So the Tony Awards are approaching, and thankfully, it's not my job to hand down weighty analysis of a fragile art form like theater. But I love talking about it, and because I know how personal this art is for those who make it, I'm happy when there's a chance to recognize the work.

My picks are not about who will win, or even who should win.  My "wins" could just as easily be someone else's lost 2.5 hours of their life, never to be regained. My "eh" reaction might be someone else's ecstatic delight.  Certainly I appreciate the "winning" for what it can do for a show in terms of nourishment; awards can be powerful fuel that allow artists to continue working and giving us more art. But awards are not the measure of your own relationship with a show, which is deeply personal, whether good, bad or "eh." 

By my count, there were 35 shows (not counting the special events) that opened during the 2014-15 season, and I've seen, to date, 27 of them. I will see a 28th show on the day of the Tony Awards (The Visit), so haven't considered that one in this list, for fairness. Here are the shows I didn't see, almost all due to shortened runs: This Is Our Youth, Holler if Ya Hear Me, Disgraced, Living on Love and Doctor Zhivago, .  

Like last year, I'm giving myself ten seconds to see what shows bubble to the top of my consciousness as special...those are the shows that get my "Ten-Second Tony" awards. This is my post, so (1) I decree two honorees per category (a 10-second and a 15-second choice); (2) I'm adding back the Sound Design category, and (3) I'm adding in Best Ensemble and Best Book of a Play  categories. I know that the Best Play category officially recognizes the playwright, but I think of that category as referencing the entire production as a whole, and the discussions I have with friends about Best Play and Best Musical categories, we are usually talking about it holistically, not just the playwright.

With the exception of Fun Home, which I have seen in various incarnations over the past 2.5 years, I saw most of these shows just once. But if I saw a show more than once, I've gone by my reaction on my first visit.  And when I look at my choices, it's interesting to me, how many of them are shows that I knew very little about, and walked in relatively free of preconceptions.  There's a lesson in there, I think. 

In the end, my picks are really just a reflection of what I truly enjoyed seeing on stage this past season.  And just because I didn't pick a show as a top choice in my Ten-Second Tonys, doesn't mean I wouldn't have given it an official Tony nomination. For the record, the omissions that most offended me in the official nominations were Side Show and Finding Neverland, not just in the Best Show categories, but other categories as well. Luckily, I get to remedy that here.  

As Helen Mirren knows, it's good to be queen.

Note: For better or worse, all photos are by me.

Seeing a brand, spanking new show in its world premiere is like getting first choice of an untouched box of chocolates...it makes you feel almost reverent-knowing the flavor you will get remains a mystery, but oh, the possibilities!! 

Last night, I was so very fortunate to attend Opening Night of the world premiere of Katori Hall's The Blood Quilt at Arena Stage in Washington, DC. Hall is an award-winning playwright who has made it her business to bring the voices of African-American women to the stage. 

I particularly love when a title is so apt, you could spend a good deal of discussion just on the rich meaning therein...this is one of those titles. The Blood Quilt is a literal, and figurative, sewing together of family and history and lore. Four sisters and a daughter/niece from the next generation come together on an island off the coast of Georgia, where generations of their family have resided. They are there to finish a final quilt for their recently-passed mother, for whom quilting was an art and the air she breathed. But Rendell Jernigan has left a deep, lasting and yes, painful, impact on each of her four daughters, and that pain and strength is waiting just around every corner in the house where they've gathered. 

The Blood Quilt cast is exquisite, their chemistry palpable and electric. The set, lighting and sound design are almost a character unto themselves; transporting the audience far away from the DC waterfront to another, otherworldly waterfront at which souls are in play. And I was never wanting for a piece of the story to latch onto and ponder. The network of feelings and relationships seems almost infinite; wanting to break the confines of a two-act play and making me want to continue knowing these women beyond that stage.

I interviewed two of the actors in the cast, Nikiya Mathis and Afi Bijou, while the show was just starting preview week. You can read the interview on BroadwayWorld.com, and then get yourself down to Arena Stage to be part of some pretty magical theater.

As a true fan and very experienced audience member, by choice and with no obligations, professional or otherwise, I find it interesting to consider the Tony Awards categories/nominees to see which nominee in each category rises to the top of my own list within the first 10 seconds.  Definitely not predictions, these are my truly instinctive picks, based only on the fact that my heart went to the choice of its own accord.  Oh, and I've exercised my elf prerogative to make a 15-second choice too :)!

I have to resist the urge to overthink, because in my experience theater-goers walk out of the theaters with "of the moment" impressions that are generally not subject to change after more discussion with those of varying opinions.  Theater is ephemeral, often emotional, sometimes just plain fun, and even life-changing for some.  When you see a show, it is your personal reaction that counts.  I love the Tony Awards, especially because they shine a bright light on the marvelous array of choices for folks wanting to take in a show.  And it's so great to see these incredibly hard-working artists/performers get international attention.

So here, in each official category, are my 10-second Tonys:

Act One / Author:  James Lapine
All The Way / Author:  Robert Schenkkan
Casa Valentina / Author:  Harvey Fierstein
Mothers and Sons / Author:  Terrence McNally
Outside Mullingar / Author:  John Patrick Shanley

After Midnight
Aladdin
Beautiful: The Carole King Musical
A Gentleman's Guide to Love and Murder

15-Second:

Beautiful 
The Carole King Musical

The Cripple of Inishmaan
The Glass Menagerie
A Raisin in the Sun
Twelfth Night

15-Second:

Twelfth Night

Hedwig and the Angry Inch
Les Misérables
Violet

15-Second:

Hedwig and the Angry Inch

Aladdin / Chad Beguelin
Beautiful: The Carole King Musical / Douglas McGrath
Bullets Over Broadway / Woody Allen
A Gentleman's Guide to Love and Murder / Robert L. Freedman

15-Second:

A Gentleman's Guide to Love & Murder

Aladdin / Music: Alan Menken / Lyrics: Howard Ashman, Tim Rice and Chad Beguelin 
The Bridges of Madison County / Music & Lyrics: Jason Robert Brown 
A Gentleman's Guide to Love and Murder  / Music: Steven Lutvak / Lyrics: Robert L. Freedman & Steven Lutvak 
If/Then / Music: Tom Kitt / Lyrics: Brian Yorkey 

