BOOK REVIEW by Guest Blogger Hayley

A Purple Summer: Notes on the Lyrics of Spring Awakening 

Everything you know, didn’t know, or thought you knew on the words of Spring Awakening 

It’s no secret that Spring Awakening, like so many others of its kind, has developed a sort of cult following and has been added to the invisible list of shows that even non-theatrical people are obsessed with (you know what I’m talking about). If you’re looking for another book filled with backstage secrets, cast photos, biographies, and costume sketches, this is not the book for you.  Stephen Sater’s A Purple Summer, a quick read of 87 pages, breaks down the lyrics of the show, song by song, in chronological order.  After listing the lyrics, Sater goes on to give notes on the lyrics: explain in detail the inspiration of these songs, what the characters are going through, and how their personal journeys evolve. In many cases, Sater says what the song means to him personally. Sater states “that such notes would be invaluable for maintaining the quality of future productions of our show, when those of us who created it would no longer be near.”  

This has actually been a concern of mine and of many other fans, I’m sure, since its Broadway closing on January 18, 2009 and especially since the closing of the non-Equity tour on May 15, 2011.  What is to become of this beautiful story only complete with this beautiful music and lyrics once high school students venture to butcher the difficult vocals and take out the sex and violence? This is not the kind of Broadway music that one can simply scratch at the surface and apply to the story. This stuff is deep. Therefore, this book is the Godsend for anyone pursuing any of these roles as well as anyone buying tickets to the first local productions everywhere.  You’re welcome.  

If you’re like me and you find absolute enjoyment in deeply analyzing every one of Sater’s words along with the cast recording on long car rides, then this is also the perfect read for you.  Because what the hell is he talking about anyway? If you know anything about Spring Awakening it’s that these lyrics do not merely tell the story, but rather provide insight to the characters.  Why does Melchior keep talking about the stars? What do the stars mean to him? What is the whole “my junk” thing all about?  What’s with all the references to ghosts and angels in practically every single song? The book may not answer all of your questions but it will certainly answer some, and help you make more sense of the show as a piece of art. 

Almost every single song makes some kind of reference to the Bible, ancient Greek mythology, philosophy, and/or Shakespeare, and Sater goes into detail on this incredibly fascinating stuff.  It helped me see the show in a wider context and in a new light.   Many of Sater’s words confirmed my beliefs, but I also learned a lot. For example, did you know that the lyrics of “My Junk” are almost entirely based on a drug rush? You may have, actually, but I certainly did not. 

Spring Awakening is not only among my top favorite musicals ever; it is very near and dear to my heart for many reasons, to the point where there are even lyrics tattooed on my back (and I’m sure those of you who know me well knew that I would not miss the opportunity to throw that in there).  Why aren’t there more books like this?  It would be nice to have a breakdown of every popular Broadway lyric, but the exclusivity is what makes the show that much more special. I can rest a bit easier knowing that Sater has left us this little guide as the show is passed into fresh hands and inevitably eventually somewhat forgotten.  So I recommend this book to anyone even remotely interested in the show and/or anyone looking to play these challenging roles. It will help! If you like to play with words, music and poetry in your free time then you can plow through this book in no more than an hour.  Sater has given us a peek into his vision, “and all shall know the wonder.”  

VIDEO: Angela Lansbury at Broadway Barks 2012!

Dogfight

Off-Broadway

Second Stage Theatre

July 14th, 2012 matinee

Background and Synopsis: Yesterday, I had the pleasure of seeing the new off-Broadway musical, Dogfight, at Second Stage. Set to open on Monday, July 16th, Dogfight is based on the 1991 movie of the same name which starred River Phoenix and Lili Taylor. Directed by Tony Award winner Joe Mantello with a score by Benj Pasek and Justin Paul, and book by Peter Duchan, Dogfight chronicles the events of November 21, 1963, as a group of Marines prepare for one last night of fun before shipping out to Vietnam the next day. When the Marines make a bet on who can find the ugliest date, Eddie Birdlace meets Rose Fenny, a plain, inexperienced waitress, and the cruel game turns into an unusual and unexpected connection between the two. 

Comments: There is something very special about Dogfight- perhaps it is the raw and honest manner in which the characters are written by Peter Duchan. The New York stage has seen many musicals based on movies recently, but not all of them have succeeded as a musical. This production is a great example of a movie that actually works as a musical, much like the Tony Award winning musical, Once. The simple, but compelling story is enhanced by a hauntingly beautiful score written by Benj Pasek and Justin Paul, two fairly new, up and coming composers!  Rather than interrupt the story with big, showy numbers, the music of Dogfight elicits character reflection and propels the story forward. There are many laugh-out-loud moments, the kinds that make you wonder how the actors are keeping straight faces. In fact, Dogfight exemplifies the even balance between drama and comic relief. 

