Sunday, June 12, 2022

PREDICTING THE TONYS 2022

 Prediction. Businesswoman in a black jacket shows a card with the inscription prediction. Selective focus royalty free stock photo


'Tis a foolish thing to try to read the minds of Tony voters.  But who can resist?  

In any event, here are my predictions of the winners (plus who I would have voted for if anyone had invited me to do so).


Best Play:                  The Lehman Trilogy

Personal Choice:      Clyde's


Best Musical:             Six

Personal Choice:       MJ (but close enough to tie with Six)


Play Revival:              For Colored Girls...

Personal Choice:       Trouble in Mind


Musical Revival:         Company

Personal Choice:        Company


Lead Actor, Play:        David Morse

Personal Choice:        David Morse


Lead Actress, Play:    LaChanze

Personal Choice:        LaChanze


Lead Actor, Musical:  Jaquel Spivey

Personal Choice:        Jaquel Spivey


Lead Actress, Musical:  Sharon D Clarke

Personal Choice:           Sharon D Clarke


Featured Actor, Play:    Jessie Tyler Ferguson

Personal Choice:           Chuck Cooper


Featured Actress, Play:      Uzo Aduba

Personal Choice:                 Uzo Aduba


Featured Actor, Musical:      Matt Doyle

Personal Choice:                   Matt Doyle


Featured Actress, Musical    Patti LuPone

Personal Choice:                    Patti LuPone


Book of Musical:                    A Strange Loop

Personal Choice:                    A Strange Loop 


Score:                                      Six

Personal Choice:                    Flying Over Sunset


Scenic Design, Play:            Es Devlin

Personal Choice:                  Es Devlin


Scenic Design, Musical:    Beowulf Boritt

Personal Choice:                Beowulf Boritt


Costume,  Play:                Jennifer Moeller

Personal Choice:              Jennifer Moeller


Costumes,  Musical:       Gabriella Slade

Personal Choice:              Gabriella Slade


Lighting, Play:               Jon Clark

Personal Choice:         Jon Clark


Lighting, Musical:        Bradley King

Personal Choice:        Bradley King


Sound, Play:                Mikhail Fiksel

Personal Choice:         Mikhail Fiksel


Sound, Musical:            Paul Gatehouse

Personal Choice:        Paul Gatehouse


Direction, Play:            Sam Mendes

Personal Choice:        Camille A. Brown 


Direction, Musical:    Marianne Elliott

Personal Choice:        Christopher Wheeldon


Choreography            Christopher Wheeldon

Personal Choice:        Christopher Wheeldon


Orchestrations:          David Cullen

Personal Choice:        David Cullen







Monday, September 27, 2021

THE TONYS: Monday Morning Quarterbacking

 

Danny Burstein, Tony Winner for Moulin Rouge

Photo by Matthew Murphy



It has been a confusing and anxious time for everyone involved in the theater, and the very fact that the Tonys for 2019-2020 were presented last night marks an important milestone in terms of Broadway's return.

So no recriminations or second-guessing here.  Just some observations.

To begin with, I successfully predicted 15 of the 25 winners, largely owing to my thinking that Moulin Rouge would walk away with a Tony in pretty much every category for which it was nominated. Since the show picked up 10 Tonys, you can see that my crystal ball did me a service.

Regarding musicals, it does seem a shame that all three shows that were up for awards in that category were what we call "jukebox musicals," including the winner.  The others were Jagged Little Pill, and Tina -- a show whose star, Adrienne Warren, gave an extraordinarily powerful Tony-garnering performance.  

Unfortunately, with no original musicals in the mix, all of the shows that were nominated for Best Original Score were actually non-musicals (though, of course, with supporting music). My thinking is that the category itself should be confined to actual musicals with original scores.  Since there were none this go-round, that category should have been eliminated.  

And speaking of categories with too few nominees, there was the case of Best Lead Actor in a Musical, in which Aaron Tveit (Moulin Rouge) was the only nominee.  The Tony voters were directed to vote  yea or nay.  Fortunately, enough of them voted yea, so that Mr. Tveit picked up his award, but, really, this category should have been eliminated.  

