Another season of Broadway has come to a close. Did it have a mega-hit like “Hamilton”? No. But there was a lot of…
Another season of Broadway has come to a close.
Did it have a mega-hit like “Hamilton”? No.
But there was a lot of good theater, from the British import “The Ferryman” to the hell-raising journey of “Hadestown.” And let’s not forget the incredible production of Harper Lee’s classic “To Kill a Mockingbird” and the truly wonderful revival of “Arthur Miller’s All My Sons.”
Then there was the heartfelt, fun and all-too-relevant “The Prom,” and the excitement of watching the rise of “Be More Chill,” which began in 2015 at Red Bank’s Two River Theater.
This year’s Tony Awards, hosted by James Corden, begin at 8 Sunday on CBS.
Special Tony Awards for Lifetime Achievement in the Theater will be given to Rosemary Harris, Terrence McNally and Harold Wheeler. Also, Judith Light will receive the Isabelle Stevenson Award, and a Special Tony Award will be given to the late Marin Mazzie.
Also receiving a Special Tony Award is Neptune native and Rutgers University’s Mason Gross School of the Arts graduate Jason Michael Webb, for his a cappella gospel arrangements in this season’s “Choir Boy,” a play with music, and Sonny Tilders and Creature Technology Company for their work in bringing “King Kong” to life on stage.
“The beautiful thing about theater is the whole thing is alive. You can’t just press play on it and the whole thing happens the same way every time. That’s the exciting part. Everything is a negotiation, everything is a conversation,” Webb said, in an interview with the Asbury Park Press in 2016.
“Choir Boy”; “The Ferryman”; “Gary: A Sequel to Titus Andronicus”; “Ink”; “What the Constitution Means to Me.”
Ilana Keller: It’s a good thing we had some Shakespeare this year, because the man himself pretty much summed up the entire season: The play’s the thing. And in a field of quality new works, while Heidi Schreck’s “What The Constitution Means to Me” continues to surprise many, Jez Butterworth’s “The Ferryman” found itself living large. Gripping from start to surprise finish, the drama and family dynamics that played out on stage were captivating.
Bill Canacci: No question that plays for the most part dominated this year. This is probably one of the easiest for me: “The Ferryman” was the best thing on Broadway this season. The show takes place in Northern Ireland during The Troubles in 1981. It’s more than three hours — but I loved every second of it. A true ensemble piece and great acting all around.
Keller: The only thing I hated was the woman next to me eating an entire lunch — and dropping crumbs on me.
“Ain’t Too Proud: The Life and Times of The Temptations”; “Beetlejuice”; “Hadestown”; “The Prom”; “Tootsie.”
Canacci: There are good things to say about most of this year’s nominees: “Ain’t Too Proud” was far from the typical jukebox musical; “The Prom” made me smile; “Tootsie” was, for at least 10 minutes in Act II, hilarious; and “Hadestown” was beyond impressive. I was surprised at how much “Hadestown” improved since I saw it off-Broadway a few years ago at New York Theatre Workshop. But while a part of my heart is with “The Prom,” “Hadestown” deserves the Tony. The overall production was just on another level.
Keller: Um, there is a fifth nominee — “Beetlejuice” is just plain fun. While I wouldn’t be surprised or disappointed if the sublime “Hadestown” does walk off with the win, unlike Bill, “The Prom” has my whole unruly heart. It’s resonant, it’s funny, it has big, happy choreography and an upbeat spirit. The songs are catchy and the inside digs (and homages to) the showbiz world are a nice wink to insiders and fans alike.
Canacci: I will say this: I liked “The Prom” much more than I thought I would.
“Arthur Miller’s All My Sons”; “The Boys in the Band”; “Burn This”; “Torch Song”; “The Waverly Gallery.”
Keller: When it played last summer, there was a little concern that “The Boys in the Band” may be forgotten come Tony time. That’s far from the case, thankfully. That anniversary revival and “Torch Song” still spoke to current times in a way that only art can. While every show has something to say, perhaps the most surprising was “All My Sons” — and when a revival can lead to pin-drop silence even amid a widely known conclusion, it’s a special production.
Canacci: “All My Sons” and “The Waverly Gallery” are the two stand-outs here. But “All My Sons” is the better production. Of course, when you have Annette Bening and Tracy Letts in the same show, something special is bound to happen.
Keller: At a post-show talkback, director Jack O’Brien spoke at length about finding the perfect grass for the set. Perhaps because there was nothing else left to fret about.
“Kiss Me, Kate”; “Rodgers & Hammerstein’s Oklahoma!”
Canacci: Only two nominees for best revival of a musical. “Kiss Me, Kate” was a good production, but there was nothing special about it — except for a wonderful moment at the start of Act II with “Too Darn Hot.” Now there was a lot to talk about with the revival of “Oklahoma!” Many people loved this show, but traditionalists did not (maybe they liked the chili that was served at intermission). Even with its flaws, and there are a few, “Oklahoma!” deserves to win.
Keller: What’s funny about traditionalists not loving “Oklahoma” is that the book and lyrics were untouched. It’s amazing what can be done with orchestrations and staging. That said, I’m a sucker for a big, splashy BROADWAY musical. And when it includes a full-cast tap number or two, count me in. There’s a constant battle in the world of revivals as to whether they need to be reimagined or reinvented to be impactful. I think “Kiss Me, Kate” proves that a remounting and a few tweaks can still prove a successful revival, and it would have my vote.
Canacci: This surprises me a bit, but I know what you are saying. And I should mention that the famous Rodgers & Hammerstein score has been rejiggered for a eight-piece bluegrass band. That did not bother me as much, though, as the scenes in total darkness.
“Ain’t Too Proud: The Life and Times of the Temptations”: Dominique Morisseau; “Beetlejuice”: Scott Brown and Anthony King; “Hadestown”: Anaïs Mitchell; “The Prom”: Bob Martin and Chad Beguelin; “Tootsie”: Robert Horn.
Keller: Adapting a beloved movie or other known entity for the stage in a fresh way is always a challenge, and certainly an art form. So is telling a true-to-life story in a way that is captivating and coherent. But a truly original tale can be something special, and the melding of heart and humor in “The Prom” gives this my edge for Chad Beguelin and Bob Martin.
Canacci: You just love that show, don’t you? “Tootsie” seems to be the fan favorite, but I was not crazy about that musical. A part of me wants to go with “Hadestown” and another part says “Temptations.
