Home » Posts tagged 'Jefferson Mays'
Tag Archives: Jefferson Mays
2014 Tony Award Nominations and My Predictions
In June of each year, the Tony Awards honor the previous Broadway season’s productions. Here are the 2014 Tony Award nominations with my predicted winners. Even though I did not see every show nominated this year, I did see many of them. I thought it might be fun to make my own predictions and add some comments. I’m sure I’ll miss the boat on a number of them.
- Peter Hylenski, After Midnight
- Tim O’Heir, Hedwig and the Angry Inch
- Mick Potter, Les Misérables
- Brian Ronan, Beautiful: The Carole King Musical
This is pretty much a wild guess. Hedwig was the only nominee in this category that I actually saw. I’ll say this: It was loud. Unfortunately, from where I was seated the band overpowered the actors much of the time and that should never be the case. I’ve heard numerous people comment on the impressive sound design for Les Miserables, commenting on the fullness and clarity. How often do you hear people compliment the sound? Usually the average audience member won’t mention it unless they can’t hear the performers.
Best Sound Design (Play)
- Alex Baranowski, The Cripple of Inishmaan
- Steve Canyon Kennedy, Lady Day at Emerson’s Bar and Grill
- Dan Moses Schreier, Act One
- Matt Tierney, Machinal
I saw both Cripple and Act One and didn’t notice anything unique or challenging here. “A play with music” is the way Lady Day is being billed. I’m still a little surprised this didn’t end up in the revival musical category. With the challenges of blending music with dialogue, not an issue in the other nominated shows, I expect Lady Day will take the prize.
Best Lighting Design (Musical)
- Kevin Adams, Hedwig and the Angry Inch
- Christopher Akerlind, Rocky
- Howell Binkley, After Midnight
- Donald Holder, The Bridges of Madison County
I saw all but After Midnight in this category and feel better about my choice here. Hedwig is a lighting show. The lighting is an integral element of the show’s concept, not just an enhancement. In addition, it incorporates many effective projections and special effects that normally fall under lighting considerations.
Best Lighting Design (Play)
- Paule Constable, The Cripple of Inishmaan
- Jane Cox, Machinal
- Natasha Katz, The Glass Menagerie
- Japhy Weideman, Of Mice and Men
I saw both Cripple and Of Mice… and the lighting for both were fine. I didn’t see Menagerie but it’s a single interior set. I saw pictures from Machinal and the lighting looked spectacular, so that’s my choice.
- Christopher Barreca, Rocky
- Julian Crouch, Hedwig and the Angry Inch
- Alexander Dodge, A Gentleman’s Guide to Love & Murder
- Santo Loquasto, Bullets Over Broadway: The Musical
Rocky, with it’s innovative design approach and high tech movement– stand above the rest. The fact that the boxing ring flies down from above the stage and then places the ring out in the audience (moving the front rows of patrons on to the stage as fight spectators) wins it the prize alone.
Best Scenic Design (Play)
- Beowulf Boritt, Act One
- Bob Crowley, The Glass Menagerie
- Es Devlin, Machinal
- Christopher Oram, The Cripple of Inishmaan
The revolving Cripple set was attractive and worked well, the images I saw from Machinal were outstanding; but I have to give this to Act One with its multi-tiered, intricate, revolving set.
Best Costume Design (Musical)
- Linda Cho, A Gentleman’s Guide to Love & Murder
- William Ivey Long, Bullets Over Broadway: The Musical
- Arianne Phillips, Hedwig and the Angry Inch
- Isabel Toledo, After Midnight
I was highly impressed with Cho’s very detail, brilliant designs for Gentleman’s Guide. I couldn’t get over how perfectly she married color, patterns and textures in her stunning costumes.
- Jane Greenwood, Act One
- Michael Krass, Machinal
- Rita Ryack, Casa Valentina
- Jenny Tiramani, Twelfth Night
For me, the only clear stand out is the well-executed, period costume design of Twelfth Night. The other nominees were well done but failed to have the impressive design-edge attained through an ornate, classical period design.
