Some thoughts on the 2012 Tony Awards

Watching the Tony Awards last night made me so happy that I braved a storm to see The Gershwins' Porgy & Bess before it came to Broadway, that Trinity Rep snagged Clybourne Park for a 300-seat theatre and that I set aside my qualms about movie-to-musical adaptations for Once.

In other words, I'm pretty happy about the winners, especially Once, which is the most unique and captivating new musical I've seen in years. It's the one show I've been recommending whenever someone asks me what to see on Broadway.

And the speeches from the winners seemed especially heartfelt and emotional. I was tearing up hearing Tony winner for Once Steve Kazee talk about his mother, who passed away from cancer on Easter Sunday. Anyone who's lost a parent knows how he felt.

I'm not sure whether Stephen Sondheim's angry letter to The New York Times cost the Follies revival a Tony win. I think most voters would be professional enough to judge the show on its merits. But a cast and creative team work so hard and it's such a tough business. I'm sure Sondheim's criticism of a musical he hadn't seen must have stung.

The one show I haven't seen that came across especially well was the British comedy One Man, Two Guvnors. James Corden's acceptance speech was hilarious, even though it was largely recycled from the Drama Desk Awards. And the scene they showed from the play: Who knew someone hitting himself in the head with a trash can lid could be so funny?!

Despite Tony wins for Michael McGrath and Judy Kaye, I'm still not interested in Nice Work If You Can Get It. Maybe if Matthew Broderick hadn't looked so tired and as my friend Tapeworthy said, gotten a better haircut, the musical number from the show would have been more exciting. Where have you gone, Ferris Bueller?

This comment from Alan Menken, who with Jack Feldman won Best Score for Newsies, was interesting: "We really owe it to the generation of kids who adopted this movie and insisted that it be brought to the stage." Before VCRs and cable channels like the Disney Channel, seeing your favorite movie over and over again wouldn't have been possible. And Menken is so close to an EGOT. Get that man an Emmy, stat!

As a show, the Tony Awards were just ok. Host Neil Patrick Harris was his usual charming and witty self. If you're interested and you've seen the plays and musicals, you'll tune in. If not, you won't. For me the best part was tweeting along with my fellow theatre fans. They made watching it at home alone on the couch a lot more enjoyable!

The one misstep was including a snippet of Hairspray performed live from the Royal Caribbean liner Oasis of the Seas. This is supposed to be a night to recognize the best in American theatre and that was underwhelming. Although I was impressed by the enormous size of the ship's theatre.

I'm sure the American Theatre Wing and the Broadway League were under a lot of pressure from CBS to include it. I wish they had stood their ground and made Royal Caribbean buy a commercial in a regular commercial slot instead of disguising it as part of the show. Besides, if I were interested in taking a cruise, I'd want to see more of the ship.

And the one thing I hate about all awards shows is how the camera is fixed on the nominees, to get their reaction as a winner is announced. I always avert my eyes. I just can't watch. It seems so cruel.

But regardless of who brought home a Tony, I loved all of the nominated performances I saw this season. You can find the complete list of winners here.

My picks for the 2012 Tony Awards

The Tony Awards are Sunday night at 8 on CBS, hosted once again by the charming Neil Patrick Harris!

Here are the nominees in (most of) the categories and my picks if I had a vote. I've marked in bold the shows and performances that I've seen. It's so hard to choose because I enjoyed them all!

Best Musical
Newsies
*Once
Nice Work if You Can Get It
Leap of Faith

I saw Newsies and Once on the same day, which was quite an experience. Newsies is a terrific traditional Broadway musical. But Once felt unique and captivating.

Best Revival of a Musical
*Follies
Evita
The Gershwins' Porgy and Bess
Jesus Christ Superstar

This production of Follies got to me. Every role was wonderfully cast and hearing the score with a full orchestra was thrilling.

Best Original Score
Bonnie & Clyde
*Newsies
One Man, 2 Guvnors
Peter and the Starcatcher

I love the Newsies score, especially the big ensemble numbers "Seize the Day," "Carry the Banner" and "King of New York." Alan Menken's music and Jack Feldman's lyrics sing "Broadway" to me.

Best Book of a Musical
Lysistrata Jones, Douglas Carter Beane
Newsies, Harvey Fierstein
Nice Work If You Can Get It, Joe DiPietro
*Once, Enda Walsh

I think Enda Walsh did a beautiful job translating Once from the screen to the stage. His adaptation brings out the humor and heart in the story.

Best Actor in a Musical
Danny Burstein, Follies
*Jeremy Jordan, Newsies
Steve Kazee, Once
Norm Lewis, The Gershwins' Porgy and Bess
Ron Raines, Follies

Every year there's one category where I've seen all the performances, which makes it even harder to pick a favorite! I really did love them all. But Jeremy Jordan's strong vocals, charisma and 1,000-watt smile won me over.

Best Featured Actor in a Musical
*Philip Boykin, The Gershwins' Porgy and Bess
Michael Cerveris, Evita
David Alan Grier, The Gershwins' Porgy and Bess
Michael McGrath, Nice Work If You Can Get It
Josh Young, Jesus Christ Superstar

I saw the pre-Broadway Porgy and Bess at the American Repertory Theatre and Philip Boykin was scary terrific as the bullying Crown. I can only imagine how much more terrifying he's gotten.

