2005 Tony Awards

[bostonman]

I'm glad to see that all four nominated new musicals got something - though I personally wish Light In The Piazza had won the "Best Musical" award over Spamalot - but as Spamalot was the predicted winner in the popularity contest, it was certainly no surprise.

 

My favorite new scores of the year are The Light In The Piazza - a soaring, beautiful, moving "operatic" score by Adam Guettel (Richard Rodgers' grandson, no less, and son of Once Upon A Mattress composer Mary Rodgers) that simply defies description - you have to hear it... and Dirty Rotten Scoundrels - a solid, witty, often extremely inventive and also very tuneful score by David Yazbek, who got shut out of his deserved award for The Full Monty several years ago when The Producers crashed the Tony party and hogged the evening. Yazbek might have won "Best Score" for DRS if it weren't for Piazza.

 

I just finally got a copy of the recording of The 25th Annual Putnam County Spelling Bee and haven't listened to it yet - though I've always been a fan of William Finn's work, so I'm sure I will like it. And Spamalot, while very funny, just doesn't come across well as solely an aural CD experience - though I was mildly disappointed in the look of the show from their number on the Tonys (the design is too obviously "Python-esque" - not that it doesn't cry out for that style, but it would have been nice to see a bit more than that as well.)

 

As for the telecast - well, it's hard to please both the "in crowd" (of which I am one - I work in musical theatre) and the general viewing audience - this year I think both got snubbed. The fatally disastrous Aretha/Jackman duet was supposed to be for exactly whose benefit??? Hugh's "dance medley" number (from his Vegas act, by the way - not written for the telecast at all) was cute, but what exactly did it have to do with anything? The supposed tribute to the late Fred Ebb (and supposedly also to the late Jerry Orbach) in Jesse L. Martin's bad community-theatre-level performance of "Razzle Dazzle" (oh my god, that last note...) was certainly no tribute. The nominated plays, as is the custom on these telecasts, seem to be ultra-scary things that CBS doesn't want to touch with any size pole. Getting to see a few minutes from (almost all of) the nominated musicals is great - why not at least 30 seconds each for the plays, for god's sake (if not equal time)??

 

Also a custom on any awards telecast is trying to keep the acceptance speeches to a bare minimum. Once again, it's a fine line, and I understand the dilemma here. But actually turning off the mike on at least three winners?? No matter what the intention, it came off as rude, crass, and contrary to the spirit of what the evening is about.

 

Christina Applegate is a trouper, no question. Charity Hope Valentine is not a viable role for her - at least at this point in her career. She needs to get more comfortable as a singer, a dancer (yes, I know the foot still hurts), and as a "natural" onstage. Movie/TV work has a different focus - the camera comes to you. Onstage, you have to come to the audience, and it's clear she doesn't naturally have that kind of charisma. I do feel bad for her. She does have a great sense of humor, though - the stunt-double staged entrance of her falling before presenting an award was quite funny!

 

Robert Goulet is also quite the trouper. Although I'm not a big fan of La Cage Aux Folles, I understand that the show is now going ahead with its plans to tour, with Mr. Goulet headlining. I wish him well. :-)

[brettnyc]

Hugh Jackman is the man...he's got class and a hot ass.

and his solo singing medley riff to "Gotta Dance" was brilliant!!

That's an Entertainer!

[Bilbo]

I totally agree that both the duet and the Razzle Dazzle were below par. But someone on here actually complained about the production numbers? They are the reason for the show for me. And I think that Bostonman has a great idea about seeing a bit of the dramas. Actually, this year they did have bits of them - like two lines each. Not at all enough to get a feeling for them.

 

Bostonman also had a good comment about the difference between an insider and an outsider seeing this show. (But there are so many of us insiders!! Or people who count themselves that way.) This year I was treated the day after the Tonys by talking with an actress who works in my theater. It was the first time she had ever seen the Tonys and she was enchanted and inspired.

 

And that number from Dirty Rotten Scoundrels! Whoa-ho! Good, good, good. And the semioperatic side of the Piazza score came through loud and clear, too.

 

I once broke up with a man because he wouldn't watch the Tonys with me, and now my love of nearly seven years knows that he needs to be in the room for at least some of the show.

[+ BenjaminNicholas]

I would have loved to see snippets of 'Glen Gary, Glenn Ross' and 'Virginia Woolf' this year.

 

Reviews of both shows have been stellar across the board. I think Kathleen Turner (and co-star Bill Irwin) is absolutely electric when you see her on-stage. A few years ago, i saw her tour with 'The Graduate' and even though the material was a bit weak, she did a fantastic job. While i don't think this stage version will replace the performances of Taylor and Burton in the film, i think it does bring a different take on their relationship.

 

I loved the film adaptation of Mamet's GGGR. I found it to be one of Jack Lemon's most powerful performances, along with an ensemble cast that was out of this world. The film also gives Al Pacino a chance to tone down the 'Pacinoisims' and really flesh out the very Zen-like Ricky Roma. In this Broadway cast, i've heard that Alan Alda and Liev Schreiber are knockouts.

 

 

~BN

[+ Cock Eyed Optimist]

>>

>Christina Applegate is a trouper, no question. Charity Hope

>Valentine is not a viable role for her - at least at this

>point in her career. She needs to get more comfortable as a

>singer, a dancer (yes, I know the foot still hurts),

 

I agree. I was in the audience in Chicago the night she broke her foot. The house lights came up and an announcement was made that she had hurt her foot and would be taken to the emergency room. Her understudy at the time was performing a dance number on stage when the houselights came up. After about 15 minutes, the understudy had changed, and had assumed the role vacated by Christina. Being a dancer, she way outperformed Christina in the rest of the numbers, and she wasn't bad at vocals either. Alas, she didn't have any name recognition, but she got a standing ovation from the audience and a rousing bit of hugs and kisses from the cast.

[Guest showme43]

i don't mean no d-i-s r-e-s-p e-c-t but Ms Franklin ought to retire

[Guest Jocoluver]

I recall that the understudy who replaced Applegate the night she broke her ankle was Charlotte d'Ambroise - who is virtually a "Broadway legend". Always the understudy. Has never opened a show on Broadway but is a Broadway essential.

 

She toured as Roxie in the revival of "Chicago" and has several times played Roxie in "Chicago" on Broadway, as she is currently. I saw her when "Chicago" came to Los Angeles on its first tour. She is a STAR - superb performer. No wonder she got standing ovation when she stepped in as "Sweet Charity".:9 :*