15-Second:

If/Then

Samuel Barnett, Twelfth Night
Bryan Cranston, All The Way
Chris O'Dowd, Of Mice and Men
Mark Rylance, Richard III
Tony Shalhoub, Act One

15-Second:

Samuel Barnett, Twelfth Night

Tyne Daly, Mothers and Sons
LaTanya Richardson Jackson, A Raisin in the Sun
Cherry Jones, The Glass Menagerie
Audra McDonald, Lady Day at Emerson's Bar and Grill
Estelle Parsons, The Velocity of Autumn

15-Second:

Cherry Jones, The Glass Menagerie

Neil Patrick Harris, Hedwig and the Angry Inch
Ramin Karimloo, Les Misérables
Andy Karl, Rocky
Jefferson Mays, A Gentleman's Guide to Love and Murder
Bryce Pinkham, A Gentleman's Guide to Love and Murder

15-Second:

Jefferson Mays, A Gentleman's Guide to Love & Murder

Mary Bridget Davies, A Night with Janis Joplin
Sutton Foster, Violet
Idina Menzel, If/Then
Jessie Mueller, Beautiful: The Carole King Musical
Kelli O'Hara, The Bridges of Madison County

15-Second:

Idina Menzel, If/Then

Reed Birney, Casa Valentina
Paul Chahidi, Twelfth Night
Stephen Fry, Twelfth Night
Mark Rylance, Twelfth Night
Brian J. Smith, The Glass Menagerie

15-Second:

Mark Rylance, Twelfth Night

Sarah Greene, The Cripple of Inishmaan
Celia Keenan-Bolger, The Glass Menagerie
Sophie Okonedo, A Raisin in the Sun
Anika Noni Rose, A Raisin in the Sun
Mare Winningham, Casa Valentina

15-Second:

Sarah Greene, The Cripple of Inishmaan

Danny Burstein, Cabaret
Nick Cordero, Bullets Over Broadway
Joshua Henry, Violet
James Monroe Iglehart, Aladdin
Jarrod Spector, Beautiful: The Carole King Musical

15-Second:

Jarrod Spector , Beautiful The Carole King Musical

Linda Emond, Cabaret
Lena Hall, Hedwig and the Angry Inch
Anika Larsen, Beautiful: The Carole King Musical
Adriane Lenox, After Midnight
Lauren Worsham, A Gentleman's Guide to Love and Murder

15-Second:

Lena Hall, Hedwig and the Angry Inch

Beowulf Boritt, Act One
Bob Crowley, The Glass Menagerie
Es Devlin, Machinal
Christopher Oram, The Cripple of Inishmaan

15-Second:

Beowolf Boritt, Act One

Christopher Barreca, Rocky
Julian Crouch, Hedwig and the Angry Inch
Alexander Dodge, A Gentleman's Guide to Love and Murder
Santo Loquasto, Bullets Over Broadway

15-Second:

Julian Crouch, Hedwig and the Angry Inch

Jane Greenwood, Act One
Michael Krass, Machinal
Rita Ryack, Casa Valentina
Jenny Tiramani, Twelfth Night

15-Second:

Jenny Tiramani, Twelfth Night

Linda Cho, A Gentleman's Guide to Love and Murder
William Ivey Long, Bullets Over Broadway
Arianne Phillips, Hedwig and the Angry Inch
Isabel Toledo, After Midnight

15-Second:

Arianne Phillips, Hedwig and the Angry Inch




(photo by Joan Marcus, care of show website)

Paule Constable, The Cripple of Inishmaan
Jane Cox, Machinal
Natasha Katz, The Glass Menagerie
Japhy Weideman, Of Mice and Men

15-Second:

Japhy Weideman, Of Mice and Men

Kevin Adams, Hedwig and the Angry Inch
Christopher Akerlind, Rocky
Howell Binkley, After Midnight
Donald Holder, The Bridges of Madison County

15-Second:

Donald Holder, The Bridges of Madison County

Alex Baranowski, The Cripple of Inishmaan
Steve Canyon Kennedy, Lady Day at Emerson's Bar and Grill
Dan Moses Schreier, Act One
Matt Tierney, Machinal

15-Second:

Matt Tierney, Machinal

Peter Hylenski, After Midnight
Tim O'Heir, Hedwig and the Angry Inch
Mick Potter, Les Misérables
Brian Ronan, Beautiful: The Carole King Musical

15-Second:

Peter Hylinski, After Midnight

Tim Carroll, Twelfth Night
Michael Grandage, The Cripple of Inishmaan
Kenny Leon, A Raisin in the Sun
John Tiffany, The Glass Menagerie

15-Second:

Tim Carroll, Twelfth Night

Warren Carlyle, After Midnight
Michael Mayer, Hedwig and the Angry Inch
Leigh Silverman, Violet
Darko Tresnjak, A Gentleman's Guide to Love and Murder

15-Second:

Leigh Silverman, Violet

Warren Carlyle, After Midnight
Steven Hoggett and Kelly Devine, Rocky
Casey Nicholaw, Aladdin 
Susan Stroman, Bullets Over Broadway

15-Second:

Casey Nicholaw, Aladdin

Doug Besterman, Bullets Over Broadway
Jason Robert Brown, The Bridges of Madison County
Steve Sidwell, Beautiful: The Carole King Musical
Jonathan Tunick, A Gentleman's Guide to Love and Murder

15-Second:

Jonathan Tunick, A Gentleman's Guide to Love & Murder

There you have it!  Here's an invitation to you to throw out the detailed analysis, and share some of your 10-Second picks below :).

p.s. The photo at the start of this post of the daffodils on the stage is from my top "missing" musical that should have been nominated in multiple categories, Big Fish!

The 2013-14 Broadway season officially ended on April 24, 2014, and nominations for this season’s Tony Awards were announced April 29, 2014 (shows with official Opening Nights on Broadway by April 24 were eligible for the 2014 awards).   This year there were 40 productions eligible, including musicals and plays, new works and revivals.  The earliest eligible production, the new musical, First Date, opened in July ’13, and the last show to open this season was the revival of Cabaret, which squeaked in on April 24 ’14.

