I agree it's the performance that should count but we all know that's only part of it. So, which back story will have the momentum this year? The opportunity to give Lansbury her sixth (and probably last) Tony, breaking her tie with Julie Harris, set just last year, as the most honored acting recipient in Tony history? The opportunity to acknowledge Barbara Cook, whose only Tony nomination was for The Music Man for which she did win 52 years ago? Or the hot new star?
Personally I think Lansbury's been honored enough. I'd give it to Cook if the back story is the deciding factor, but wasn't Nell Carter the last to win for a revue for Aint Misbehavin' way back in 1978?
Could this be shaping up as the Tony equivalent of the Best Actress Oscar race of 1950?
Edited By Big Magilla on 1272685259
2009-2010 Broadway Season
I agree that it's Katie Finneran who currently has momentum. And if voters are feeling sentimental, I think Barbara Cook will be the beneficiary of that attitude. After all, Angela Lansbury just won another one last year and with A Little Night Music she seems to be more admired for her presence then for her performance.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
Supposedly the American Idiot folks didn't push to be declared eligible in the Score category.
And I wouldn't be sore sure that anyone nominated in Featured Actress automatically loses to Lansbury, Magilla. According to the people who follow the Tonys like we follow the Oscars, not only Barbara Cook, but also Katie Finneran are also very much in contention there.
And I wouldn't be sore sure that anyone nominated in Featured Actress automatically loses to Lansbury, Magilla. According to the people who follow the Tonys like we follow the Oscars, not only Barbara Cook, but also Katie Finneran are also very much in contention there.
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Big Magilla
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A couple of thoughts.
It's probably fair that Green Day not be considered eligible for American Idiot's score, but this is a perfect example of the Tony committee's inconsistency over the years. 17 years ago Pete Townshend was not only considered eligible for this decades old score for Tommy, he actually won.
It's not unusual for performers in reviews to be relegated to support, but putting 82 year-old Barbara Cook, who the Outer Critics nominated in lead, up against 84 year-old Angela Lansbury virtually assures she won't be taking home her first Tony in more than fifty years.
It's probably fair that Green Day not be considered eligible for American Idiot's score, but this is a perfect example of the Tony committee's inconsistency over the years. 17 years ago Pete Townshend was not only considered eligible for this decades old score for Tommy, he actually won.
It's not unusual for performers in reviews to be relegated to support, but putting 82 year-old Barbara Cook, who the Outer Critics nominated in lead, up against 84 year-old Angela Lansbury virtually assures she won't be taking home her first Tony in more than fifty years.
TONYS Announce Eligibility for RED, Sondheim, Enron, Tenor, Idiot, Fences & More
The Tony Awards Administration Committee met today for the fourth and final time this season to decide the eligibility of thirteen Broadway productions for the 2010 American Theatre Wing's Tony Awards®, presented by The Broadway League and The American Theatre Wing. The thirteen productions discussed included: Come Fly Away; Red; Lend Me a Tenor; The Addams Family; Million Dollar Quartet; La Cage Aux Folles; American Idiot; Sondheim on Sondheim; Promises, Promises; Fences; Enron; Collected Stories and Everyday Rapture.
Eddie Redmayne will be considered eligible in the Best Performance by a Featured Actor in a Play category for his performance in Red.
Anthony LaPaglia will be considered eligible in the Best Performance by a Featured Actor in a Play category for his performance in Lend Me a Tenor.
John Gallagher, Jr. will be considered eligible in the Best Performance by a Leading Actor in a Musical category for his performance in American Idiot.
Barbara Cook, Vanessa Williams and Tom Wopat will be considered eligible in the Best Performance by a Featured Actress/Actor in a Musical categories respectively for their performances in Sondheim on Sondheim.
Viola Davis will be considered eligible in the Best Performance by a Leading Actress in a Play category for her performance in Fences.
Norbert Leo Butz will be considered eligible in the Best Performance by a Leading Actor in Play category for his performance in Enron.
Adam Cork (Music) and Lucy Prebble (Lyrics) will be considered eligible in the Best Score (Music and/or Lyrics Written for the Theatre) category for Enron.
Collected Stories will be eligible in the Best Revival of a Play category.
