My Tony picks - the musicals

I haven't seen many of the new musicals and revivals that opened this season on Broadway, including 9 to 5, Next to Normal and West Side Story. And I never made it to [title of show] or White Christmas. So these aren't exactly the most knowledgeable picks but they are some of my favorite musical performances of the year.

Best Musical
*Billy Elliot, The Musical
Next to Normal
Rock of Ages
Shrek The Musical

Of the three nominated musicals I saw, Billy Elliot is simply the one that touched me the most, that I thought was the most captivating and thrilling to watch. It has memorable characters and dramatic tension and moments of poignancy and humor and makes the story of striking British coal miners seem universal.

Best Book of a Musical
*Billy Elliot, The Musical - Lee Hall
Next to Normal - Brian Yorkey
Shrek The Musical - David Lindsay-Abaire
[title of Show] - Hunter Bell

Lee Hall wrote the original screenplay for the 2000 movie Billy Elliot and then adapted it for the stage. And it's a great story - about a young boy discovering a talent and how, in a time of great stress, a community rallies around him.

Best Original Score (Music and/or Lyrics) Written for the Theatre
*Billy Elliot, The Musical - Music: Elton John; Lyrics: Lee Hall
Next to Normal - Music: Tom Kitt; Lyrics: Brian Yorkey
9 to 5: The Musical - Music & Lyrics: Dolly Parton
Shrek The Musical - Music: Jeanine Tesori; Lyrics: David Lindsay-Abaire

This is Billy Elliot versus Shrek for me, since I haven't seen the other two. I didn't exactly leave the theatre humming the songs from either one. But I think Billy Elliot's score works well in the context of the story.

Best Revival of a Musical
Guys and Dolls
*Hair
Pal Joey
West Side Story

Okay, Pal Joey and Hair were the only ones I saw in this category. Hair is a 40-year-old show, tied to a particular time in American history. But instead of coming off like a relic, it seems so fresh and vibrant and thought-provoking. Unlike so many recent musicals, the songs are catchy and memorable. And I never get tired of listening to them.

Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish ‚ Billy Elliot, The Musical
*Gavin Creel, Hair
Brian d'Arcy James, Shrek The Musical
Constantine Maroulis, Rock of Ages
J. Robert Spencer, Next to Normal

Here's where I get off the Billy Elliot bandwagon. I saw Trent Kowalik as Billy and he was a great dancer. But his performance as an actor didn't move me as much as Gavin Creel's in Hair. Creel just made me feel the conflict that his character was going through. He's also an adult and a more accomplished actor so it's not a fair comparison. But he gets my imaginary vote.

Best Performance by a Featured Actor in a Musical
David Bologna, Billy Elliot, The Musical
Gregory Jbara, Billy Elliot, The Musical
Marc Kudisch, 9 to 5: The Musical
Christopher Sieber, Shrek The Musical
*Will Swenson, Hair

I thought Christopher Sieber and Gregory Jbara were both great and I'd be happy to see either of them win. But Will Swenson as Berger, the leader of the hippie tribe, was so charismatic and fun to watch in a role that requires a lot of physical stamina.

Best Performance by a Featured Actress in a Musical
Jennifer Damiano, Next to Normal
*Haydn Gwynne, Billy Elliot, The Musical
Karen Olivo, West Side Story
Martha Plimpton, Pal Joey
Carole Shelley, Billy Elliot, The Musical

I liked Martha Plimpton and Carole Shelley but I absolutely adored Haydn Gwynne as Mrs. Wilkinson. She was so hilarious and unforgettable as the demanding teacher who becomes Billy's champion. I even thought the musical lost a bit of its spark when she was offstage.

Best Scenic Design of a Musical
Robert Brill, Guys and Dolls
Ian MacNeil, Billy Elliot, The Musical
*Scott Pask, Pal Joey
Mark Wendland, Next to Normal

Ian MacNeil has designed a great set for Billy Elliot - it rises like a corkscrew from the Imperial Theatre stage and reminds me a bit of the game Mousetrap. But I really liked the way Scott Pask's dark set for Pal Joey evokes a seedy 1930s nightclub in Chicago. It helps sets the mood of the show and fits well with this rather dark story.

Best Costume Design of a Musical
Gregory Gale, Rock of Ages
Nicky Gillibrand, Billy Elliot, The Musical
*Tim Hatley, Shrek The Musical
Michael McDonald, Hair

For me, one of the best things about Shrek were the costumes. They made me smile for the way they evoked a classic children's storybook come to life.

