Napoleon Bonaparte, Henry VIII, Emperor Nero. ’90s grunge. RENT meets Hamilton. What would happen if the biggest dicks in history were together to measure them?
These are all massive, legendary concepts, but you shouldn’t expect a similarly-styled show. It’s DIY. It’s duct tape and cardboard boxes, pickle tub drum kits and burlap and rope. It’s thrift store clothes and ripped jeans, Chucks and cheap beer. It’s not clean or polished; it has frayed edges and tears. It’s the feeling when you have a lunch of mini donuts – are there healthier options? Sure. But indulge yourself. This one tastes good.
Nominated for the Harry Rintoul Award for Best New Manitoban Play (created by stars Duncan Cox, Tanner Mason and Ben Townsley), this quasi-musical (more of a play with songs if you ask me – not that there’s anything wrong with that) explores the trials of these three kings/emperors/rulers if they had been forced to answer for their tyranny. It’s loud (very loud, actually, for the small space) and occasionally obnoxious, but that’s what these men likely were – loud, obnoxious, childish, and utterly human. We forget these imperfect qualities when they become legends.
Henry VIII as a Mick Jagger-meets-Christian Borle-as-Shakespeare type. Emperor Nero as a flamboyantly gay Kurt Cobain (although I would’ve liked to see him with hints of more of a chainsmoking Donatella Versace). Napoleon as a jean-jacketed womanizing-yet-lovelorn Tom DeLonge of sorts. All of these men are obsessed with their legacy, but what does that mean? Does it mean land? Property? An heir? Love? What’s left when you’ve been dead for hundreds of years? In the end, does it even matter?
KING and the Winnipeg Fringe Theatre Festival are on now until July 30. For ticket information, show times, and a venue map, visit WinnipegFringe.com.
Here’s how I’ll be starring all my Fringe reviews:
5 stars = Astounding. I will physically push you in the direction of this show. Must see.
4 stars = Very good! Highly recommended.
3 stars = Well done. People interested in this genre/subject matter will enjoy it, but it may not be for everyone.
2 stars = Only people interested in this genre/subject matter will probably enjoy it.
I love award shows, and I love trying to predict them. I feel like there’s a science behind getting it right. However, I’ve never looked at the science behind those who pick the nominees and award winners in the first place – until now, that is.
On a lazy afternoon, I read through the 2016-2017 Tony Award guidelines (exciting!) and I figured out exactly what the process was, and I’m here to break it down for you.
Before I went in, I had basically one major question: what differentiates a revival from a transfer? I had always wondered this after Hedwig and the Angry Inch won Best Revival in 2014 even though it was the show’s Broadway premiere.
I also knew that there were separate processes for nominating and then for voting (i.e., the nominees weren’t a shortlist), and that the voters were generally kept a secret. The latter is not necessarily true, but I’ll explain all that now too. Come along, fellow data nerds, and let’s decipher this jargon together.
A Broadway House
For a theatre to be considered “on Broadway” and the shows inside to be eligible for awards, it has to meet the following criteria:
• Be located in the Borough of Manhattan
• Have 500+ seats
• Be used mainly for “legitimate theatrical productions”
• Or be deemed otherwise qualified by the Tony Awards Administration Committee
A list of currently eligible theatres is on page 21 of the rulebook.
Opening Night The Tony Committee set a cutoff date every year (generally late April), and you have to have your opening night on or before that date. You have to all members of the nomination committee to “professional” performances (i.e., not the invited dress rehearsal, but previews and regular performances are fine) before the cutoff date.
In order for any actor to be eligible to be nominated in acting categories, they have to perform in that role on opening night (which is why it was such a big deal when Andy Karl got injured near opening). If the committee determines that the role you’re playing now is too similar to a role you’ve played before, you won’t be eligible – sorry, Glenn Close. Can’t win it twice.
Revivals vs. Transfers
There’s only a Best Revival of a Musical category and a Best Revival of a Play category if there are three or more eligible shows of each to choose from.