Linda Lavin will be considered eligible in the Best Performance by a Leading Actress in a Play category for her performance in Collected Stories.
All other decisions were consistent with the opening night program credits.
Additionally, BroadwayWorld.com has confirmed that American Idiot will not be eligible for Best Score and that Branford Marsalis' score for Fences, will be eligible.
Ben Brantley LOVES Everday Rapture:
THEATER REVIEW
A Semi-Star Torn Between Two Superstars
By BEN BRANTLEY -- New York Times
Just as the Broadway theater season is drawing to its close, a smashing little show has arrived to remind us of why so many of us keep going back to Broadway, even though it’s broken our heart so many times.
“Everyday Rapture,” which opened on Thursday night at the American Airlines Theater, is by no means a conventional Broadway musical. Yet I can’t think of another production in recent years that captures and explains so affectingly the essence and allure of musicals, and why they’re such an indispensable part of the New York landscape.
First seen Off Broadway last spring at the Second Stage Theater, “Everyday Rapture” tells the ostensibly familiar story of a girl from the American heartland who falls in love with showbiz — and its capital city, Manhattan — from a distance, breaks away from a confining hometown that has never understood her and becomes a big star of big hit musicals in New York. All right, let’s qualify that. She becomes, in her own words, “a semi-semi-semi star” of “semi-hit” shows. And it’s those “semis” that make her such fabulous company here.
The girl is named Sherie Rene Scott, and she is portrayed by Sherie Rene Scott in what you could safely say is the role of a lifetime. Of course there appears to be a significant overlap between the character and the actress, who has indeed created high-profile roles on Broadway in two Disney extravaganzas (“Aida” and “Disney’s ‘The Little Mermaid’ ”) and “Dirty Rotten Scoundrels.” But in telling the story of Sherie, Ms. Scott embellishes, overstates, understates, bends and weaves the complexities and inconsistencies of one life into the whole-making harmonies of a musical fable. In so doing, she has created a beautiful, funny fiction that is both utterly removed from and utterly true to real life. Which is what I, at least, always hope a musical will do.
Written by Dick Scanlan and Ms. Scott, and directed with virtuoso efficiency and wit by Michael Mayer, “Everyday Rapture” might have found an alternative title from a song in “A Chorus Line,” which Ms. Scott probably listened to when she was growing up: “What I Did for Love.” Except that might be a little too sappy. Ms. Scott manages to be sentimental and sardonic in the same breath.
Her wide-eyed manner, equal parts sexiness and sincerity, could be said to be faux-naïf. But know that there’s nothing cynical about the faux part; it’s a style choice that lets Ms. Scott perform with the sophistication that a New York audience (or rather an audience of New Yorkers) demands. And there’s no denying that when she sings, from a wildly diverse song list, she’s as polished and inventive as the worldliest cabaret artist. Having spent many nights on Broadway stages, she has no difficulty scaling up cabaret intimacy for a house as large as the American Airlines Theater; Ms. Scott naturally translates life size into bigger than life.
In creating this persona, Sherie had one heck of a role model: Judy Garland, to whose music she was introduced by her cousin Jerome, a closet lip-syncher and kindred soul. Loving Judy wasn’t easy in the world of Mennonite Kansas in which Sherie grew up. Early on, she detected a schism in her character. She was, she says, “torn between two lovers: Jesus and Judy.”
That divide is given delightful form when little Sherie sings “You Made Me Love You” to a montage of images of Jesus. Ms. Scott can do Judy (“No matter what God said, I was going to modulate!”), but when she does, she’s never merely a sound-alike. Sherie speaks of the ecstasy of living your life “inside a song,” and that means shaping the song to you.
So when Sherie does Garland, she’s doing Sherie hearing and responding to Garland even as she mimics her voice. And you really shouldn’t miss Sherie’s revelatory interpretation of the songs of Mr. Rogers, the children’s show host whose homiletic paeans to each person’s specialness helped steer Sherie through the shoals of adolescence. The choice of numbers and their presentation, to embody key moments in Sherie’s life, are never obvious. Yet they turn out to be the perfect vehicles for living out autobiographical chapters in song.