Rose Fenny is played by Lindsay Mendez, recently seen in the Broadway revival of Godspell singing “Bless the Lord”. Known for belting songs out of the vocal stratosphere, Lindsay’s portrayal of Rose is, of course, more subdued than her previous roles, but it definitely accentuated the warmth, richness, and expression in her amazing voice. Lindsay didn’t play Rose as an unattractive, mousy young waitress, but rather as a sheltered, inexperienced, intelligent girl with profound insight into people, specifically Eddie. Derek Klena (of Carrie) played the flawed and hot-tempered Eddie Birdlace. He did a great job of portraying the emotional layers of such a complicated character. 

The supporting cast was also excellent. Standing out were Nick Blaemire as Bernstein, Josh Segarra as Boland, and Annaleigh Ashford as Marcy. In particular, Annaleigh really nailed the comedic timing as Boland’s opportunistic date.  

If you want to see an enjoyable, heartfelt musical with a talented cast and beautiful music written by a pair of promising new composers, please check out Dogfight at Second Stage Theatre. It is not to be missed. 

The Gershwins' Porgy and Bess

Broadway

Richard Rodgers Theatre

Background: Prior to August, 2011, my sole experience of the American folk opera, Porgy and Bess, included a medley of its selections performed by my middle school concert band. At the ripe age of twelve, I would have rather been playing selections from Rent or something less “dated” in my mind, and so the music of Porgy and Bess faded away from my memory until last summer, when it was announced that a new production of The Gershwins’ Porgy and Bess to be directed by Diane Paulus would be playing at the American Repertory Theatre (ART) in Cambridge, MA. Needless to say, I decided it was time for my more cultured adult self to give Porgy and Bess another chance.  I thoroughly enjoyed this cast. Now that they have transferred to Broadway and won a Tony Award for Best Revival, I decided to pay a second visit to Porgy and Bess on the Great White Way.  

Synopsis and History: Porgy and Bess tells the love story of Porgy, a poor, lame, black man living in the destitute community of Catfish Row in Charleston, NC in the 1930’s, and Bess, a flawed and conflicted black woman living in the clutches of her jealous and possessive lover, Crown, and her drug dealer, Sportin’ Life. Despite his physical limitations, Porgy attempts to offer Bess a new life free from Crown and “happy dust”. 

Porgy and Bess is based on the play, Porgy, which is based on DuBose Heyward’s novel of the same name.  After opening at the Colonial Theatre on September 30, 1935, the production transferred to Broadway’s Alvin Theatre on October 10th of the same year, where it ran for 124 performances before beginning a four-city tour.  A talented cast of trained opera singers arrived in Washington DC’s National Theatre only to discover that the theatre did not allow black patrons. The cast refused to perform under such circumstances, which ultimately led to the National Theatre’s desegregation, a milestone at the time. The opera spurred controversy among some African-Americans, who viewed it as a racial stereotype. When the opera opened, many felt that African-Americans were portrayed as violent, uneducated, indigent drug-seekers, which would further validate the stereotype at that time. The Broadway playbill gives a brief, but insightful synopsis of the opera’s history and significance, which I found to be very helpful in understanding the plot.

The Gershwins’ Porgy and Bess has been revised, cut down from its original four-hour duration, and “modernized” by director Diane Paulus, which has also been controversial to some, most notably, Stephen Sondheim. 

Comments: The Gershwins' Porgy and Bess showcases an extremely talented cast at their best. Five-time Tony Award winner Audra McDonald gives a heart-wrenching performance as Bess. Playing Bess eight times per week must be exhausting, but she does it flawlessly. Norm Lewis gave a Tony-worthy performance as the naive, but beloved Porgy, portraying the character’s journey as a victim protected by his neighbors who evolves into a man of great strength. Norm Lewis was the stand-out performer in Porgy and Bess and one of my biggest reasons for seeing the show twice. David Alan Grier is oddly endearing as Bess’ drug dealer Sportin’ Life.  He’s so bad, but you just can’t hate him- maybe because his character provides moments of comic relief in the midst of turmoil and tragedy. I especially appreciated the funny exchanges between him and matriarch Natasha Yvette Williams (Mariah). Phillip Boykin was terrifying as Crown, as he should be.  Nikki Renee Daniels (Clara) and Joshua Henry (Jake) stood out vocally with their performances of “Summertime” and “A Woman Is A Sometime Thing” respectively.  Bryonha Marie Parham’s performance of “My Man’s Gone Now” is theatre at its finest. 

