Tony Awards Tribute to Broadway Show Music (1986)

In what is quite possibly the most ambitious medley ever attempted at the Tonys, this is the 1986 tribute to Forty Years of Broadway Show Music. These musical segments were interspersed through the awards and presentations by current plays and musicals, bringing some of musical theatre’s finest out to sing the hell out of a lot of showtunes. (There is Lily Tomlin’s Best Actress in a Play speech tossed in here for fun).

The cast: Dorothy Loudon, David Wayne, Helen Hayes, Bea Arthur, Susan Anton, Ann Reinking, Sandy Duncan, Hal Linden, Cleo Laine, Rex Smith, Tom Wopat, Bernadette Peters, Juliet Prowse, Jose Ferrer, Stefanie Powers, Nell Carter, Lee Remick, Leslie Uggams, Jack Lemmon, Chita Rivera, Debbie Allen, Karen Morrow, Ben Vereen, Alfonso Ribeiro, John Rubinstein, Lee Roy Reams. (I think that’s everyone).

It’s the New Gypsy!

A mere five years following the unsuccessful revival of La Cage Aux Folles, it’s been announced by Norman Conquests producer Sonia Friedman that the current hit West End revival will transfer to Broadway in March 2010. The current production originated at the Menier Chocolate Factory and is currently in the midst of a hit West End engagement with Roger Allam and Philip Quast. TV and stage star John Barrowman is to step into the role of Albin this fall.

The recent revival played the Marriott Marquis for seven months, winning the Best Musical Revival Tony as producers simultaneously posted the closing notice. The production is probably best remembered for its highly publicized firing of star Daniel Davis as Georges halfway through the run. Robert Goulet, in his final Broadway appearance, was brought into the production, but his presence did very little to improve the show’s box office intake. Gary Beach was Albin, but seemed to be recreating his Roger De Bris rather than exploring that fascinating duality of the insecure, sensitive Albin with his assertive drag alter-ego Zaza.

Why is it coming back? Apparently this revival has a unique approach to the material that is unlike any other La Cage we’ve seen before. Friedman feels that there is enough appeal in this production to warrant a Broadway run. She is currently seeking a large playhouse or small musical house for the production and hopes to work out an arrangement with Actor’s Equity for Douglas Hodge, the original Olivier-winning Albin of the production to transfer. No other casting or details are available, but Friedman did meet with the show’s composer Jerry Herman the day of the Tonys to discuss details.

I’ll gladly see the show if it transfers, as it’s always been a crowdpleaser. However, this second revival in half a decade begs me to ask the Nederlander organization, where are the promised revivals of Hello, Dolly! and Mame that were to follow the last La Cage?

In the meanwhile: here’s the Tony-winning original George Hearn delivering “A Little More Mascara.” (The video quality is poor, his performance is outstanding).

Random Tony Thoughts: Appendix

Because Monday morning quarterbacking is never enough…

– Matthew Warchus deservedly won for Best Direction of a Play for his work on God of Carnage. While that was an immense achievement, his work on The Norman Conquests was more ambitious and much more deserving of the prize. That being said, I will see anything this man directs.

– Bret Michaels had an accident with a piece of scenery. People magazine reports that he took it with good humor, He’s quoted as saying, “All I remember is Shrek and the donkey helping me up, and Liza [Minnelli] giving me a towel.” The funniest line I heard was on The Tonight Show with Conan O’Brien saying, “Michaels was there to accept the coveted ‘Why are you here?’ award.” Though I’m usually not thrilled about seeing performers who aren’t Broadway related onstage, at least Poison was performing with the cast of Rock of Ages, in a spot that was very much in-line with the show’s feel and sensibility. Michaels is okay; he required three stitches on his lip and requested a cat scan because of the pain he felt in his head and neck. However, his representative denies that the rocker missed his mark…Hmm…

– For the first time in my memory, the telecast actually exceeded the 11:00 hour. In recent years we’ve seen the Tony Award folk keep things stringent but there was more of a relaxed pace to the proceedings this time around. Hopefully they will never cut off a legendary performer again like they did with Elaine Stritch in 2002. But if the Oscars can go on for another hour or so, no biggie to let the Tonys get an extra five minutes. And those were arguably the best five minutes of the entire four hours.