Those chapters include the inevitable first visit to Gotham (leading to a gently awe-struck interpretation of Harry Nilsson’s “I Guess the Lord Must Be in New York City”), the first lover (described in ways that allow Ms. Scott to make piquant use of some classic magic tricks) and an afternoon of cosmic introspection inspired by her 3-year-old son’s finding a four-leaf clover (the cue for a meditative rendition of David Byrne’s “Why”).
There are none of the expected backstage Broadway vignettes or awards ceremonies scenes. They would be too easy for a show that so insists on making its own kind of music. Instead there is a blissful, achingly funny segment about Sherie’s on-line relationship with a 15-year-old fan (a marvelous Eamon Foley) that speaks megabytes about stardom and its discontents in the age of the Internet. Sherie is chastened by her encounter with Broadwayislove09@earthlink.net (Mr. Foley’s character) and emerges from it with her ego shrunk to a speck of dust.
The image of a speck of dust figures prominently in “Everyday Rapture.” It’s the flip side of the belief that the world has been created just for you. I doubt there’s a performer — no, make that a person — alive who hasn’t known the high-low seesaw effect of that dichotomy. And it seems appropriate that “Rapture” has been given a set (by Christine Jones) and lighting (by Kevin Adams) that evoke both honky-tonk dazzle and the infinite darkness of the cosmos. Even Michele Lynch’s choreography is double edged, mixing showbiz slickness with the awkwardness of the terminally introspective.
In excavating her own ego, Ms. Scott has been given deluxe support all the way. As her backup singers, the Mennonettes (Lindsay Mendez and Betsy Wolfe), seem to have emanated directly from Ms. Scott’s fantasies. (Don’t you have your own team of fantasy backup singers?) The orchestrations and arrangements for the first-rate onstage band are by Tom Kitt (the composer of “Next to Normal”). And her director is, remember, Mr. Mayer, the man who staged “Spring Awakening” and this season’s “American Idiot.”
“Rapture” is itself, I guess, a speck, by the standards of a Broadway blockbuster, at least in size. But what Ms. Scott and her team summon here is that strange alchemy of ego, hunger, desperation and mysticism that infuses every great Broadway performance. That’s what turns human specks of dust into starlight. In breaking down the chemistry of that transformation, Ms. Scott has never shined brighter or more illuminatingly.
THEATER REVIEW
A Semi-Star Torn Between Two Superstars
By BEN BRANTLEY -- New York Times
Just as the Broadway theater season is drawing to its close, a smashing little show has arrived to remind us of why so many of us keep going back to Broadway, even though it’s broken our heart so many times.
“Everyday Rapture,” which opened on Thursday night at the American Airlines Theater, is by no means a conventional Broadway musical. Yet I can’t think of another production in recent years that captures and explains so affectingly the essence and allure of musicals, and why they’re such an indispensable part of the New York landscape.
First seen Off Broadway last spring at the Second Stage Theater, “Everyday Rapture” tells the ostensibly familiar story of a girl from the American heartland who falls in love with showbiz — and its capital city, Manhattan — from a distance, breaks away from a confining hometown that has never understood her and becomes a big star of big hit musicals in New York. All right, let’s qualify that. She becomes, in her own words, “a semi-semi-semi star” of “semi-hit” shows. And it’s those “semis” that make her such fabulous company here.
The girl is named Sherie Rene Scott, and she is portrayed by Sherie Rene Scott in what you could safely say is the role of a lifetime. Of course there appears to be a significant overlap between the character and the actress, who has indeed created high-profile roles on Broadway in two Disney extravaganzas (“Aida” and “Disney’s ‘The Little Mermaid’ ”) and “Dirty Rotten Scoundrels.” But in telling the story of Sherie, Ms. Scott embellishes, overstates, understates, bends and weaves the complexities and inconsistencies of one life into the whole-making harmonies of a musical fable. In so doing, she has created a beautiful, funny fiction that is both utterly removed from and utterly true to real life. Which is what I, at least, always hope a musical will do.
Written by Dick Scanlan and Ms. Scott, and directed with virtuoso efficiency and wit by Michael Mayer, “Everyday Rapture” might have found an alternative title from a song in “A Chorus Line,” which Ms. Scott probably listened to when she was growing up: “What I Did for Love.” Except that might be a little too sappy. Ms. Scott manages to be sentimental and sardonic in the same breath.