Many critics have argued that Diane Paulus’ revised version of Porgy and Bess has stripped the opera of its essence. Without having seen other productions, I am not able to comment on this belief. What I can tell you is that The Gershwins’ Porgy and Bess offers a powerful score with elements of folk, jazz, spirituals, and blues, enjoyable choreography, and a well-constructed plot, which has been further clarified since ART. In the era of Wicked, Rent, and The Book of Mormon, a four-hour opera with three intermissions may not be appealing to the younger generation of theatre-goers. Diane Paulus’ revisions certainly render the opera more accessible and appealing to that generation, and if this was her goal, then job well done. Regardless of interpretation, Porgy and Bess can forever be appreciated for its preservation of American history and its indelible role in civil rights. 

Jesus Christ Superstar

Broadway

Neil Simon Theatre

March 31, 2012 matinee

Currently playing at the Neil Simon Theatre is the 2012 revival of Andrew Lloyd Webber’s Jesus Christ Superstar, a rock opera which depicts the final week of Jesus Christ’s life through the unique perspective of Judas Iscariot. Completely sung-through, Jesus Christ Superstar is a modern interpretation of the crucifixion boasting a powerful score with a 1970‘s “feel”. As rumors of a possible July 1st closing date surface, I’d like to briefly remind theatre-goers of all the wonderful aspects of this production, which opened on March 22, 2012. 

At the heart of this production is its powerful score, which demands the incredible vocal talent and range of Paul Nolan (Jesus) and Jeremy Kushnier (u/s Judas). If you want to be impressed by amazing vocals, look no further than these two talented men. 

Paul Nolan was perfectly cast as Jesus Christ. He portrayed Jesus with more intensity and uncertainty than I had expected, with a sense of calm and thoughtfulness that alternated with torture and conflict. When he was on stage, I temporarily believed that he was Jesus Christ. Why didn’t he receive a Tony nomination????

Jeremy Kushnier did a wonderful job of portraying the jealousy and conflict within Judas, and dare I say, made him more human to the audience. Between his stellar acting and insanely incredible vocals, I would have to say that Jeremy Kushnier is one of the best understudies I’ve ever seen perform. 

Chilina Kennedy was a quiet but strong presence on the stage as Mary Magdalene. Her sweet and simple voice was ideal for the 1970’s folk style songs, “Everything’s Alright” and “I Don’t Know How To Love Him”. I thought there was great emotional chemistry between her character and Paul Nolan’s Jesus. 

And while the score is generally upbeat and even comical at times (most notably in “King Herod’s Song” sung by the very funny Bruce Dow), the production succeeds at portraying the emotional gravity of the story.  During the crucifixion scene, the sniffling of a tearful audience could be heard throughout the theatre. At the conclusion of the show, audience members leapt to their feet, cheering “Bravo”, and giving a standing ovation.  

Jesus Christ Superstar is a must-see for all theatre fans. Get your tickets now! 

Kristin Chenoweth on Tour

Boston Opera House

6/8/12

Last Friday night, I was very fortunate to see the incomparable Kristin Chenoweth perform at the Boston Opera House as part of her new 19-city concert tour, which will end on June 24th in her hometown of Broken Arrow, Oklahoma. Directed by Richard Jay-Alexander, this concert is more than a program of songs; rather, it is a two act show supported by the talents of three back-up singers: Chelsea Packard, Tyler Hanes, and Will Taylor. 

The Boston audience LOVED her from the minute she walked on stage with her Dunkin Donuts cup, truly in the spirit of New England. Instead of performing the expected roster of song choices, her song selection encompassed a broader range of musical styles and genres than the audience may have anticipated. In a sense, Kristin shared a different side of herself than simply that of her characters in Wicked and Glee. Don’t worry, she still sang Wicked and Glee... but she also sang a whole lot more including, opera, country, and Broadway, which showcased the broad range of talents she possesses. 

Kristin sang several songs previously unknown to me that I came to love after her performance. One such song was “My Coloring Book” for its clever and metaphorical lyrics. After some research, I discovered this was one of the first songs that Kander and Ebb wrote together.  


Here is a clip of Barbra Streisand's recording of "My Coloring Book". 