A revival is the following:
• Complies with the above rules about a Broadway house and opening night
• A show that’s deemed a “classic”
• Or has not been performed within three years of the eligibility date
That’s the difference between a revival and a transfer. Fun Home, Hamilton, Great Comet, and Dear Evan Hansen, in recent memory, all played Off-Broadway and then transferred. Shows like Hedwig died for years before coming to Broadway.
The Nominating Committee
The nominating committee is made up of anywhere between 15 and 51 people of the theatre community. They must meet the following criteria:
• Have worked in the theatre/theatre education before
• Represent a “range of expertise” in the theatre community, have knowledge of productions past and present
• See every show of the season
• Not be a working member of the press
These people are randomly divided into three groups, and serve for one, two, or three seasons.
Picking the Nominees
A date is picked after the opening night cutoff, and the nomination committee has a meeting (officially titled the “Tony Nomination Meeting”). The members of the committee have two hours to discuss the eligible performances, but they can’t take any informal straw polls or anything like that.
The committee then privately and secretly votes for the nominees. Each member of the committee gets the number of votes that there are nominees. For example, if there are four slots for Best Musical, then each member can give four musicals a checkmark for a Best Musical nomination.
If you’re related to someone in any category, you can’t vote in that category. Duh.
Picking the Winners
Members of the boards from each the Actors’ Equity Association, The Dramatists Guild, Stage Directors and Choreographers Society, and United Scenic Artists are all voting members. The nomination committee are also voting members. The following organizations also have voting members:
• Board of Directors and the Advisory Board of the American Theatre Wing (up to 75 people)
• Voting Members of The Broadway League
• Theatrical Council of the Casting Society of America (up to 16 people)
• Officers or Executive Board members of Musicians’ Local 802 (up to five people)
• Current governing board of the Association of Theatrical Press Agents and Managers (up to 15 people)
• New York Drama Critics Circle (up to 25 people)
• Board/Council of the National Association of Talent Representatives (up to 10 people)
These people get free tickets to every show. They get a mail ballot from the accountants 14 days before the Tonys (at the latest), and can vote up to 50 hours before the Tonys. Nobody knows, except the accountants, who wins until the telecast.
Eligible productions can notcampaign for votes. Anymore. This is most likely thanks to Avenue Q’s genius marketing in 2003 – and they won over Wicked. (Both shows are still running, albeit one show Off-Broadway and one show in one of the Broadway largest houses with still some of the highest ticket prices 14 years later, but there were no losers here). Eligible shows also can’t mention the names of other eligible shows in marketing campaigns (e.g., putting a quote like “I loved it more than [this other eligible show]!” on the marquee).
There are a lot more nitpicky rules – like tiebreakers, ho boy – that I’ve highlighted and you can review in the Tony Awards Rules PDF. There are also a lot of rules with the producers – they have to offer free tickets to the voters, sign agreements of eligibility, etc., etc., which you can also read about in the PDF.
I thought it was a truth universally known that this is Patti LuPone’s world and we’re just living in it – that is, until recently, when she’s making the rounds doing press for War Paint and her seventh (SEVENTH) Tony nomination when some people on the internet are making comments.
I’m not usually one to feed the trolls, but I have to indulge them just this once. And Patti doesn’t need me to defend her honour, but in defending her, I feel like I’m defending myself.
Patti LuPone, for the uneducated, is a living Broadway legend. She originated the titular role in Evita (Tony #1) and Fantine in Les Miserables (Olivier), and has played countless other iconic characters – Mama Rose in Gypsy (Tony #2), Mrs. Lovett in Sweeney Todd, Reno Sweeney in Anything Goes, Maria Callas in Master Class – and I’m not even counting the things she did as part of The Acting Company. The woman has any actor’s dream career.
Patti also has a reputation of saying what’s on her mind. Check out this clip that Broadway.com cut from her recent Show People interview (on another note, why you censoring Patti, Broadway.com?!?! That’s not cool). She’s also famous for stopping her penultimate performance of Gypsy (during Rose’s Turn!!) to yell at an audience member taking photos (I’m getting “Who do you think you are?!” tattooed on my heart).
