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Andy Karl, GroundHog Day

Andy Karl

Groundhog Day may be the most entertaining musical ever, in which the score was almost entirely irrelevant, except as a mood setter that happens to utilize lyrics as well as music. I’ll explain that a little later.

GroundHog Day
For now, let’s just get out of the way that the show, based on the hit film, book by its original screenwriter, Danny Rubin, is almost indecently entertaining. And in star Andy Karl, showcases what might well be not only the breakout musical comedy performance of the new millennium, but his own break out performance; he is absolutely as major a star in the musical theater game as Nathan Lane proved to be, with the added spin that he is as credible a romantic lead as he is a character actor.
Andy Karl, GroundHog Day

Andy Karl

He plays Phil Connors, cynical but popular weatherman, who is sent to cover Groundhog Day in Punxsutawney Pennsylvania, this year as he does every second day of February, every year. Feeling he’s above it all, he doesn’t much care if the groundhog sees his shadow or not; nor does he feel any connection to the good ol’ simple, unsophisticated folk of the town. Rude to them, dismissive of his coworkers, he wants nothing more than to file the story and get the hell out. And indeed, he does at least file the story. As to getting out, snowstorm conditions make traveling impossible, so he has to spend the night there…again. And when he wakes up the next morning, it isn’t the next morning. It’s the same morning. The morning of February 2. And he will keep reliving and reliving the day, the only variations in the routine determined by how he chooses to react to the same old situations and stimuli. We in the audience, of course, know that the universe is tacitly giving Phil a lesson in humanism, and that until he sufficiently nurtures and masters his own, within this repeated loop, he will never break free. But he doesn’t know it. And the fun is in watching him come to grips with his fate. And become selfless, not because there’s an endgame, since he doesn’t know there is one, but because that’s the only thing left to do, to make survival bearable.

Phil is an exhausting role for the performer and might well exhaust the audience, due to the almost relentless high energy of the evening, under the hyper-spirited direction of Matthew Warchus—which is a dizzy combination of high-tech effects and simple just-tell-the-story black box technique—but Andy Karl navigates all the possible nuances perfectly. His timing is impeccable, he proves himself a great physical comedian, in the tradition of Kevin Kline and Dick van Dyke, and as if that isn’t embarrassing enough, he also must suffer the indignity of singing wonderfully. The supporting cast ain’t so bad neither.
But now let’s get to that score.
The songs (music and lyrics by Tim [Matilda] Minchin) except for the opening number, and the first number for Phil, rooting his psychology for us, rarely function in any traditional fashion. They don’t really illuminate character, so much as they explicate things we kind of already know about the characters; they don’t really advance the story; they contain almost nothing in the way of subtext. And most of them are novelty songs. The funny ones have a rambling self-awareness that doesn’t so much expand upon character as riff on it; they get their laughs because they’re meta (self-referential), but those are laughs the show pays for too, because they are self-aware, which makes us aware of a writer at work; and because they do ramble, which keeps easily cohesive song structure from taking root. As to the other songs, they provide a kind of sonic bed. For example, in the montage where Phil vainly tries to end it all in many different ways (I won’t tell you how that’s done), he sings a song about never giving up, that you don’t really need to hear, and for the most part don’t, because all the sight gags are pulling focus and the audience is laughing too hard for actual words to be discernible. Minchin  is also not big  on precise  rhyming.  The advent of rap and hip-hop being theatrically mainstreamed (in particular via a show such as Hamilton)  has somewhat given a pass to false rather than precise rhymes in theatre lyrics, but that entails a particular type of wordplay that emulates  hip hop, which is not really the natural vocabulary of the Groundhog Day universe. So once again, inorganic novelty and randomly applied gimmick  keeps the score from being a source of emotional lift  in any significant way. What the songs do,  though, for the most part, is perpetuate tone and attitude;  and when needed, amplify propulsive storytelling energy.
And in that sense, they offer not-great but more-than adequate-support for the aforementioned book by Danny Rubin, which is as skilled a piece of libretto writing in a musical comedy as has come along in quite a while. And which is, of course, hugely faithful to the story and tone of the film.
Alas, I can tell you with certainty, that Groundhog Day had the potential to yield a much more worthwhile and consequential score, having heard one that was in progress years ago, by two extremely gifted professional writers whose then-active quest for the rights  was dashed in the wake of Stephen Sondheim publicly expressing an interest in the property, which he would later drop, stating that anything he might do would only gild the lily of the film he considered “perfect as it is” (I hasten to add, this is a perfectly legitimate sensation; if you don’t feel you can enhance, elevate and/or better the source material, you have no business musicalizing it)… but such a score also would have yielded a much different show then the one under consideration here.
But the one under consideration is the one you can see, and thus the one that must be appraised.  And all things considered, Groundhog Day is one of those freak-of-nature shows whose fusion of creative alchemy  bubbles and roils to cook up a stew that is far more satisfying than it has any right to be.