– Anne Hathaway, you win this year’s coveted Patti LuPone Award for Most Awkward Clapping Along During a Musical Number.

– Stockard Channing seemed a bit, how shall I put this…? Loopy. Her “Bewitched” is better sung as the intimate soft afterglow romp that it was in context, not when she tries in vain to power belt it. Not to mention pairing her with the very young Aaron Tveit was just plain weird. She came off as a cradle-robber rather than a cougar. They should have found a way to work Martha Plimpton’s “Zip” into the telecast. Or just worked Martha Plimpton into the telecast period.

– The ratings were up 19% to last year. Now, hire a good director, take the show OUT of Radio City Music Hall and back into a Broadway house (where it belongs folks, Radio City ain’t Broadway and I can never be convinced otherwise) and kill the sound man. Then we can build on it from there.

I think that about covers everything I wanted to say about Sunday’s telecast. For a brilliant BRILLIANT take on the Tony awards, check out Broadway Abridged, where Gil and his friends have certainly come up with a dynamite winner for funniest recap.

Random Thoughts on The Tony Awards

The best of times is now, or rather was last night as I live-twittered the Tony telecast from SarahB’s swanky suite in the Regency Hotel. Here are a few recollections from last evening…

– The preshow telecast should be aired on PBS or a local affiliate rather than as a webcast. It’s unfair for those who work so hard in their field of the industry to be relegated to a highlights reel during the nationwide telecast.

– Whoever was hired to work on the sound design for the telecast should be banned from the industry. Or perhaps go back to college to train in the field. So many faux pas: bizarre levels during the opening number, Titus Burgess’ mike going out (kudos to the well dressed stagehand who bolted out onstage with a handheld) and so many sloppy cues.

– Best presentation of an award goes to Frank Langella with a brilliant commentary on the snubbing of fall shows at this year’s awards. He almost immediately went off teleprompter (you could tell) as he performed his bit about being snubbed with sly wit (I especially loved the “Oh wait, this is my Oscar acceptance speech…”)

– The director should also reconsider his or her chosen profession. What a poorly executed show, with sloppy cues, sickening camera movements (especially during the “In Memoriam” tribute) and overall just bad programming for television. I’m sure it was great for the house at Radio City, but something was ultimately lost in translation for us little folk in television land.

– Neil Patrick Harris was a fantastic host…when they let him be onstage. Feels like he disappeared for well over an hour. He offered the best performance of the night with his eleven o’clock wrap up of the entire evening. Kudos to Marc Shaiman and Scott Wittman, who kept on their toes finalizing the song during the telecast!

– Speaking of performances, the opening number was a mixed bag. I liked how they arranged “Luck Be a Lady” and “Tonight” to be sung together in counterpoint, but the Aaron Tveit/Stockard Channing duet was just plain weird. The final moment with the cast of Hair leading all the presenters and performers with “Let the Sunshine In” was tremendous fun, pulling people out of their seats and onstage. It may not have landed as well in your living room, but from the full house standing ovation at Radio City, it was certainly a showstopper.

– The selected shows should have done a better job of representing themselves during the telecast. Christopher Sieber led the Shrek number which was quite cute and the Hair cast rocked the joint with their title song. However, the “Angry Dance” wasn’t an impressive showcase for Billy Elliot (not that it really matters, they don’t have to worry about being a box office draw), Next to Normal’s “You Don’t Know” didn’t really showcase much except Alice Ripley’s bringing the crazy (“Whew! That was way too much acting for me.” – Roxie).

– Guys and Dolls is generally considered so well written that it’s foolproof. However, that was hands down the most lifeless rendition of “Sit Down, You’re Rockin’ the Boat” I’ve ever seen. Titus is a fantastic singer, Mary Testa always a scene stealer, but the lifeless choreography and projections made it a miss. Nothing could save this one. It didn’t help that Titus’ mike went out before the start of the song.

– Neil Patrick Harris was fun, affable, quirky and offbeat. He was an entertaining host but was decidedly underused. We could have used more of him throughout the evening (anyone else notice that he disappeared for an hour or so?) His final song was one of the best moments of the show, bringing it to a fantastic close.

