TONY nominations

[jo]

The official announcement won't be till Tuesday, April 28 -- but TimeOut New York issues its own predictions!

They do like THE RIVER!


www.timeout.com/newyork/theater/exclusive-the-2015-tony-nominees-have-been-announced



Jo

[mamaleh]

Finally, critics who recognizes THE RIVER and Hugh. And no Bradley Cooper in sight! Good for TimeOut NY. I just hope this reflects a majority opinion.

Ellen

[mamaleh]

Well, of course it didn't. No nom for Hugh. I didn't think his chances were very strong, unfortunately. Too bad Cush Jumbo wasn't recognized, either. Everybody seems to love that Boyer guy with his sewer-mouthed puppet. Must be the leftover AVENUE Q voters, LOL. Considering the nominees for Best Actor in a Play, I hope Alex Sharp wins. He was unforgettable in THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME.

Hosts are Kristin Chenoweth and Alan Cumming. Interesting choices. Big names, but not BIG names. Thought CBS would go with the "smart money" choice, incipient LATE NIGHT host Stephen Colbert.

Ellen

[jo]

I guess that means I don't have to despair if the TONYs are not broadcast here( at least live) -- there was only one ceremony which was telecast live - the 2004 TONYs.


I will join you in hoping for Alex Sharp's chances, Ellen


Jo

[jo]

LOL - I am hating to read all the alerts and tweets today!



smiley-rolleyes010

smiley-signs066

[hughmanity]

Lol-so is it terribly mean and immature of me to hope Cooper does not win?? <boo>

[mamaleh]

Of the nominees, Jo and I are in agreement that Alex Sharp deserves the Tony. We'll see.

I wonder how Hugh feels about today's news.

Ellen

[jo]

Curious Incident looks like a favorite -- it even got a nod for CHOREOGRAPHY

Hugh is well-grounded and he knows that ANY award-giving is subject to politicking. I would rather see him work very hard as lead star and producer on GREATEST SHOWMAN ON EARTH ( deemed Oscar-friendly by some) -- that one has a good chance, being a biopic and promises loads of spectacle. But hey, he might even sneak in for a nod for Blackbeard ( if Jack Sparrow, aka Johnny D, can- why not the Pirate King ( aka Blackbeard, aka Edward Teach)

As for the TONYs - - he already has two -- I would like him to work on an Oscar first

LOL - the politicking didn't work for Harvey W, Finding Neverland, and Matthew Morrison.

[mamaleh]

Some believe that, irrespective of quality, FINDING NEVERLAND was never going to find favor with the Tony voters because they see producer Weinstein as an interloper from Hollywood pressing his undue influence. Example: Last year he finagled getting Jennifer Hudson to sing a song from the yet-unopened show on the Tonys telecast. He somehow managed to be honored at the Astaire Awards, too (along with Joel Grey). Strange.

Well, wherever GREATEST SHOWMAN films, I hope it's a big, fat hit.

Ellen

[carouselkathy]

Ellen, I just thought FINDING NEVERLAND was a bad show. I left at intermission, and that was a first for me. What had been a charming film was turned into a loud, special effects loaded, Las Vegas-style mess. I was very disappointed. I was told that the second act was better. Maybe it was. Anyway, Mr. Weinstein needs to realize that the Tony snub was not just about him. The show itself was just not good.

[mamaleh]

I haven't seen it yet, but I've heard that same sentiment from other theatergoer friends, so I don't doubt that FN is not exactly in the same class as PHANTOM or LES MIZ. Still, it's never a good idea to antagonize people you hope to win over.

Ellen

[hughmanity]

Hugh weighs in
time.com/3910653/hugh-jackman-tony-predictions/

[jo]

If you are not watching the TONYs and can only check results later, BWW provides an instant updates on winners --

www.broadwayworld.com/article/2015-Tony-Awards-All-the-Winners--UPDATING-LIVE-20150607

[foxie]

Incredible job Alan and Kristin!

[foxie]

I have to say best Tonys ever

[JH4HJ]

Jun 7, 2015 22:02:37 GMT -5 foxie said:

I have to say best Tonys ever

Really? Seriously? I found it rather lackluster. Alan (what's with the short pants?) and Kristin (E.T.? you gotta be kidding me - that's not even "theater") trying too hard to be cute and rarely succeeding. Hugh, the ultimate Showman, outshines them in every respect, and Neil Patrick Harris was a better host too.