Kristin made her myriad of Wicked fans very happy by singing two selections from the popular musical (no pun intended). Kristin Chenoweth has probably sung “Popular” thousands of times by now, and as I sat in the Boston Opera House, I wondered if she is at all..... sick of it?  Well, one way to give the song some variety would be to sing it in a different language... which she did.  And she did it pretty impressively too.  All I can say is, Kristin’s performance of “Popular” on tour is my all time favorite performance of “Popular” ever. Hysterical. 

And if you know all the lyrics to “For Good”, you may get the once-in-a-lifetime chance to take the stage with Kristin Chenoweth and sing Elphaba’s part. 

Other favorite performances included: “I Will Always Love You” country style, “Maybe This Time” from Cabaret and Glee, and “Wishing You Were Somehow Here Again” from Phantom of the Opera. The end of the first act culminated with her rendition of “Bring Him Home” from Les Miserables, which was beautiful. She also sang several great songs from her newest album, “Some Lessons Learned”.  


   

As I left the Boston Opera House last Friday night, it occurred to me that Kristin Chenoweth is not hugely successful solely because of her vocal talent and comedic timing, but also because she is true to her unique self both as a performer and a person. She is a one-of-a-kind talent. If you want to be entertained, check out her concert tour before June 24th! 


         

Tony Awards Highlights- Best Tony Moments 2012

1.) Best surprise win: Michael McGrath, Best Featured Actor in a Musical, for Nice Work If You Can Get It 
While most of the speculation in this category surrounded Michael Cerveris and the Porgy and Bess men, no one expected that the comedic butler/bootlegger from Nice Work If You Can Get It would bring a Tony Award home! With that said, McGrath’s comical performance alone is worth the ticket price and his Tony Award is well-deserved simply for his genius comedic timing. 


 2.) Best presenter(s): Patti LuPone and Mandy Patinkin 
Who didn’t say, “awwww”, when the former Evita co-stars took the stage to announce in song the best revival of a musical? Charming. 


 3.) Best Dress: Celia Keenan-Bolger 
What I love about Celia’s beautiful, gold Monique Lhuillier dress is that it’s true to the color theme of her show. The set of Peter and the Starcatcher boasts a unique gold proscenium decorated with numerous gold objects such as forks, potato mashers, and garden tools... just to name a few. While her dress luckily didn’t have common household items sewn to it, the colors and embellished gold fabric are reminiscent of the show’s creativity! I don’t know if Celia did this purposely... but I liked it! 

4.) Best Performance: Leap of Faith 
After closing prematurely on May 13th, you have to give the cast of Leap of Faith credit for performing at the Tony Awards and killing it. Led by Raul Esparza, this energetic, upbeat, feel-good show had a lot to offer on Broadway and deserved a longer run. Well, now America can see what they’re missing.... and maybe this performance will pave the way for a tour in the future. 


 5.) Best Tony Speech: Steve Kazee, Best Leading Actor in a Musical, Once 
As Steve tearfully remembered his late mother, there was not a dry eye at any Tony Party. Everything about his speech- from his acknowledgement of his cast-mates and leading lady to his Arthur O’Shaughnessy quote to his remembrance of his mother to his sense of gratitude- was heartfelt and authentic. And it helps that he is SO deserving of this Tony Award. And the perfect end to his speech was Cristin Milioti giving him a standing ovation... 

In a close second is Audra McDonald, who told her daughter that, while tonight is a very special night, the best night of her life would always be the night she was born.

Tips for Throwing a Tony Awards Party

Last year, I threw my first annual Tony Awards Party. It was a big hit among my theatre-loving friends, theatre-liking friends, and even my don’t-care-about-Broadway-but-came-to-support-me friends. As I write this blog, I am actively planning my second Tony Awards Party with the hope that it will be just as successful as last year’s event! 

This blog is directed at anyone who may be thinking about throwing a Tony-themed Party or anyone who is looking for new ideas to “spice up” their yearly Tony celebration.  Happy Planning! 

1.) GAMES

Because I have the guests arrive two hours before the Tony’s, there is plenty of time for games.  Last year, I compiled a list of “Tony trivia”, which included 25 questions about the Tony Awards, new or currently running musicals and plays, and Broadway “people” (actors, composer/lyricists, directors, choreographers, etc). I created most of the trivia questions myself, but the Tony Awards website offers many trivia questions specific to the history of the Tony Awards, so that is an excellent resource as well. 

http://www.tonyawards.com/en_US/history/facts/index.html

We also played a game of “Tony quotes”. I created a list of about 20-25 quotes from popular Broadway showtunes and the guests must determine which musical the quote originated from. The guest who achieves the most correct answers on trivia and quotes is given a prize (more on prizes below). 