Best Actress in a Musical
Jan Maxwell, Follies
Audra McDonald, The Gershwins' Porgy and Bess
*Cristin Milioti, Once
Kelli O'Hara, Nice Work If You Can Get It
Laura Osnes, Bonnie and Clyde

Yes I know the money's on Audra but I'd love to see Cristin Milioti, who simply sparkled in her portrayal of a Czech immigrant in Ireland, walk off with a Tony.

Best Featured Actress in a Musical
Elizabeth A. Davis, Once
*Jayne Houdyshell, Follies
Judy Kaye, Nice Work If You Can Get It
Jesse Mueller, On A Clear Day You Can See Forever
Da'Vine Joy Randolph, Ghost

This one is easy. I've seen Jayne Houdyshell onstage twice and each time she's been a hoot. I loved her belting out "Broadway Baby."

Best Choreography
Rob Ashford, Evita
*Christopher Gattelli, Newsies
Steven Hoggett, Once
Kathleen Marshall, Nice Work If You Can Get It

I'm a longtime fan of Christopher Gattelli's work and his acrobatic, athletic choreography brought such exuberance to Newsies. It was one of the best things about the show.

Best Play
*Clybourne Park
Other Desert Cities
Peter and the Starcatcher
Venus in Fur

I didn't see Clybourne Park on Broadway. But of the three, it's the one I most wanted to talk about afterward, for its examination of race and changing neighborhoods and how America has changed.

Best Revival of a Play
Death of a Salesman
Master Class
Wit
*The Best Man

I admired Death of a Salesman and I can see why it's a classic American play. But maybe this is the history and politics junkie in me speaking - I loved The Best Man. The way this 1960 play about a presidential campaign resonates in 2012 is amazing and incredibly entertaining.

Best Actor in a Play
James Corden, One Man, Two Guvnors
*Philip Seymour Hoffman, Death of a Salesman
James Earl Jones, The Best Man
Frank Langella, Man and Boy
John Lithgow, The Columnist

I was enthralled by Philip Seymour Hoffman's performance in Death of Salesman. He's such an expressive actor and he captured Willy Loman's weariness, as well as his exhilaration and confidence in the flashback scenes.

Best Featured Actor in a Play
Christian Borle, Peter and the Starcatcher
Michael Cumpsty, End of the Rainbow
Tom Edden, One Man, Two Guvnors
*Andrew Garfield, Death of a Salesman
Jeremy Shamos, Clybourne Park

He seemed a little too delicate for the role but Andrew Garfield brought such intensity and emotion to the role of Biff in Death of a Salesman, especially in the flashbacks showing him as a teenager.

Best Actress in a Play
Stockard Channing, Other Desert Cities
*Tracie Bennett, End of the Rainbow
Linda Lavin, The Lyons
Nina Arianda, Venus in Fur
Cynthia Nixon, Wit

As Judy Garland in End of the Rainbow, Tracie Bennett was devastating. I just wish that the play had been worthy of her talents.

Best Featured Actress in a Play
Linda Emond, Death of a Salesman
Spencer Kayden, Don't Dress for Dinner
*Celia Keenan-Bolger, Peter and the Starcatcher
Judith Light, Other Desert Cities
Condola Rashad, Stick Fly

As the precocious daughter of a British diplomat, Celia Keenan-Bolger had the voice and mannerisms of a young girl down pat. I adored her character - a spunky and determined heroine.

2011 Tony nominations

Some thoughts on the 2011 Tony nominations, announced this morning:

I was shocked (but in a good way) by 12 nominations, including Best Musical, for The Scottsboro Boys, which closed in December after a brief Broadway run. I'm so happy for Joshua Henry, Forrest McClendon and Colman Domingo, all of whom received richly deserved acting nods.

I thought Scottsboro was inventive and compelling for the way it told the story of nine black teenagers falsely accused of rape in Alabama in 1931. One of the last musicals from John Kander and the late Fred Ebb, it was profoundly moving and entertaining in the best sense of the word.

I'm also glad the Tonys recognized other performances I enjoyed from shows that have closed: Laura Benanti as a wacky model in Women on the Verge of a Nervous Breakdown; Hannah Yelland as a woman involved in a clandestine love affair from Brief Encounter; and Joanna Lumley's princess and artistic patron from La Bete.

And I'm thrilled for Judith Light, nominated for Best Featured Actress in a Play for her role as the wife of the Green Bay Packers coach in Lombardi. While I didn't love the play, I thought her portrayal of Marie Lombardi was sublime.

It's also great to see South Africa's Handspring Puppet Company receive a special Tony for War Horse. Their horse puppets were amazing and I was wondering how the nominators would deal with them. They don't fully belong in any category but they so deserve to be recognized.

Now, some disappointments.

The biggest surprise for me was Daniel Radcliffe being snubbed. He was so charming in How to Succeed in Business Without Really Trying. He sang sweetly, danced up a storm and had a flawless American accent. He should have received a nomination for Best Actor in a Musical. I would also have given a nomination to the lovely Rose Hemingway as Rosemary.