Some wonderful, heartfelt acceptance speeches. (Theatrical performers are much better at that than Movie Stars. IMHO) Loved the final tableau of the In Memoriam segment with all the performers on stage in a variety of costumes . . . but why was Josh Groban singing so low? - and the direction was poor - I could barely read/see half the names/photos. I was really looking forward to more Tommy Tune. Why wasn't his award and a bigger, better tribute number included? The opening - "A Musical" from Something Rotten was great; glad American In Paris left the geometric bathing suits out of that number; pleased that Finding Neverland bought themselves a slot despite not being nominated for anything (appalled that The Biz part of Showbiz works that way); Jersey Boys to close the show? - what did that have to do with anything? I could go on, but let's just say - I was not impressed.

...and my one prediction - Helen Mirren - NO competition for that award this year. GREAT show. Magnificent performance. Go see it if you can. The Act One curtain tableau alone is worth the price of admission. (BTW: it's an aspect of the Broadway show that does not exist in the West End production. Seriously. That scene does not happen in the London version. How crazy is that?)

[foxie]

Well i loved it!Maybecause I am thrilled Kelli won but torn cause Kristin. Was great in her show also-i think it was more show and kess cohosts -great!of course i loved it when Hugh did it but i thought it was well thought out good jb Jristin abd Alan!

[mamaleh]

Yes, the "In Memoriam" segment was a head-scratcher. The camera angles were so off that it was very difficult to read a lot of the names. And could it be that Groban not only started in too low a key but was also off-key at the outset? As for the hosts, maybe I was in a silly mood, but I found much of their shtick fine, probably because it seemed authentic and unforced (except maybe the E.T. costume bit). At any rate it suited their whimsical personalities. I think musical medleys confuse viewers who are not familiar with the shows excerpted. That's why FUN HOME's single number went over so well, as did SOMETHING ROTTEN!'s. Re the battle of the K's--Kristin v. Kelli--I think if Kelli had won last year, she might not have won last night. Kelli is a lovely, fine Mrs. Anna, but most any competent musical theater actress could do that juicy role justice. On the other hand, who else but Kristin--who usually grates on my nerves--could have essayed every aspect of diva Lily Garland, including her four-octave range and madcap persona? I was hoping for a tie, but so it goes. But I must say Kelli's speech was probably my favorite of the evening. For that, I'm glad the sixth time was her charm.

Ellen

[foxie]

I really didn't notice Josh Grobans starting low. Just thought t was a quiet start but I ended fantastic !His album Stages is so good and I listen to him singing it daily!yes I couldn't read some of the memorials-yes unforced is what I was trying to say before and they sort of stayed in the background -I love Kristin but have always hated Alan ever since he played that evil man in "Circle of Friends" years ago but he was fine!Sorry our man wasn't there!from Instagram it looks like he is in Australia but he is going to be on K&M tomorrow maybe it is taped?

[JH4HJ]

It had its "moments" but they were too few and far between for me. (Still, better than The Oscars which, in recent years has absolutely NO entertainment - other than the Best Song nominees.) I thought they could have chosen something better from The Visit. I now regret passing on Fun Home when I was in town; wish I'd known more about it - or had more time on my recent visit. Very glad I saw Something Rotten and Finding Neverland (still appalled that they couldn't find even one thing to nominate from that highly enjoyable show) - and The Audience is in a class by itself, definitely the best piece of theater I've seen in years. (and this is a musical theater lover saying that about a "straight" play)

Alan and Kristin were OK, but just OK. When I can see them "trying" it always loses something for me. Hugh (and a few others) have the ability to do that kind of scripted schtick in an effortless manner that works so much better IMHO.

Yes, Kristin was "in her element" as the diva in On The 20th Century. Perfect casting there. Though, as the show went on, I did begin to wonder what "excuse" they would find next for one of the guys to pick up that little pixie. I do not remember any of that from the original production. Madeline Kahn - wasn't it? Did people carry her around? I don't remember. I think it's just because Chenoweth is so incredibly tiny. (What would have given me a laugh was if she had simply stood there next to Tommy Tune and not goofed around so much. Just her standing there . . . looking up, Up, UP at him - now that would have been funny! "less is more") So very sorry we didn't get more of Tommy, or at least present his award on the broadcast and hear his acceptance. I adore him. I know he's not performing much any more, though he's still looking damn good at 76. I hope he directs/choreographs something else in the not too distant future.

