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Tony nominations reward audacious risk-taking on Broadway

BBG News

The period under discussion was marked by extraordinary courage, but also significant expense. The Tony Award nominations, revealed on Thursday in New York, highlight the dual nature of the Broadway season, which is characterized by both groundbreaking artists and prominent figures.

The mavericks fared considerably better.

Denzel Washington, Jake Gyllenhaal in “Othello,” George Clooney in “Good Night, and Good Luck,” and Kieran Culkin (recently awarded an Oscar) in “Glengarry Glen Ross” have attracted significant attention on Broadway by their involvement. These productions serve as magnets for the media and financial investments, causing quite a stir in New York. It’s becoming increasingly apparent that Broadway is turning into a high-end product, accessible only to the extremely wealthy or those well-versed in ticket deals.

From this group, only George Clooney was nominated for his outstanding lead role portraying Edward R. Murrow in the stage adaptation of the 2005 film. On the other hand, Culkin, who was a weak point in the strong “Glengarry” revival, did not receive a nomination for featured actor. The production’s only recognition went to Bob Odenkirk, who delivered a brilliant performance as Shelley Levene.

It’s evident that the Tony nominating committee closely scrutinized the performances. Despite all the pre-show excitement, “Othello” with Gyllenhaal’s chilling portrayal of Iago and Andrew Burnap’s Cassio demonstrating exceptional delivery of Shakespearean dialogue, failed to secure a single nomination, likely due to the production being perceived as rudderless.

The standout productions paid no mind to methods for testing their products. Who among marketing minds could have foreseen that “Maybe Happy Ending,” a rom-com with a jazz backdrop about robots and mortality from South Korea, or “Dead Outlaw,” an unconventional western series focusing on a clumsy bandit who was outshone by his more renowned corpse, would be the most celebrated musicals of this season?

In a tie for most nominations, “Happy Ending” joins “Buena Vista Social Club” and “Death Becomes Her” as best musical contenders. The western film “Dead Outlaw,” which debuted on Sunday before the deadline, received an impressive seven nods following positive critical reception.

Considering a strictly business point of view, “Perhaps Happy Ending” and “Dead Outlaw” are significant risks. They don’t have established intellectual properties or big-name Hollywood stars, which are often deemed essential for Broadway hits. However, boldness paired with creative brilliance remains the most promising strategy to stand tall in a U.S. theater scene lacking security.

This lesson is beautifully encapsulated in Cole Escola’s play “Oh, Mary!”, a rollercoaster I witnessed last year at the Lucille Lortel Theatre off-Broadway. The play delves into the turbulent schemes of an unstable Mary Todd Lincoln (originally portrayed by Escola, who reprises the role), as she pursues her dream of cabaret performance while inebriated.

As a captivated audience member, I find “Oh, Mary” to be a delightful fusion of off-color vaudeville and Carol Burnett-esque skit comedy. This show’s comedic brilliance has catapulted it into one of the most sought-after Broadway productions this year. Beyond Escola’s hysterical antics, “Oh, Mary” stands as a strong contender in the best play category, demonstrating its resilience and versatility by thriving beyond just Escola’s hilarious performances. Both Betty Gilpin and Tituss Burgess have graced the stage with their exceptional talents.

It’s exciting to note that this year’s top play category is proving to be highly competitive. The production “John Proctor Is the Villain,” featuring Sadie Sink from “Stranger Things” on Netflix, has earned seven nominations, matching the number received by Jez Butterworth’s “The Hills of California.

In a discussion about Arthur Miller’s “The Crucible,” John Proctor brings up the fact that the struggles of women in this renowned American play are not fully explored. The title might seem argumentative, but the production, masterfully directed by Tony winner Danya Taymor (“The Outsiders”), shows genuine interest in understanding the lives of young women and stands on its own merits. (The nominations for Sink, Taymor, and Gabriel Ebert, who plays Proctor-like character, contribute significantly to the overall high quality of the production.)

Voices

Column: How John Proctor and #MeToo helped cure my ‘work in progress’ theater phobia

1. Attending a play in a theater used to make me feel uneasy due to the fear of disliking it and being unable to leave, but the production “John Proctor Is the Villain” at the Ojai Playwrights Conference New Works Festival alleviated those apprehensions.

2. Theater used to fill me with anxiety since I worried about not liking a play and being stuck, but the performance of “John Proctor Is the Villain” at the Ojai Playwrights Conference New Works Festival put my concerns aside.