And I wish Nick Adams had gotten a nod for his very funny performance in Priscilla Queen of the Desert, which was shut out of the Best Musical category. I am happy his costar, Tony Sheldon, received a nomination. He totally inhabits his role as the transsexual Bernadette, an aging drag queen.

I also would have nominated David Hirson's La Bete for Best Revival of a Play. It got a lukewarm reception from the critics, even as they praised Mark Rylance's performance. But I absolutely loved the play. I thought it was clever, hilarious and thought-provoking.

The 65th annual Tony Awards, showcasing the best of Broadway, will air Sunday, June 12 at 8 p.m. on CBS.

The Tonys and marketing Broadway

Just about everyone else has weighed in on Hunter Foster's Facebook group "Give the Tonys Back to Broadway," so here's my 2 cents.

Like the other major awards shows, there are two sides to the Tony Awards. They're supposed to celebrate the best in terms of artistic achievement and act as a marketing tool.

The producers of the Emmys, Oscars and Grammys have it easy. You watch the ceremony and you want to see the TV show or movie or listen to the song, it's cheap and simple.

The Broadway League and the American Theatre Wing have more of a challenge.

A theatre fan watching far from Broadway faces the prospect of shelling out $1,000 for a weekend in New York City. And with tourists buying 63 percent of the tickets, that's the audience the show has to reach.

(I wonder why more isn't done to promote the Tonys at theatres that present Broadway tours? And don't think about moving the broadcast from CBS to PBS. I bet some stations either won't carry it or would air it at 3 a.m. a week later.)

Before I became a regular theatergoer, one of the few times I remember watching the Tony Awards was in 2005.

I don't know what made me tune in but it may have had something to do with Spamalot being a Best Musical nominee. I'd been a big Monty Python fan as a teenager.

I watched the cast of The 25th Annual Putnam County Spelling Bee, and they were hilarious. I remember Victoria Clark winning for Best Actress in a Musical for The Light in the Piazza and Norbert Leo Butz winning Best Actor for Dirty Rotten Scoundrels.

Sad to say, neither name meant anything to me and nothing compelled me to start looking into tickets and hotel reservations.

That came a couple years later, when I found out Kevin Spacey, one of my favorite actors, was going to be in A Moon for the Misbegotten. I wanted to see him on Broadway more than anything. And I did - twice.

So, I could have done with less Green Day and Glee and more Marian Seldes and Kate Baldwin on the Tony broadcast. I wish more of the awards could be televised, more of my favorite theatre actors serve as presenters and a better job be done showcasing plays.

All I know is, since 2007 I've attended dozens of shows on Broadway, off Broadway and elsewhere. I'm the go-to person for friends who need some advice about visiting New York City and seeing a show. Now, some of my favorite actors are people you've never heard of unless you follow theatre.

Without the draw of Kevin Spacey, a movie star, none of that would have happened.

Believe me, the prospect of seeing a favorite actor onstage is thrilling. Sure, they have to do their part by being up to the job. But when it works, the experience can turn a very casual theatergoer into a passionate fan.

David Hyde Pierce on theatre and memory

You may recall my bond with Curtains, the first musical I saw on Broadway. Not only did I love the show but I had a great time meeting the gracious cast, including David Hyde Pierce, at the stage door afterward.

So I was thrilled that the American Theatre Wing honored Hyde Pierce with the Isabelle Stevenson Award, bestowed upon an individual from the theatre community who has volunteered time and effort on behalf of a charitable, humanitarian or social service organization.

Hyde Pierce was recognized for his work in the fight against Alzheimer's disease. His grandfather died of the disease and his father suffered from dementia. He's a board member of the Alzheimer's Association and has worked on the local and national level advocating for additional funding for research and care programs.

The award was presented to him during the pre-broadcast portion of the Tonys Sunday night. Here's part of what he said:

"We all say 'I'll never forget' and I think we say it in the theatre more than anyplace else because we're blessed to have so many unforgettable things happen in our world. I'll never forget Marian Seldes' curtain calls. I'll never forget Kelsey Grammer planting a big wet one on Douglas Hodge.

Well I don't use that phrase anymore. My work with the association has taught me that 'I'll never forget' is a phrase, it's a vow, that none of us can honestly make.

But I promise you in honor of my family, the Alzheimer's Association, my grandfather and my dad that I will be grateful for this honor, I will remember this night, as long as memory serves."

The evening at Curtains was one of many unforgettable theatre experiences I've had over the past three years. Rest assured that I will remember it as long as my memory serves.

Here's David Hyde Pierce talking about the award and his latest role, in La Bete, which he's currently rehearsing in London.

Some thoughts on the 2010 Tony Awards

This is going to be a little like the Tony Awards: nothing too edgy or innovative, nothing that other people haven't already said and with more panache. You can find the winners here.

As host, Sean Hayes was charming and funny, terrific at the piano (did anyone else tear up at the first strains of "Give My Regards to Broadway?") and not afraid to put on silly costumes. His drawn-out kiss with Promises, Promises costar Kristin Chenoweth was perfect.

With so many styles of music represented on Broadway: rhythm and blues, pop, rock 'n' roll, Afrobeat, to name a few, why did American Idiot get to perform so many times? And people do realize that Green Day's not in the show, right?

As presenters, Bebe Neuwirth and Nathan Lane from The Addams Family made me laugh. Yes, the Passover line has been used before but what can I say? Perhaps it's programmed in my genetic code but I will laugh every single time.

