--Okri wrote:This is more The Lion King over Ragtime
In other words, a nightmare of epic proportions? :p
Heh.
Whenever people cite this as an example of the sway the "out-of-town" voters have in awarding the big prize, I always point out that The Lion King did win the the New York Drama Critics Circle Prize over Ragtime, so it's not like it didn't have a strong critical constituency.
In all fairness to Billy Elliot, it did quite well with the critics as well. This is more The Lion King over Ragtime then Thoroughly Modern Millie over Urinetown, imo.
Another rave for Next To Normal from the Daily News, with this about Alice Ripley: "Ripley gives a towering performance that leaves you tongue-tied for superlatives."
"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
The race for best musical is, if not transformed, certainly complicated by the opening of Next to Normal, which Ben Brantley gave an orgasmic review in the Times. Variety was more restrained but also extremely positive; haven't caught up to others yet. The one caveat: both reviews mention how much improved the show is from its earlier incarnation, so it's possible they're overstating the show's overall appeal based on how much more they liked it than the first time.
On the other hand, two friends of ours saw it and adored it.
One thing certain: Alice Ripley becomes the clear front-runner for best actress/musical.
As for the top prize: the history of populist smashes like Billy Elliot vs. critics' fave art-sicals is mixed -- going all the way back to The Music Man defeating West Side Story. But there have been years where the dark/risky show won it all -- Cabaret over I Do! I Do!, A Little Night Music over Pippin, Sweeney Todd over Best Little Whorehouse and They're Playing Our Song. In recent years, though, the touring-company bloc has generally given lower-echelon prizes to the ambitious show (Urinetown, Light in the Piazza), but saved the top award for something more audience friendly (Thoroughly Modern Millie, Spamalot).
I am surprised given that Lansbury's name is what seems to be drawing in the crowds. She's also the only one doing TV publicity including an appearance on The View. I guess she and Barbara Walters have settled their decades old feud that began at the height of Murder, She Wrote when Barbara made her cry by asking her about her son's drug problems.
Maybe it's because there is a wealth of riches in the lead actress category this year.
The Tony people have had one of their meetings and said, among other things, that Lansbury will be considered in the Featured Actress category for Blithe Spirit.
Rush was an acclaimed theatre actor in Australia for two decades before he was cast in Shine; I recall the popular opinion when the film was released was along the lines of "that's same old schtick he's been doing for years" (although, to be fair, that schtick can be very effective on stage).
I didn't have any special knowledge, Tee. Knowing a little bit about the role, and knowing that even in the most thankless film role Rush will play to the back rows of the theater down the hall, I had a feeling he might impress some people on Broadway. And as the show went into previews, I read online where people who had attended the previews were talking about how impressed they were with him. His style does certainly seem more suited for live theatre, although if I were up in New York this spring, I doubt his show would be very high on my to-see list.
I've never liked him much in anything, although he (and Eric Bana) played that final scene of Munich just about perfectly. It's one of the few times he hasn't tried to steamroller or kneecap a fellow actor who might be dominating or holding his own in the scene. The rest of the performance--in what I think is otherwise a pretty great ensemble--is a little too close to his usual Rush-isms for me.
Mister Tee wrote:And who'd have picked him as a prospect for the Oscar/Emmy/Tony triple crown?
His Oscar win for Shine was quite an abomination.
I'd say that Rush is probably the worst film actor working today. Maybe his unbridled ham works better on stage, but then again a mannered performance is just as annoying love as it is on celluloid.
"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
The Times review was closer to savage than negative. If the paper has any influence anymore, it should blackball Feldshuh from win-consideration, at least.
dws, you obviously had the inside word of Exit the King, which got Rush tremendous personal reviews on Friday (even from those lukewarm on the play). I'd say he's the early front-runner for lead actor. And who'd have picked him as a prospect for the Oscar/Emmy/Tony triple crown?