3. I used to worry that I’d dislike theater performances and be trapped, but the show “John Proctor Is the Villain” at the Ojai Playwrights Conference New Works Festival eased those worries.

I’m still captivated by “The Hills of California,” a poignant drama by Butterworth that depicts the emotional vigil of a group of sisters as they keep watch over their dying mother, who aspired to mold them into a replica of the Andrews Sisters. The unforgettable musical production, which was only shown for a brief period in the fall, left an indelible impression. Sam Mendes’ masterful direction and Laura Donnelly’s moving portrayal were among the numerous accolades this production rightfully earned.

Broadway continues to celebrate the exceptional skill of Branden Jacobs-Jenkins, one of the most promising young American playwrights today. Last season, his revival “Appropriate” won a Tony Award. This year, his domestic drama “Purpose,” which delves into the troubled family and questionable legacy of a renowned civil rights figure, earned six nominations, including best play. It was heartening to see Sanaz Toossi’s Pulitzer Prize-winning play “English,” which I encountered last year at the Old Globe, added to the list of best play nominees, strengthening our belief in the bright future of thoughtful playwriting on Broadway.

It’s impressive that the Tony-nominating committee, demonstrating their discerning insight, chose not to recognize Leslye Headland’s “Cult of Love,” a family drama that borders on the cheesy, despite some standout supporting roles. On the other hand, “Stranger Things: The First Shadow” garnered numerous design nominations and a recognition for Louis McCartney’s haunting lead performance, but was overlooked in terms of its controversial script.

Good Night, and Good Luck,” a skilful adaptation of the film that portrays CBS journalist Edward R. Murrow’s brave stand against Senator Joseph McCarthy’s communist investigations, might not have been successful as a play. However, George Clooney was rightfully nominated for his portrayal of Murrow, embodying his inspiring moral standards at a time when the nation could greatly benefit from a dose of courage.

It seems highly probable that Escola will win the category for Best Lead Actor, which was gratifying as it recognized Daniel Dae Kim’s exceptional performance in David Henry Hwang’s “Yellow Face.” However, I feel it’s important to emphasize that “Good Night, and Good Luck” is not just a self-indulgent project, and a movie star headlining on Broadway doesn’t necessarily imply a flawed system.

David Cromer’s production, skillfully managed by him, is powerfully emotional due to its community-focused perspective. Although Cromer, who won a Tony for “The Band’s Visit,” might have received another nomination if not already recognized for his innovative staging of “Dead Outlaw,” he and Michael Arden, who earned a Tony in 2023 for directing “Parade” and was also nominated for “Maybe Happy Ending,” are arguably Broadway’s most talented directors with the least attention-seeking reputations.

Sarah Snook is currently considered the likely winner in the category of Best Actress in a Play, due to her outstanding performance in the multi-media adaptation of Oscar Wilde’s “The Picture of Dorian Gray.” However, it’s delightful to see Mia Farrow being recognized for her role in “The Roommate,” working alongside Patti LuPone. Could producers be planning another opportunity to reunite this talented comedy duo?

Among all Broadway performances I’ve witnessed, none has moved me as deeply as my personal favorite – Audra McDonald as Rose in George C. Wolfe’s revival of “Gypsy.” This gripping rendition offers a poignant exploration of the musical’s themes through a racial lens. With an impressive six Tony Awards already under her belt, she’s just one step away from earning a seventh, should Nicole Scherzinger’s stunning vocal performance in Jamie Lloyd’s daring reinterpretation of “Sunset Blvd.” prevail.

The acclaim for “Maybe Happy Ending” is significantly influenced by Darren Criss’ extraordinary portrayal as an automaton with a hidden tender side. This musical’s appeal has proven to be enduring rather than fleeting, and in a Broadway season brimming with ambitious productions, the optimistic conclusion of “Maybe Happy Ending” appears highly probable.

Entertainment & Arts

As a passionate cinephile, I’m thrilled to share that George Clooney, Sarah Snook, and Bob Odenkirk have made a striking entrance on Broadway with their nominations for Tony Awards, marking their first steps onto the grand stage. However, it’s also worth noting that some notable talents like Denzel Washington, Jake Gyllenhaal, and Kieran Culkin didn’t make the cut this year. The world of theater continues to surprise us!

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2025-05-02 06:02

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