Best Book of a Musical
- Aladdin, Chad Beguelin
- Beautiful: The Carole King Musical, Douglas McGrath
- Bullets Over Broadway: The Musical, Woody Allen
- A Gentleman’s Guide to Love & Murder, Robert L. Freedman
I saw both Gentleman’s Guide and Bullets Over Broadway in this category. Only the book for Beautiful might be considered original, as it was written to showcase the music of Carole King and tells her life story. (Hence, a jukebox musical.) Both Aladdin and Bullets were adapted from films featuring music from those sources. Gentleman’s Guide was adapted from a 1907 novel, that was also the source for a film.
I chose Gentleman’s Guide because I thorough enjoyed it– great story, cleverly told and very well written. Though I’ve heard wonderful things about Beautiful, the book was written to move the songs along more than to tell a story. Bullets is the typical, old book style musical, formula plot and I just don’t feel it works effectively on stage. Most of the jokes fall flat. And Aladdin is, well, Aladdin. I’ve heard nothing to indicate that the book for this production contains anything unique or original beyond being a fairly direct adaptation of the cartoon.
I have to note that the only truly original book, If/Then was not even nominated. Egregiously overlooked, as was Bridges, though it is an adaptation. Poor judgement on the part of the nominating committee, in my opinion.
- Alan Menken, Howard Ashman, Tim Rice and Chad Beguelin. Aladdin
- Jason Robert Brown, The Bridges of Madison County
- Steven Lutvak and Robert L. Freedman, A Gentleman’s Guide to Love & Murder
- Tom Kitt and Brian Yorkey, If/Then
I will be content with any of the shows winning the award for best score except Aladdin, which is not original. Violet and Hedwig were not eligible because they had previous Off-Broadway runs that did not lead them directly to Broadway this season, so they were not considered new. I feel the same about Aladdin even though its source was a film score.
As much as I truly love the score for If/Then, I have to give my vote to The Bridges of Madison County. The score is simply perfection.
- Doug Besterman, Bullets Over Broadway: The Musical
- Jason Robert Brown, The Bridges of Madison County
- Steve Sidwell, Beautiful: The Carole King Musical
- Jonathan Tunick, A Gentleman’s Guide to Love & Murder
Again, If/Then was snubbed in this category. With no disrespect to the other nominees, there is no competition in this category. Jason Robert Brown’s orchestrations are so clearly, far and above the others, they should have just given him the award. Brilliant, lush, gorgeously written, Brown’s orchestrations are probably the best on Broadway in the past twenty years.
- Reed Birney, Casa Valentina
- Paul Chahidi, Twelfth Night
- Stephen Fry, Twelfth Night
- Mark Rylance, Twelfth Night
- Brian J. Smith, The Glass Menagerie
Birney’s performance is the only one I saw in this category. Dressed as Charlotte, I often found myself forgetting he was a man. A great performance in a difficult role.
I’m actually surprised there are no nominees from All the Way here. Three nominees from one show (Twelfth Night) will probably split the vote and Smith’s role of the Gentleman Caller is rather pedestrian (the role, not his performance), having limited stage time. So Birney is my pick.
Best Featured Actress (Play)
- Sarah Greene, The Cripple of Inishmaan
- Celia Keenan-Bolger, The Glass Menagerie
- Sophie Okonedo, A Raisin in the Sun
- Anika Noni Rose, A Raisin in the Sun
- Mare Winningham, Casa Valentina
Celia Keenan-Bolger could very well win this category for her performance as Laura in The Glass Menagerie and I wouldn’t be surprised– but my vote goes to one of the most under-valued actresses in stage and film, Mare Winningham. She gives a full, layered performance and obviously feels so at home on the stage. Her performance is so natural and real– and she immediate feels like a old friend you’ve always known.