But of those forty eligible shows, nearly half opened in the last eight weeks of the season.  As with the Academy Awards, Broadway shows that open early in the season (in this case, the fall time frame), are always at risk of being off the radar by the time nominations are announced.  This is particularly true for shows that don’t turn out to be commercial successes, and close before the awards season ramps up.  

Take for example, this season’s stage musical adaptation of the 2003 film, Big Fish.  The cast and creative team associated with the show included some big names in the Broadway world, and it seemed as if it would have wide appeal.  But when Big Fish opened in early October, it was not well received by the critics, and closed before the end of December.  Personally, I loved this show.  It was a family show that had whimsy, fantasy, grand production numbers, and a clever scenic design, along with some memorable songs.  I have friends that are passionate in their love for the show.  And in my book, if you can elicit big laughs and open weeping in equal measure, from all manner of audience member, you’ve done something right.  In the end though, the show received not a single nomination.  Big Fish wasn’t alone; twelve other shows went similarly unrecognized in any category; including the production of Romeo and Juliet starring Orlando Bloom, the revival of Betrayal starring Daniel Craig and Rachel Weisz and the pairing of the "Sirs," Ian McKellan and Patrick Stewart in Waiting for Godot and No Man's Land.

One of the hot button issues this season is the slate of nominees for the Best Musical category.  The committee can nominate between three and five shows for the award, and this year four were chosen: After Midnight, Beautiful The Carole King Musical, Aladdin and The Gentleman’s Guide to Love and Murder.  I saw all four of these shows, and enjoyed each of them.  

Gentleman’s Guide received the most nominations of any show this season (10), and all four received multiple nominations.  But I’m particularly thrilled that Gentleman’s Guide and Beautiful are on the list.  Gentleman’s Guide was truly one of my very favorite shows over the past few years, and I think it richly deserves all its accolades.  It’s funny, charming, has remarkable performances (one of the leads plays 8 different characters!), a great set and a great score.  I’ve been recommending Gentleman’s Guide to anyone who’ll listen since I first saw it in October, because it has broad appeal, and is suitable for most ages (10+).  

Beautiful, on the other hand, is a show with the great Carole King’s unforgettable music, and the fascinating story of her life and history in the music industry.  Beautiful’s ace in the hole is Jessie Mueller, who is near flawless in her role as Carole, spanning three decades (Jessie was justly nominated as Best Actress in a Musical).  I know people of varying ages who have loved this show, my fifteen year old niece among them; and it’s great to be able to share such amazing music across generations in this setting.

So here’s the issue: of the four nominees for Best Musical, only one has a completely original score, and that’s Gentleman’s Guide.  The other three rely almost exclusively on music not written for the Broadway stage.  However, there were several other musicals eligible, all with original musical scores, that were not nominated in the Best Musical category; most notably, If/Then, The Bridges of Madison County and Rocky.

Unlike for films, there is no DVD market for stage shows after they close, so the lack of the big nominations at Tony time can spell doom for a show, as the financial commitment required to keep it running is huge.  Based on today’s announcement, if you are hoping to see The Bridges of Madison County, for example, I’d suggest you make the effort to see it sooner rather than later, as the scarce nominations it received (and generally low ticket sales) may make it a candidate for an earlier closing date. 

In fact, the 2014 nominations announcement claimed its first victim the same day:  The Velocity of Autumn, a new play starring Estelle Parsons, which just opened April 21, 2014, received just one nomination (for Ms. Parsons in the acting category), and announced it will close May 4.  Even if a show that has already closed does receive nominations at Tony time, it doesn’t much help those involved financially, as there’s no real chance for a reinvigorated audience appeal, as there would be for a film.  

And it’s not just original music that we want to encourage, it is good for Broadway, and good for audiences to encourage the development of new, original theater that strives for innovation, if we are not to be destined for endless revivals of previous favorites.  Of course, revivals are to be celebrated as well (hence the separate categories for Best Revival of a Musical and Best Revival of a Play), but musicals are massive financial undertakings and can have very long development periods, so without the potential for business success and recognition, we’ll see fewer risks being taken.  

If/Then and Rocky are each shows that have tried to forge new ground with how we can tell stories on stage.  If/Then has its lead character following two different story arcs throughout the show, and Rocky is a veritable thrill-ride of a show, with remarkable sets, and an ending like no other.  From my anecdotal experience, Rocky is also one of those rare shows that is attracting a much more diverse audience, including people that I suspect wouldn’t identify as “theater lovers.”  The audience who saw it with me was younger, skewed more male and seemed to reflect a choice for “date night,” that I found encouraging.  Each of these shows is approaching storytelling without the limitations we might expect the stage to present, and I believe each of them deserved a nomination in the Best Musical category.

There were some surprises (to me, anyway) in the acting categories as well.  The most striking omissions, based on my personal experiences, were two well-known names starring in plays: Daniel Radcliffe was not nominated for The Cripple of Inishmaan (the play was nominated for Best Play), and Zachary Quinto was the only member of the four-person cast of The Glass Menagerie (nominated for Best Revival of a Play) not nominated for his role.  I can say, without reservation, that each of these actors absolutely deserved a nomination.  I’d probably also say that Denzel Washington was deserving for the wonderful (and nominated) revival of A Raisin in the Sun (three of his fellow cast members did receive nominations).  That said, I’m really satisfied with those that were chosen for acting nominations; all of them were memorable.  I am endlessly amazed by the abundant talent on Broadway.  These actors perform eight times a week, but somehow make it seem as if they’ve performed that night for the first time just for you!

There is a remarkable array of theater offerings on Broadway right now.  If you’re planning to be in New York City this spring/summer, check some of them out.  And if you want to make a spur-of-the-moment decision, don’t forget that discount tickets can be found at the TKTS ticket booth in Times Square, on the day of the performance for many of the shows (even the big names!).

A complete list of the Tony Award nominations can be found on the Tony Awards website, and the 2014 Tony Awards show will be broadcast on CBS on Sunday evening, June 8, with Hugh Jackman hosting.  By the way, last year’s host, Neil Patrick Harris is himself a nominee this year as Best Actor in a Musical for Hedwig and the Angry Inch!  

There is a host of famous faces treading the boards of Broadway stages this year (and a few in DC too!).  So many, in fact, that I decided to make a list so as not miss telling you about that one actor you've always wanted to see in person.  