She recently made comments (after asked in an interview) about what she thought of Madonna’s version of Evita – and she didn’t like it. No shit. She said so. And now I have to deal with uninformed haters saying that “if you don’t have anything nice to say, don’t say anything at all” and that they are no longer listening to anything Patti is in because she made those comments.
I’m generally in the same boat – let’s be kind to each other. But she was asked by an interviewer, and she gave her honest opinion. Madonna is not going to suffer because of what Patti said and vice versa. Don’t try to censor this successful, powerful woman because she said something that isn’t nice. Women aren’t nice. Opinions aren’t nice. They don’t have to be. But they should be honest.
It’s not like she talks shit for no reason, or without being able to back it up. Patti said Madonna was good at what she does in pop music, but she wasn’t a good actor. Patti LuPone literally graduated from the first acting class at the Juilliard School and toured around the country earning her stripes before making it to Broadway. She still goes to a vocal coach and she’s 67. She has many acting awards, including the Drama League’s Distinguished Performance Award, which can only be won once in any actor’s lifetime. She admits that she’s still a student sometimes, but she’s also a theatre badass. She knows good acting from bad.
Let’s not ask women for their opinions and then shame them when they’re honest. Let’s stop saying that they’re hormonal or emotional because maybe, just maybe, they actually know what they’re talking about.
P.S. Patti LuPone could run me over with a car and I would say thank you. It would be an honour.
I have been to dozens of productions of musicals. I have been to “operas” (like how I describe Natasha, Pierre, & The Great Comet of 1812 or Les Mis as an “opera” because there isn’t any talking in it) a handful of times. But I have only been to “the opera” (as in the “where’s the Met?”-Moonstruck-type opera) exactly one time: a year and a half ago, for Manitoba Opera’s production of The Marriage of Figaro.
I’m heading back (finally!) tomorrow, for MO’s production of Werther (which is pronounced “vair-tare,” by the way, don’t make an ass of yourself like I almost did). I’m here to tell you that the opera is not scary! But it does take some preparing. It’s not the kind of lean-back-in-your-chair entertainment you might get from a movie or a jukebox musical. It requires you to be engaged and involved – but that makes it even more fun.
Here are some tips for your first (or second!) time at the opera.
Watch adaptations first RENT is based on La Boheme. Miss Saigon is based on Madam Butterfly. The story is always easier to follow when you have some frame of reference in mind, and since some operas are so influential and classic, lots of other artists have taken inspiration from them. Check out if the opera you’re going to see has any adaptations that you can enjoy first. It’s also fun to see if you can guess which character in the original turned into which character in the adaptation.
In the program of the opera, there’ll be a synopsis of the whole show. Read it. Characters usually introduce themselves when they come on stage, but it won’t necessarily happen. Even if you don’t want to “ruin it” for yourself, it’s better to know what’s going to happen, because you may not be able to follow along, especially if the show is in another language (which it usually is).
Follow the opera company on social media
Last summer, I won a free pair of opera glasses from Manitoba Opera for correctly identifying what a “libretto” is. They have contests and promos all the time, so connect with them on Twitter or Facebook to make the most of your experience (and your wallet!).
This isn’t some 90-minute one-act-and-done show. I’m not going to lie to you – operas are long. Three or four hours. Two intermissions. Get some water at concession beforehand and make sure you eat dinner before you come. It’s worth it, but you won’t be able to enjoy the show if you’re hungry!
About a month ago, I went to New York City – my favourite place in the world. And I finally have time to tell you all about it, because holy god, I saw a lot of theatre, and that was the best money I’ve ever spent in my life.
On my wedding blog, I talked about going on a pre-honeymoon, because a honeymoon after your wedding isn’t always an option – sometimes you have to work, or deal with immigration visas, or maybe you just don’t have the money to go on a sweet vacation right after you get married. This trip was sort of those things, but honestly – I just wanted to go to New York. And I had Hamilton tickets. Hello!