- Danny Burstein, Cabaret
- Nick Cordero, Bullets Over Broadway: The Musical
- Joshua Henry, Violet
- James Monroe Iglehart, Aladdin
- Jarrod Spector, Beautiful: The Carole King Musical
I didn’t see Iglehart’s Genie but for God’s sake– it’s the Genie in Aladdin. I’ve heard good things about his performance as well. So he is my choice to win. Cordero definitely had the audience in the palm of his hand the night we saw Bullets. The always incredible, Joshua Henry, one of THE best voices on the stage, gives a touching, carefully thought out performance in Violet. I did not see Burstein or Spector’s performances in their respective shows.
Best Featured Actress (Musical)
- Linda Emond, Cabaret
- Lena Hall, Hedwig and the Angry Inch
- Anika Larsen, Beautiful: The Carole King Musical
- Adriane Lenox, After Midnight
- Lauren Worsham, A Gentleman’s Guide to Love & Murder
I only saw two of these performances and my prediction is based more on buzz and hype than an actual opinion. In fact, I really don’t feel my prediction should win. Lena Hall is just fine in her performance in Hedwig. I just didn’t find it a memorable performance that will stick with me. She sings back up and is only featured vocally on a couple numbers . Lauren Worsham was excellent in Gentleman’s Guide, but so was counterpart, Lisa O’Hare, who was not nominated and should have been, equally.
Will someone please tell me why LaChanze was not nominated for If/Then?
Best Actor (Play)
- Samuel Barnett, Twelfth Night
- Bryan Cranston, All the Way
- Chris O’Dowd, Of Mice and Men
- Mark Rylance, Richard III
- Tony Shalhoub, Act One
Having seen three of these performances, I think it will be a tight race between Chris O’Dowd’s Lenny in Of Mice and Men and Bryan Cranston’s bravura performance as LBJ in All the Way. Though both performers are both deserving of the prize, I believe Cranston will and should reign victorious.
- Tyne Daly, Mothers and Sons
- LaTanya Richardson Jackson, A Raisin in the Sun
- Cherry Jones, The Glass Menagerie
- Audra McDonald, Lady Day at Emerson’s Bar and Grill
- Estelle Parsons, The Velocity of Autumn
Some extremely talented women in some powerful role in this category this year. Daly gives a powerful heartfelt performance in Mothers and Sons but I don’t see it as a Best role. Parsons has a disadvantage in that her show closed after an abbreviated run. My head tells me that Cherry Jones should win this but my heart says Audra McDonald, already a five-time Tony winner will edge ahead of the rest. A sixth win would give her the record.
Best Actor (Musical)
- Neil Patrick Harris, Hedwig and the Angry Inch
- Ramin Karimloo, Les Misérables
- Andy Karl, Rocky
- Jefferson Mays, A Gentleman’s Guide to Love & Murder
- Bryce Pinkham, A Gentleman’s Guide to Love & Murder
The outcome of this race may upset me. Neil Patrick Harris is fine in Hedwig, just not a Best performance. He could easily win too, being a big supporter of the Broadway community and audience favorite. Jefferson Mays should win this, playing eight roles beautifully in Gentleman’s Guide. Bryce Pinkham gives an outstanding, memorable performance as well. I’m sure one of the reasons Andy Karl was nominated, was the size of the role. Again, he was fine but I didn’t find him memorable this time around. We would have liked to have seen Ramin Karimloo in the new revival staging of Les Miserables but just couldn’t fit it in our schedule.
Another embarrassing omission here– Steven Pasquale in his tour de force performance in The Bridges of Madison County. Had he been nominated, he’d have been my choice. The best live male vocal performance I’ve ever heard in any genre.
- Mary Bridget Davies, A Night With Janis Joplin
- Sutton Foster, Violet
- Idina Menzel, If/Then
- Jessie Mueller, Beautiful: The Carole King Musical
- Kelli O’Hara, The Bridges of Madison County
With so many brilliant female performers in this category anyone of them would be deserving. I was lucky enough to see O’Hara, Foster and Menzel’s incredible performances. So to choose, I had to go with who went the step beyond. In my opinion, combining acting, singing and the challenges of the role put Kelli O’Hara above the rest.