By the way, if you're wondering about seeing shows in previews (I've given the dates of the first previews of each show below), the preview period can improve your chances of actually seeing the actor in whom you're interested (in a long run, that well-known actor may leave the role), and discounts may be available.  Reviews won't be published yet (that happens on the official Opening Night), and the point of previews is to continue working on the show with the benefit of an audience, so a show in the early days of previews may differ slightly from the one an Opening Night audience will see.  Personally, I make it a point to see shows in previews so that I'm not influenced by published reviews, and can "meet" the show on my own terms.  

Is there someone below who'll motivate you to buy a ticket?  Click on the photos to be linked to the webpage for each show.

• Bryan Cranston

Attention Breaking Bad, and American history, fans! Bryan Cranston will bring Lyndon Baines Johnson up close and personal from the stage of the Neil Simon Theatre on Broadway in the new play, All The Way, beginning previews Feb 10 '14 and closing Jun 29 '14.  The show ran nearly three hours when I saw it in Boston at the American Repertory Theater, so keep that in mind! 

• Daniel Radcliffe

After having seen Daniel Radcliffe in three different stage productions, I feel confident in saying that he's a truly  wonderful, versatile and daring actor.  He makes his third appearance on a Broadway stage in this spring's The Cripple of Inishmaan, which had a successful run on the West End in London (where I saw it last summer).  As with many Irish plays, it's a dark comedy with a deep humanity.  I wouldn't suggest it for the young ones (it's just not a children's story); older teens and up would be appropriate.  Previews begin Apr 12 '14 and the show closes Jul 20 '14.

• Tyne Daly

Playwright Terrence McNally's last Broadway show was a revival of Master Class (which also starred Tyne Daly).  He and Tyne Daly are back with the new play, Mothers & Sons, about a mother coming to know her late son through a visit to his former partner, now married to a new man.  Costarring with Daly will be Frederick Weller, well known to television audiences from the series In Plain Sight and many other television appearances over the past twenty years, and Bobby Steggert, who just completed a run in Broadway's Big Fish.  Previews begin Feb 23 '14.

• James Franco

Alongside Chris O'Dowd (from HBO's Girls),  James Franco (Oz The Great and Powerful) will make his Broadway debut in the revival of John Steinbeck's Of Mice and Men, at the Longacre Theatre.  Previews begin Mar 19 '14 and the run ends Jul 27 '14.

• Bradley Cooper

A revival of The Elephant Man will come to Broadway in the fall of 2014, starring American Hustle's Academy Award nominee, Bradley Cooper (the original production won the Tony Award for Best Play in 1979; the most recent revival was in 2002 and starred Billy Crudup).  No theater or preview start date have yet been announced.

• Denzel Washington & Diahann Carroll

It's been ten years since the last revival of Lorraine Hansberry's classic 1959 play A Raisin in the Sun about three generations of a black family fighting neighborhood racism in Chicago.  Beginning previews on Mar 8 '14 and closing Jun 15 '14, the cast also includes Sophie Okonedo (from the film Hotel Rwanda) and Anika Noni Rose (Broadway and film star in Dreamgirls).

• Zach Braff
  

Woody Allen's Bullets Over Broadway is becoming a stage musical, starring Zach Braff and shepherded by a creative team featuring Tony Award winners Susan Stroman (direction/choreography) and William Ivey Long (costumes; also designing costumes for Cabaret).  Previews begin Mar 11 '14.

• k.d. lang; Kenny "Babyface" Edmonds; Toni Braxton

Critics and audiences have had high praise for the new musical, After Midnight, featuring the music of the Jazz Age and the poetry of Langston Hughes.  Different lead actors will headline the show; the first being Fantasia Barrino, who has performed in the role since the show opened in previews on Oct 18 '13.  Dulé Hill (TV's The West Wing; Psych; last on Broadway in Stick Fly in 2012) costars, and will continue in that role when k.d. lang takes over from Fantasia from Feb 11 '14 - Mar 9 '14 (Edmonds' and Braxton's run is planned from Mar 18 '14 - Mar 30 '14). 

• Neil Patrick Harris

We're now very familiar with Neil Patrick Harris as a multi-talented song and dance man from his highly acclaimed performances on the annual Tony Awards presentations, but it's been ten years since he has appeared on Broadway (in Sondheim's Assassins).  Well, he's back! Harris will be playing the title role of a transgender musician in the rock musical Hedwig and the Angry Inch; with previews beginning Mar 29 '14 and closing Aug 17 '14.

• Ewan McGregor

Roundabout Theatre Company will present a revival of Tom Stoppard's The Real Thing (it won the Tony Award for Best Play in 1994 and for the revival in 2000), featuring Ewan McGregor.  Previews begin Oct 2 '14 and is scheduled to run through Jan 4 '15.

• Alan Cumming & Michelle Williams

NYC's Roundabout Theatre Company is presenting a revival of Cabaret at Broadway's Studio 54 theatre, starring Alan Cumming (reprising his role from the '09 Broadway revival) and Oscar-winner Michelle Williams in her Broadway debut.   The show begins in previews on Mar 21 '14 and runs through Aug 31 '14.

• Toni Collette, Michael C. Hall, Marisa Tomei & Tracy Letts

The Realistic Joneses is a new play by Will Eno (a Pulitzer Prize finalist), about neighboring couples, both with the last name of Jones, whose lives weave together after they meet.  Previews begin Mar 13 '14 and the show closes Jul 6 '14.

• Glenn Close

Although no details have been announced, Glenn Close has confirmed that she will appear in a play (not a musical) in the fall of 2014 (here she is at the opening of Bette Midler's I'll Eat You Last in Apr '14)

• BONUS #1 for fans of pop star Carly Rae Jepsen (you might remember her "little" song :), Call Me Maybe): she’s taken over the role of Cinderella in the currently running Broadway presentation of Rodgers and Hammerstein’s Cinderella.  Fran Drescher is also joining the cast as the Stepmother.

• BONUS #2 for, well, everyone (?:)) on Broadway in 2015: Hugh Jackman in The River!

They say the neon lights are bright on Broadway....so are the performers.  Enjoy!

p.s.  Don't forget the fun of stopping by the stage door after the show! :)

I love that the audience part of the theater is called the "house."  It is often even more...it can feel like home.  So while I understand the urge to rate, rank and score the shows we see during the year, I just can't do it.  All those houses welcomed me in with open hearts, and I want to return the favor. 