By the way, for the record and from my perspective, the actual best performance in this category was given by Isaac Powell in West Side Story, a show that -- while it did open in February of 2020, prior to the Covid shutdown -- unfortunately did not make the cutoff date for the Tonys.  

Overall, there were few surprises, even among those categories where I failed to successfully predict the winner.  

I did wonder that the highly touted Slave Play, which garnered a dozen nominations and is returning for another run on Broadway, failed to win any Tonys.  I especially admired the performance in that play of Joaquina Kalukango, but I will say that Mary-Louise Parker's performance in The Sound Inside (itself a small, esoteric play) was stunning and deserving of the Tony she won for Best Lead Actress in a Play. 

I was also very happy to have erred in the category of Best Revival of a Play, since the winner, A Soldier's Play, was my favorite for the season.  In that, I especially admired the performance by David Alan Grier, and I was delighted that he, too, won a Tony (for Best Featured Actor).  I did have a difficult time choosing between A Soldier's Play and Betrayal, which was given a truly stellar production.

Apart from the awards themselves, I was somewhat puzzled by the televised two-hour "Celebration of Broadway" show, which seemed geared toward the in-crowd of the industry rather than an audience of potential Broadway theater-goers.  There were very few performances from the 2019-2020 season and none from the current season (other than that of David Byrne's American Utopia, which is returning to Broadway for another run).  

I have the fondest memories of growing up, watching the performances on the Tony show each year, looking forward to the day when I could get to New York and take in a Broadway show myself.  Who knew that someday I would live here and be able to attend Broadway and Off Broadway shows to my heart's content!

________________


Here are links to my reviews of all the shows I have mentioned above:


Jagged Little Pill

https://www.talkinbroadway.com/page/world/JaggedLittlePill2019.html


Moulin Rouge

https://www.talkinbroadway.com/page/world/MoulinRouge2019.html


Tina

https://www.talkinbroadway.com/page/world/Tina2019.html


Slave Play

https://www.talkinbroadway.com/page/world/SlavePlay2019.html


West Side Story 

https://www.talkinbroadway.com/page/world/WestSideStory.html


A Soldier's Play

https://www.talkinbroadway.com/page/world/SoldiersPlay.html


The Sound Inside

https://www.talkinbroadway.com/page/world/SoundInside2019.html


Betrayal

https://www.talkinbroadway.com/page/world/Betrayal2019.html


David Byrne's American Utopia

https://www.talkinbroadway.com/page/world/AmericanUtopia2019.html

 











Sunday, September 26, 2021

TONY AWARDS. Long delayed but here we go...


There has been lots of mischigas about the on again-off again Tony Awards.  And, really, it's all understandable under the circumstances.  

Now is a time to celebrate the reopening of Broadway and to honor the hard work that went into the productions that did make it into the 2019-2020 Broadway season prior to the shutdown.

So, yes, tonight, it's on, though how it's being presented for public viewing is rather convoluted.

From 7-9 PM,  eastern time, you'll have to watch all but three of the awards being distributed on a streaming service, Paramount+.  To lure people in, they are offering a free week of viewing before the fee kicks in.  Up to you.  I'm not biting.

But starting at 9 PM, tune in to CBS for "The Tony Awards Presents Broadway's Back," a celebration filled with performances and the final three awards:  for best play, best play revival, and best musical.

For the record, I am posting my predictions here:

Best Play:  SLAVE PLAY

Best Musical:  MOULIN ROUGE

Best Play Revival:  BETRAYAL

Best Book of a Musical:  JAGGED LITTLE PILL

Best Original Score:  THE ROSE TATTOO

Best Lead Actor, Play:  TOM HIDDLESTON

Best Lead Actress, Play:  JOAQUINA KALUKANGO

Best Lead Actor, Musical: AARON TVEIT

Best Lead Actress, Musical:  ADRIENNE WARREN

Best Featured Actor, Play:  DAVID ALAN GRIER

Best Featured Actress, Play: LOIS SMITH

Best Featured Actor, Musical:  DANNY BURSTEIN

Best Featured Actress, Musical:  LAUREN PATTEN

Best Scenic Design, Play:  CLINT RAMOS

Best Scenic Design, Musical: DEREK McLANE

Best Costume Design, Play: DEDE AYITE (for Slave Play)