- Warren Carlyle, After Midnight
- Steven Hoggett and Kelly Devine, Rocky
- Casey Nicholaw, Aladdin
- Susan Stroman, Bullets Over Broadway: The Musical
Seeing just two of the four but knowing the requirements of the shows, I chose the dance show, After Midnight. I don’t really remember choreography in Rocky and Stroman’s work in Bullets was not her usual impressive staging.
Best Direction (Play)
- Tim Carroll, Twelfth Night
- Michael Grandage, The Cripple of Inishmaan
- Kenny Leon, A Raisin in the Sun
- John Tiffany, The Glass Menagerie
Cripple was the only nominee I saw here. Going by the numerous acting nominations Twelfth Night received, I figured it was a safe bet to go with director Tim Carroll. I would also be quite happy if John Tiffany won for his direction of The Glass Menagerie. I really wish I could have seen it.
- Warren Carlyle, After Midnight
- Michael Mayer, Hedwig and the Angry Inch
- Leigh Silverman, Violet
- Darko Tresnjak, A Gentleman’s Guide to Love & Murder
I saw three of the four nominees. The director guides the ship. Some shows require much more steering than others. So I enthusiastically go with Darko Tresnjak’s wild romp in Gentleman’s Guide.
Best Play Revival
- The Cripple of Inishmaan
- The Glass Menagerie
- A Raisin in the Sun
- Twelfth Night
The Glass Menagerie received mostly rave reviews. The fact that this, one of Tennessee Williams’ greatest works has never been nominated, tells me its time has come.
Best Musical Revival
- Hedwig and the Angry Inch
- Les Misérables
It doesn’t matter how good the other nominees are– Hedwig is going to take the prize. Buzz, hype, long lines for tickets and a somewhat legendary history make this a shoo in.
- Act One
- All the Way
- Casa Valentina
- Mothers and Sons
- Outside Mullingar
I saw four of the five nominees and really liked three of them. The most polished and impressive, without a doubt, is All the Way.
- After Midnight
- Beautiful: The Carole King Musical
- A Gentleman’s Guide to Love & Murder
This may end up being a tight race between Gentleman’s Guide and Beautiful. If Beautiful wins, I think it will be considered by many as an upset. I found Gentleman’s Guide to be a perfectly packaged night at the theater and the most innovative of the choices here.
Why aren’t If/Then and The Bridges of Madison County in the running? It’s anyone’s guess. Apparently, an adaptation of a cartoon, a dance show (with existing music) and a jukebox musical are held in higher regard than a completely original new musical or an adaptation with the best score in recent history.
Many people have asked me what the best show was, of the seventeen productions I recently saw. I have yet to pick one. I either really liked the shows or I didn’t. It’s really hard to compare art. And there is really no need to. I feel really fortunate to have seen so many excellent, vastly different productions and performances this year. Even though some of my comments may come across a little negative or snarky; they are purely based on my personal impressions and preferences. I applaud all the nominees and those that were overlooked in what I feel is some of the best accumulative work in any recent Broadway season.
Watch the Tony Awards on CBS Sunday night, be entertained and see how close I am on my picks.
NYC May 2014- Day One: Get There, Get Settled, Get Going
Leaving Cash was especially hard this trip and I stressed out a lot over it. He’s in good hands but he’s old and lonely and barely leaves our side. We got up at 2 AM to finish last minute packing and head to the airport for our 5:55 AM flight. In typical, O’Hare fashion, they only had one checkpoint open and the line was ridiculously long– and not moving. Luckily, they opened another checkpoint and we rushed down to it, making it to our gate with about five minutes to spare.
Michael and I sat across the aisle from one another on one of the bumpiest flights I’ve ever flown. It was like riding through Chicago’s pothole-filled streets towards the end of winter. The guy next to me, though wearing headphones, treated a good section of the plane to his Beyonce playlist for most of the flight. I didn’t feel comfortable saying anything but was really surprised the flight crew didn’t tell him to turn it down.