David Spencer is an award-winning composer-lyricist, lyricist-librettist, author and musical theatre teacher. He has written music and lyrics for the Richard Rodgers Development Award-winning musical The Fabulist, which also contributed to his winning a Kleban lyrics award and several Gilman & Gonzalez-Falla Theatre Foundation grants. He is also lyricist-librettist for two musicals with composer Alan Menken: Weird Romance (WPA 1992, York 2004) and The Apprenticeship of Duddy Kravitz, which had its sold out, extended world premiere in Montreal in Summer 2015; cast album release soon. He made his professional debut in 1984 with the English Adaptation of La Bohéme at the Public Theatre; and he has since written music and lyrics for Theatreworks/USA’s all-new, award-winning Young Audience versions of The Phantom of the Opera (1996) and Les Misérables (1999) (book and direction for both by Rob Barron). Currently he is writing book, music and lyrics for a musical based on the iconic Russian novel The Golden Calf. Spencer’s published books are the Alien Nation novel Passing Fancy (Pocket, 1994), The Musical Theatre Writer’s Survival Guide (Heinemann, 2005, a regularly reprinted industry standard) and the script of Weird Romance (Samuel French, 1993). He is on faculty and teaches at the BMI-Lehman Engel Musical Theatre Workshop and has taught at HB Studio, the Workshop Studio Theater and Goldsmith’s College in London. His primary professional affiliations are BMI, The Dramatists Guild and The International Association of Media Tie-in Writers.

Broadway

And The Winners Of The 77th Tony Awards Are: The Outsiders, Merrily We Roll Along, Stereophonic and Appropriate

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Hillary Clinton did show and the Tony’s gave her a standing ovation, but against all odds the best musical of the year The Outsiders won. I have never been so happy to be wrong in my predictions as The Outsiders was my favorite show this year. I am so proud of this industry for honoring this amazing production.

Merrily We Roll Along, Stereophonic, Sarah Paulson, Appropriate, Maleah Joi Moon and so many other predicted choices took home the coveted award.

Ariana DeBose hosted the night, where the surprises were Jeremy Strong, Danya Taymor for The Outsiders, Kecia Lewis for Hell’s Kitchen.…yeah! 

The playbill for the night and the 77th Tony Awards, had speeches that were powerful. Especially in Act One. The theatre before the event.

In the show a tribute to Chita Rivera, Chita you will be missed.

Here is the list of the winning shows and performers:

BEST MUSICAL: The Outsiders

Daniel Radcliffe, Jonathan Groff, and Lindsay Mendez in NYTW’s Merrily We Roll Along. Photo: Joan Marcus.

BEST MUSICAL REVIVAL: *Merrily We Roll Along

BEST ACTRESS (MUSICAL): *Maleah Joi Moon, Hell’s Kitchen

BEST ACTOR (MUSICAL): *Jonathan Groff, Merrily We Roll Along. 