I was thinking about the medleys too - but not that it confused TV watchers (who probably have no idea what they're seeing anyway). I thought how amazing that the actors/dancers learn to do those "variations on a theme" in such a short time. When you do a show 8x/week the flow of a number becomes so "organic" that you just "do" it - all those changes must be difficult to learn so quickly and yet they get it right - LIVE on stage - "One Night Only" - year after year. Theatrical performers are simply amazing. I am in awe of their abilities!

OK, looking forward to someone taking all my "notes" and coming up with an improved broadcast next year.

[jo]

EW writes a sensible piece on why the TONYs should not be afraid of its own --

www.ew.com/article/2015/06/08/why-are-tony-awards-so-afraid-tony-awards

Why are the Tony Awards so afraid of the Tony Awards?

by Mark Harris


Posted June 8 2015 — 4:52 PM EDT

On Sunday night’s Tony Awards, history was made. Unfortunately, it was made during the commercial breaks. Early in the three-hour show, while viewers at home watched commercials for the wide array of insurance packages and pharmaceutical products that Madison Avenue seems to think are a perfect fit for either CBS or theater lovers, the audience at Radio City Music Hall got to see Lisa Kron win Best Book of a Musical for Fun Home, and then return to the stage to share the Tony for Best Musical Score with its composer, Jeanine Tesori.


On the simplest level, shoving these awards into an ad break is a missed opportunity. Awards telecasts, when they’re good, are often about narratives that build over the course of the night, and this year’s was about whether the coveted prize for Best Musical would go to Fun Home, a brilliant, innovative, intimate, modern piece about lesbian cartoonist Alison Bechdel’s Pennsylvania childhood with a closeted (and ultimately suicidal) dad, or to An American In Paris, a crowd-pleasing, elegant, beautifully rendered staging of a 65-year-old movie (Sunday night, that show ended up winning four Tonys of its own). There’s a good story there, a story about two different but not necessarily exclusive visions of what Broadway can be. And the groundwork for this year’s outcome – a surprisingly decisive win for Fun Home, which also took Best Musical, Best Director, and Best Actor – was laid with these first two wins.

But awards telecasts are also, in some years, about thrilling firsts, and this ceremony offered one of them. In a year when women took home prizes in every craft category – costumes, lighting, scenic design, direction – no single win was more striking than the prize Tesori and Kron shared for writing Fun Home’s music and lyrics. Their win was the first time in the nearly 70-year history of the Tonys that the award went to an all-female team – and the fact that the source material was also by a woman and that four women in the cast were up for Tonys constituted the kind of naturally emerging moment that wiser overseers might have anticipated and decided to highlight as it happened instead of in a brief clip.

But recognizing history is something the Tonys, in recent years, have become not just indifferent to but openly fearful about. The thinking is all terror-based: Ratings have fallen from decades past; the telecast skews old; young people must be entertained at all costs. Otherwise the Tonys’ network berth, which is considered essential to its value as a ticket-selling tool, will be imperiled. Even as the telecast has expanded from two hours to three, it’s gotten more and more uncomfortable with the fact that it’s an awards ceremony. Because musicals drive the box office, plays are given short shrift; the four Best Play nominees, excerpts of which used to be staged live on the telecast, are now relegated to a clip reel of shouty, echoey B-roll that I can only assume was filmed by someone who wants to make sure that nobody, under any circumstances, is ever given the idea that it might be fun or rewarding to see a play.

And although musical numbers (and as many audience shots of Bradley Cooper as possible) are the be-all-and-end-all of the show—there were 11 song performances on Sunday, including a Jersey Boys reprise and, for the second year in a row, a number from the zero-time Tony nominee Finding Neverland – apparently the idea that anyone writes these musicals is considered a form of kryptonite that will make people run screaming for their remotes.

Let’s set aside Tesori and Kron’s considerable achievement and talk about some of the other people who were nominated for Best Book or Best Musical Score this year. Craig Lucas, who wrote a tough and insightful book that gave An American in Paris a historical specificity that the movie didn’t have, is also a librettist, a screenwriter, and a three-time Tony nominee whose Broadway work includes the play Prelude to a Kiss and the musical The Light in the Piazza. Terrence McNally, who was nominated this year for writing the book of the musical The Visit, is a seven-time nominee; he’s won the award twice (for Ragtime and Kiss of the Spider Woman) as well as two Tonys for Best Play. John Kander and the late Fred Ebb, nominated for the score of their final collaboration The Visit, accumulated more than a dozen nominations apiece as a result of their forty-year partnership. They wrote Cabaret and Chicago. Maybe you’ve heard of them. This year, they were up against a first-time musical writer named Sting. Maybe you’ve heard of him.