Best Costume Design, Musical:  CATHERINE ZUBER

Best Lighting Design, Play:  JIYOUN CHANG

Best Lighting Design, Musical:  JUSTIN TOWNSEND (for Moulin Rouge)

Best Sound Design, Play:  Daniel Kluger (for The Sound Inside)

Best Sound Design, Musical:  PETER HYLENSKI

Best Director, Play: ROBERT O'HARA

Best Director, Musical:  ALEX TIMBERS

Best Choreography: SONYA TAYEH

Best Orchestrations: KATIE KRESEK, CHARLIE ROSEN, MATT STINE &  JUSTIN LEVINE


Let's all find out together how well my predictions hold up.



 

WELCOME BACK! A consideration of the start of the 2021-22 New York theater season.

 It's been a while!

New York theaters are nervously moving forward with a new season that everyone hoped we could call "post-pandemic," or at least "pandemic-under-control."

Alas, neither of these defines the current state of things.  So, let's call it "nervously moving forward anyway, with fingers crossed and hoping for the best."  

It's hard to believe, but I have already seen seven shows on and off Broadway.  So let's chat a bit about them.

Things began for me in April, when I saw a production of Blindness at Off Broadway's Daryl Roth Theatre. The theater is named for the producer Daryl Roth, to whom I give a lot of credit for taking this early leap into the unknown.  


Blindness at the Daryl Roth Theatre

Photo by Helen Maybanks


Wisely or foolishly, I felt perfectly safe attending.  Given all that was at stake, I know that everything that could be done to ensure the health and well-being of all in attendance would be taken care of.  Indeed, the theater was super scrubbed, the audience was seated in a socially-distanced space, we were escorted individually to our seats, and everyone was masked.  

A little about the play itself:  Blindness was adapted by Simon Stephens from José Saramago's 1995 novel of the same title, It is a gripping tale about a plague of sightlessness that spreads rampantly among the inhabitants of an unspecified city and brings social order to its knees.  

So, not exactly a fun topic, but it was very well done nonetheless.  If you want to know more, here is a link to my review:  

https://www.talkinbroadway.com/page/ob/04_06_21.html

 ___________________


Next up for me was another Off Broadway show, this one at the Cell Theatre.  Now we are into July.  Protocol for admission was proof of vaccination -- though after admission, seating was not socially distanced, and masks were not required.

This one was a seriocomic play called Fruma Sarah (Waiting in the Wings).  If the name "Fruma Sarah" rings a bell, it's the character of the deceased wife of the butcher Lazar Wolf in Fiddler on the Roof.  We never actually meet the real Fruma Sarah in Fiddler;   instead, she appears in an imaginary dream cooked up by Tevye in order to convince his wife that they should break the agreement with Lazar Wolf to let him marry their daughter.  Remember?  Good.

Jackie Hoffman and Kelly Kinsella

 Fruma Sarah (Waiting in the Wings) at the Cell 

Photo by Hunter Canning


Fruma Sarah (Waiting in the Wings) is a two-character play about a community theater actress waiting backstage to go on in the role of the dream version of Fruma Sarah. The part was performed with great Ã©lan by the comic actress Jackie Hoffman.  

Written by E. Dale Smith, the play gives us a woman whose own life is on the skids, but who lives for those moments when she can figuratively and literally soar as an actress.  If you want to know more, here is a link to my review:

https://www.talkinbroadway.com/page/ob/07_08_21.html 

 ___________________


Third show, taking me into August.  This one marked the re-opening of the Delacorte Theatre, aka Shakespeare in the Park, the Public Theater's stadium-like open-air performance space in Central Park.  

Covid protocol: proof of vaccination and photo IDs to get in.  Masks required until and unless seated.  Special section set aside, socially distanced, for the unvaccinated and masked.

Before we get into the show itself, a comic romp titled Merry Wives, I want to take a moment to recognize all of the hard work by everyone involved to pull it off.  From the start, the production was plagued by a string of delays, canceled performances, an injured lead actor, and storm washouts -- not to mention the nerve-jangling specter lurking in the shadows.  And yet, the show prevailed and successfully ran until just last week when it closed on schedule.  