Over our six days in the Big Apple, we saw four shows (I entered some lotteries to fill our Wednesday matinee but to no avail, so we spent our afternoon in Central Park instead). Let me talk about them all while showing you semi-related photos.
Tuesday, February 21: Natasha, Pierre & The Great Comet of 1812
This show is a trip from the very beginning. I was in this theatre three years ago to see
the Les Misérables revival, and it has been completely transformed. You walk in just having been in 2017 New York, and the box office and lobby are communist Soviet Union, coated in anarchist posters and spray paint and exposed concrete and brick. But then you walk into the theatre, and you once more are transformed to 19th century Russia, where dreamy red curtain and tea lit mirrored tables intersperse with the seats. You’ll hear people talk about how interactive this show is, and they’re not wrong – cast members stared into my face and I sat in the very back row. They threw perogies at me and they were incredible. Girls in the rows below me got egg shakers and papers and a front-row seat to some crazy club scene domination. I’m predicting it for the Best Musical Tony already, simply because this is the most interactive, innovative experience I’ve ever had in a theatre ever in my life, and I doubt anything will ever come close again.
I’d listened to the cast recording before, and I knew the story was only so-so, but the incredible set, choreography, and overall spectacle make it worth the trip.
Wednesday, February 22: Sunday in the Park with George
This show holds a very special place in my heart. As you know, I wrote a book heavily featuring Sunday, and it was an absolute dream to get to see it in person – and not just in person, on Broadway. With Jake Gyllenhaal (who was the PERFECT George) and Tony winner Annaleigh Ashford. What is my life, you guys?
Sunday has always been troubled in its productions, but this one was absolutely perfect. Every time I think about it, I get misty-eyed. It was precise, dreamy, and story-driven, not set-driven like it’s often mistaken for. This production finally gave the story the spotlight it so desperately needs, and it was perfect.
I went last preview, and Sondheim went the next night for opening. I never saw him in the street or anything but it somehow still gives me chills knowing that we were in the same city at the same time.
Thursday, February 23: Dear Evan Hansen
Music Box Theatre
Ben Platt is going to win a Tony Award or I’m going to do something dramatic. Everything you’ve heard about his performance is true. He is breathtaking in the title role. So much so that I think once he leaves, this show will suffer.
That’s not to say that it isn’t an incredible show – it completely is. It’s a beautiful story
that I know I’ll go back to over and over again in my life because I’ll be able to relate to a different character in different stages of my life. But the story is kept secret, and for good reason. It’s better to find out when you’re there. But without his outstanding performance to brag about, I’m not sure it’ll be as big of a sell. But tickets are on sale through March 2018 right now, so I think they’ll be fine.
A totally original show, and totally unmissable. If you can get tickets, go. Don’t hesitate.
Friday, February 24: Hamilton
Richard Rodgers Theatre
Understudies: Jevon McFerrin as Hamilton
You all know how Hamilton goes, so let me talk about the new cast members (new from the cast recording) that I got to see.
Three words: Brandon Victor Dixon. Oh my God. Leslie Odom Jr.’s Tony winning performance is a calm, composed Burr, but BVD is the opposite. He’s sassy, he’s annoyed, and in the second act, he’s ready to get his. He pushes the role vocally and physically, and was undoubtedly the star of the show.
Mandy Gonzalez was a commanding Angelica. She also pushed the role vocally and when she was on stage, all eyes were on her. I started crying during “Schuyler Sisters,” that’s how good she was.
Jevon McFerrin, son of Bobby, gave a new approach on Hamilton. He wasn’t as silly or sly as some interpretations are, but being (probably) one of the youngest people to play the title role, his naïvety came across in the first act, perhaps more than full-time Ham Javier Muñoz (who was out because of a back injury at the time), known as the “sexy Hamilton”, brings to the role.