Here is an example of a trivia question and a quote. 

Which actress has played Elphaba (Wicked) in more performances than any other actress? 

“I’m as corny as Kansas in August...” 

2.) DECORATIONS

Decorations are really a matter of preference. I like to keep the lights low and decorate my living room with white Christmas lights. I also like hanging black and silver balloons around my living room. This year, I’m going to frame Broadway and New York-related photos and playbills from the Tony-nominated shows and hang them around my living room to set the mood. 

3.) FOOD

I know some theatre fans like to serve Broadway-themed food. For example, serving French food for Les Miserables or corned beef and cabbage for Once or Southern food for Memphis. I have no culinary ability, so I do not do this. Plus, I know too many picky eaters. However, I do ensure that there is plenty of food to be enjoyed. I tend to stick with pizza, sandwiches, vegetables and dip, chips and dip, fresh fruit, and a punch bowl. This year, I will be serving Broadway-themed cupcakes that will be decorated with candies relevant to this year’s Tony-nominated shows. For example, some cupcakes will be decorated with a candy guitar to represent Once or a candy star for Peter and the Starcatcher, etc. 

4.) MUSIC

Until the Tony Awards begin, I have Broadway music playing in the background. I compile a playlist of songs in iTunes from ONLY the Tony-nominated shows and put it on shuffle, which usually gets everyone in Broadway mode (if they’re not already!). The only downfall to this is that some of the Tony-nominated shows have not yet recorded a cast recording by the time of the Tony Awards and so some shows are left out of my mix. 

5.) COSTUMES

Oh, did I forget to mention?  My Tony Awards Party is also a costume party!  My guests are required to dress up as a character from a Broadway musical or play (the show does not have to be running on Broadway currently). Last year, my guests included: the Phantom of the Opera, Elphaba from Wicked, Diana and Dan Goodman from Next to Normal, and Extraordinary Girl from American Idiot. During commercial break, I have the guests vote for best costume and the winner gets a prize! 

6.) RED CARPET

Last year, I was checking out decorations at iParty and I came across a mock “red carpet”. I loved the idea of the guests walking up the red carpet to get to the party and so I bought it. The red carpet was a lot of fun. I placed it in my front yard, making a path from the road to the front door, and everyone had the chance to walk on the red carpet in full costume while we took pictures. It also entertained my neighbors who drove by my house to see a green witch, a phantom, and a red carpet among other things.  Very fun. 

7.) BALLOTS

http://www.tonyawards.com/en_US/nominees/2012_Printable_Ballot.pdf

On the Tony Awards website, there is a printable ballot.  I print this out and take it to FedEx to have copies printed on cardstock. Cardstock makes it a little more durable in case some of the die-hard theatre fans want to save it.  Before the Tony Awards begin, everyone fills out the ballot based on who they think will win.  The guest who correctly guesses the most winners gets a prize.  

8.) PRIZES

Since a Tony Awards party can become expensive, I don’t go crazy with prizes. Between the two games, the costume contest, and the ballots, I need four prizes, but last year there was a tie for the costume contest and the trivia game, so it’s a good idea to have extra prizes on hand.  The cost per prize is usually less than $5. Some examples are: Times Square themed playing cards, Broadway-themed wall calendar, Broadway-themed bookmark, NYC-themed stationery, Broadway-themed key chains or magnets, home-made fudge, and hand soap. I try to have a couple of non-Broadway-themed items available since some guests are not die-hard Broadway fans. 

I hope this is helpful! What are your ideas???? 

GHOST

Broadway, Lunt-Fontanne Theatre

May 18, 2012

Synopsis: Based on the 1990 movie, Ghost is the story of Sam and Molly, two star-crossed lovers who are mugged one night, leaving Sam murdered and caught between this world and the next. When he realizes that Molly is in danger, he enlists the help of the very unwilling Oda Mae Brown, a psychic of questionable abilities, to communicate with Molly. 

Sidenote: I have never seen the movie, Ghost. 

Comments: As the overture begins, the New York skyline is projected onto a large screen on the stage and the audience has the “3-Dimensional” experience of “flying” over NYC. Immediately, the audience feels as though they are about to witness something out-of-this-world. It’s magical.