BEST FEATURED ACTRESS (MUSICAL):***Kecia Lewis — Hell’s Kitchen

BEST FEATURED ACTOR (MUSICAL): *Daniel Radcliffe, Merrily We Roll Along

BEST DIRECTOR (MUSICAL): ***Danya Taymor — The Outsiders. This win gives me such hope as Danya Taymor directs with heart. Her directorial performance in Jonah also was a tour de force. Taymor makes you feel.

BEST BOOK Of A MUSICAL: *Shaina Taub for Suffs

BEST MUSICAL SCORE: * Shaina Taub for Suffs

BEST ORCHESTRATIONS: *Jonathan Tunick, Merrily We Roll Along

BEST CHOREOGRAPHY: *Justin Peck, IIinoise

SCENIC DESIGN (MUSICAL): Tom Scutt — Cabaret at the Kit Kat Club

COSTUME DESIGN (MUSICAL): *Linda Cho, The Great Gatsby 

LIGHTING DESIGN (MUSICAL): ***Brian MacDevitt and Hana S. Kim — The Outsiders

SOUND DESIGN (MUSICAL): ***Cody Spencer — The Outsiders

PLAYS

Tom Pecinka and Sarah Pidgeon Photo by Julieta Cervantes

BEST PLAY: * Stereophonic

Sarah Paulson and Elle Fanning in 2ST’s Appropriate. Photo by Joan Marcus.

BEST PLAY REVIVAL: *Appropriate 

BEST ACTRESS (PLAY): *Sarah Paulson, Appropriate

BEST ACTOR (PLAY): Jeremy Strong — An Enemy of the People

BEST FEATURED ACTRESS (PLAY): *Kara Young, Purlie Victorious

BEST FEATURED ACTOR (PLAY): **Will Brill, Stereophonic. Thrilled for this win. One of my favorite performances of the year.

BEST DIRECTOR (PLAY): *Daniel Aukin, Stereophonic

BEST SCENIC DESIGN (PLAY): David Zinn, Stereophonic

BEST COSTUME DESIGN (PLAY): *Dede Ayite, Jaja’s African Hair Braiding 

BEST LIGHTING DESIGN (PLAY): Jane Cox — Appropriate

BEST SOUND DESIGN (PLAY): *Ryan Rumery, Stereophonic

Audra McDonald

Given special awards were: The Wilma Theatre Outstanding Regional Theatre,

lifetime Achievement to George C. Wolfe, Excellence in Theatre Education to CJay Philip

Harvey Fierstien

lifetime Achievement to Jack O’Brien

Brian Stokes Mitchell and Billy Porter

Isabelle Stevenson Award Billy Porter

*our prediction to win.

** our prediction to what should win

*** our prediction for Best but we did not think would win

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Broadway

James Monroe Iglehart At The Drama Desk and A Rap For A Wonderful World: The Louis Armstrong Musical

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T2C was at the Drama Desk Awards and talked to our friend James Monroe Iglehart. Years ago I learned that James could make up raps instantaneously, so I had him do one at the Hamilton opening night for Lin Manuel Miranda. Since James is opening up in October in A Wonderful World: The Louis Armstrong Musical, I ask him to do a rap to plug his show. This is the result.

James’s new musical is about the life and loves of Louis Armstrong and Tony Award® winner James Monroe Iglehart is the legendary American icon. A Wonderful World charts Armstrong’s incredible journey from the birth of jazz in his native New Orleans through his international stardom. It features beloved songs recorded and made popular by Armstrong, including favorites like “What a Wonderful World” and “When You’re Smiling,” among many other standard favorites.

The show is conceived by Tony Award® nominee and Drama Desk Award winner Christopher Renshaw (Broadway’s The King and I, Taboo), and novelist Andrew Delaplaine. Book by Aurin Squire (“This is Us,” “The Good Fight”). Directed by Renshaw, with choreography by Rickey Tripp (Associate Choreographer for Broadway’s Hell’s Kitchen, Once on This Island, and Choir Boy). Featuring classic songs from Armstrong’s catalogue.

We look forward to seeing James and this new musical.