Her wide-eyed manner, equal parts sexiness and sincerity, could be said to be faux-naïf. But know that there’s nothing cynical about the faux part; it’s a style choice that lets Ms. Scott perform with the sophistication that a New York audience (or rather an audience of New Yorkers) demands. And there’s no denying that when she sings, from a wildly diverse song list, she’s as polished and inventive as the worldliest cabaret artist. Having spent many nights on Broadway stages, she has no difficulty scaling up cabaret intimacy for a house as large as the American Airlines Theater; Ms. Scott naturally translates life size into bigger than life.
In creating this persona, Sherie had one heck of a role model: Judy Garland, to whose music she was introduced by her cousin Jerome, a closet lip-syncher and kindred soul. Loving Judy wasn’t easy in the world of Mennonite Kansas in which Sherie grew up. Early on, she detected a schism in her character. She was, she says, “torn between two lovers: Jesus and Judy.”
That divide is given delightful form when little Sherie sings “You Made Me Love You” to a montage of images of Jesus. Ms. Scott can do Judy (“No matter what God said, I was going to modulate!”), but when she does, she’s never merely a sound-alike. Sherie speaks of the ecstasy of living your life “inside a song,” and that means shaping the song to you.
So when Sherie does Garland, she’s doing Sherie hearing and responding to Garland even as she mimics her voice. And you really shouldn’t miss Sherie’s revelatory interpretation of the songs of Mr. Rogers, the children’s show host whose homiletic paeans to each person’s specialness helped steer Sherie through the shoals of adolescence. The choice of numbers and their presentation, to embody key moments in Sherie’s life, are never obvious. Yet they turn out to be the perfect vehicles for living out autobiographical chapters in song.
Those chapters include the inevitable first visit to Gotham (leading to a gently awe-struck interpretation of Harry Nilsson’s “I Guess the Lord Must Be in New York City”), the first lover (described in ways that allow Ms. Scott to make piquant use of some classic magic tricks) and an afternoon of cosmic introspection inspired by her 3-year-old son’s finding a four-leaf clover (the cue for a meditative rendition of David Byrne’s “Why”).
There are none of the expected backstage Broadway vignettes or awards ceremonies scenes. They would be too easy for a show that so insists on making its own kind of music. Instead there is a blissful, achingly funny segment about Sherie’s on-line relationship with a 15-year-old fan (a marvelous Eamon Foley) that speaks megabytes about stardom and its discontents in the age of the Internet. Sherie is chastened by her encounter with Broadwayislove09@earthlink.net (Mr. Foley’s character) and emerges from it with her ego shrunk to a speck of dust.
The image of a speck of dust figures prominently in “Everyday Rapture.” It’s the flip side of the belief that the world has been created just for you. I doubt there’s a performer — no, make that a person — alive who hasn’t known the high-low seesaw effect of that dichotomy. And it seems appropriate that “Rapture” has been given a set (by Christine Jones) and lighting (by Kevin Adams) that evoke both honky-tonk dazzle and the infinite darkness of the cosmos. Even Michele Lynch’s choreography is double edged, mixing showbiz slickness with the awkwardness of the terminally introspective.
In excavating her own ego, Ms. Scott has been given deluxe support all the way. As her backup singers, the Mennonettes (Lindsay Mendez and Betsy Wolfe), seem to have emanated directly from Ms. Scott’s fantasies. (Don’t you have your own team of fantasy backup singers?) The orchestrations and arrangements for the first-rate onstage band are by Tom Kitt (the composer of “Next to Normal”). And her director is, remember, Mr. Mayer, the man who staged “Spring Awakening” and this season’s “American Idiot.”
“Rapture” is itself, I guess, a speck, by the standards of a Broadway blockbuster, at least in size. But what Ms. Scott and her team summon here is that strange alchemy of ego, hunger, desperation and mysticism that infuses every great Broadway performance. That’s what turns human specks of dust into starlight. In breaking down the chemistry of that transformation, Ms. Scott has never shined brighter or more illuminatingly.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
Damn, I have to sit through Enron next week. Sometimes it's better to hold off on buying tickets til the reviews come out.
The review of Joe Dziemianowicz of the Daily News makes me especially wary:
A slice of American history and a cautionary tale that's audaciously theatrical but watery soup when it comes to content.