I loved Ghost because of its relatability. But what could be relatable about a ghost caught between two worlds?? Well, one special thing about Ghost is that it’s a drama, a comedy, a romance, and a mystery- there is something in it for everyone to enjoy. The story takes the audience on an emotional journey as they laugh, smile, and cry over the course of two and a half hours. As most of us have lost a loved one suddenly, the audience undoubtedly identifies with Molly’s grief and sheds tears for her loss. Not all musical theatre characters are able to sustain this kind of connection with the audience. Lastly, Ghost gives us the universal messages of hope, living each day to the fullest, and doing the right thing, messages that we all need to hear from time to time. 

The heart of the show lies with Caissie Levy and Richard Fleeshman, who are reprising their roles from the West End production of Ghost. As Sam and Molly, the two actors have wonderful (emotional and romantic) chemistry together. I loved Caissie Levy as Molly. She has a beautiful, crystal-clear voice and her performance was very authentic and heartfelt. Aside from being easy on the eyes, Richard Fleeshman is endearing as Molly’s ill-fated boyfriend, Sam, and he too has a wonderful voice. 

The comedic relief of the show is provided by Tony nominee Da’Vine Joy Randolph as Oda Mae Brown. After seeing her performance, I now understand the Tony nomination!  She was hysterical.  Let me put it this way- when she is on stage, there is very little time when the audience is NOT laughing.  

Three days after I saw the show, I bought the cast recording.  With music and lyrics written by Dave Stewart and Glen Ballard, the score captures the emotional gravity of the story while also lightening the burden with more upbeat, comical songs. 

Ghost received Tony nominations for Best Scenic Design and Best Lighting Design, which are well-deserved. The special effects and illusions were just amazing to see live on stage: objects moving in mid air, “ghosts” walking through doors, and the instant, seamless separation of spirit and body into two entities. The set gives the impression of being on another plane. The sets, lighting, and illusions were just magical.  This is not something that you will see on Broadway every day. 

The Verdict: I strongly recommend that everyone go see Ghost on Broadway. 

Buy the cast recording. 

Tony Snubs!

Tony Awards night is rapidly approaching!  Are there any shows or actors that you feel should have been nominated but were not?  Tony nominations would not be complete without a few “snubs”! 

1.) Melissa van der Schyff as Blanche Barrow in the ill-fated new musical, Bonnie and Clyde. Her strong, emotional portrayal of Clyde’s God-fearing sister-in-law should have earned her a nomination for best featured actress in a musical. While the Tony committee may have forgotten about her heartfelt, comedic performance, I have not, and I hope you haven’t either! 

2.) Bonnie and Clyde for best new musical. Please refer to my blog entry from 1/22/12. http://standingovationsbroadwayblog.blogspot.com/2012/01/bonnie-clyde-broadway-schoenfeld.html 

Original, memorable, and witty, Bonnie and Clyde had everything you could want in a musical- beautiful music by Frank Wildhorn, a smart story-line, action-packed drama, and a talented group of Broadway actors- but this didn’t prevent the show from closing early due to poor ticket sales. 

I am happy that Bonnie and Clyde was not entirely forgotten- it did receive two nominations- one for best score (completely deserved) and another for best actress in a musical (Laura Osnes as Bonnie, also completely deserved). 

3.) Paul Nolan as Jesus Christ in Jesus Christ Superstar.  Come on, he rocks the Neil Simon Theatre eight times per week as Jesus Christ, the ULTIMATE mammoth role, AND he does it really well. A Tony-nomination for best leading actor in a musical would have been well-deserved. 

4.) Bernadette Peters as Sally Durant Plummer in Follies. She has seven Tony nominations, two Tony Awards, and she will be receiving the Isabelle Stevenson Award at this year’s Tony Awards ceremony, but it doesn’t make this snub any less sad.  Only Bernadette Peters can find the emotional depth of an unstable character and have a nervous breakdown while singing a song like “Losing My Mind”. That’s all I have to say about that.  

5.) Raul Esparza as Jonas Nightingale in Leap of Faith. This man did not stop dancing, singing, or preaching during this two and a half hour musical.  ENERGY. He’s got it.  But it didn’t earn him a Tony nod.  

6.) Adam Chanler-Berat as Boy in Peter and the Starcatcher.  We all loved Adam Chanler-Berat in Next to Normal and the off-Broadway revival of Rent, but he really shows off his acting chops as Boy in Peter and the Starcatcher. This may be his best performance yet!  

7.) Elena Roger as Eva Peron in Evita.  Born in Argentina, there is something very authentic about this actress’ performance as the powerful, though unfortunate, first lady of Argentina. This omission is just a shame.