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Broadway

Who Should/Will/Did Win a 2024 Tony Award? Predictions and Actual Winners.

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Here’s my list of who I think will win, who I think should win, and who ended up winning on June 11th, Tony night, as I like to call it. There are a number of obvious choices, but a few races that are difficult to call. Like the Jessica Vs Sarah American Horror alumn battle, or the emotional contest of Best New Musical. Here are mine.

Below is the full list of winners (🏆), my predictions (⭐️), who I think should win (👍), and all of the nominations:

Here goes nothing.

⭐️= Who I think Will Win

👍= Who I Think Should Win

🏆= Who Did in the End Win (stay tuned Sunday, June 11th, 2023 from the United Palace Theatre in NYC)

Best Book of a Musical

Hell’s Kitchen – Kristoffer Diaz

The Notebook – Bekah Brunstetter

The Outsiders– Adam Rapp and Justin Levine

👍 ⭐️ Suffs – Shaina Taub

Water for Elephants – Rick Elice

Best Original Score (Music and/or Lyrics) Written for the Theatre

Days of Wine and Roses – Music & Lyrics: Adam Guettel

Here Lies Love – Music: David Byrne and Fatboy Slim – Lyrics: David Byrne

👍 The Outsiders – Music & Lyrics: Jamestown Revival (Jonathan Clay and Zach Chance) and Justin Levine

Stereophonic – Music & Lyrics: Will Butler

⭐️ Suffs – Music & Lyrics: Shaina Taub

Jeremy Strong in An Enemy of the People – Photo by Emilio Madrid.

Best Performance by an Actor in a Leading Role in a Play

William Jackson Harper, Uncle Vanya
Leslie Odom, Jr., Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
Liev Schreiber, Doubt: A Parable
👍 ⭐️ Jeremy Strong, An Enemy of the People
Michael Stuhlbarg, Patriots

This is a hard one, but I’m leaning on the overall effect of the riveting An Enemy of the People leading Strong to a Tony victory. Stuhlbarg was excellent in the lesser excellent Patriots. Odom and Harper are two good actors who I believe underperformed, and I’m hoping their star-power doesn’t push them over the winning line.

Best Performance by an Actress in a Leading Role in a Play

Betsy Aidem, Prayer for the French Republic
Jessica Lange, Mother Play
Rachel McAdams, Mary Jane
👍 ⭐️ Sarah Paulson, Appropriate
Amy Ryan, Doubt: A Parable

Although everyone here excelled, particularly Aidem and Ryan, I do believe Paulson delivered something more profound and detailed than Lange, probably because the play gave her so many more complex opportunities which she gobbled up fantastically for our pleasure.

Sarah Paulson and Elle Fanning in 2ST’s Appropriate. Photo by Joan Marcus.

Best Performance by an Actor in a Leading Role in a Musical

Brody Grant, The Outsiders
👍 ⭐️ Jonathan Groff, Merrily We Roll Along
Dorian Harewood, The Notebook
Brian d’Arcy James, Days of Wine and Roses
Eddie Redmayne, Cabaret at the Kit Kat Club

No shocker here. This is Groff’s moment, even though I loved Grant and Redmayne in their lesser received shows. James was also good, vocally, in a musical that I just didn’t connect to, so I wasn’t as connected to him or his performance. The same can be said of O’Hara. I just didn’t care, even within the dramatic ending.

Best Performance by an Actress in a Leading Role in a Musical

👍 Eden Espinosa, Lempicka
⭐️ Maleah Joi Moon, Hell’s Kitchen
Kelli O’Hara, Days of Wine and Roses
👍 Maryann Plunkett, The Notebook
Gayle Rankin, Cabaret at the Kit Kat Club

I think the new kid on the block might take home the prize, although I would not be disappointed if either Espinosa or Plunkett jumped to the front of the Hell’s Kitchen train.