Om the Plus Side, Marin Mazzie is my favorite contemporary stage actress.
Hopefullym the less-than-stellar reviews for Enron and Red wll mean a Tony for the wonderful Next Fall.
The review of Joe Dziemianowicz of the Daily News makes me especially wary:
A slice of American history and a cautionary tale that's audaciously theatrical but watery soup when it comes to content.
Om the Plus Side, Marin Mazzie is my favorite contemporary stage actress.
Hopefullym the less-than-stellar reviews for Enron and Red wll mean a Tony for the wonderful Next Fall.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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Mister Tee
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Butz was in the Ives/Twain thing a couple seasons back, Michael Weller's off Broadway fightfest and Piven's replacement in Speed-the-Plow. Off the top of my head.Mister Tee wrote:Would have to be -- she hasn't got younger. (In fact, I haven't looked it up, but didn't she win that year (1976)?)Reza wrote:Wasn't Rosemary Harris nominated for a Tony many years ago for The Royal Family? And, if so, was it for the same part she plays in this revival?
The Outer Critics also resemble NBR in that they'll occasionally omit something that wasn't available for viewing at the time they chose to early-release their nominations. Enron appears to be totally missing here, which I assume just means they didn't see it.
I guess seeing Butz's name in the Enron ad was what led me to assume it was a musical. Has he had credits in non-musicals prior?
In the recent revival, Rosemary Harris played the role Eva Le Gallienne had in the 1975 version. Jan Maxwell portrayed Julie, Harris's 1975 role.
Harris was nominated for a Tony in 75-76, but lost to Irene Worth in Sweet Bird of Youth.
Tee, Norbert Leo Butz was one of the replacements for Jeremy Piven in Speed-The-Plow last year after the infamous mercury poisoning incident.
Harris was nominated for a Tony in 75-76, but lost to Irene Worth in Sweet Bird of Youth.
Tee, Norbert Leo Butz was one of the replacements for Jeremy Piven in Speed-The-Plow last year after the infamous mercury poisoning incident.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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Mister Tee
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Would have to be -- she hasn't got younger. (In fact, I haven't looked it up, but didn't she win that year (1976)?)Reza wrote:Wasn't Rosemary Harris nominated for a Tony many years ago for The Royal Family? And, if so, was it for the same part she plays in this revival?
The Outer Critics also resemble NBR in that they'll occasionally omit something that wasn't available for viewing at the time they chose to early-release their nominations. Enron appears to be totally missing here, which I assume just means they didn't see it.
I guess seeing Butz's name in the Enron ad was what led me to assume it was a musical. Has he had credits in non-musicals prior?
The nominations for the Outer Circle Critics Awards have been announced. These awards -- given by reviewers from outside of New York City -- are the least meaningful -- think of them as the National Board of Review of New York theatre -- but they do kick off the awards season.
==============================
From the NY Times:
‘Memphis’ and ‘The Royal Family’ Lead Outer Critics Circle Awards Nominations
By DAVE ITZKOFF
”The Broadway musical “Memphis” and the recent revival of “The Royal Family” were the most recognized productions at Monday’s announcement of the nominations for the Outer Critics Circle awards, edging out the John Kander and Fred Ebb musical “The Scottsboro Boys” and the critically reviled “Addams Family.” “Memphis” received seven nominations including outstanding new Broadway musical, and Manhattan Theater Club’s revival of “Royal Family” also received seven, including outstanding revival of a play.
“The Scottsboro Boys,” which was presented Off-Broadway at the Vineyard Theater and is transferring to the Guthrie Theater in Minneapolis this summer, received six, including outstanding new Off-Broadway musical. “The Addams Family” received five nominations, for set design, actor (Nathan Lane), actress (Bebe Neuwirth), featured actor (Kevin Chamberlin) and featured actress (Carolee Carmelo), as did “Bloody Bloody Andrew Jackson,” including new Off-Broadway musical and director of a musical (Alex Timbers).
A complete list of nominees for the 2009-2010 season appears below.
OUTSTANDING NEW BROADWAY PLAY
Next Fall
Red
Superior Donuts
Time Stands Still
OUTSTANDING NEW BROADWAY MUSICAL
American Idiot
Come Fly Away
Fela!