I thought Catherine Zeta-Jones did a much better job with "Send in the Clowns" when I saw A Little Night Music than she did on the Tonys. Steve on Broadway, as usual, had the perfect quip on Twitter: "Catherine Zeta-Jones inexplicably became a bobble-head."

How glamorous was Scarlett Johansson! I was moved by her acceptance speech: "Ever since I was a little girl, I've wanted to be on Broadway." Sadly, A View From the Bridge closed in April. Johansson is a singer, too. So the 25-year-old may well have an EGOT in her future.

I think Glee is hit or miss, but I loved hearing Lea Michele sing "Don't Rain on My Parade." Although I know it's not likely to happen, I would buy a ticket to see her in a Broadway revival of Funny Girl. I just would.

I wish people would stop ragging on Best Musical winner Memphis. It's an energetic show with terrific performances from Chad Kimball and Montego Glover. At a time when we're still fighting for marriage equality, the story of the romance between a black singer and a white disc jockey in the 1950s resonated with me.

(And Michael Riedel, if you liked Fela! better, that's fine. But please, you're not an expert on what's "authentically black.")

It's Tony night 2010!

The 64th annual Tony Awards, recognizing the best of Broadway, are tonight!

Despite the exclamation mark, my anticipation level is a little lower this year since I haven't seen any of the shows that opened on Broadway in 2010.

Still, I'll be looking forward to a glimpse of the ones I haven't seen and rooting for the nominees from the first half of the 2009-2010 season.

I enjoyed them all but I'd be especially delighted if Jon Michael Hill wins for Best Featured Actor in a Play for Superior Donuts and Montego Glover for Best Actress in a Musical for Memphis.

And hearing Angela Lansbury sing in A Little Night Music was such a thrill, I'll be cheering if she raises one of those new taller, heavier Tonys over her head in triumph.

What's amazed me in the run-up to the Tonys this year is the coverage - in print and from online sites, in blogs and on Twitter.

While it's been tough to keep up with all of the interviews and predictions and looks back at the Broadway season, what a great feast from which to pick and choose.

Among the absolute best pieces I've read is today's New York Times interview with Lifetime Achievement Award recipient Marian Seldes. I had the great honor of seeing her and Angela Lansbury on Broadway in Deuce in 2007.

Finally, I want to send my congratulations to David Hyde Pierce, recipient of the Isabelle Stevenson Award in recognition of his work with the Alzheimers Association.

One of my favorite Tony moments was jumping up from the couch and cheering three years ago when he won for Best Actor in a Musical for Curtains, the very first musical I saw on Broadway.

The non-televised portion of the Tonys - where awards for design, book of a musical, score and choreography are handed out - will be at 7 p.m. You can watch online at Broadway.com. The prime-time portion, hosted by Promises, Promises nominee Sean Hayes, begins at 8 p.m. on CBS.

Should the Tonys invite off-Broadway?

I have to disagree with Bloomberg News writer Jeremy Gerard, who argues that the Tony Awards should expand to include off-Broadway plays and musicals.

I understand his point - the best theatre in New York City doesn't always take place from 41st to 54th Streets, with a quick detour to Lincoln Center. Over the past few years, I've seen terrific off-Broadway productions and some Broadway shows I could have missed.

But the Tonys, in addition to recognizing artistic achievement, are also a marketing tool, just like the Oscars, the Emmys and the Grammys.

People who tune in Sunday to watch the Tonys (8 p.m. CBS), including some of the tourists who buy 65 percent of the tickets to shows, are watching because they want to see "Broadway." No disrespect to the rest of New York theatre but I think that's pretty indisputable.

The Tonys and Broadway are inextricably linked in the public's mind. It's "Broadway's Biggest Night." And Broadway, for better or worse, has name recognition.

The Broadway League and the American Theatre Wing have a stake in protecting the Tony Awards brand. Once the Tonys become a mix of Broadway and off-Broadway, you've diluted the brand in the eyes of the viewing and ticket-buying public.

Besides, even if off-Broadway shows were eligible, it still wouldn't make Gerard's last statement true:

"Off-Broadway has been playing the supporting role for way too long. It’s time for the Tony Awards to invite everyone into the tent and give real meaning to the phrase 'outstanding achievement in the theater.' ''

If you really want the awards to reflect outstanding achievement, then you would have to include all of the great work being done by theatre companies across the United States, not just give out one regional Tony per year.

All you would accomplish by including off-Broadway is to turn the Tony Awards into "outstanding achievement in New York City theatre." And I'm sorry but that doesn't sing quite like "Broadway."

Sean Hayes to host 2010 Tony Awards

So, Sean Hayes has been named as host of the 64th Tony Awards, on June 13. I'm a little surprised, since he's also a nominee - for Best Leading Actor in A Musical in Promises, Promises. I'd think those eight shows a week would keep him pretty busy.

But according to this L.A. Times article, several nominees have pulled double duty, including Hugh Jackman, Nathan Lane and Matthew Broderick, Jane Alexander and George C. Scott. (Although I can't quite picture George C. Scott hosting an awards show!)