Eden Espinosa in Lempicka. Photo: MATTHEW MURPHY AND EVAN ZIMMERMAN

Best Performance by an Actor in a Featured Role in a Play

👍 Will Brill, Stereophonic
⭐️ Eli Gelb, Stereophonic
Jim Parsons, Mother Play
Tom Pecinka, Stereophonic
Corey Stoll, Appropriate

Such a hard call, but I fully believe that, as in many categories including this one, it will be a winning Stereophonic night. Some say Stoll might snatch it up, but I’d be very surprised.

Best Performance by an Actress in a Featured Role in a Play

Quincy Tyler Bernstine, Doubt: A Parable
👍 Juliana Canfield, Stereophonic
Celia Keenan-Bolger, Mother Play
👍 Sarah Pidgeon, Stereophonic
⭐️ Kara Young, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

Gosh. Young was, for me, by far the best thing in this revival elevating it spectacularly leaving everyone, including the bland Odem, Jr. At the bottom of the hill.

Leslie Odom, Jr. and Kara Young in PURLIE VICTORIOUS – Photo by Marc J. Franklin.

Best Performance by an Actor in a Featured Role in a Musical

Roger Bart, Back To The Future: The Musical
👍 Joshua Boone, The Outsiders
Brandon Victor Dixon, Hell’s Kitchen
Sky Lakota-Lynch, The Outsiders
👍 ⭐️ Daniel Radcliffe, Merrily We Roll Along
Steven Skybell, Cabaret at the Kit Kat Club

I’ll be cheering for Radcliffe when he wins the Tony for his performance in this stellar production, but I did love The Outsiders maybe more than most, and Boone really gave the new musical its solid emotional heart.

Best Performance by an Actress in a Featured Role in a Musical

Shoshana Bean, Hell’s Kitchen
Amber Iman, Lempicka
Nikki M. James, Suffs
Leslie Rodriguez Kritzer, Monty Python’s Spamalot
👍 ⭐️ Kecia Lewis, Hell’s Kitchen
Lindsay Mendez, Merrily We Roll Along
👍 Bebe Neuwirth, Cabaret at the Kit Kat Club

What an amazing group, and I’d really be happy anyway this one went, but Neuwirth feels so damn perfect in the part, and Lewis made me cry, so there’s that….

Steven Skybell and Bebe Neuwirth in CABARET at the Kit Kat Club at the August Wilson Theatre. Photo by Marc Brenner.

Best Scenic Design of a Play

dots, Appropriate
dots, An Enemy of the People
Derek McLane, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
David Zinn, Jaja’s African Hair Braiding
👍 ⭐️ David Zinn, Stereophonic

Conrad Ricamora (Ninoy Aquino – left), Arielle Jacobs (Imelda Marcos – right), and the cast of Here Lies Love in the Broadway Theatre.
Photo Credit: Billy Bustamante, Matthew Murphy and Evan Zimmerman (2023)

Best Scenic Design of a Musical

AMP featuring Tatiana Kahvegian, The Outsiders
Robert Brill and Peter Nigrini, Hell’s Kitchen
Takeshi Kata, Water for Elephants
David Korins, Here Lies Love
Riccardo Hernández and Peter Nigrini, Lempicka
Tim Hatley and Finn Ross, Back To The Future: The Musical
👍 ⭐️ Tom Scutt, Cabaret at the Kit Kat Club

Best Costume Design of a Play

Dede Ayite, Appropriate
⭐️ Dede Ayite, Jaja’s African Hair Braiding
👍 Enver Chakartash, Stereophonic
Emilio Sosa, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
David Zinn, An Enemy of the People


Eddie Redmayne (center) and the cast of CABARET at the Kit Kat Club at the August Wilson Theatre. Photo by Marc Brenner.

Best Costume Design of a Musical

Dede Ayite, Hell’s Kitchen
Linda Cho, The Great Gatsby
David Israel Reynoso, Water for Elephants
👍 Tom Scutt, Cabaret at the Kit Kat Club
⭐️ Paul Tazewell, Suffs

Best Lighting Design of a Play

Isabella Byrd, An Enemy of the People
Amith Chandrashaker, Prayer for the French Republic
👍 ⭐️ Jiyoun Chang, Stereophonic
Jane Cox, Appropriate
👍 Natasha Katz, Grey House

The cast of The Outsiders. Photo by Matthew Murphy.