Scrub these people from the narrative of a Broadway year – which is what banishing these awards effectively does – and you scrub theater of its past, its present, and its living treasures. The argument that it’s necessary for the pace of the Tonys is nonsense, because A) we’ve seen the show, and the four minutes it would take to give these prizes on the air is absolutely not the problem and B) The Oscars and the Emmys manage to make their telecasts work while honoring writers on the air. So do the Golden Globes, and nobody has ever complained about the pacing of that show. Even the Grammys, now a concert show with a small handful of awards thrown in along the way, still gives Song of the Year – a writing award – on the air.

As for the argument that the Tonys need to stay young and fresh: Please. That ship has sailed. The Tonys are not young. They will never be young. Nor are they male; guys watch the NBA finals instead – and always will, unless the Tonys change their date; and no teenager decides to endure a three-hour show just because you’ve promised that Nick Jonas or Ashley Tisdale is going to present or that Vanessa Hudgens will sing something from Gigi; they watch because they want to, or they don’t watch. In some years, movie stars do Broadway shows and they get nominated (this year Bradley Cooper was, and Jake Gyllenhaal should have been), and that’s great – although it doesn’t really spike the ratings. But in most years, the story of the Tonys isn’t really their story; it’s the story of someone like The Curious Incident of the Dog in the Night-Time’s 26-year-old Alex Sharp transforming in one year from unknown freshly minted Juilliard grad to youngest winner of Best Actor in a Play in history – for his first professional job as an actor. If you can’t get excited by that and figure out a way to excite viewers about it too, then don’t do the Tonys.

Broadway is specialized, and problematic. It’s all in New York, it’s ridiculously expensive, and many of its most ardent fans must travel if they want to see what’s being honored, or else wait and hope there will be tours. Those are hindrances that make the Tony telecast a night for true believers. It should be by, about, and for people who love Broadway theater – and in fact, that’s who’s watching. Those people are not going to turn off the awards because you take a few minutes to honor the talented folks who wrote the shows that sold 13 million tickets and grossed $1.4 billion last season. That audience is your base. You want to improve the Tonys? Start by showing greater respect for them and for the people who you’re purporting to honor.

The long-term objective should probably be to broaden the market that supports Broadway.

Perhaps New York City should work with the Broadway League, the American Theatre Wing, and other theatre organizations, hotels, dining establishments, even airlines, etc,. to put together special theatre packages that makes a trip to NYC and Broadway a lot more affordable. It should not be the likes that hotels offer, which are also very expensive.  Maybe some tax incentives to offset any loss on the part of theatre owners/producers, hotels, dining establishments, even airlines, etc?  Encourage (aka pressure) the theatre producers to offer less of premium pricing. Also, make it easier for international audiences to have access to Broadway, which in turn can offset the loss incurred for more price-friendly theatre packages. Something like what British Airways used to offer for travelers to gain access to the theatre in London. Tie in theatre packages with tourism-oriented city packages ( e.g., see downtown Manhattan and then take in a show)? The city itself can facilitate a more price-friendly tour-and-theatre packages. The tour companies should also do their bit about increasing other attractions that the city offers.

While CBS also has to make an effort to bring out the best of the theatre best ( and not to zero in too much on which attendee will get more attention), it can also be encouraged to give more leeway on which production values need more exposure.

Why not encourage more interest by showing enough press reels of shows ( both musicals and straight plays) - maybe at least 15-20 minutes?) in a special telecast a week or two before the TONYs? Have someone identified with the theatre but with popular appeal annotate the show? Maybe ask someone like Hugh and others to share annotating duties?

And don't forget the international market -- don't make it too expensive for overseas networks to pick up the tab for showing the show abroad. Last year, we got the Jackman-hosted TONYs on a live basis... this year, we will get the replay weeks later.

One other thought -- why not change the date for the TONYs so it does not run into top events offered on Sundays? Maybe Saturday night?

Jo

[jo]

Sorry our man wasn't there!from Instagram it looks like he is in Australia but he is going to be on K&M tomorrow maybe it is taped?

Not meaning to nitpick, Carol, but it looks like he is still in NYC. He has uploaded a photo of himself and three others who played golf in Southampton. So, maybe the Kelly and Michael appearance is not taped?

[foxie]

You r right he sure is in NYC wonder why he didn't go to Tonys!

[foxie]

The man just gets handsomer!