I'm sure Hayes will do everything a host is supposed to do: be funny and charming and keep things moving. I'm curious to see him when he's not playing over-the-top Jack from Will and Grace. (You can read Hayes' answers to questions from New York Times readers here.)

Although honestly, the host doesn't really matter. Sure, he or she might pick up a few extra viewers. (Or drive some away.) But by and large if you're interested in Broadway and theatre you'll watch the show. If not, you won't.

And I really like this clip of Hayes with Promises, Promises costar Kristin Chenoweth. He's so appealing - adorable and sweet in an understated way. I know you can't tell much from a brief clip but his Chuck Baxter didn't remind me at all of Jack.

2010 Tony nominations

Okay, a few thoughts on the 2009-2010 Tony nominations, which were announced today.

Since I only saw shows that opened in the first half of the Broadway season, I only have half as much to say as I normally would. But I am excited that some of my favorites were included.

Obviously, it's much more fun to watch the Tony Awards if you've seen some of the nominees.

Performers I thought were terrific in shows that have closed weren't forgotten: Jon Michael Hill in Superior Donuts, Jan Maxwell and Rosemary Harris in The Royal Family, Kate Baldwin and Christopher Fitzgerald in Finian's Rainbow and Bobby Steggert and Christiane Noll in Ragtime.

And I'm happy for two musicals I managed to see, and enjoyed, that are still running: Memphis and A Little Night Music.

In one category, Best Performance by an Actress in a Musical, I saw four out of the five nominees, everyone except Sheri Rene Scott in Everyday Rapture. I loved all four and they're such different roles that it really points to the difficulty in choosing a winner.

A couple of omissions: Reg Rogers was hilarious in The Royal Family. And I thought James Schuette's set design for Superior Donuts was amazing in its detail, right down to the wads of gum stuck underneath the tables.

I'm still sad that the revival of Brighton Beach Memoirs closed before it became eligible for the Tonys. I think Noah Robbins, Laurie Metcalf and director David Cromer certainly would have been contenders.

And finally, I feel so sorry for Kevin Mambo, who shares the role of Fela Kuti in Fela! with Sahr Ngaujah. He does half the work yet he wasn't even deemed eligible for a nomination. I imagine he'll have very mixed feelings on Tony night.

Here are the nominees. They're a great reminder of all the wonderful times I spent in Broadway theatres last fall. Congratulations to everyone! The Tony Awards will air at 8 p.m. June 13 on CBS.

Best Play

In the Next Room or the Vibrator Play, Sarah Ruhl
Next Fall, Geoffrey Nauffts
Red, John Logan
Time Stands Still, Donald Margulies

Best Musical

American Idiot
Fela!
Memphis
Million Dollar Quartet

Best Book of a Musical

Everyday Rapture
Dick Scanlan and Sherie Rene Scott
Fela!
Jim Lewis and Bill T. Jones
Memphis
Joe DiPetro
Million Dollar Quartet
Colin Escott and Floyd Mutrux

Best Original Score

The Addams Family
Music & Lyrics: Andrew Lippa
Enron
Music: Adam Cork
Lyrics: Lucy Prebble
Fences
Music: Branford Marsalis
Memphis
Music: David Bryan
Lyrics: David Bryan & Joe DiPetro

Best Revival of a Play

A View from the Bridge
Fences
Lend Me a Tenor
The Royal Family

Best Revival of a Musical

A Little Night Music
Finian's Rainbow
La Cage Aux Folles
Ragtime

Best Performance by a Leading Actor in a Play

Jude Law, Hamlet
Alfred Molina, Red
Liev Schreiber, A View from the Bridge
Christopher Walken, A Behanding in Spokane
Denzel Washington, Fences

Best Performance by a Leading Actress in a Play

Viola Davis, Fences
Valerie Harper, Looped
Linda Lavin, Collected Stories
Laura Linney, Time Stands Still
Jan Maxwell, The Royal Family

Best Performance by a Leading Actor in a Musical

Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles
Sahr Ngaujah, Fela!

Best Performance by a Leading Actress in a Musical

Kate Baldwin, Finian's Rainbow
Montego Glover, Memphis
Christiane Noll, Ragtime
Sherie Rene Scott, Everyday Rapture
Catherine Zeta-Jones, A Little Night Music

Best Performance by a Featured Actor in a Play

David Alan Grier, Race
Stephen McKinley Henderson, Fences
Jon Michael Hill, Superior Donuts
Stephen Kunken, Enron
Eddie Redmayne, Red

Best Performance by a Featured Actress in a Play

Maria Dizzia, In the Next Room or the Vibrator Play
Rosemary Harris, The Royal Family
Jessica Hecht, A View from the Bridge
Scarlett Johansson, A View from the Bridge
Jan Maxwell, Lend Me a Tenor

Best Performance by a Featured Actor in a Musical

Kevin Chamberlin, The Addams Family
Robin De Jesus, La Cage aux Folles
Christopher Fitzgerald, Finian's Rainbow
Bobby Steggert, Ragtime

Best Performance by a Featured Actress in a Musical

Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Karine Plantadit, Come Fly Away
Lillias White, Fela!

