off-stage right

Yesterday I wrote about the Tony nods for Musicals.  Today, let’s talk plays and special performances!  Below are thoughts, predictions, wishes, etc.   I did just hear that there will be some “creative” presentation of the Best Play nominations (Best Revival contenders despite some big names have been booted to the pre-broadcast ceremony – you can read my thoughts about the ceremony here).  Again for the sake of this post, I am going to remove all cynicism and believe for a bit that the awards are about excellence.  After all this year was truly the year of the play (for this decade).  They even had to open a second “plays only” window for TKTS booth – which I guess is a good sign or it means that there were a lot of plays needed to sell discount tickets. 

I should note that even though I am not a Tony voter, I try my best to mimic the process, so many of the shows, I have seen recently (I often hold off on purpose for those that I can wait on).  Some I have posted thoughts (not reviews) on, some I haven’t – two reasons for this, timing and frankly until I was really encouraged recently to put my thoughts on shows in the blog, I hadn’t posted much about shows I was seeing.

In the interest of full disclosure, this year I didn’t make it to everything (I missed a couple – I am only human), but then I remember all of the fall shows that were deserving of some nominations and the Tony committee obviously didn’t, so I am going to go out a limb and still comment on all of the categories.  I will leave it to you to guess what I may or may not have seen. 

Best Play

Dividing the Estate by Horton Foote

God of Carnage by Yasmina Reza

Reasons to Be Pretty by Neil LaBute

33 Variations by Moisés Kaufman

 

This is a heart-breaker for me.  I would like nothing more than for Horton Foote to win with what is the best script in this category (it is about the playwright, right?).   Dividing the Estate had way to short of a run, it is unforgivable that more people weren’t allowed to see this play.  I personally will celebrate the end of the commercial season on Tuesday by heading up to Hartford Stage to see Dividing the Estate (directed by Michael Wilson) for the 3rd time.  Since enough Tony voters probably didnt get to see Dividing the Estate, I am throwing my pick to the very different but equally well-written Reasons to be Pretty.  The show was great last year off-Broadway, but the work done during the transfer made the play superb!  I know there has been a bunch of hoopla about some letters and ads appealing to the patriotic bent of Tony voters which is silly because we all know that Tony voters are registered Anglophiles (joke folks), worshiping British productions is practically a requirement to be a Tony voter (another joke folks) – and so be it, who cares, it is about the best work and Dividing the Estate and Reasons to be Pretty are better PLAYS no matter what the author’s hometown is.  Ironically because of its smaller cast and “more universal” subject matter and presentation, God of Carnage (like Art) will be done at hundreds of theaters across the U.S. over the next few years.  And the production on the board is a extremely well-acted version of a good script.  Again doesn’t change the fact that if the award is about Best Play and it is an award to the playwright then Dividing or Reasons should prevail because whatever adjective you want to use they are better than good scripts.

Best Revival of a Play

Joe Turner’s Come and Gone

Mary Stuart

The Norman Conquests

Waiting for Godot

 

Why did all of these great revivals have to be in one season? Think of the great revivals that didn’t make the cut (Exit the King, Seagull to start).  Any of these shows could win and I would think it was well deserved.  I and I imagine most other folks will go with The Norman Conquests winning as it is really 3 great revivals in one.  It is really the only edge among these great productions.  I know the last few days folks have been talking about the Obama’s visit to Joe Turner’s might push it over the line, which would be an interesting twist not that you could prove that it was the deciding factor especially since this is an amazing production of the best play of the Century Cycle, but if it wins it won’t matter as everyone will attribute it to Obama Effect, right or wrong.  I remember reading a New York Times article after the election about how his use or participation in anything pushed whatever it was to the top even more than an Oprah approval (the article was focusing on his blackberry use being the best “commercial/endorsement” for blackberry over i-Phone).  Again this is a tough category.  I would say it is the tightest competition of the entire night, but it won’t really matter to many as it won’t be awarded during the broadcast because the touring production of Legally Blonde will be singing.  Oh wait I was going to try to avoid cynicism so let me be optimistic – I am hoping for a four-way tie. 