I spent a lot of money on this trip, but I would do it all over again. New York is my soul city. I feel so renewed when I’m there. After we saw The Great Comet and we were walking back to our hotel room (side note: stay at the Wellington Hotel when you go to NYC if you’re all about location), I told my fiancée that going to theatre to me is like going to the spa – and Broadway is the biggest and best of all.
Well, here we are. It’s January 27, which means there is only one day more (har dee har) until my book is officially released. Pretty crazy, hey?
I’ve had a lot of people say that they could ‘never write a book,’ (which isn’t true, if any living human can do it, you, too, can do that thing) and I’ve found myself comparing to my friends who are undergoing massive projects and saying that I ‘just’ wrote a book. But dude, I wrote a book. That’s awesome.
My secret was to find a subject I’m passionate about – which was theatre, of course. If I had forced myself to write about something that I didn’t care deeply enough about to research and nurture, then I wouldn’t have. And my book would be garbage. But my book is not garbage (at least I hope not). I took the time to water it (metaphorically) and watch it grow (not quite as metaphorically) and others that I shared the story with did too. Now they get to see what the final product looks like – which is almost as exciting to me as having a book, period.
It’s scary to put yourself out there and tell everyone, this is the best I can do. What do you think? But it’s also the most artistically rewarding thing I’ve ever done. Nobody who I shared it with laughed at me or gave me comments that discouraged me. Every piece of feedback I got just fuelled me to want to make it better. And that’s what happens when you do something that you love.
One of my beta readers finished his comments with this: “Oh, also, congratulations. You fucking wrote a book. And that’s pretty fucking cool, I think.” And I did. I made a hat.
Tomorrow, my book launches at Books, Beers & Broadway: Son of Sondheim Book Launch at the King’s Head Pub. Sign up to sing some Broadway karaoke and have a good time. RSVP here.
You can pre-order my bookhereand I’ll personalize the inside with a message just for you. You can pick it up at event night or I’ll ship them to you after the launch.
I’m not even going to try to think of a pun this week, folks. That’s how serious this issue is.
Fall is the season of change. The leaves change, the weather changes, time seems to change because the sun sets sooner, and the Broadway landscape changes. The summer tourist season is over and it’s a long time before the holiday tourist season begins. So when a new show is looking to open in the spring during Tony season, they need a theatre to make their home. And so old shows are kicked out. Not just bad shows or shows that haven’t been running for years at a time. Just under-performing shows.
I’ve said it before and I’ll say it again: Broadway, at the end of the day, is a business. Theatre is a business. And if your show doesn’t keep asses in seats, your ass doesn’t stay in the theatre. I’m obsessed with reading the BroadwayWorld grosses every Monday. Last week, there was only show that met their gross potential: Hamilton. A few others came close, but most shows are sitting at the 50% potential right now. On average, only half of seats on Broadway were filled that week.
That’s just how the biz works, though. Shows run, then new shows take their place. Do you think the people who were sad when Idina Menzel’s If/Then closed after a year at the Richard Rodgers are still sad now? Because Hamilton is there now. I’m certainly not sad about it.
The of the last three Best Musical winners, two of them closed within two years of opening. On the other hand, Phantom of the Opera has been running so long that it’s not even for theatre people anymore. Seeing Phantom is its own New York tourist attraction, like going to Central Park or the Empire State Building. It’s just a thing you do. But even Phantom only brought in 54.2% last week. Shows that have been around for fifty years and are well-known to tourist audiences aren’t even performing well – Fiddler on the Roof brought in a measly 33.5% (and has already announced its closing at the end of the year, which is usually a booster).
I have no doubt these numbers will rebound around Thanksgiving. But for someone like me, who only gets to New York every two or three years and watches every meticulous move that Broadway makes, it’s heartbreaking to see shows open and close without being able to even dream of tickets. I won’t see Fiddler or Matilda or Something Rotten or Jersey Boys or An American in Paris. But you can bet your bottom dollar that Cats will run until the end of time.