 

The Cast of Merry Wives at the Delacorte

Photo by Joan Marcus


Merry Wives is a modern take of Shakespeare's The Merry Wives of Windsor, adapted by playwright Jocelyn Bioh and   removed from England to Harlem among a population of African immigrants.  If you want to know more, here's a link to my review:


https://www.talkinbroadway.com/page/ob/08_09_21.html


 ___________________


Then later in August, Broadway saw its first show of the season, and, yes, I was there.  It was Antoinette Chinonye Nwandu's play Pass Over, transferred from its previous Off Broadway production, with a revised ending, still on view at the August Wilson Theatre,  with masks, vaccinations, and IDs all around.  Now might also be a good time for me to mention that, thus far, audiences I've encountered have been compliant and well-behaved and considerate of one another.  

Namir Smallwood and Jon Michael Hill

in Pass Over at the August Wilson Theatre

Photo by Joan Marcus

Pass Over borrows imagery from Samuel Beckett's Waiting for Godot and from the Old Testament Book of Exodus to relate the story of two young Black men who are trapped in a stretch of urban space.  If you want to know more, here's a link to my review:



 ___________________


Lenny Grossman and Francesca Ravera 

in Blackbird at the New Ohio Theatre

Photo by Bjorn Bolinder

September saw an off Broadway production at the New Ohio Theatre of David Harrower's disturbing play, Blackbird, which deals with the toxic fallout from a heinous act of pedophilia, a three-month-long sexual relationship between a 40-year-old man and a 12-year-old girl that took place 15 years before the play opens.  If you want to know more, here's a link to my review: 



 

  ___________________


There are two other plays I have seen since, Sanctuary City at Off Broadway's Lucille Lortel Theatre and Lackawanna Blues, on Broadway at the Samuel J. Friedman Theatre.  But I have not yet written those reviews, so you'll have to wait.











Sunday, June 14, 2020

DRAMA DESK AWARDS: Honoring the best of the 2019-2020 New York Theater Season





Undaunted after being moved from a formal, ticketed live-on-stage event to a low-key prerecorded ceremony, the Drama Desk, of which I am a voting member, last night announced the winners of its 65th annual awards honoring the best of Broadway and Off Broadway for the 2019-2020 season.

Although New York theater was forced to come to a TEMPORARY halt due to the global pandemic, there was an exciting and rich theater season prior to the March 12 lockdown, with a great many plays and musicals to be considered for these awards.  

Below is the list of winners, but before we go there, I would like to draw your attention to this message of support for racial equality from the organization:  

"The Drama Desk is committed to honoring all that's outstanding in the work of New York's diverse theater artists and craftspeople.  We regret the postponement of our awards ceremony, but, as an organization committed to the principle that all voices must be heard, we stand with the global Black Lives Matter movement, decrying the racial injustice and violence in our nation and city."


*********************************


Here is the list of the winners: 


Outstanding Play
The Inheritance

Outstanding Musical
A Strange Loop

Outstanding Revival of a Play
A Soldier’s Play

Outstanding Revival of a Musical
Little Shop of Horrors

Outstanding Actor in a Play
Edmund Donovan, Greater Clements

Outstanding Actress in a Play
Liza Colón-Zayas, Halfway Bitches Go Straight to Heaven

Outstanding Actor in a Musical
Larry Owens, A Strange Loop

Outstanding Actress in a Musical
Adrienne Warren, Tina: The Tina Turner Musical

Outstanding Featured Actor in a Play
Paul Hilton, The Inheritance

Outstanding Featured Actress in a Play
Lois Smith, The Inheritance

Outstanding Featured Actor in a Musical
Christian Borle, Little Shop of Horrors

Outstanding Featured Actress in a Musical
Lauren Patten, Jagged Little Pill

Outstanding Solo Performance
Laura Linney, My Name is Lucy Barton

Outstanding Director of a Play
Stephen Daldry, The Inheritance

Outstanding Director of a Musical
Stephen Brackett, A Strange Loop

Outstanding Choreography
Sonya Tayeh, Moulin Rouge!