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

 

Geoffrey Rush will win, but I am secretly hoping the Tom Sadoski winning in this category will be the biggest surprise of the entire night.  His work in Reasons is sublime.  In a role that didn’t allow the scenery chewing that some of the others did, he gave what I think was the most honest and real performance of the season. It is pure joy to watch the journey of his character Greg.  He is the revelation of the season.  It really is a the nuances and subtlety of his performance should be required study for acting students.  Of course I would also kill to hear what Raúl Esparza’s acceptance speech might be – he has been making the rounds at many events I have been at and each time his sushi comments are the highlight of the night!

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

 

Kristin Scott Thomas is the obvious winner.   No offense to the wonderful actresses in this category.

Best Performance by a Featured Actor in a Play

John Glover, Waiting for Godot

Zach Grenier, 33 Variations

Stephen Mangan, The Norman Conquests

Paul Ritter, The Norman Conquests

Roger Robinson, Joe Turner’s Come and Gone

 

Tough, tough category what is it with featured actors this year.  Too many great performances.  I imagine that Roger Robinson’s Bynum Walker will end up with the Tony but again a tie would be justifiable.

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

 

If I could have any Tony wish come true it would be that Hallie Foote would win for her amazing performance.  Fingers crossed.  I know Angela Lansbury is the odds on favorite and for very, very good reason.  It’s just as those of you who read my blog know, I really, really loved Dividing the Estate and Horton.  I want Hallie to win.

Best Costume Design of a Play

Dale Ferguson, Exit the King

Jane Greenwood, Waiting for Godot

Martin Pakledinaz, Blithe Spirit

Anthony Ward, Mary Stuart

 

Is Jane Greenwood finally going to win? 17 nominations, one of the greatest designers of all times?  But Marty Pakledinaz had all those great 40s costumes… UGH.   I can’t pick.  I can’t pick.

Best Scenic Design of a Play

Dale Ferguson, Exit the King

Rob Howell, The Norman Conquests

Derek McLane, 33 Variations

Michael Yeargan, Joe Turner’s Come and Gone

 

I think all of the design categories are so challenging because the work was so great this year.  I assume the 3 play set will triumph. 

Best Lighting Design of a Play

David Hersey, Equus

David Lander, 33 Variations

Brian MacDevitt, Joe Turner’s Come and Gone

Hugh Vanstone, Mary Stuart

 

MacDevitt’s light was unbelievably great in a really crowded field.

Best Sound Design of a Play

Paul Arditti, Mary Stuart

Gregory Clarke, Equus

Russell Goldsmith, Exit the King

Scott Lehrer and Leon Rothenberg, Joe Turner’s Come and Gone

 

Gonna go with Exit the King in this tight race.

Best Direction of a Play

Phyllida Lloyd, Mary Stuart

Bartlett Sher, Joe Turner’s Come and Gone

Matthew Warchus, God of Carnage

Matthew Warchus, The Norman Conquests

 

Again 3 times the work will likely prevail.  Although Sher’s work rose far above the ridiculous front page article in the New York Times about his directing the show.  Not that it shouldn’t be discussed but the article didn’t…well that is another blog post.

Best Special Theatrical Event

Liza’s at The Palace

Slava’s Snowshow

Soul of Shaolin

You’re Welcome America. A Final Night with George W. Bush

 

Sorry Liza, Will made me laugh a lot more, so he gets my vote.  But frankly either Liza or Will is fine by me.  I am just sad that the best theatrical event of the season Dr. Horrible’s Sing-a-long Blog is only represented in the inspired choice of Neil Patrick Harris as host.  Can’t we make an exception for new media and give him a special Tony for his work in the most original direct to internet musical EVER.  If you haven’t seen it.  Shame on you.  Get thee to You Tube or i-Tunes before Sunday night.  And I already saw next year’s winner in this category (saw it last night) Sherie Rene Scott’s Everyday Rapture.  Go see it at Second Stage while the tickets are cheaper than Broadway.

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