Best Direction of a Musical
Stephen Daldry, Billy Elliot, The Musical
Michael Greif, Next to Normal
Kristin Hanggi, Rock of Ages
*Diane Paulus, Hair

I think Stephen Daldry, who also directed the movie, does a good job with Billy Elliot. But the choices Diane Paulus makes in Hair are a big part of the reason why it's so alive, so relevant. It evokes the spirit of the 1960s in a fun way but never lets the audience forget some of the sadder and more brutal events of that tumultuous decade.

Best Choreography
Karole Armitage, Hair
Andy Blankenbuehler, 9 to 5: The Musical
*Peter Darling, Billy Elliot, The Musical
Randy Skinner, Irving Berlin's White Christmas

I loved the choreography in Hair and I'd be thrilled to see Armitage win. But Billy Elliot above all is a wonderful testament to the absolute joy of movement, to the artistry and exuberance and sheer athleticism of dance. It's the dancing I remember more than the score, so Peter Darling gets my vote.

Fun and games on Broadway

In preparation for my upcoming trips to New York I've been scouring Broadway show Web sites:

Coolest download: Virtual Zippo lighter app for your iPhone at Rock of Ages. (Because you can never be too ready for a power ballad.)

Dumbest game: "Shoot your boss," at 9 to 5. I know it fits with the plot and all but isn't it a tad in poor taste?

Best use of video: Vblog entries from the cast of Hair are fun. The Easter Bonnet competition featuring the cast of 33 Variations doesn't tell you much about the show but it's very witty. Shrek's 10-part online video series on bringing the musical to Broadway is the most interesting and provides reasons to keep coming back to the site.

Best marketing slogan playing off a line from a song: Hair - We got merch, brother!

Best e-cards: Shrek, with their funny takeoffs on other Broadway shows.

Most unfortunate video trend: Watching scenes from plays without the sound. You can see a montage from God of Carnage, you just can't hear the actors. Instead, they play some background music. What's the point? At least Exit the King gives you a few lines of dialog before the montage.

Best blog: It's hard to beat Jane Fonda at 33 Variations. Although, strangely, I couldn't find a link to it on the show's site.

But I wish the two queens from Mary Stuart had kept up their blogging. Here's a sample from Mary, Queen of Scots: "I am in rehearsals for my upcoming trial. I am training hard as I suspect it will all be physically hard to endure. I have discovered protein shakes and they are helping me."

My Broadway year - the downs

Now that I've praised some of the amazing moments I saw on Broadway this year, I want to take a moment to mention some things that bothered me, as well as one disappointment.

• I've written before about the couple sitting behind me at Billy Elliot who were talking so loudly when the musical began that I had to turn around and glare at them as I asked them to be quiet. It was the same thing at Shrek, the people sitting next to me were talking and unwrapping candy. Is it me or is the talking and eating during shows getting worse? It makes me a little wary of seeing the musical Rock of Ages, since Variety reports that there'll be in-seat cocktail service during the show when it moves from off-Broadway to the Brooks Atkinson Theatre. Maybe it fits with the story, which I guess partly takes place in a nightclub, and it'll be done in a way that won't bother non-drinking theatergoers, but I don't know.
  

• I've decided that there are simply some things I don't particularly want to see or hear on stage - the farting and belching competition in Shrek may have worked in the movie but in a Broadway musical I just didn't care for it. And the urinating porter in Macbeth was one special effect I definitely could have done without. This poses a bit of a dilemma. I really want to see Yasmina Reza's play God of Carnage on Broadway in the spring. (Although it'll have a different cast than the London production. Sadly, no Ralph Fiennes.) But I know there's a particular bodily function in the play which I'm not too eager to experience. Still, the Broadway cast reportedly includes James Gandolfini, and for a chance to see Tony Soprano, I'll steel myself.
  

• Speaking of Macbeth, I've mentioned a few times before that I'm pretty squeamish and I knew last spring's production was a particularly bloody one. I was looking forward to seeing Patrick Stewart on Broadway but I got a little nervous when Ben Brantley compared the horror level to a Wes Craven movie in his New York Times review. Now, I've never actually seen a Wes Craven movie but it sounded ominous. Well let me tell you, it was quite a letdown. I didn't feel squeamish at all. I only took my glasses off briefly and I didn't once have to put my head between my knees to ward off fainting. Don't get me wrong, what I saw was plenty, but given the buildup, I was prepared for more blood, more guts. Thanks Ben, for getting me all worked up for nothing!
  

