of Mormon chose a solo for the telecast. But Andrew Rannells knocks that song out of the park in the show, and did last night.

They probably used the Rannells number because it is just about the only number in the musical that would not require a lot of bleeps when performed on network TV.

[The Original BJ]

I thought this show was very entertaining. Perhaps it's just the quality of the shows this year, but I thought a lot of the production numbers were FAR better than in many recent years. Neil Patrick Harris is a wonderful host -- his bit with Hugh Jackman was very funny. And most of the winners seemed fairly deserving (both based on what I've seen as well as critical praise).

I had a hunch none of the male actors from Book of Mormon would win -- awards bodies just don't like young guys much, and I figured (correctly) that their more experienced competitors would prevail. Plus, it's such an ensemble show, and as a result, more difficult to choose acting standouts. But Nikki James is wonderful, and I was very happy for her, as I was for all of the victories by the Mormon team.

I'm shocked you guys thought Sutton Foster came off poorly. I think she's splendid in that role, absolutely effortless. (And the handful of people I know who know her have said she's anything BUT full of herself.) I think that Anything Goes tap number is just wonderful, and was perfectly pleased to see Kathleen Marshall win the choreography prize.

For a big, splashy musical, especially one that's so ensemble-based, it was curious that Book of Mormon chose a solo for the telecast. But Andrew Rannells knocks that song out of the park in the show, and did last night.

I very much want to see The Scottsboro Boys. The How to Succeed and Catch Me if You Can numbers were both very enjoyable. I thought Sister Act came off the worst, but in the show, that number (which takes place over a number of scenes and locations) works far better than it did here, in its truncated/claustrophobic version. Priscilla doesn't look like my thing at all, but those costumes were definitely cool.

I've read some grumblings that War Horse was the weakest-written of the nominated plays -- and it may well be -- but those horse puppets looked incredible. (And when the star summarized the plot of the story, everyone with whom I was watching agreed, "OF COURSE, that's going to be a Spielberg movie!")

The Spider-Man number was awful. I feel like that show just keeps digging its own huge grave.

[Mister Tee]

Interestingly enough, TSB becomes the biggest tony Loser ever going 0 for 12. The next two? At 0 for 11, the original Chicago and Steel Pier. All three shows are Kander and Ebb works.

Of course, Chicago had the misfortune to be competing against the then-deeply-beloved Chorus Line. History has somewhat given Fosse the last laugh, with a movie version vastly superior to his competitor and a revival that will apparently outrun The Fantasticks.

The opening number was risky but very funny, and Harris was a wonderful host throughout. Can't believe they crafted that final hip-hop in real time; there were references to events that had occurred just minutes before.

My wife and I did prediction ballots, and I did a phenomenal 24/26 -- missing only Laroquette (I took the Mormon guy; forecasting that sweep otherwise helped alot) and the Importance of Being Earnest costumes (went with La Bete). Only wish I'd been involved in a pool with some payoff.

I thought War Horse was a gimme for directing; it's apparently the kind of staging that's so "theatrical" it makes people mistake what's on stage for excellence in playwriting. Not that I can put the show down, as I haven't seen it. But I did find it interesting how long it took anyone to even mention the writer.

The only award I thought Normal Heart might have taken that it didn't was best actor, but there you had the case of competitor Rylance having given not one but two acclaimed performances in on season. (Though I wonder if voters will ever want him back unless he promises to give an actual speech rather than those vaguely-insulting put-ons he seems to favor) Normal Heart is another play that's had the historical last laugh. The season it first played NY, most critical attention landed with As Is, a far thinner, more sentimental piece on the AIDS crisis. The latter was considered more fully sympathetic, as opposed to Kramer's play which lashed out at promiscuty as contributing to the crisis. I had to literally talk a gay friend into going to see Normal Heart (he was friends with the producer of As Is, who had been openly trashing Normal Heart), and he was amazed at how good he thought it was.

The Nikki James speech seemed the most heartfelt to me. Frances McDormand was mostly good, but she seemed cranked up on something -- the way she flew off stage was bizarre. And it was an odd outfit she had on. (By the way, she and Joel live within strolling distance of the Beacon Theatre -- I know because I live around the corner from them, and I'm just two blocks away)

Was the Book of a Musical prize given on-air because it was he one opportunity to get the two South Park guys on camera? I can't otherwise remember the last time that was presented on CBS. Oh, and it was very generous of Trey Parker to let his lesser-known collaborator Lopez speak before he did, knowing it was far more likely Lopez would be cut off if he went last.

And Chris Rock was very funny at the end.

A very enjoyable evening, despite my utter ignorance of any of the shows.

[Okri]

Overall, the speeches were terrific. I thought most of the musical numbers looked relatively mediocre, though I'm curious enough about The Scottsboro Boys. Interestingly enough, TSB becomes the biggest tony Loser ever going 0 for 12. The next two? At 0 for 11, the original Chicago and Steel Pier. All three shows are Kander and Ebb works. Odd to think The Rink scored more tonys than those three. Also, I'm really glad to hear your comment on Sutton Foster - there was something off about her performance.