Best Scenic Design of a Play

John Lee Beatty, The Royal Family
Alexander Dodge, Present Laughter
Santo Loquasto, Fences
Christopher Oram, Red

Best Scenic Design of a Musical

Marina Draghici, Fela!
Christine Jones, American Idiot
Derek McLane, Ragtime
Tim Shortall, La Cage aux Folles

Best Costume Design of a Play

Martin Pakledinaz, Lend Me a Tenor
Constanza Romero, Fences
David Zinn, In the Next Room or the Vibrator Play
Catherine Zuber, The Royal Family

Best Costume Design of a Musical

Marina Draghici, Fela!
Santo Loquasto, Ragtime
Paul Tazewell, Memphis
Matthew Wright, La Cage aux Folles

Best Lighting Design of a Play

Neil Austin, Hamlet
Neil Austin, Red
Mark Henderson, Enron
Brian MacDevitt, Fences

Best Lighting Design of a Musical

Kevin Adams, American Idiot
Donald Holder, Ragtime
Nick Richings, La Cage aux Folles
Robert Wierzel, Fela!

Best Sound Design of a Play

Acme Sound Partners, Fences
Adam Cork, Enron
Adam Cork, Red
Scott Lehrer A View from the Bridge

Best Sound Design of a Musical

Jonathan Deans, La Cage aux Folles
Robert Kaplowitz, Fela!
Dan Moses Schreier and Gareth Owen, A Little Night Music
Dan Moses Schreier, Sondheim on Sondheim

Best Direction of a Play

Michael Grandage, Red
Sheryl Kaller, Next Fall
Kenny Leon, Fences
Gregory Mosher, A View from the Bridge

Best Direction of a Musical

Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime
Terry Johnson, La Cage aux Folles
Bill T. Jones, Ragtime

Best Choreography

Rob Ashford, Promises, Promises
Bill T. Jones, Fela!
Lynne Page, La Cage aux Folles
Twyla Tharp, Come Fly Away

Best Orchestrations

Jason Carr, La Cage aux Folles
Aaron Johnson, Fela!
Jonathan Tunick, Promises, Promises
Daryl Waters & David Bryan, Memphis

Three extra special 2010 Tony Awards

Awards season on Broadway is kicking into high gear and I'm thrilled with three that were announced today. Congratulations to Alan Ayckbourn and Marian Seldes, who will receive 2010 Special Tony Awards for Lifetime Achievement in the Theatre and to David Hyde Pierce, this year's recipient of the Isabelle Stevenson Award.

The Isabelle Stevenson Award recognizes an individual from the theatre community who has volunteered time and effort on behalf of a charitable, humanitarian or social service organization.

I've enjoyed the work of all three on Broadway: British playwright Ayckbourn for his hilarious trilogy The Norman Conquests, Seldes as a retired tennis pro in Deuce, and Hyde Pierce in his Tony-winning performance in the musical Curtains.

I've also had a chance to meet Seldes and Hyde Pierce and they are incredibly gracious and generous with their time.

Hyde Pierce is being honored for his work in the fight against Alzheimer's disease, which claimed the lives of his father and grandfather. He's a board member of the Alzheimer's Association and has worked on the local and national level advocating for additional funding for research and care programs.

Ayckbourn, Seldes and Hyde Pierce have all been guests on the American Theatre Wing's Downstage Center program. If you'd like to learn more about their lives and their contributions to the theatre, those interviews are a great place to start.

My thoughts on the 2009 Tonys

Last year, when it was just me, myself and I on the couch, I had plenty of observations about the Tony Awards. This year, I don't actually have many observations because I was very busy having fun making my debut at the annual Tony party hosted by Sarah.

It was so great being with friends, fellow theatre fans and fellow bloggers in a swanky Regency suite. We kept the conversation and the bubbly flowing. We feasting on pizza, cucumber sandwiches, cupcakes and Rice Krispy bars, among other treats. (While Kevin kept us all up to date on the Tweets.)

Plus, I was trying to keep up with my first-ever Tony drinking game. In my case, that involved taking a sip of champagne whenever Angela Lansbury appeared on the big-screen tv, which was a lot. I think I did pretty well!

Here's a list of the 2009 Tony winners. Now, a few of the thoughts that did enter my mind in between sips of champagne:

How wonderful to see Angela Lansbury take her fifth award, for Best Featured Actress in a Play, tying her with Julie Harris for the most-ever wins. I'm excited about seeing Blithe Spirit next month, as well as all three parts of The Norman Conquests, winner for Best Revival of a Play.

And even though I was rooting for Will Swenson - because I was rooting for Hair for everything - I was happy that Gregory Jbara won Best Featured Actor in a Musical for Billy Elliot. As Billy's dad, his attitude toward his son evolves in such a moving way over the course of the musical.

I was less happy that Kiril Kulish, Trent Kowalik and David Alvarez won Best Actor in a Musical for Billy Elliot. Yes, the three actors who share the role of Billy are amazing dancers and they're adorable. But I don't think they're as compelling actors as they are dancers and they don't perform eight times a week. It's almost like the voters gave the award to the character.

But I was thrilled that Roger Robinson won for Best Featured Actor in a Play for portraying the mystical root worker Bynum Walker in Joe Turner's Come and Gone. I saw the play the evening before the Tonys and I loved it. What compelling characters and storytelling. (Watch for my review soon.)