I see such a cornucopia of shows.  They spill out in every size, shape, color and sound, and it simply wouldn't be fair to the shows, or to someone looking for ideas, to rank what I've seen, as if creating theater is a race to be won.  Yes, if your livelihood depends on making money from a show, the success can be tangibly measured in performances, dollars, contracts, awards.  But as an audience member, I'm not looking for a winner.  In fact, the more winners there are, the happier I am.  Shows don't really "disappoint" me because I don't go in with particular expectations, other than that you engage me in some way that makes me happy, moved, challenged, excited, understood, wistful, surprised, heartbroken...I want to feel something.  And that includes having pure, unadulterated fun.  Or just letting go during an abstract, absurdist piece, and allowing the material take me somewhere, even if I haven't any idea where I'm going.  As I settle into the inky darkness of the theater, letting go of my need to anticipate, understand, analyze, respond, explain; listening to the reactions of the strangers around me and feeling connected somehow, is an unmitigated joy.

When I was taking sign language classes at Gallaudet University years ago, I had a teacher who challenged us to stop thinking of what we were trying to communicate in terms of the words alone.  He wanted us to consider the concept; and how we could share that concept with someone else without falling back on the easy words.  How do you explain a tree to someone who has never heard the word "tree"?  That's how I feel about theater.  There are some universal human truths that come up a lot in theater: romantic love, family dysfunction, self doubt, the need to belong or to run away; the need to be heard.  But there is a seemingly infinite array of theatrical expressions of those truths.  I love seeing a show I think I don't really understand, only to find a deeply relatable meaning as I let it sink in.

My theater experiences this year have made me gasp in delight, let the tears stream unchecked, want to get up and dance in the aisle, go learn something, be a better person, go hug a friend, understand the journey of getting older, find patience where it was lacking, exist only to listen to beautiful music for an hour, take risks...that list goes on and on.  But some shows did multiple things on that list.  Some did only one, but did it so well, I was stunned into silence at the end.

How then, can I choose a favorite child among this family??  I can't.  But I can sit for a while and let the impressions bubble to the surface like the lottery balls in a spinning cage.  

Here are my fondest memories of 2013 theater, in no particular order:

• The heartbreaking beauty of every aspect of the revival of The Glass Menagerie at the American Repertory Theater (A.R.T.) in Cambridge, MA.
  
• Seeing the brilliant West End revival of Sondheim's Merrily We Roll Along, my favorite of his scores.
• Beth Malone, Alexandra Socha and the phenomenal Sydney Lucas as the three faces, voices and heart of Alison Bechdel in Fun Home.   Each had a song that is visually seared into my memory: Beth, as Adult Alison, singing "Say Something,"  Alexandra as Medium Alison rapturously (and hilariously) singing "I'm Changing My Major to Joan," and Sydney, as Young Alison, staring off into the distance in joyous revelation, in the number "The Keys."
• Fiona Shaw's stark, raw, stunning performance in The Testament of Mary.
• The fizzy, thrilling, hilarious joy of the revival of Pippin.
• The sensory feast that was Here Lies Love at The Public Theater.
• Feeling my heart fill up from the opening notes of Kinky Boots, and explode with hope at the finale.
• Bryan Cranston's channeling of LBJ in A.R.T.'s All The Way.
• The exuberance of Volleygirls, and the soul of Stand By in the New York Musical Theatre Festival.
• The solo show RFK at Studio Theatre DC during Capital Fringe, that helped me understand this important man better.
• Laughing continuously throughout the brilliant The Explorer's Club from the Manhattan Theatre Club.  And not wanting to miss any of Carson Elrod's outrageous antics going on all over the stage.
• The delightfully playful, yet profound, revival of All in the Timing from The Prospect Theatre Company (another Carson Elrod tour de force).
• The lush production and sidesplittingly funny genius of Mark Rylance and the company of Twelfth Night on Broadway.
• John Conlee Johnson, Rebecca Naomi Jones, Will Swenson and Karen Olivo/Caissie Levy in Murder Ballad, giving one of the most seamless ensemble performances I've ever seen.
• Brandon Uranowitz's  deeply satisfying starring performance in Torch Song Trilogy at Studio Theatre in DC.
• Being surrounded by music, dancing and story in the immersive Natasha, Pierre and the Great Comet of 1812.
• The sheer joy that Ian McKellan and Patrick Stewart clearly felt as they played together on stage.  They were my favorite "couple" on Broadway this season.
• The gigantic, technicolor heart and voice of Norbert Leo Butz, Kate Baldwin, a field of daffodils, a giant, a mermaid, a son and a life, in Big Fish.
• Being in awe of the vulnerability and strength of Estelle Parsons and Stephen Spinella in Arena Stage's The Velocity of Autumn.  I learned so much about growing older, and being someone's child.
• Ray Fisher's riveting performance as Cassius Clay/Muhammed Ali in New York Theatre Workshop's fascinating Fetch Clay, Make Man.
• Discovering an unexpected treasure in the brand new musical comedy, A Gentleman's Guide to Love and Murder.  Jefferson Mays is a gift.
• Marveling at the wonder that is Jessie Mueller's performance as Carole King in Beautiful The Carole King Musical.  It's more than the music, it's a fascinating story of the music and this, yes, beautiful, woman whose songs have meant so much to me.
• Sharing the elation of the packed house at 54 Below for the real life production of the fictional musical Hit List from the theater-themed television drama Smash.

So there you have it.  There are more, many more.  I have a distinct memory of each of the shows I saw this year.  I treasure all of them.  Because I love the theater.  Every time those lights go down, I know I'm about to have a once-in-a-lifetime experience, and can't wait to see how it turns out.

There is much I love about going to the theater by myself, not the least of which is the chance to chat with seat mates who start out as strangers, but end up being lovely company pre-show and at intermission.  A recent experience offered up just such a treat.  We may never have exchanged names, but we exchanged theater personalities!   And something we talked about has prompted this post...straying from the Broadway beat and finding a rhythm in the many small theaters and productions all over NYC that offer exciting opportunities to experience theater in more intimate settings, and often with fresh and unique voices! 