Memphis
Sondheim on Sondheim
OUTSTANDING NEW OFF-BROADWAY PLAY
Clybourne Park
The Orphans’ Home Cycle
The Pride
The Temperamentals
OUTSTANDING NEW OFF-BROADWAY MUSICAL
Bloody Bloody Andrew Jackson
The Scottsboro Boys
Tin Pan Alley Rag
Yank!
OUTSTANDING NEW SCORE
(Broadway or Off-Broadway)
Bloody Bloody Andrew Jackson
Memphis
The Scottsboro Boys
Yank!
OUTSTANDING REVIVAL OF A PLAY
(Broadway or Off-Broadway)
Fences
Lend Me a Tenor
The Royal Family
A View From the Bridge
OUTSTANDING REVIVAL OF A MUSICAL
(Broadway or Off-Broadway)
La Cage aux Folles
Finian’s Rainbow
A Little Night Music
Promises, Promises
OUTSTANDING DIRECTOR OF A PLAY
Doug Hughes - The Royal Family
Kenny Leon - Fences
Stanley Tucci - Lend Me a Tenor
Michael Wilson - The Orphans’ Home Cycle
OUTSTANDING DIRECTOR OF A MUSICAL
Christopher Ashley - Memphis
Terry Johnson - La Cage aux Folles
Susan Stroman - The Scottsboro Boys
Alex Timbers - Bloody Bloody Andrew Jackson
OUTSTANDING CHOREOGRAPHER
Rob Ashford - Promises, Promises
Bill T. Jones - Fela!
Susan Stroman - The Scottsboro Boys
Sergio Trujillo - Memphis
OUTSTANDING SET DESIGN
(Play or Musical)
John Lee Beatty - The Royal Family
Beowulf Boritt - Sondheim on Sondheim
Phelim McDermott & Julian Crouch - The Addams Family
Donyale Werle - Bloody Bloody Andrew Jackson
OUTSTANDING COSTUME DESIGN
(Play or Musical)
Jane Greenwood - Present Laughter
Martin Pakledinaz - Lend Me a Tenor
Matthew Wright - La Cage aux Folles
Catherine Zuber - The Royal Family
OUTSTANDING LIGHTING DESIGN
(Play or Musical)
Kevin Adams - American Idiot
Kevin Adams - The Scottsboro Boys
Ken Billington - Sondheim on Sondheim
Justin Townsend - Bloody Bloody Andrew Jackson
OUTSTANDING ACTOR IN A PLAY
Bill Heck - The Orphans’ Home Cycle
Jude Law - Hamlet
Liev Schreiber - A View From the Bridge
Christopher Walken - A Behanding in Spokane
Denzel Washington - Fences
OUTSTANDING ACTRESS IN A PLAY
Nina Arianda - Venus in Fur
Laura Benanti - In the Next Room, or the vibrator play
Viola Davis - Fences
Laura Linney - Time Stands Still
Jan Maxwell - The Royal Family
OUTSTANDING ACTOR IN A MUSICAL
Brandon Victor Dixon - The Scottsboro Boys
Sean Hayes - Promises, Promises
Douglas Hodge - La Cage aux Folles
Chad Kimball - Memphis
Nathan Lane - The Addams Family
OUTSTANDING ACTRESS IN A MUSICAL
Kate Baldwin - Finian’s Rainbow
Barbara Cook - Sondheim on Sondheim
Montego Glover - Memphis
Bebe Neuwirth - The Addams Family
Catherine Zeta-Jones - A Little Night Music
OUTSTANDING FEATURED ACTOR IN A PLAY
James DeMarse - The Orphans’ Home Cycle
Jon Michael Hill - Superior Donuts
David Pittu - Equivocation
Noah Robbins - Brighton Beach Memoirs
Reg Rogers - The Royal Family
OUTSTANDING FEATURED ACTRESS IN A PLAY
Hallie Foote - The Orphans’ Home Cycle
Rosemary Harris - The Royal Family
Marin Ireland - A Lie of the Mind
Jan Maxwell - Lend Me a Tenor
Alicia Silverstone - Time Stands Still
OUTSTANDING FEATURED ACTOR IN A MUSICAL
Kevin Chamberlin - The Addams Family
Christopher Fitzgerald - Finian’s Rainbow
Levi Kreis - Million Dollar Quartet