– Angela Lansbury tied Julie Harris’ record for 5 performance Tony wins. Angie’s last Tony was thirty years ago for Sweeney Todd and I cannot tell you what a personal thrill it is to have been there to see this legend give a Tony winning performance; something I never thought I’d see in my lifetime. Her acceptance was poised, elegant and the epitome of class. Looking forward to cheering her first post-Tony performance on Tuesday evening. Her win was easily the most moving moment of the entire evening.

– Congratulations to Roger Robinson on his win for Joe Turner. It’s a great performance, but my heart belongs to Stephen Mangan’s Norman.

– After seeing Alice Ripley’s acceptance speech, I think it’s safe to say that this role is not that big a stretch for her. Jeff Bowen was right, she is fierce!

– The runner-up for classiest speech goes to Geoffrey Rush, who seems incredibly awed by his first experience on Broadway. Exit the King ends its limited engagement on Sunday so if you haven’t seen this titanic performance, run! I also hope Mr. Rush will come back to the NY theatre sooner rather than later!

– There was no time to present 12 distinguished awards during the telecast, but we were subjected to unnecessary performances from the national companies of Legally Blonde, Mamma Mia and Jersey Boys? Is it just me or was Legally Blonde not eligible to perform in 2007 because it wasn’t nominated for Best Musical? The Mamma Mia selection was embarrassing from its mere presence to the sloppiness of the performers. And finally, Jersey Boys has performed three of the last four years. I call a permanent moratorium on anything from that musical, but especially “Can’t Take My Eyes Off You.” If I wanted to hear that song, I’d put on a Four Seasons album, thank you very much.

– It was lovely to see a tie in the first category of the evening. Very unexpected and a rare occurence. However, Michael Starobin should not be allowed to speak again. Ever. Add to that Brian Yorkey and Tom Kitt’s acceptance speech for Best Score where they alternated their interminable thanks. Guys, we get it and love that you provided the only upset of the evening. Now get off the friggin’ stage!

– Jerry Herman is a musical theatre icon. It was nice having Angie present to him, given their two shows together. However, the video footage used was already seen in the documentary “Words and Music.” Jerry’s words and music are the type of unabashedly Broadway elegance that epitomized musical comedy in the latter half of the 20th century. Surely a live tribute could have been used (again, in place of those national tours!). I mean, there was Angie herself! Plus, so many others like George Hearn, Carol Channing, among others originated parts in his shows and are still with us. Just sayin’…

– It was a nice touch having cast members introduce the four nominees for Best Play. However, (and this ties in indirectly with the time wasted on the national tours), there should have been more than a 20 second clip to represent the work onstage. Remember when they used to perform actual excerpts from the nominated plays for the audience to see? The musicals are the bigger draw, but this year in particular was the year of the play.

All in all, it was a fun evening. Gathering with blogger friends with endless champagne and fresca. Last year we zipped up the cocktail slacks and went up to Sarah’s apartment. This year, especially as the event seems to grow and grow in size, we took it to the Regency where we were the epitome of class and crass (oh don’t judge, you know all the best people are a combination thereof!) Razor sharp one-liners volleyed back and forth across the room through plastic flutes of champagne, pizza, cucumber sandwiches, rice krispies and Fresca (that was a first for me…). Plus, we had our own ballots (I got 20 categories right), our own Tony identities (Hello, my name is Carol Channing…) and Sarah was even lovely enough to give out swag! (I now have the revival magnet for West Side Story to go with the one for the original).

Regardless of what we felt was happening on television, we had nothing short of a blast, so much fun that I’m surprised it’s not criminal. Kari has somehow designated me the sugar daddy of the group, with all bills heading in my general direction. Sarah, ever the effusive host, was dressed to rival Liza herself; all black and sparkles. Roxie, Christine, Jimmy, Russell and Sally were back again as well, plus newcomers Esther and Byrne. All in all, one couldn’t ask for a better evening, nor better company with which to spend it. Though we hope next year our other regional favorites can join us too! (Thank God for twitter, where we could at least keep in touch throughout!)

Already excited for Tony Day 2010, when we nomads take our act on the road to a hotel that actually has NY1. Until then, there is a lot of theatre to be seen, a lot of opinions to be shared and many more memorable good times to be had by all of us.