Turns out that my Atlanta friend (AF) and I have each discovered, over the course of multiple theater trips, that while we definitely make time to see the major productions at the Broadway theaters, we've had some of our most treasured experiences at the Off Broadway shows we've seen.  It is certainly more easily accomplished when you have numerous opportunities to be in NYC, but I think I can comfortably say that if you do a little research before you come to the city, you may find a fantastic opportunity awaits to see your favorite star in a tiny theater; or an early production of a story you loved that may not ever be suited for a major production.  AF shared a wonderful memory he has of seeing a production of Bluebird that changed the way he thought about theater.

So you’re heading for New York City, and you want to include some theater while you’re there.  All the big musicals spring to mind:  The Lion King, Wicked, The Book of Mormon, Mamma Mia, Chicago, Kinky Boots, Pippin.  Or perhaps you’ve heard of some big name stars in plays: Orlando Bloom in Romeo and Juliet, Daniel Craig and Rachel Weisz in Betrayal, Sir Patrick Stewart and Sir Ian McKellan in Waiting for Godot.  

My mantra is to go see what appeals to you; you'll get no judgment from this corner.  But theater tickets can be pricey of course, making choosing just one or two all the more difficult; which in turn makes doing some advance research into the shows you’re considering, all the more important.  Most of those I’ve mentioned above are wonderful choices (though not all for all!).  However, here’s another option that’s worth exploring before you commit to one of the big ticket shows: check out some of the numerous Off Broadway theaters, for an often quite unique and intimate theatrical experience.  And you may just get to see a famous actor up close without taking quite such a big financial hit!

By the way, the term “Off Broadway” does not refer to geographic location, but to the size of the house and to what contracts/agreements govern its productions.  If a theater is an Off Broadway theater, it has between 100-499 seats (fewer seats than 100 would be considered Off Off Broadway; and 500 seats or more are Broadway theaters).  There are Off Broadway theaters just down the block from the largest Broadway venues.  Many of these theaters are wonderful spaces, offering new work, with great sight lines and lower ticket prices.  This means you may get to be one of the first to see a show that the world will be talking about next year.  For example, New York Theatre Workshop has launched several big Broadway hits, including Tony winners, Once and Peter and the Starcatcher.  Lincoln Center’s Mitzi Newhouse Theatre was the original home of Vanya and Sonia and Masha and Spike, last season’s Tony-winning play starring David Hyde Pierce and Sigourney Weaver.

The New York Theater Workshop (fictionalized as the Manhattan Theatre Workshop in the television series Smash), has an impressive track record in nurturing and growing new shows, some of which you've watched be awarded with Tonys.  Two shows with that distinction are the musical Once (Best Musical, 2012), still running at Broadway's Jacobs Theatre, and Peter and the Starcatcher (Best Play nominee, 2012 and winner for costumes, set and sound), which ran on Broadway, is currently running Off Broadway again, and is also on tour (as is Once).

One of my most thrilling experiences was at Cherry Lane Theatre, Off Broadway’s oldest continously running theatre, sitting just 15 feet away from Vanessa Redgrave as she starred with Jesse Eisenberg in the play he wrote, The Revisionist.  Cherry Lane is a charming venue, near Christopher Street in Greenwich Village, that may be used by more than one theater company during the year.  

Vineyard Theatre, near Union Square, is another one that ranks high on my list.  Their shows over the past couple of seasons have featured well known actors such as Kate Mulgrew, David Hyde Pierce and Anthony LaPaglia.  One of my recent favorites was Now. Here. This. (from the creators of [title of show]), which offered poignant, spot on commentary on being a human, accompanied by terrific music!

Likewise, it was exciting to see Bebe Neuwirth and Christina Ricci in a production of my favorite Shakespeare play, A Midsummer Night’s Dream, at Classic Stage Company, a flexible space that accommodates creative staging.  Currently playing at Classic Stage is a production of Romeo and Juliet, which includes rising star Elizabeth Olsen and Grey’s Anatomy’s T.R. Knight in the cast.

59E59, in Midtown East, provided me the opportunity to see Michael Learned up close in The Outgoing Tide; a well-received revival of Stephen Schwartz's musical Working; and in just a few weeks I'll see Michael Gambon and Eileen Atkins in All That Fall.  The theater space is just the right size of small, and has great sight lines from all points.

Closer to Midtown Manhattan (the location of the Theater District) is Second Stage Theatre, which features new plays and musicals, along with other work.  The new stage musical adaption of the film Little Miss Sunshine is currently running, for example.   And Second Stage was the home of the wonderful Benj Pasek and Justin Paul musical, Dogfight, which premiered in 2012, and starred the current Wicked team of Lindsay Mendez (Elphaba) and Derek Klena (Fiyero).

The Signature Theatre, on W42nd St., has several spaces in its Pershing Square complex that allow it to present various types of shows, including two traditional theater spaces and some flexible black box spaces as well.  Betty Buckley recently starred in Horton Foote’s play Old Friends there.   I was truly honored to see her on stage from the second row!

Playwrights Horizons is a wonderful place to discover new work, both musicals and plays.  Last season's new musical Far From Heaven brought us Kelli O'Hara and Steven Pasquale on stage together, performing a score by Broadway's Grey Gardens team, Scott Frankel and Michael Korie (that show ran at Playwrights Horizons before moving to Broadway in 2006).  O'Hara and Pasquale are soon to be seen headlining the Broadway production of Jason Robert Brown's new musical The Bridges of Madison County, beginning previews in January '12.

New World Stages has 5 different stage spaces that can accommodate a wide range of shows, including productions of long-running shows (Avenue Q; Rent; Gazillion Bubble Show) and shows that transfer from other theaters (Peter and the Starcatcher; Murder For Two).  I've had some marvelous experiences seeing such shows as Freud's Last Session, Bare and The Two-Character Play with Amanda Plummer and Brad Dourif.

When people think of Lincoln Center, they likely think about big shows in the Vivian Beaumont Theatre (War Horse, for example), as well as operas, ballets, symphonies; all of which are specialities of this wonderful venue.  But I love the two small theaters at LC Theater: The Mitzi Newhouse and LCT3.  The Newhouse was home to the Off Broadway premiere of the recent Broadway hit, Vanya and Sonia and Masha and Spike, which won the Tony award for Best Play in 2013.  LCT3, which presents its shows in the Claire Tow Theatre, an intimate black box space, focuses on work by new artists.