Best Lighting Design of a Musical

Brandon Stirling Baker, Illinoise
⭐️ Isabella Byrd, Cabaret at the Kit Kat Club
Natasha Katz, Hell’s Kitchen
Bradley King and David Bengali, Water for Elephants
👍 Brian MacDevitt and Hana S. Kim, The Outsiders

Best Sound Design of a Play

Justin Ellington and Stefania Bulbarella, Jaja’s African Hair Braiding
Leah Gelpe, Mary Jane
Tom Gibbons, Grey House
Bray Poor and Will Pickens, Appropriate
👍 ⭐️ Ryan Rumery, Stereophonic

The cast of Stereophonic on Broadway. Photo by Julieta Cervantes.

Best Sound Design of a Musical

M.L. Dogg and Cody Spencer, Here Lies Love
👍 Kai Harada, Merrily We Roll Along
Nick Lidster for Autograph, Cabaret at the Kit Kat Club
⭐️ Gareth Owen, Hell’s Kitchen
Cody Spencer, The Outsiders

Best Direction of a Play

👍 ⭐️ Daniel Aukin, Stereophonic
Anne Kauffman, Mary Jane
Kenny Leon, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
Lila Neugebauer, Appropriate
Whitney White, Jaja’s African Hair Braiding

Gabriel Olivera de Paula Costa and Wade McCollum in WATER FOR ELEPHANTS – Photo by Matthew Murphy.

Best Direction of a Musical

👍 ⭐️ Maria Friedman, Merrily We Roll Along
Michael Greif, Hell’s Kitchen
Leigh Silverman, Suffs
👍 Jessica Stone, Water for Elephants
Danya Taymor, The Outsiders

Friedman, in a way, did the impossible with this formerly problematic musical so her win is well deserved. But Stone also delivered a spectacular worthy of the Water for Elephants story it told.

Best Choreography

Annie-B Parson, Here Lies Love
Camille A. Brown, Hell’s Kitchen
👍 Rick Kuperman and Jeff Kuperman, The Outsiders
⭐️ Justin Peck, Illinoise
Jesse Robb and Shana Carroll, Water for Elephants

Ricky Ubeda and Ben Cook of Broadway’s Illinoise. Photo by Liz Lauren.

Best Orchestrations

Timo Andres, Illinoise
👍 Will Butler and Justin Craig, Stereophonic
Justin Levine, Matt Hinkley and Jamestown Revival (Jonathan Clay and Zach Chance), The Outsiders
Tom Kitt and Adam Blackstone, Hell’s Kitchen
⭐️ Jonathan Tunick, Merrily We Roll Along

Best Play

Jaja’s African Hair Braiding – Author: Jocelyn Bioh

Mary Jane – Author: Amy Herzog

Mother Play – Author: Paula Vogel

Prayer for the French Republic – Author: Joshua Harmon

👍 ⭐️ Stereophonic – Author: David Adjmi

No contest. Really. And that’s no slight to the other wonderfully written plays in this group.

Kecia Lewis and Maleah Joi Moon in Hell’s Kitchen on Broadway. Photo by Marc J. Franklin.

Best Musical

⭐️ Hell’s Kitchen

Illinoise

👍 The Outsiders

Suffs

👍 Water for Elephants

This is a hard call cause none of them are perfect yet all deliver something pretty special. And unique. I loved The Outsiders, more than I imagined I would. Its heart beats the strongest for me, but I think Keys will triumph for expanding the genre and the audience up so many floors.

Natalie Gold, Alyssa Emily Marvin, Michael Esper, Sarah Paulson, and Corey Stoll in 2ST’s Appropriate. Photo by Joan Marcus.