Shrek

Gratuitous Violins rating: **1/2 out of ****

I can find something to like in almost every show. I don't ask for much - I'm fairly lenient in my ratings. All I want is be entertained. (And I don't mean that solely in a light, fluffy sense.)

Make me laugh, make me cry or make my jaw drop in amazement. Give me performances I remember weeks later, situations that resonate or make me think. Catchy songs, energetic choreography or an eye-catching set will help, too.

But you have to give me something to work with. And the new musical Shrek, while it had its moments, unfortunately didn't give me nearly enough. I didn't feel as excited or absorbed by the plot or the main characters as I should have been. At 2 hours and 40 minutes including an intermission, the show dragged. Frankly, there were times when I was simply bored.

Keep in mind that I saw Shrek, which opens Sunday, very early in its previews at the Broadway Theatre. I want to give it the benefit of the doubt. Maybe director Jason Moore has speeded things up a bit.

And I have to admit that I was never a big fan of the 2001 animated movie Shrek, based on the classic children's book by William Steig. The story revolves around a big green ogre named Shrek who has to find Princess Fiona and bring her back to the scheming Lord Farquaad in order to rid his swamp of a horde of pesky fairytale characters.

For me, the best part of the movie was Eddie Murphy as the voice of the donkey who accompanies Shrek on his journey. Daniel Breaker was cast in the role after the musical's Seattle tryout, replacing Chester Gregory II. I was a big fan of Breaker's from Passing Strange and he was the main reason I wanted to see Shrek.

Breaker is fun to watch as the sassy sidekick, even if he did seem to be channeling Eddie Murphy a bit. He's such a terrific presence - just in the way he moves, flaps the hooves of his donkey costume. Christopher Sieber, who spends a good part of the musical on his knees as the ruthless and vertically challenged Lord Farquaad, made me smile whenever he was on stage. John Tartaglia was sweet and cute as Pinocchio but it's not a huge role.

On the other hand, I wasn't blown away by Brian d'Arcy James and Sutton Foster as Shrek and Princess Fiona. They were okay, but neither one seemed all that interesting and I didn't end up caring all that much about their relationship. Somehow, Shrek didn't seem gruff enough and Fiona didn't seem spunky enough. There's a scene, which I guess is a memorable one from the movie, in which they have a farting and belching contest. Personally, I hated it. But everyone else laughed, so what do I know?

There were some things about Shrek that I liked. Tim Hatley's costumes and scenic design - the forest, Lord Farquaad's castle - looked like they could have leaped from the pages of a classic children's fairytale. There was some great animation and David Lindsay-Abaire's book contains some witty references to other Broadway shows.

I liked some of the songs by Jeanine Tesori and Lindsay-Abaire, including the opening number, "Big Bright Beautiful World," the storybook characters' anthem, "Freak Flag," and "Morning Person," the song-and-dance number Fiona has at the beginning of Act II. (I don't know why she was dancing with those rats but it did make me laugh.)

In the end, though, the whole thing just seemed bland and unengaging. Shrek wasn't magical enough to bring out my inner child and it wasn't clever enough to appeal to my grown-up emotions. Tesori was at the performance I attended, so maybe things have changed. Or maybe, sadly, this just wasn't for me.

A great day for a parade

I'm watching the Macy's Thanksgiving Day Parade. The Fred Hill Briefcase Drill Team is marching with businesslike precision through Times Square! There's a giant Shrek balloon towering above Broadway! It's not often I get to watch New York City live on tv for a couple hours - and it looks terrific!

Happy Thanksgiving! And to everyone who's stopped by, left a comment or met up with me, thanks so much. I'm grateful for your time and for the friendships I've made.

Getting excited about Shrek

Sometimes, one performer can make the difference between "eh, not interested" and "I have to see this."

A couple of my fellow bloggers have already weighed in on the casting changes announced earlier this week for the Broadway-bound Shrek, which begins previews Nov. 8. But I want to send out a little blog love of my own to Daniel Breaker, who will be the musical's new Donkey, replacing Chester Gregory II.

While I do feel bad for Gregory, who was cut after the show's Seattle run, I guess that's part of what shows do in out-of-town tryouts. The creative team sees what works and what doesn't and makes changes. As a Broadway performer, I imagine you understand that's the way the system works and there's always a chance you'll be replaced. He's a veteran, talented actor and hopefully he'll be back on stage soon.

Up until this week, I had next to no interest in seeing Shrek. I watched the 2001 movie a few years ago, and it was okay. The best part was Eddie Murphy as the Donkey. (I wonder if this is a little dig at Murphy: In the New York Times story, he's referred to as the "Norbit auteur.")