Other theaters to explore for new work, revivals, special events, and more, include:

 Each of these great theaters present varied and interesting seasons, and I always check out their offerings when I'm choosing what to see.

But my favorite Off Broadway venue of all is probably the venerable Public Theater near Lafayette Square, founded by Joe Papp in the 1960s, and inaugurated with the original production of the musical Hair.  Papp’s mission was to bring theater to as many people as possible, especially those in the local community, and those for whom ticket prices are often out of reach.  He began the annual summer tradition, Shakespeare in the Park, during which The Public produces two free shows each summer in the lovely outdoor venue in Central Park, The Delacorte Theatre.  One is generally a work of Shakespeare with a twist; the other might be a revival of a well-known musical.  The presentations this past summer were Comedy of Errors starring Jesse Tyler Ferguson, and a new musical version of Love’s Labour’s Lost. 

The Public Theater has five different theater spaces, from a traditional house, to flexible spaces, in which developmental work can be tested in what are sometimes called “lab” or “workshop” presentations.  The tickets for these are often quite inexpensive, at $15-35, and you might see some leading stage performers too.  These labs may move forward to full stage productions, such as this season’s new musical, Fun Home, which I saw in its lab form last year, and is now running in a full production in The Public’s main stage space to rave reviews.  The Public also has a concert entertainment venue called Joe’s Pub, and a full restaurant that serves both before and after shows.

Keep in mind that Off Broadway shows may not have the same frequency of performances, and may have a different schedule than the traditional Tuesday through Saturday evening performances, and Wednesday, Saturday and Sunday matinees, common to the Broadway shows.  This can work to your advantage, as I’ve seen small productions with 5:00pm performances on some days, that don’t conflict with other shows.

For an easy reference of the Off Broadway theaters, check out my Stage Directions: Find a Theater: Off Broadway page.  All of the theaters I’ve mentioned are easily accessible by subway, and each has their own website that will provide you with information about their current and upcoming seasons.  Also, Playbill.com has full listings of both Broadway and Off Broadway productions with synopses and ticket information.  

So find your way Off Broadway, and enjoy some new theater adventures!

I talk a lot about how much I enjoy experiencing new theatrical works...it's especially exciting to see a new musical "grow up" and leave the nest to meet the world.  But there are many risks with musicals, in particular...you're not just asking the audience to find the story appealing, but the music as well-and any accompanying choreography too.  Oh, and they probably should like the cast; a cast that often must be filled to the brim with triple-threat actor/singer/dancers

(For an example of the work going on in the area of musical development, visit the 5th Avenue Theatre website (link above) to find out more about their New Works Program.)

From readings, to workshops, to small productions, to regional runs; and maybe New York, or a tour, if that's the goal, someone has to care enough about the show to give heart, soul and body to making it grow over the course of years.  That's one of the reasons I love going to these shows.  Even if a show ends up not making my list of favorites, I still root for it to succeed; if nothing else because the artists involved have likely sacrificed mightily to present  it for me to experience.

So today is a special day, because it marks the Los Angeles opening of The Black Suits, a new musical by a great young composer, Joe Iconis.  You may know Joe's work from the television show Smash (the song Broadway Here I Come), and I make it a point to see his cabaret performances whenever possible.  It is a testament to Joe that he is able to assemble groups of some of the most talented performers I've ever seen on a stage.  Some you saw on Smash (Krysta Rodriguez, Jeremy Jordan), and some are working actors in New York and beyond, that jump at the opportunity to sing Joe's music on stage.  I guarantee you'll want to see them again once you've seen them the first time.  The Black Suits, is a story about a group of high school friends trying to win a "battle of the bands," and move towards adulthood at the same time.  The show ran at Barrington Stage in Massachusetts last year, and has now crossed the country to The Kirk Douglas Theatre, part of the Center Theatre Group at The Music Center.   

I know some of the people involved with The Black Suits from other shows, and I know how hard they've all worked to make this happen.  For many reasons, I can't wait to see the show next week in LA!  Here's an introduction to the show:

For those who love musical theater, the annual New York Musical Theatre Festival (NYMF), a three week festival in New York City, is a true treat.  Each summer, NYMF celebrates the development of new musicals, providing just a glimpse of the amount of new work being generated from every corner: 30 new musicals, over 1,000 artists and 40,000 visitors coming together, all for the love of musical theater.  In 2013, I saw 7 productions, both big and small, and loved every minute!

Fast forward to October '13.  I just saw six new musicals in the past two weeks.  Two were Broadway productions, one was a pre-Broadway engagement, two were Off Broadway shows and one was a regional production here in DC.  Three were based on films, one on a graphic novel, and two were original stories for the shows.  My favorite was one of the Off Broadway shows, but I also loved both Broadway shows (and of course there are those that would strongly question my choices, but that's the beauty of it...you get to like what you like, and let others like what they like :)).   

Although I love discussing theater with friends and not-so-strangers, I have found that a person's reaction to a musical (or play) is generally wildly instinctive, and decidedly not responsive to arguments against that instinct.  I know people who have changed their minds after seeing a show more than once (maybe with a different cast), but I've never known anyone to change their mind about a show just because someone else pointed out all its wondrousness from their perspective.  The really fascinating parts of these discussions though, are how different people seeing the same show will notice, and remember (or not :)), completely different things (both positive and negative). 

See what you think from these peeks at the other new musicals I saw this past week, and then go find something to discover for yourself (and let me know about it :))!

The current Broadway hit musical, Kinky Boots, joyously tells us that you can "change the world if you change your mind."  Well, that's good, because Moisés Kaufman's remarkable work, The Laramie Project, which tells the story of the impact on the town of Laramie (and the world), of the tragic torture and death of young, gay University of Wyoming college student, Matthew Shephard, can definitely change minds.  Kaufman gathered a team of actors/researchers to travel to Laramie over the course of 18 months to interview residents, especially those with a connection to the events, such as university and hospital staff, local business owners, religious leaders and students.  The play is drawn from these interviews and journal entries of the playwright, and the actors participating in the project.  