Outstanding Music
Dave Malloy, Octet

Outstanding Lyrics
Michael R. Jackson, A Strange Loop

Outstanding Book of a Musical
Michael R. Jackson, A Strange Loop

Outstanding Orchestrations
Tom Kitt, Jagged Liittle Pill

Outstanding Music in a Play
Martha Redbone, for colored girls who have considered suicide/when the rainbow is enuf

Outstanding Set Design of a Play
Clint Ramos, Grand Horizons

Outstanding Set Design for a Musical
Derek McLane, Moulin Rouge!

Outstanding Costume Design for a Play
Rachel Townsend and Jessica Jahn, The Confession of Lily Dare

Outstanding Costume Design for a Musical
Catherine Zuber, Moulin Rouge!

Outstanding Lighting Design for a Play
Heather Gilbert, The Sound Inside

Outstanding Lighting Design for a Musical
Justin Townsend, Moulin Rouge!

Outstanding Sound Design in a Play
Paul Arditti and Christopher Reid, The Inheritance

Outstanding Sound Design in a Musical
Peter Hylenski, Moulin Rouge!

Outstanding Projection Design
Luke Halls, West Side Story

Outstanding Wig and Hair Design
Campbell Young Associates, Tina: The Tina Turner Musical

Outstanding Fight Choreography

Thomas Schall, A Soldier’s Play

Outstanding Puppet Design
Raphael Mishler, Tumacho

Unique Theatrical Experience
Is This A Room

Outstanding Adaptation
A Christmas Carol

Special Awards
Ensemble Award: “To the eight pitch-perfect performers in Dave Malloy’s a cappella musical Octet: Adam Bashian, Kim Blanck, Starr Busby, Alex Gibson, Justin Gregory Lopez, J.D. Mollison, Margo Seibert and Kuhoo Verma proved instrumental in giving a layered look at modern forms of addiction.”

Sam Norkin Award: “To actress Mary Bacon, who continued her versatile career of compassionate, searing work for such companies as The Mint, Primary Stages, The Public Theater and The Actors Theater Company, with two of Off-Broadway’s most humane performances this season in Coal Country at the Public Theater and Nothing Gold Can Stay presented by Partial Comfort Productions.”

“To The Actors Fund, Seth Rudetsky and James Wesley for connecting members of the theater community and lifting spirits during the coronavirus crisis. The Actors Fund has worked tirelessly to provide financial and health resources to those impacted by the pandemic; Rudetsky and Wesley’s semi-daily Stars in the House webcast is raising funds for The Actors Fund, while providing performances, reunions, and medical updates.”

“To The Public Theater’s Mobile Unit, a reinvention of Joseph Papp’s “Mobile Theater” that began in 1957 and evolved into the New York Shakespeare Festival and The Public Theater. The current Mobile Unit tours free Shakespeare throughout the five boroughs, including prisons, homeless shelters and community centers, reminding audiences new and old that the play really is the thing. ”

“To WP Theater and Julia Miles, the company’s founder who died this spring. Formerly known as The Women’s Project and Productions, the company began in 1978 at American Place Theatre, where Miles served as associate to visionary artistic director Wynn Handman, who also died this spring. WP is the largest, most enduring American company that nurtures and produces works by female-identified creators. Over a little more than four decades, it has changed the demographics of American drama through an unwavering focus on women writers, directors, producers, performers and craftspeople.”

“To Claire Warden for her pioneering work as an intimacy choreographer in such recent projects as Frankie and Johnny in the Claire de Lune and Linda Vista and her leadership in the rapidly emerging movement of intimacy direction. As part of the creative team of Intimacy Directors & Coordinators and Director of Engagement for and co-founder of Intimacy Directors International, she is helping create theater experiences that are safer for performers and more authentic for contemporary audiences.”



___________________


Feel free to share this blog with your friends, and to offer up your own theater stories by posting a comment. 



Wednesday, June 10, 2020

CONTEXTUALIZING RACISM IN THE THEATER ARTS



More than 300 theater artists - black, Indigenous and people of color (BIPOC) - published a letter addressed to “White American Theater” decrying racial injustice in their industry online on Monday.

You can read the entire letter below. But before that, I want to comment on the broader context of embedded, institutionalized racism in America.  