Best Revival of a Play

⭐️ Appropriate – Author: Branden Jacobs-Jenkins

👍 An Enemy of the People – Author: Amy Herzog

Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

An Enemy of the People is solid and as strong as its Strong star, but Appropriatedelivers in so many unexpected ways it’s impossible not to be taken in completely, laughing in its uncomfortableness and its tense emotional turmoil.

Best Revival of a Musical

Cabaret at the Kit Kat Club

Gutenberg! The Musical!

👍 ⭐️ Merrily We Roll Along

The Who’s Tommy

Another no-contest win. But I also loved Cabaret far more than your average critic. And I’m still a little surprised by that.

Daniel Radcliffe, Jonathan Groff, and Natalie Wachen in Merrily We Roll Along. Photo by Mathew Murphy.

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Broadway

Tony Predictions: What Will Win, What Should Win and What Should Have Been Nominated

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Stereophonic, Illinoise, Sarah Paulson in Appropriate, and Jessica Lange in Mother Play, Julieta Cervantes; Matthew Murphy; Belasco Theatre; 2ndStage

There were 36 productions that included musicals, plays, and revivals, opening on Broadway this season. On Sunday the coveted statues will be given out at the 77th annual Tony Awards. Here is T2C’s predictions of what and who will win, what should win and what whould have been nominated.

BEST MUSICAL

What will win: Suffs, because Hillary Clinton is a producer and New York is a fan.

What Should Win: Hell’s Kitchen. This show shows New York in a fabulous light, unlike New York, New York of last year. Also Alicia Keys music will bring in a younger audience which will help Broadway survive.

What Should Have Been Nominated: Heart of Rock and Roll. This heartfelt musical was ignored by the critics, but is beloved by those who see it.

BEST MUSICAL REVIVAL

What will win, what should win: Merrily We Roll Along Hands down this is the chosen piece.

BEST ACTRESS (MUSICAL)

What will win, what should win: Maleah Joi Moon, They are going to want to honor Hell’s Kitchen and this is how they will do it.

BEST ACTOR (MUSICAL)
Who will win: Jonathan Groff, Merrily We Roll Along. Merrily is going to take every award it is nominated for.

Who Should Win: Brian d’Arcy James, Days of Wine and Roses. Brian has deserved this honor and his performance was layered and heartbreaking.

BEST FEATURED ACTRESS (MUSICAL)

Who will win: Lindsay Mendez, Merrily We Roll Along. Merrily is going to take every award it is nominated for.

Who Should Win: Bebe Neuwirth, Cabaret. It is a spectacular performance and Bebe has given a great deal to theatre.

BEST FEATURED ACTOR (MUSICAL)

Who will win: Daniel Radcliffe, Merrily We Roll Along. Merrily is going to take every award it is nominated for.

Who Should Have Been Nominated:George Abud in Lempika and Paul Alexander Nolan Water for Elephants. Mr Nolan’s performance was my favorite of the season.

BEST DIRECTOR (MUSICAL)

Who will win: Maria Friedman, Merrily We Roll Along. Merrily is going to take every award it is nominated for.

Who Should Win: Jessica Stone, Water for Elephants. Her direction was like looking at slides from a view master.

BEST ORIGINAL SCORE

What will win: Shaina Taub for Suffs. She is the darling of Broadway.

Who Should Win and should have been nominated: Music by Matt Gould, lyrics by Carson Kreitzer, for Lempicka. This was an exciting score and had songs that will last.

Who Should Have Been Nominated: Music by Barry Manilow and lyrics by Bruce Sussman for Harmony. This score is a classic and was ripped off.

BEST BOOK OF A MUSICAL

What will win: Suffs

Who Should Have Been Nominated: Harmony

BEST ORCHESTRATIONS

What will win: Jonathan Tunick, Merrily We Roll Along

Who Should Have Been Nominated: Music orchestrated by Cian McCarthy; Music arranged by Remy Kurs for Lempicka

BEST CHOREOGRAPHY

What will win: Justin Peck, IIinoise. This is a dance show so they will honor it.