But Breaker's involvement with Shrek changes everything. He was just so memorable in the musical Passing Strange and I'd jump at the chance to see him in another role. Yes, I was that impressed. In fact, I liked everyone in the cast.

Breaker is a wonderfully expressive, physical actor. He can do so much just with the way he slouches in a chair. And he made the character of Youth, who journeys from Los Angeles to Amsterdam to Berlin in search of "the real" so sweet and appealing. One of my absolute favorite Broadway moments from 2008 was watching Breaker leap across the Belasco Theatre stage in imitation of a big Broadway dance number.

Here's a good Los Angeles Times interview with Breaker from June. He recalls his childhood in Germany as an Army brat, coming to New York to study at Juilliard, his Tony nomination for Passing Strange, and his impending fatherhood. And in The Washington Post in 2005, Breaker talks about his love for performing the classics.

According to his Facebook page, Breaker's son, Rory, was born last month. So even though he'll be long gone from Shrek by the time his son is old enough to start going to the theatre, it's kind of cool that Breaker's next Broadway role is based on a classic children's book.

Three for three

So, a couple days ago I said I was salivating at the thought of seeing Hair in Central Park this summer. I wish I could say the same about these other projects, but my feelings are decidedly mixed. Here are my thoughts, along with some ideas for alternatives. Any producers reading this, you know where to find me.

Gone with the Wind: Am I the only one who thinks that a musical version of Gone with the Wind, which opens in London's West End in April, is a supremely bad idea? I'm sure director Trevor Nunn's intentions are good. But the depictions of black people in the 1939 movie are stereotypical and offensive, and I don't see how they'll be any better on stage. The thought of singing and dancing slaves makes me cringe. And casting Jill Paice as Scarlett O'Hara only confirms my queasiness. She was wonderful in Curtins as the sweet ingenue. But this article in Playbill refers to Scarlett as a "steely Southern belle." Paice just doesn't strike me as steely enough.

My alternative: You want to make a musical out of a classic movie, how about my favorite movie of all time: Casablanca. It's arguably just as well known and beloved as GWTW, and it has some of the same elements: a love story set against a wartime backdrop, strong male and female lead characters, memorable supporting roles. Plus, the 1942 film has an element of suspense and this time, our hero and heroine are on the right side of a moral issue.

Shrek: I'm kind of ambivalent about the musical version of the 2001 animated film centering around a large green ogre, which begins previews at The Broadway Theatre on Nov. 8. Although it probably doesn't matter what I think since I'm about 40 years older than the target audience and I don't have any small children to bring. On one hand, I think it's great that another movie, oops I mean musical, is opening on Broadway that's geared to young children and their parents. One of the great things about Broadway is the range of entertainment for all ages. On the other hand, I saw the first Shrek movie and I don't remember being all that bowled over by it. The only character I really liked was Eddie Murphy as the donkey. Now if he were going to be in the Broadway musical, I'd buy a ticket.

My alternative: Disney's One Hundred and One Dalmations. The 1961 classic has a love story, a great villain in the appropriately named Cruella De Vil, and a cute floppy-eared supporting cast. Plus, the male lead in the movie, Roger Radcliffe, is a professional songwriter. How perfect is that for a musical! I'm not sure how they'd get 101 dogs on stage. I admit that's a major stumbling block. Dancers in doggie suits probably wouldn't cut it. Maybe they could go the route of the horses in Equus and wear abstract wire Dalmation heads. Or maybe Julie Taymor could whip something up, a la The Lion King.

Yentl: A musical version of the 1983 Barbra Streisand movie about a girl who disguises herself as a boy to study in an Eastern European yeshiva is being considered by husband-and-wife songwriters Marilyn and Alan Bergman. I guess this is more in the Shrek category. I'm not opposed to it, I'm just not all that excited about it. And haven't we seen this before? It's like Fiddler on the Roof meets Shakespeare in Love. But do we need another Fiddler when the first one is still perfectly fit?

My alternative: What I'd really like to see is a musical that looks at contemporary Jewish life. So I'm recommending the very funny 2006 chick-lit novel by Laurie Gwen Shapiro called The Matzo Ball Heiress. The heroine, Heather Greenblotz, of Greenblotz Matzo, tries to save the ailing family business by pulling her quirky, far-flung and emphatically secular relatives together for a Passover seder to be broadcast on the Food Channel. Complications ensue, but needless to say, by the end she finds the kosher man of her dreams.