Dick Latessa - Promises, Promises
Bobby Steggert - Ragtime
OUTSTANDING FEATURED ACTRESS IN A MUSICAL
Carolee Carmello - The Addams Family
Katie Finneran - Promises, Promises
Angela Lansbury - A Little Night Music
Cass Morgan - Memphis
Terri White - Finian’s Rainbow
OUTSTANDING SOLO PERFORMANCE
Jim Brochu - Zero Hour
Carrie Fisher - Wishful Drinking
Judith Ivey - The Lady With All the Answers
Anna Deavere Smith - Let Me Down Easy
JOHN GASSNER AWARD
(Presented for an American play, preferably by a new playwright)
John Logan - Red
Jon Marans - The Temperamentals
Geoffrey Nauffts - Next Fall
Bruce Norris - Clybourne Park
==============================
From the NY Times:
‘Memphis’ and ‘The Royal Family’ Lead Outer Critics Circle Awards Nominations
By DAVE ITZKOFF
”The Broadway musical “Memphis” and the recent revival of “The Royal Family” were the most recognized productions at Monday’s announcement of the nominations for the Outer Critics Circle awards, edging out the John Kander and Fred Ebb musical “The Scottsboro Boys” and the critically reviled “Addams Family.” “Memphis” received seven nominations including outstanding new Broadway musical, and Manhattan Theater Club’s revival of “Royal Family” also received seven, including outstanding revival of a play.
“The Scottsboro Boys,” which was presented Off-Broadway at the Vineyard Theater and is transferring to the Guthrie Theater in Minneapolis this summer, received six, including outstanding new Off-Broadway musical. “The Addams Family” received five nominations, for set design, actor (Nathan Lane), actress (Bebe Neuwirth), featured actor (Kevin Chamberlin) and featured actress (Carolee Carmelo), as did “Bloody Bloody Andrew Jackson,” including new Off-Broadway musical and director of a musical (Alex Timbers).
A complete list of nominees for the 2009-2010 season appears below.
OUTSTANDING NEW BROADWAY PLAY
Next Fall
Red
Superior Donuts
Time Stands Still
OUTSTANDING NEW BROADWAY MUSICAL
American Idiot
Come Fly Away
Fela!
Memphis
Sondheim on Sondheim
OUTSTANDING NEW OFF-BROADWAY PLAY
Clybourne Park
The Orphans’ Home Cycle
The Pride
The Temperamentals
OUTSTANDING NEW OFF-BROADWAY MUSICAL
Bloody Bloody Andrew Jackson
The Scottsboro Boys
Tin Pan Alley Rag
Yank!
OUTSTANDING NEW SCORE
(Broadway or Off-Broadway)
Bloody Bloody Andrew Jackson
Memphis
The Scottsboro Boys
Yank!
OUTSTANDING REVIVAL OF A PLAY
(Broadway or Off-Broadway)
Fences
Lend Me a Tenor
The Royal Family
A View From the Bridge
OUTSTANDING REVIVAL OF A MUSICAL
(Broadway or Off-Broadway)
La Cage aux Folles
Finian’s Rainbow
A Little Night Music
Promises, Promises
OUTSTANDING DIRECTOR OF A PLAY
Doug Hughes - The Royal Family
Kenny Leon - Fences
Stanley Tucci - Lend Me a Tenor
Michael Wilson - The Orphans’ Home Cycle
OUTSTANDING DIRECTOR OF A MUSICAL
Christopher Ashley - Memphis
Terry Johnson - La Cage aux Folles
Susan Stroman - The Scottsboro Boys
Alex Timbers - Bloody Bloody Andrew Jackson
OUTSTANDING CHOREOGRAPHER
Rob Ashford - Promises, Promises
Bill T. Jones - Fela!