Geoffrey Rush clearly deserved the award for Best Actor in a Play for Exit the King. He gave a performance that alternated between brilliantly comic and incredibly poignant. But I loved all of the nominated performances I saw in that category, as I did in so many other categories. And I wish there could have been more than one winner.

Loved host Neil Patrick Harris and his black leather suit and his 11 o'clock number. (Which I think was at 11:03.) Wish there were more of him on the show.

Liked it when award-winners remembered to thank spouses, significant others and children as well as agents, lawyers and managers.

Thought the Angry Dance didn't really show off Billy Elliot all that well. Although I guess the winner for Best Musical didn't really need the Tonys to boost sales.

The one performance that made me want to see the show is the one that I've already seen and loved - Hair, winner of Best Revival of a Musical. Which leads me to believe that performances on the Tonys don't win converts but merely confirm opinions you already hold. At least in my case.

My Tony picks - the plays

Like the musicals, there were a lot of new plays and revivals that I haven't had a chance to see yet. So once again, I'm leaving out a lot of categories. In fact, I haven't seen any of the nominees for Best Revival of a Play, although I am catching up with a bunch of them this weekend.

If I get a chance, I'll revise some of my picks before the Tony awards are handed out on Sunday night. (8 p.m., CBS. Be there!)

Best Play
Dividing the Estate, Horton Foote
*God of Carnage, Yasmina Reza
Reasons to Be Pretty, Neil LaBute
33 Variations, Moises Kaufman

I really enjoyed Dividing the Estate. I thought it was hilarious and a great story about a family under financial strain. But I can understand why some critics called it a bit sitcom-like. (I called it a cross between Dallas and Arrested Development.) Yasmina Reza packs a lot in God of Carnage. At 90 minutes, it's a small slice of life but a very realistic one. I couldn't pinpoint one moment when things began spiraling out of control - she makes it all seem so inevitable.

Best Performance by a Leading Actor in a Play
Jeff Daniels, God of Carnage
*Raúl Esparza, Speed-the-Plow
James Gandolfini, God of Carnage
Geoffrey Rush, Exit the King
Thomas Sadoski, Reasons to Be Pretty

I haven't seen Geoffrey Rush yet but from what I've read, he's pretty amazing. But I want to put in a good word for Raul Esparza. I went to Speed-the-Plow excited about seeing Jeremy Piven and Elisabeth Moss, two actors I've loved from tv. I came away at Raul Esparza's performance. This was my first time seeing him on stage and I thought he was amazing, especially in the final scene, where his character, Hollywood producer Charlie Fox, becomes and more desperate as he sees the chance of a lifetime slip away.

Best Performance by a Leading Actress in a Play
*Hope Davis, God of Carnage
Jane Fonda, 33 Variations
Marcia Gay Harden, God of Carnage
Janet McTeer, Mary Stuart
Harriet Walter, Mary Stuart

Of course, I missed Jane Fonda and I haven't seen the powerhouse queens from Mary Stuart yet. I know Marcia Gay Harden is getting a lot of the praise but I want to give a shoutout to Hope Davis. I thought she did a great job transforming from a character who was very meek and apologetic at the beginning of God of Carnage to something completely different by the end.

Best Performance by a Featured Actress in a Play
*Hallie Foote, Dividing the Estate
Jessica Hynes, The Norman Conquests
Marin Ireland, Reasons to Be Pretty
Angela Lansbury, Blithe Spirit
Amanda Root, The Norman Conquests

Okay, of all the nominees, I've only seen Hallie Foote so this isn't really a fair category for me to predict. But I thought she gave a brilliant comic performance. She's an actress I'd never seen before and I totally loved her in this play and I want to see her in more shows. No disrespect toward Ms. Lansbury or the other nominees but I just feel like showing Hallie Foote some love.

Shortsighted move by the Tonys

So I guess President and Mrs. Obama will have to watch online Sunday evening if they want to find out whether Joe Turner's Come and Gone takes home the Tony Award for Best Revival of a Play.

That's one of the categories shunted from primetime on CBS to the nontelevised segment of the show. It joins an ever-expanding list, including choreography, costume design, set design and best book of a musical.

And for what? So they can make room for performances from touring productions of Legally Blonde and Jersey Boys?!

Frankly, I think it's shameful and shortsighted for Broadway that plays can't be better represented on the telecast.

The Tonys should be about showcasing what's best on Broadway this season - that includes plays and musicals. It's especially sad this year - when so many of the best-reviewed shows are revivals of plays, including several I'll be seeing over the next few days.

Since my first Broadway show was a play, starring Kevin Spacey, I was thrilled to read this quote in Michael Riedel's New York Post column. You tell 'em, Kevin!

Kevin Spacey, the head of the Old Vic, lead producer of The Norman Conquests, which is up for Best Revival, has this to say:

"This is boneheaded, outrageous, infuriating and insulting not just to everyone who has worked so hard on these productions, but to the entire theater community.

"It is another example of the systematic chipping away, for financial gain, of what the Tonys are supposed to be about.

"Plays make up something like 43 or 44 percent of the box office on Broadway -- and they would make up even more if more people heard about them from the Tony Awards."

According to Riedel, CBS honcho Les Moonves wants the show to be more about singing and dancing. If that's true, couldn't the American Theatre Wing at least have made room for the winner of the Best Choreography prize to accept his or her award onstage in primetime?