Neil Patrick Harris was pretty awesome (the "liberal intellectuals/those are just jews and homosexuals" line was brillilant). The sound cut out a little too often (was it just swearing, because they also bleeped at times)

[OscarGuy]

I missed NPH's opening, but he was a terrific host. McDormand may have given a good speech, but her trailer park chic outfit was horrid. I didn't care much for the song from Sister Act, so I wouldn't probably check it out. I was rather surprised after all the adoration heaped on The Normal Heart that it managed to lose two of the most important awards: Director (no Joel Grey) and Actor. South Park got more on-stage attention than I would have expected, which I find mildly amusing. Is Sutton Foster the new Patti LuPone? In the performance for Anything Goes, she just seemed to be so full of herself. She came off very poorly I thought.

I don't know what else to say about it really. Vanessa and James looked really old. I don't know if their long introduction was intended that way, but neither arrived on stage with much vim or vigor (giving me concern for both actors' health). All this while Angela Lansbury still seemed to be spry as a 20-year-old.

[Big Magilla]

The highlights were Neil Patrick Harris' opening and closing numbers and his duet with Hugh Jackman and the standing ovation accorded James Earl Jones and Vanessa Redgrave. Frances McDormand gave the best acceptance speech though none were embarrassing.

We also got a little more of the straight play introductions than we usually get. None of the musicals really look all that good except The Book of Mormon and Sister Act, which at least look like fun. Is Memphis the new Jersey Boys? Are we going to see reprises of it every year until something else comes along that gets promoted ad infinitum instead?

[anonymous1980]

The winners:

Best Play: "War Horse."
Best Musical: "The Book of Mormon."
Best Book of a Musical: Trey Parker, Robert Lopez, Matt Stone, "The Book of Mormon."
Best Original Score (Music and/or Lyrics) Written for the Theatre: Trey Parker, Robert Lopez, Matt Stone, "The Book of Mormon."
Best Revival of a Play: "The Normal Heart."
Best Revival of a Musical: "Anything Goes."
Best Performance by an Actor in a Leading Role in a Play: Mark Rylance, "Jerusalem."
Best Performance by an Actress in Leading Role in a Play: Frances McDormand, "Good People."
Best Performance by an Actor in a Leading Role in a Musical: Norbert Leo Butz "Catch Me If You Can."
Best Performance by an Actress in a Leading Role in a Musical: Sutton Foster, "Anything Goes."
Best Performance by an Actor in a Featured Role in a Play: John Benjamin Hickey, "The Normal Heart."
Best Performance by an Actress in a Featured Role in a Play: Ellen Barkin, "The Normal Heart."
Best Performance by an Actor in a Featured Role in a Musical: John Larroquette, "How to Succeed in Business Without Really Trying."
Best Performance by an Actress in a Featured Role in a Musical: Nikki M. James, "The Book of Mormon."
Best Direction of a Play: Marianne Elliott and Tom Morris, "War Horse."
Best Direction of a Musical: Casey Nicholaw and Trey Parker, "The Book of Mormon."
Best Choreography: Kathleen Marshall, "Anything Goes."
Best Orchestrations: Larry Hochman and Stephen Oremus, "The Book of Mormon."
Best Scenic Design of a Play: Rae Smith, "War Horse."
Best Scenic Design of a Musical: Scott Pask, "The Book of Mormon"
Best Costume Design of a Play: Desmond Heeley, "The Importance of Being Earnest."
Best Costume Design of a Musical: Tim Chappel and Lizzy Gardiner, "Priscilla Queen of the Desert."
Best Lighting Design of a Play: Paule Constable, "War Horse."
Best Lighting Design of a Musical: Brian MacDevitt, "The Book of Mormon."
Best Sound Design of a Play: Christopher Shutt, "War Horse."
Best Sound Design of a Musical: Brian Ronan, "The Book of Mormon."
___
Special Tony Award for Lifetime Achievement in the Theatre: Athol Fugard, Philip J. Smith.
Regional Theatre Tony Award: Lookingglass Theatre Company (Chicago)
Isabelle Stevenson Award: Eve Ensler.
Special Tony Award: Handspring Puppet Company.
Tony Honors for Excellence in the Theatre: William Berloni, The Drama Book Shop, Sharon Jensen and Alliance for Inclusion in the Arts

[anonymous1980]

"Hasa Diga Eebowai" is a Through The Looking Glass version of "Don't Worry, Be Happy."

I heard it more as a vulgar, blasphemous, sacriligeous version of "Hakuna Matata".

[Greg]

"Hasa Diga Eebowai" is a Through The Looking Glass version of "Don't Worry, Be Happy."

[The Original BJ]

The Book of Mormon's score isn't of the "my heart is melting because this music is so beautiful" variety. (The last time I felt that in a theater was at The Light in the Piazza.) But I think the songs are VERY catchy, and I've had a bunch of them stuck in my head since I saw the show last week.

Also, a good number of the songs (especially Spooky Mormon Hell Dream and Joseph Smith American Moses) work so well as production numbers that you can't remotely get the full comic effect just by listening to them as songs.

God, Hasa Diga Ebowai is hilarious.