If, like me, you are white and consider yourself an ally of social justice in America, please don’t talk about “defining moments” and “turning points” unless you are willing to roll up your sleeves and do some of the heavy lifting in order to truly “define” and “turn.”
Talk, even talk filled with outrage and empathy, won’t move this country in another direction if we simply go back to business as usual and suck our teeth and roll our eyes and scream at the TV set.
One of the best-expressed statements I’ve heard lately is this: It’s not that America is broken. It is functioning the way it is by intent and design, just as it always has, with some but not remotely enough progress over the course of 244 years as a nation, and even before that, dating to 1619 and the arrival of the first known slave ship with a cargo of slaves to sell to the colonist
If you are reading this, I believe it is likely you understand that there are issues of institutionalized racism that encompass political, legislative, governing, financial, educational, housing, jobs, salaries, health, nutrition, the creative and performing arts, and accessibility to all of these and more. I’ll be thinking more about what I can do.

Meanwhile, might I suggest watching Oprah’s Town Hall on Race? Part I last night laid the groundwork. Tonight’s focus is on where we go from here.

__________________

And, as promised, here is the letter that is garnering even more signatures and support as I post this:

Dear White American Theater,

We come together as a community of Black, Indigenous, and People of Color (BIPOC) theatremakers, in the legacy of August Wilson’s “The Ground on Which I Stand,” to let you know exactly what ground we stand on in the wake of our nation’s civic unrest.

We see you. We have always seen you. We have watched you pretend not to see us.

We have watched you un-challenge your white privilege, inviting us to traffic in the very racism and patriarchy that festers in our bodies, while we protest against it on your stages. We see you.

We have watched you program play after play, written, directed, cast, choreographed, designed, acted, dramaturged and produced by your rosters of white theatermakers for white audiences, while relegating a token, if any, slot for a BIPOC play. We see you.

We have watched you amplify our voices when we are heralded by the press, but refuse to defend our aesthetic when we are not, allowing our livelihoods to be destroyed by a monolithic and racist critical culture. We see you.

We have watched you inadequately compare us to each other, allowing the failure of entire productions to be attributed to decisions you forced upon us for the comfort of your theater’s white patrons. Meanwhile, you continue to deprioritize the broadening of your audiences by building NO relationship with our communities. We see you.

We have watched you harm your BIPOC staff members, asking us to do your emotional labor by writing your Equity, Diversity and Inclusion statements. When we demanded you live up to your own creeds, you cowered behind old racist laments of feeling threatened, and then discarded us along with the values you claim to uphold. We see you.

We have watched you discredit the contributions of BIPOC theatres, only to co-opt and annex our work, our scholars, our talent, and our funding. We see you.

We have watched you turn a blind eye as unions refuse to confront their racism and integrate their ranks, muting the authenticity of our culture and only reserving space for us to shine out front on your stages but never behind them. We see you.

We have watched you dangle opportunities like carrots before emerging BIPOC artists, using the power of development, production, and awards to quiet us into obedience at the expense of our art and integrity. We see you.

We have watched you use our BIPOC faces on your brochures, asking us to politely shuffle at your galas, talkbacks, panels, board meetings, and donor dinners, in rooms full of white faces, without being willing to defend the sanctity of our bodies beyond the stages you make us jump through hoops to be considered for. We see you.

We have watched you hustle for local, federal, foundation and private funding on our backs, only to redirect the funds into general operating accounts to cover your deficits from years of fiscal mismanagement. We see you.

We have watched you hire the first BIPOC artists in executive leadership, only to undermine our innovations and vision of creating equitable institutions, by suffocating our efforts with your fear, inadequacy, and mediocrity. We see you.

We have watched you attend one “undoing racism workshop,” espousing to funders you are doing the work, without any changes to your programming or leadership. You’ve been unwilling to even say the words “anti-racism” to your boards out of fear of them divesting from your institutions, prioritizing their privilege over our safety. We see you.

We have watched you promote anti-Blackness again and again. We see you.

We have watched you say things like – I may be white, but I’m a woman. Or, I may be white, but I’m gay. As if oppression isn’t multi-layered. We see you.

We have watched you exploit us, shame us, diminish us, and exclude us. We see you.

