Today we are continuing to the semifinals of the tournament to decide the best Tony-nominated musical of the 2010-2019 decade. I explained the methodology for choosing these musicals in part 1 of this series. These are the pairings for the semifinals. If you would like to see me explain my choices, here is a video.Continue reading “Tony Awards Tournament: Best Musical 2010 To 2019 (Part 3)”
In this post I am going to declare the winners for the remaining four first-round pairings. My previous post explains the methodology I used to choose these 16 musicals as candidates for the best Tony-nominated musical of the 2010-2019 decade. If you would like to hear me explain my choices for each pairing, check out this video.Continue reading “Tony Awards Tournament: Best Musical 2010 to 2019 (Part 2)”
The Tony awards, originally scheduled for June 7, are delayed indefinitely due to the COVID-19 crisis. You can still check the potential nominees for Best Musical and Best Play (original and revival) at tonyawards.com.
YouTuber Katherine Steele created a March Madness-style Broadway musical tournament titled Which Broadway Show is the Best?, which I recommend watching. Fair warning that Katherine’s energy will make you feel lethargic by comparison. I decided to create my own tournament to determine my pick for the best musical of the 2010’s decade. I will be presenting this tournament over four posts, with each post featuring four pairings. For those who prefer a verbal run down of my choices, I created a video. Check out the video here.
I started by including the Best Musical winner from each year from 2010-2019. Unfortunately, a glowing omission exists because I have not yet seen Hadestown, so the 2019 Best Musial winner is not in the tournament. However, the other nine Tony winners from the decade are included along with seven wildcards–my seven favorite nominees that did not win Best Musical in their respective years.
Consider playing at home before reading my pics. The first-round pairings are based on a commonality between the two shows. If you have not seen one of the musicals, you can give its competitor a bye for the round. Also, I included links to each show’s performance at its respective Tony Awards ceremony, so you can see a small piece of each for yourself.Continue reading “Tony Awards Tournament: Best Musical 2010 to 2019 (part 1)”
In the book Which Lie Did I Tell, famed screenwriter William Goldman explains a concept with applications beyond the movie business. To paraphrase, Goldman stated in reference to two films released in 1997: Of course everyone in America wanted to see a four-hour love story about the sinking of the Titanic, and no one wanted to see Kevin Costner play a singing post-apocalyptic mailman… in hindsight. The truth is, until they open, no one knows which movies people will want to see.Continue reading “Song of Spider-man by Glen Berger (a book review)”
Before Thursday, March 12, I had not comprehended the extent to which COVID-19 is an unprecedented event in our lifetimes. The reality, not surprisingly, hit me while I sat in a theater—specifically the Drury Lane Oakbrook. Prior to the show, two Drury Lane executives addressed the audience and tearfully announced that we were witnessing the last production of An American in Paris. This large-scale musical would be closing early in accordance with Governor Prizker’s executive order.
The way I remember it, I am eight years old and playing Nintendo one Saturday morning when my father walks down the basement stairs to tell me about the play he and my mother saw the previous evening. He refers to the title as Say Yes, Pablo and notes that the play was supposed to be about Pablo Picasso but it was not really about anything, and in the place of normal dialogue there was a lot of chanting. He also said that 25 minutes into the show the first audience members exited out the back door, and the steady flow of unhappy patrons kept that back door open until the end.
Say Yes, Pablo holds a special meaing in our family. When we see a play that we really dislike, we say, “Well, at least it was better than Say Yes, Pablo.”
The script by Matt Foss is a tribute to Erich Maria Remargue’s novel—a no-holds-barred criticism of war as seen through the eyes of WW1 soldiers, who have accepted that their survival means nothing to the unseen figures calling the shots. Elena Victoria Feliz as Paul moves through the most inventive staging of the year—war is played out on top of old pianos, and colored powders communicate the impact of bombs and bullets.
I was skeptical about a rock musical starring the wives of Henry VIII until I learned that my friend’s teenage daughters were already devoted fans. Six (like Hamilton before it) is a testament to the power of using reimagined history to tell a story that reflects our contemporary world. Every song is a winner—particularly “Don’t Lose Ur Head” and “All You Wanna Do”—in this fun, inventive musical with a powerful feminist conclusion.
Samuel Hunter sits among my favorite playwrights based on the strength of The Whale and Pocatello. One can make a sure bet that a Hunter play will build to a mesmerizing, semi-tragic climax as characters push themselves beyond their own limitations.
The Niceties is a dramatic tennis match of ideas with two characters scoring points in their increasingly intense back-and-forth exchanges.
Janine (Mary Beth Fisher)—a respected history professor teaching an upper-level course on revolutions—begins by offering criticisms to Zoe (Ayanna Bria Bakari) regarding her 20-page thesis essay. The ensuing discussion is fraught with conflicts framed by both race and the generation gap between Baby Boomers and Millennials. Before the play’s start, a Writer’s Theater Associate encouraged the audience to consider both points of view—particularly when we felt a strong allegiance to one character’s perspective. In that spirit, I am going to present my reactions to The Niceties by referencing the more convincing points scores by both Janine and Zoe.