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.

It's Tony Week

In a few days I'll be heading back to New York City. I know, I know, I was just there. This will be my shortest turnaround time ever between trips - twice in three weeks.

But this one will be special - my first time experiencing the sights and sounds of Broadway during Tony week. I'm anticipating a little extra zing (or zip) in the performances, a little more excitement in the air. And it'll all culminate Sunday night, when I attend my first-ever Tony party. (Actually, I believe this will be my first awards party of any type.)

Usually, I'm by myself jumping up off the couch and cheering when one of my favorites wins. This time, I'll be watching the ceremony unfold on a big-screen tv, cheering on the winners with some of my friends and fellow bloggers. (Hopefully, they'll teach me some Tony drinking games that this Playbill article mentions.)

Two weeks ago, I saw two musicals and one play. This time, the lineup is play-heavy: Mary Stuart, Exit the King, Waiting for Godot, and Joe Turner's Come and Gone. (Good thing I got my Joe Turner ticket before President and Mrs. Obama went because it's now become a little bit hotter.)

Unfortunately, I don't believe there are any pre-Tony events for the general public while I'm there so I've been trying to think of a few theatre-related things I could do, besides going to shows, just to help put me in the mood.

Of course, there's the obligatory visit to The Drama Book Shop, because I like to stock up on theatre-related reading material and support independent, bricks-and-mortar bookstores.

Here are some others:

The Museum of the City of New York has an ongoing exhibit chronicling the history of Broadway and of theater in New York City. There are costumes historic photographs, drawings and other memorabilia, including a gypsy robe and Mrs. Potts' costume from Beauty and the Beast. I definitely need to check it out soon.

Both Lincoln Center and Carnegie Hall offer tours. This year marks the 50th anniversary of Lincoln Center, so it's a great time to visit the performing-arts complex, which includes the Vivian Beaumont Theater, home to the Tony-winning revival of South Pacific. Of course, Carnegie Hall isn't a Broadway theatre but Broadway stars have appeared there and it's been the site of many musical-theatre gala events. Plus, it's America's most famous concert hall.

The New York Public Library for the Performing Arts, at Lincoln Center, usually has interesting theatre-related exhibits. I saw one last year on Songwriters and the Tony Awards. An upcoming exhibit on stage and screen star Katharine Hepburn looks great from the description. (Did you know her pet name for Spencer Tracy was "Pot"?) Unfortunately, it doesn't open until June 10, so I'll have to wait until next time.

And the Tony hosting job goes to ...

Wow, I was very surprised and very happy when I heard that Neil Patrick Harris had been chosen to host the Tony Awards. He's so cute and funny and charming and he has a great voice and he's had several Broadway roles. (Who knows, maybe this experience will lure him back!)

Still, in the grand scheme of things, I'm not so sure the host is that big a draw. Don't get me wrong - I think it's a great choice for theatre fans. But if I weren't already inclined to watch the show I don't know whether NPH - or anyone else - would make me tune in. Well maybe a few fans of How I Met Your Mother might tune in who wouldn't otherwise. (Also on CBS - what an incredible coincidence!)

I was trying to think about what would make me watch something I have absolutely no interest in watching - say the Indianapolis 500. If the cast of Seinfeld were calling the race I might watch for a few minutes but I'm not sure they'd hold my interest for all 500 laps.

Seriously though, I can't believe the American Theatre Wing approached James Gandolfini, Tony-nominated for God of Carnage, about the hosting duties. According to Michael Riedel in The New York Post, Gandolfini replied that he was flattered but politely declined, saying he isn't a song-and-dance man.

Whew, that was a close one. As much as I loved The Sopranos, I don't think Gandolfini has the kind of vibrant, outgoing personality necessary for a good host. Plus, I think singing and dancing is kind of a requirement.

The 63rd annual Tony Awards air live from Radio City Music Hall at 8 p.m. June 7 on CBS.

Who should host the Tonys?

Okay, it probably doesn't matter all that much who hosts the Tony Awards, which air at 8 p.m. June 7 on CBS. I figure if people are interested in the theatre and in Broadway, they'll watch the show. If they're not, they won't, regardless of who's hosting.

But hey, it's Tony season and the Los Angeles Times blog Culture Monster is engaging in a little fun speculation about who should host. I haven't seen many of the nominated performances this year, so I figure I need something to speculate about.

Some of the names on their wish list are clearly meant to be funny: hunky Cheyenne Jackson, hirsute Jack Black. (He did star in Prop. 8 - The Musical!) The fishy Jeremy Piven. Also, Will Ferrell, Nathan Lane, Jane Fonda and Michelle Obama.

And apparently the New York Post's Michael Riedel is pitching Dolly Parton. (He also has a funny column today on actors supposedly campaigning for the Tony. Really? I'm shocked, shocked.

I'd like to see the cute and talented Neil Patrick Harris. Or, someone in the comments suggested Daniel Radcliffe, to make up for his being snubbed in the Best Actor in a Play category for Equus. And what about Kevin Spacey? The Old Vic Theatre, where Kevin is artistic director, originally produced The Norman Conquests. He'd be great.

I guess former Tony and Oscar host Hugh Jackman is probably busy. Too bad. I wonder if anyone has ever hosted more than one major awards show in the same year?