The Tony Closing Number

In what was probably the best Tony performance last evening, Neil Patrick Harris closed the show with a little medley reprising the opening combination of West Side Story and Guys and Dolls with new lyrics by Marc Shaiman and Scott Wittman.

Tonight, tonight
The Tonys were tonight
And Elton’s Billy was all the rage
What class, what drive
Now Angela won five
And she hooked up with Poison backstage

With heels as sore as poor Achilles
Three tutu-wearing Billys
Were such a winning sight

Tonight, all three
Won Tony plus they hit puberty

(to “Luck be a Lady”)

And Geoffrey won a Tony tonight
Karen won a Tony tonight
Liza at the Palace
Mr. Ripley’s daughter Alice
They all won a Tony tonight

Credits! That’s not going to stop me!

(“Tonight”)

Chris Sieber – please!
Performing on your knees?
Dude, that only works
To win Golden Globes

I hope, tonight,
When they’re high as a kite
To be there when the Hair cast disrobes

This show
Could not be any gayer
If Liza was named mayor
And Elton John took flight

The curtain falls
I’m off to hit some big Tony balls
Goodnight!

Broadway’s Very Own Prom Night

The 2008-09 Broadway season officially ended on April 30, but tonight marks the 63rd Annual Tony Awards, the annual event that brings the season to its festive close celebrating the best of Broadway. Think of it as a curtain call encore of the score’s favorites, a la Mame.

Some shameless predicting for tonight. Bold indicates what I think will win. An * indicates my personal choice. Who will win? Will there be any upsets (especially against juggernaut Billy Elliot)? There is only one way to find out. Tune in to CBS at 8!

Meanwhile, tonight is Lady Iris‘ Annual Moon Lady Extravaganza! Will we top the fun we had last year? We shall see. While I’ve watched the Tonys dutifully like any theatre fan, I never really enjoyed them until my very first Tony party.

Best Play
Dividing the Estate
*God of Carnage
Reasons to Be Pretty
33 Variations

Best Musical
*Billy Elliot, The Musical
Next to Normal
Rock of Ages
Shrek The Musical

Best Book of a Musical
Billy Elliot, The Musical:Lee Hall
Next to Normal: Brian Yorkey
Shrek The Musical: David Lindsay-Abaire
*[Title of Show]” Hunter Bell

Best Original Score (Music and/or Lyrics) Written for the Theatre
*Billy Elliot, The Musical – Music: Elton John, Lyrics: Lee Hall
Next to Normal – Music: Tom Kitt, Lyrics: Brian Yorkey
9 to 5: The Musical – Music & Lyrics: Dolly Parton
Shrek The Musical – Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire

Best Revival of a Play
Joe Turner’s Come and Gone
Mary Stuart
*The Norman Conquests
Waiting for Godot

Best Revival of a Musical
Guys and Dolls
*Hair
West Side Story
Pal Joey

Best Special Theatrical Event
*Liza’s at The Palace
Soul of Shaolin
You’re Welcome America. A Final Night with George W. Bush

Best Performance by a Leading Actor in a Play
Jeff Daniels, God of Carnage
Raúl Esparza, Speed-the-Plow
James Gandolfini, God of Carnage
*Geoffrey Rush, Exit the King
Thomas Sadoski, Reasons to Be Pretty

Best Performance by a Leading Actress in a Play
Hope Davis, God of Carnage
Jane Fonda, 33 Variations
*Marcia Gay Harden, God of Carnage
Janet McTeer, Mary Stuart
Harriet Walter, Mary Stuart

Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish – Billy Elliot, The Musical
*Gavin Creel, Hair
Brian d’Arcy James, Shrek The Musical
Constantine Maroulis, Rock of Ages
J. Robert Spencer, Next to Normal

Best Performance by a Leading Actress in a Musical
Stockard Channing, Pal Joey
Sutton Foster, Shrek The Musical
Allison Janney, 9 to 5: The Musical
*Alice Ripley, Next to Normal
Josefina Scaglione, West Side Story

Best Performance by a Featured Actor in a Play
John Glover, Waiting for Godot
Zach Grenier, 33 Variations
*Stephen Mangan, The Norman Conquests
Paul Ritter, The Norman Conquests
Roger Robinson, Joe Turner’s Come and Gone