Morning traffic was a little heavy at 9 AM and our impatient taxi driver rode the tail of every vehicle we followed, slamming on the brakes multiple times to avoid a collision. There were more than a few close calls as the driver refused to let anyone merge in front of us. Somehow, we managed to arrive at our destination safely.
Home Away From Home AKA Times Square, is primarily an extended stay, apartment & condominium building and was a perfect choice for us. It was in the same price range as some of the regular hotel rooms we were looking at and it is actually larger than the average NY apartment. We have a full kitchen, washer and dryer and all the other amenities you’d hope for. I’ll let the pictures speak for themselves. Suffice it to say, we absolutely love it. In addition, there is a penthouse lounge, terrace and business center open for our use, with free Wifi throughout the building. Believe it or not, most places still charge a daily rate for WiFi. Having it on premises, means I won’t be spending nearly as much time at Starbucks, using theirs, as I have in recent trips.
Our room wasn’t ready when we arrived, as we’d expected, so we checked our luggage and grabbed breakfast at Cafe Un Deux Trois next door. I’m sure I’ll probably mention it again later– we’re also staying next door to Hedwig and the Angry Inch, starring Neil Patrick Harris. Some of the people watching opportunities have already been interesting as this show draws a much more diverse crowd.
We spent the remainder of the time before our room was ready, shopping for some supplies and relaxing in the penthouse lounge and terrace. When we got to our room, we unpacked and check out our view which includes a clear shot of the crystal New Years’ Eve ball, high above Times Square. We took a short nap and then we were off to our first show.
A Gentleman’s Guide to Love & Murder– You know the saying: Save the best for last? Well, we may have made a huge mistake and may have seen the best, first. Not that it’s an entirely bad thing– I mean, what a way to start a show binge! No matter what I write here, I won’t be able to fully capture my true feelings and appreciation for this show. The best I can do is to say that once in awhile, a show comes a long when everything about it is just right… and everything about this production of A Gentleman’s Guide to Love & Murder is seamlessly delightful.
The solid book and score by Robert L. Freedman and Steven Lutvak captures the music hall style but they didn’t allow themselves to get trapped by the genre and produced a thoroughly engaging, funny and rich work. The music here is essential to the plot and there are some simply gorgeous moments. Most shows I’ve seen have at least one moment, song or scene where I find myself wanting them to hurry up and move on. Not here. I was completely drawn in from start to finish.
Director and Choreographer, Darko Tresnjak and Peggy Hickey have done a superb job staging this wild romp with moments of inspired genius. Their work together is a seamless blend as is their guidance of the tremendous cast. When a production is this good, it’s impossible to tell where one person’s work begins and another’s ends.
Jefferson Mays and Bryce Pinkham are equally brilliant in their roles. They are both Tony-nominated this year but what gives Mays the edge over Pinkham is that he plays eight roles, sometimes leaving the stage as one and re-entering as another in just seconds. The featured women: blonde vixen, Lisa O’Hare; the lovely, Lauren Worsham; and I can’t leave out, the adorably funny, Jane Carr– are all perfectly cast.
All the technical aspects are perfect for this production but I have to single out Linda Cho’s costume design. Her costumes are not just appropriate and highly functional, they are flawless. Her use of color and especially the exquisite textures in her period designs should place her as a top contender for a Tony Award this year.
We had terrific front row, left orchestra seats last night… thankfully, we were not front row center. both Mays and Pinkham are spitters. Needless to say, the audience in the front center seats were showered with more than a good view of the stage.
I would definitely see Gentleman’s Guide again… and I’ve added it to my list of shows I’d love to do in the future. It’s just bloody good fun!
Another Rainy Day in New York City We’ve often experienced rain in NYC but it was a literal downpour last night– to the point of streets and sidewalks flooding. We left the theater, sans umbrellas but in water resistant jackets, made it a few blocks and stopped under cover to see if it was going to let up. In doing so, we ran into Mare Winningham, currently starring in Casa Valentina, also avoiding the rain. There is always a bright side to every situation if you look for it!
The rain let up a bit and we picked up pizza on the way back to our place and turned in around midnight. Tired, full and happy.