We have always seen you.

And now you will see us.

We stand on this ground as BIPOC theatremakers, multi-generational, at varied stages in our careers, but fiercely in love with the Theatre. Too much to continue it under abuse. We will wrap the least privileged among us in protection, and fearlessly share our many truths.

About theatres, executive leaders, critics, casting directors, agents, unions, commercial producers, universities and training programs. You are all a part of this house of cards built on white fragility and supremacy. And this is a house that will not stand.

This ends TODAY.

We are about to introduce you...to yourself.

Signed,

The Ground We Stand On

Sunday, May 17, 2020

OUTER CRITICS CIRCLE HONORS BEST OF 2019-2020 THEATER SEASON






The last Broadway show I saw was on March 7.  My review for that was written and set for publication on its official opening night. Unfortunately for everyone involved, opening night was slated for March 12, the start of the Great Shutdown, which, we are told, has been extended at least until Labor Day. 

And so my review is on hold, along with everything else. I will say no more about that particular show until it does make its formal entrance. 

Eventually, along with everything else, theater will return. Many shows that were running will reopen, and new ones will come along. But I will note that some 200 plays and musicals did open in Broadway and Off Broadway theaters during 2019-2020. 

While there will be no Tony Awards this go ‘round, organizations like the Off Broadway Alliance, the Off-Broadway League, the New York Drama Critics’ Circle, the Drama Desk, and the Outer Critics Circle have found ways to recognize outstanding writers, performers, directors and designers who put everything they had into entertaining and enlightening us during this truncated season.

As a proud member of the Outer Critics Circle (OCC), I am delighted with the process the group used to approach its awards this year, a process that involved the membership and the OCC Board in identifying not one winner, but a group of several honorees in each category.   

The honorees were formally announced in a video featuring several big-name stars making the announcements from their individual homes, which gives everything a nice personal touch. So meet  Kristin Chenoweth, Bryan Cranston, Patti LuPone, Lin-Manuel Miranda, and Patrick Stewart as they make the announcements here: https://www.youtube.com/watch?v=jifQPNv1vJY


___________________


Listed below are a few of the honorees – for outstanding new Broadways play and musicals, for outstanding new Off Broadway plays and musicals, and for outstanding play and musical revivals. I have included links to my reviews, as indicated.  

OUTSTANDING NEW BROADWAY PLAY
Grand Horizons  My review at - https://bit.ly/2X4r2tH
Height of the Storm  My review at - https://bit.ly/2mV42Ph
The Inheritance
Linda Vista  My review at - https://bit.ly/2oAI3yr
The Sound Inside  My review at - https://bit.ly/31r1reB

OUTSTANDING NEW BROADWAY MUSICAL
Jagged Little Pill  My review at - https://bit.ly/2YlyyR7
Moulin Rouge!  My review at - https://bit.ly/3dZw6Xb
Tina   My review at - https://bit.ly/36ToByi


OUTSTANDING NEW OFF-BROADWAY PLAY
Cambodian Rock Band
Greater Clements  My review at - https://bit.ly/36iOkPu
Halfway Bitches Go Straight to Heaven
Make Believe
Seared

OUTSTANDING NEW OFF-BROADWAY MUSICAL
Darling Grenadine
Octet
The Secret Life of Bees
Soft Power  My review at- https://bit.ly/2VJj6Nm
A Strange Loop

OUTSTANDING REVIVAL OF A PLAY
Betrayal  My review at - https://bit.ly/2lGTpPp
Fires in the Mirror
For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf
Frankie and Johnny  My review at - https://bit.ly/2EJPOaf
A Soldier’s Play  My review at - https://bit.ly/37hCJRG

OUTSTANDING REVIVAL OF A MUSICAL
Little Shop of Horrors
The Unsinkable Molly Brown
West Side Story  My review at - https://bit.ly/2SZSpmJ




I am unsure of a great many things, but I am quite certain Broadway and Off Broadway plays and musicals will rise again! Until then, let's be grateful for what we've got:  our memories and our record and CD and DVD collections and streaming opportunities that will keep us going. 


___________________




Feel free to share this blog with your friends, and to offer up your own theater stories by posting a comment.