Best Performance by a Featured Actress in a Play
Hallie Foote, Dividing the Estate
Jessica Hynes, The Norman Conquests
Marin Ireland, Reasons to Be Pretty
*Angela Lansbury, Blithe Spirit
Amanda Root, The Norman Conquests

Best Performance by a Featured Actor in a Musical
David Bologna, Billy Elliot, The Musical
*Gregory Jbara, Billy Elliot, The Musical
Marc Kudisch, 9 to 5: The Musical
Christopher Sieber, Shrek The Musical
Will Swenson, Hair

Best Performance by a Featured Actress in a Musical
Jennifer Damiano, Next to Normal
*Haydn Gwynne, Billy Elliot, The Musical
Karen Olivo, West Side Story
Martha Plimpton, Pal Joey
Carole Shelley, Billy Elliot, The Musical

Best Direction of a Play
Phyllida Lloyd, Mary Stuart
Bartlett Sher, Joe Turner’s Come and Gone
Matthew Warchus, God of Carnage
*Matthew Warchus, The Norman Conquests

Best Direction of a Musical
*Stephen Daldry, Billy Elliot, The Musical
Michael Greif, Next to Normal
Kristin Hanggi, Rock of Ages
Diane Paulus, Hair

Best Choreography
*Karole Armitage, Hair
Andy Blankenbuehler, 9 to 5: The Musical
Peter Darling, Billy Elliot, The Musical
Randy Skinner, Irving Berlin’s White Christmas

Best Orchestrations
Larry Blank, Irving Berlin’s White Christmas
*Martin Koch, Billy Elliot, The Musical
Michael Starobin and Tom Kitt, Next to Normal
Danny Troob and John Clancy, Shrek The Musical

Best Scenic Design of a Play
Dale Ferguson, Exit the King
Rob Howell, The Norman Conquests
*Derek McLane, 33 Variations
Michael Yeargan, Joe Turner’s Come and Gone

Best Scenic Design of a Musical
Robert Brill, Guys and Dolls
*Ian MacNeil, Billy Elliot, The Musical
Scott Pask, Pal Joey
Mark Wendland, Next to Normal

Best Costume Design of a Play
Dale Ferguson, Exit the King
Jane Greenwood, Waiting for Godot
*Martin Pakledinaz, Blithe Spirit
Anthony Ward, Mary Stuart

Best Costume Design of a Musical
Gregory Gale, Rock of Ages
Nicky Gillibrand, Billy Elliot, The Musical
*Tim Hatley, Shrek The Musical
Michael McDonald, Hair

Best Lighting Design of a Play
David Hersey, Equus
*David Lander, 33 Variations
Brian MacDevitt, Joe Turner’s Come and Gone
Hugh Vanstone, Mary Stuart

Best Lighting Design of a Musical
Kevin Adams, Hair
Kevin Adams, Next to Normal
Howell Binkley, West Side Story
Rick Fisher, Billy Elliot, The Musical

Best Sound Design of a Play
*Paul Arditti, Mary Stuart
Gregory Clarke, Equus
Russell Goldsmith, Exit the King
Scott Lehrer and Leon Rothenberg, Joe Turner’s Come and Gone

Best Sound Design of a Musical
*Acme Sound Partners, Hair
Paul Arditti, Billy Elliot, The Musical
Peter Hylenski, Rock of Ages
Brian Ronan, Next to Normal

"Oh sing it, Angie, do sing it"

Angela Lansbury was one of the last guests on the short-lived variety show The Julie Andrews Hour in 1973. Here she and Julie discuss songs from their Broadway experiences alongside Steve Lawrence. Julie sings “Say a Pray for Me Tonight,” cut from My Fair Lady prior to the New York opening (and subsequently heard in Gigi). Then the host turns the floor over to Angela, who talks about Dear World and her favorite song to sing from that score, “I Don’t Want to Know.” Then she sings it, all while relaxing in an easy chair with her legs crossed. There’s something so awesome about that. Nelson Riddle’s arrangement pales in comparison to Phil Lang’s original, but Angela is absolutely radiant. Enjoy.