Who should win: Rick and Jeff Kuperman, The Outsiders. The Kuperman’s have their cast flying and soaring and it is spectacular.

Who should have been nominated: Lorin Latarro  Heart Of Rock and Roll. Dancing on bubble wrap and cardboard is inventive and should have been reconized.

SCENIC DESIGN (MUSICAL)

What will win: David Korins, Here Lies Love 

Who Should Have Been Nominated: Paul Tate dePoo III, The Great Gatsby 

COSTUME DESIGN (MUSICAL)

Who will and should win: Linda Cho, The Great Gatsby 

LIGHTING DESIGN (MUSICAL)

What will win: Bradley King and David Bengali, Water for Elephants

SOUND DESIGN (MUSICAL)

What will win: Kai Harada, Merrily We Roll Along 

PLAYS

BEST PLAY

What will win: Stereophonic. It is the darling of the critics.

Who Should Win: Prayer for the French Republic. This play was so brilliantly done, but with the Pro-Palestinian conflict this show is being dismissed by the voters.

BEST PLAY REVIVAL
What will win: Appropriate 

BEST ACTRESS (PLAY)
Who will win: Sarah Paulson, Appropriate and Jessica Lange, Mother Play. This should be a tie, but if they give the award to one person it will go to Sarah Paulson

BEST ACTOR (PLAY)
Who Will Win: Leslie Odom Jr., Purlie Victorious

Who Should Win: Michael Stuhlbarg, Patriots

BEST FEATURED ACTRESS (PLAY)

Who will win: Kara Young, Purlie Victorious

Who Should Win: Celia Keenan-Bolger, Mother Play

BEST FEATURED ACTOR (PLAY)

Who will win: Corey Stoll, Appropriate

Who Should Win: Will Brill, Stereophonic, but the nominees will cancel each other out. This was one of the best performances of the year.

BEST DIRECTOR (PLAY)

Who will win: Daniel Aukin, Stereophonic

BEST SCENIC DESIGN (PLAY)

What will win: dots, Appropriate 

BEST COSTUME DESIGN (PLAY)

What will win: Dede Ayite, Jaja’s African Hair Braiding 

BEST LIGHTING DESIGN (PLAY)

What will win: Jiyoun Chang, Stereophonic 

BEST SOUND DESIGN (PLAY)

Who will win: Ryan Rumery, Stereophonic

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The  78th Annual Theatre World Awards And You Are There

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The historic 78th Annual Theatre World Awards Ceremony was held on Monday evening, June 10, 2024 at the Marquis Theatre.

The event was hosted by well-known theater journalist, Peter Filichia.

Ali Louis Bourzgui

Winners of the 2024 Theatre World Awards were honored The Who’s Tommy‘s Ali Louis Bourzgui

 Oh, Mary!‘s Cole Escola

 The Outsiders‘ Brody Grant was given his award by Daphne Rubin Vega

Michael Imperioli and wife

 An Enemy of the People‘s Michael Imperioli

Phillip Johnson Richardson

The Wiz‘s Phillip Johnson Richardson

Nichelle Lewis

Nichelle Lewis, Phillip Johnson Richardson

and Nichelle Lewis

 Patriots‘ Will Keen

 Mary Jane‘s Rachel McAdams

Hell’s Kitchen‘s Maleah Joi Moon was given his award by Kristin Chenoweth

Casey Likes

Tom Pecinka

and Stereophonic‘s Tom Pecinka

Sarah Pidgeon

Sarah Pidgeon

Chris Stack.

and Chris Stack.

A.J. Shively

Also receiving honors were A.J. Shively, who has won the Dorothy Loudon Award for his work in Irish Rep’s Philadelphia, Here I Come

Len Cariou

Len Cariou, winning the John Willis Award for Lifetime Achievement

Peter Filichia

and arts writer Peter Filichia, this year’s Special Award honoree.

There to honor them were

Maria Friedman

André De Shields

A great night was had by all.

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