First performed in 2000, and performed over 2,000 times since, Ford's Theatre has made this production of The Laramie Project an integral part of its Lincoln Legacy Project, begun in 2011 and described by the theatre as "a multi-year effort to create dialogue in our nation’s capital around the issues of tolerance, equality and acceptance. Each fall, through a series of cornerstone theatre productions, educational programs and special events, Ford’s takes a closer look at racial and religious intolerance, social injustice and civil rights in American history and contemporary society."

Director Matthew Gardiner (Associate Artistic Director at Arlington's Signature Theatre), has assembled a cast of talented actors, whose work has been seen in theaters around the DC area, and beyond.  I've been fortunate to see them in productions at Woolly Mammoth, Keegan Theatre, Signature Theatre, Arena Stage, Studio Theatre and The Shakespeare Theatre, among others.   

On this evening, the government shutdown had made it impossible for the theater to present the performance on stage at Ford's.  In a show of compassion and spirit that Matthew Shephard surely would have appreciated, close neighbor Woolly Mammoth Theatre Company, provided the use of their rehearsal space for the evening, and the cast and crew scrambled to make it happen.  They first walked into the space at 4:00pm that afternoon, and the audience arrived at 7:30pm.  They were without sets, most props and their multimedia elements.  But it didn't matter; they had every ounce of the commitment, abundant talent and true passion that could take us on the journey to Laramie with them.

In fact, the intimacy of the small space worked well for this storytelling experience.  The actors are speaking the words of real people, and it is vital for the audience to engage.  The simple, spare setting, with only a desk and a few chairs, contributed to the urgency of the message, and helped me focus on what was really being said.   That said, it is a testament to the skills of those involved, that the performance I saw seemed whole, and organic to the setting.  I would be interested to see the full production as well, and hope that the restrictions on Ford's spaces will be lifted soon.

Each actor played several roles in the story, and I always find it remarkable to watch accomplished actors such as these transform in front of my eyes, with only the addition of a hat, a slight change in posture, a softening of the face.  In particular, Kimberly Gilbert, who portrays Matthew's friend Romaine Patterson, just lit up the stage, with sparks of anger in her eyes, and the passionate commitment of a young woman who has lost her friend but found a calling in life as she fights back.  Mitchell Hébert as Kaufman, and Matthew's academic advisor; and Craig Wallace as a host of characters from the limo driver who knew Matthew, to the presiding priest at Matthew's funeral, are both uniquely charismatic.  Holly Twyford is also wrenching, and enormously appealing, as the young police officer who is the first law enforcement professional to arrive at the scene where Matthew was found.  She had tried to keep Matthew alive, and been exposed to HIV in the process.  Her story is the source of great pain, but also wry humor that reminds us of the many layers of human experience.  But truly, it's difficult to single out actors in this uniformly wonderful cast.  I enjoyed each of them tremendously.

The creative use of the limited resources by Gardiner and the cast was very satisfying as well.  I especially liked that the constant shifting of the chairs and choreographed movement of the actors seemed to reflect the sense that our minds must also shift, re-form and face different directions in order to really understand our world.

Matthew's parents' response to those responsible for his death has been an example to the world of the power of answering hate with an attempt to find light in the darkness of suffering.  As Dennis Shephard said, at the sentencing for one of the young men responsible for Matthew's murder:

Echoing this spirit, the play ends with the word hope.  Hope not because everything turned out all right, with everyone's minds changed; but because the spontaneous outpouring of love and support for Matthew and his family showed us that where there's love, there's the chance for change.  For this to happen, this play teaches us, we must tell our stories and truly listen to the stories of others.

Thanks to Ford's Theatre for highlighting the story of Matthew Shephard on this 15th anniversary of his death; and for reminding us that there is still work to be done.*

Director Matthew Gardiner talks about the development process in this video:

Ford's is hosting an exhibit, as well as other special events surrounding the 15th anniversary of Matthew's death.  You can find complete information about all these activities on the theatre website.  However, please note that the current government shutdown is impacting this schedule, and availability of the theatre facilities.  Check the website before you go for the most updated information.


*There was also a production of The Laramie Project taking place at the University of Mississippi the same evening as I was sitting in the audience for this Ford's Theatre production.  You may already have read about the cruel and disrespectful behavior of certain members of the "Ole Miss" audience, which underscores the ongoing importance of works such as this.  Columnist and theater professional Howard Sherman has some commentary on his blog.

You never know who might be out on the streets of the Theatre District in NYC.   On Aug 7 '13 it was Orlando Bloom and Condola Rashad, Broadway's newest Romeo and Juliet!  The undeniably attractive young actors follow in the footsteps of Laurence Olivier and Vivien Leigh from the first Broadway production in 1940.  It's been 36 years since the last Broadway production, and this cast features Bloom, in his Broadway debut and  Rashad ("Stick Fly," "Trip to Bountiful"), and is directed by David Leveaux (5 time Tony® Award nominee).  Also appearing is Brent Carver ("Kiss of the Spiderwoman") as Friar Laurence, and Jane Houdyshell ("Follies") as The Nurse.  

This was the "meet the paparazzi" day for Orlando and Condola, complete with motorcycle and graffiti for effect.  After posing separately, with some ceremonial revving of the motorcycle by "Romeo,"and then together, for the phalanx of photographers, there was some playful spray painting of the theatre doors.  

And based on this brief glimpse, I'd say we're not talking a "traditional" interpretation of Shakespeare's vaulted romantic story, and that's always intrigues me!  I've seen Condola in her two previous Tony® Award-nominated turns on Broadway, and am seriously blown away by her charisma on stage.  She's also very kind at the stage door, and has an adorable little dog that accompanies her!

It must be love; there's graffiti to prove it!  Finished product below, with motorcycle accompaniment.

The (decidedly less glamorous) loading in of the show was in progress within a few hours.  Much harder work than posing on a motorcycle for sure!  The Richard Rodgers Theatre has received quite a makeover in preparation for the show as well.  Playbill.com has a great article about the changes here.

The show has its first preview today, Aug 24 '13, and I'll be seeing it tomorrow!   The lovers' story may not have a happy ending, but this beginning appeared to go quite well.

UPDATE:  Just for kicks, I checked out the stage door after the performance I attended (only the third preview!), and it took calling in extra police and security to (somewhat unsuccessfully) contain the hordes waiting on both sides of the street for Orlando Bloom.   

I did spot Tonya Pinkins, soon to be starring in "A Time to Kill" on Broadway as I was leaving the theatre.