Susan Stroman - The Scottsboro Boys
Sergio Trujillo - Memphis
OUTSTANDING SET DESIGN
(Play or Musical)
John Lee Beatty - The Royal Family
Beowulf Boritt - Sondheim on Sondheim
Phelim McDermott & Julian Crouch - The Addams Family
Donyale Werle - Bloody Bloody Andrew Jackson
OUTSTANDING COSTUME DESIGN
(Play or Musical)
Jane Greenwood - Present Laughter
Martin Pakledinaz - Lend Me a Tenor
Matthew Wright - La Cage aux Folles
Catherine Zuber - The Royal Family
OUTSTANDING LIGHTING DESIGN
(Play or Musical)
Kevin Adams - American Idiot
Kevin Adams - The Scottsboro Boys
Ken Billington - Sondheim on Sondheim
Justin Townsend - Bloody Bloody Andrew Jackson
OUTSTANDING ACTOR IN A PLAY
Bill Heck - The Orphans’ Home Cycle
Jude Law - Hamlet
Liev Schreiber - A View From the Bridge
Christopher Walken - A Behanding in Spokane
Denzel Washington - Fences
OUTSTANDING ACTRESS IN A PLAY
Nina Arianda - Venus in Fur
Laura Benanti - In the Next Room, or the vibrator play
Viola Davis - Fences
Laura Linney - Time Stands Still
Jan Maxwell - The Royal Family
OUTSTANDING ACTOR IN A MUSICAL
Brandon Victor Dixon - The Scottsboro Boys
Sean Hayes - Promises, Promises
Douglas Hodge - La Cage aux Folles
Chad Kimball - Memphis
Nathan Lane - The Addams Family
OUTSTANDING ACTRESS IN A MUSICAL
Kate Baldwin - Finian’s Rainbow
Barbara Cook - Sondheim on Sondheim
Montego Glover - Memphis
Bebe Neuwirth - The Addams Family
Catherine Zeta-Jones - A Little Night Music
OUTSTANDING FEATURED ACTOR IN A PLAY
James DeMarse - The Orphans’ Home Cycle
Jon Michael Hill - Superior Donuts
David Pittu - Equivocation
Noah Robbins - Brighton Beach Memoirs
Reg Rogers - The Royal Family
OUTSTANDING FEATURED ACTRESS IN A PLAY
Hallie Foote - The Orphans’ Home Cycle
Rosemary Harris - The Royal Family
Marin Ireland - A Lie of the Mind
Jan Maxwell - Lend Me a Tenor
Alicia Silverstone - Time Stands Still
OUTSTANDING FEATURED ACTOR IN A MUSICAL
Kevin Chamberlin - The Addams Family
Christopher Fitzgerald - Finian’s Rainbow
Levi Kreis - Million Dollar Quartet
Dick Latessa - Promises, Promises
Bobby Steggert - Ragtime
OUTSTANDING FEATURED ACTRESS IN A MUSICAL
Carolee Carmello - The Addams Family
Katie Finneran - Promises, Promises
Angela Lansbury - A Little Night Music
Cass Morgan - Memphis
Terri White - Finian’s Rainbow
OUTSTANDING SOLO PERFORMANCE
Jim Brochu - Zero Hour
Carrie Fisher - Wishful Drinking
Judith Ivey - The Lady With All the Answers
Anna Deavere Smith - Let Me Down Easy
JOHN GASSNER AWARD
(Presented for an American play, preferably by a new playwright)
John Logan - Red
Jon Marans - The Temperamentals
Geoffrey Nauffts - Next Fall
Bruce Norris - Clybourne Park
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
Critics were ecstatic about Fela! but it just never seemed to catch on. Word of mouth on it has not been terrific. Given the track record of Tony voters, American Idiot is probably the front-runner because is the hot new thing, with Fela! its main competition. Memphis is an almost certain third place entry, with the last spot up for grabs among Come Fly With Me, The Addams Family and Everyday Rapture (although the latter, which is essentially a one-woman show with occasional assists from 3 other performers, may be seen as too slight to contend. One of those 3 other actors, however, was Ben Brantley choice as Best Supporting Actor last year when the show ran off-Broadway, Eamon Foley as a teenage theatre geek. (One of the most interesting races will be Twyla Tharp vs. Bill T. Jones for Choreography.)Okri wrote:Enron has a musical scene, but it's not a musical. It's also winning best play.
So glad to hear that Damien likes Everyday Rapture. I love Scott in The Last Five Years and Dirty Rotten Scoundrels, so it's nice to know she's got a role worthy of her talents.
What about Fela!
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell