This marks my second season as a Tony voter, a position that I am very honored to have attained. Though it is not a requirement, the producers of many of the nominated shows invite the critics to re-attend the shows prior to voting. Generally, all shows will re-invite the critics who vote except (a) shows that are Roundabout or MTC limited shows; (b) shows that opened only a few weeks ago like CRY-BABY or BOEING BOEING; or (c) total sell-out hits that are sure to win like SOUTH PACIFIC.
When the opportunity exists, I really appreciate the opportunity to re-attend. I actually consider the task of deciding what to vote for to be very distinct from attending as a reviewer. Once the nominations come out, you are then able to view all the nominees in perspective. (i.e. Kelli O'Hara is wonderful, but more worthy than Patti?)
Let's go over some of my impressions of what I've re-attended as far:
Tuesday, May 13: A CATERED AFFAIR. I re-attended this on the day that it was eliminated from the Best Musical race. I can only imagine the gloom backstage. I originally gave this a mixed two-star review. And I stand by my original opinions of the piece, which is too minimalist for its own good to be enjoyable. But it's nevertheless very unique and occasionally captivating, particularly thanks to its extremely dedicated cast. This is the only new musical that I'd consider to belong in the post-Sondheim canon of what we've considered serious musical theater over the past decade.
Friday night, May 16: SOUTH PACIFIC. No, Lincoln Center did not re-invite critics. On the morning the reviews came out, I bought a full-price ticket. And of course it was worth it. As everyone and his mother has attested, the show is unbelievably well-done. A miraculous, pretty perfect night at the theater.
Wednesday afternoon, May 21: THE 39 STEPS. This marked my first time seeing the show at its new home at the Cort Theatre. While I still do not find the play itself to be interesting, a mere adaptation of a musty 1935 Hitchcock film that has fallen into the public domain, the execution here is pretty extraordinary. 4 actors playing 150 roles. Their ensemble chemistry is extremely well-tuned and refined. This is more than a parody, but a celebration of theatermaking.
Friday afternoon, May 23: PASSING STRANGE. The good news is that, after two previous viewings where I wanted to leave at intermission, I finally found the show somewhat tolerable. The bad news is that I still don't like it very much. I don't think there's a single "song" in the entire score, nor any coherent book scene. For better or worse, it's a giant rock-and-roll riff. (Have you noticed how most in the SPRING AWAKENING crowd hate PASSING STRANGE, and most who hated SPRING AWAKENING love PASSING STRANGE?) But whatever. I wish it the best of luck in finding an audience that responds to it. On a random note, I can't believe the show was not nominated for Best Lighting in a Musical.
Saturday night, May 24: GYPSY. This year's collection of musical revivals is an embarassment of riches. In any other year, GYPSY would win so easily. Or SUNDAY would win easily. However, SOUTH PACIFIC may just be the best musical revival ever. But don't feel too bad for GYPSY. Patti, Laura, and Boyd will all win Tonys, and those accolades will be a lot more marketable than a Best Revival tony. Remember, most tourists don't know what the word "revival" even means.