A few months later, when I was given the amazing gift of a trip to New York, I knew I had to see that show. While my sister (who was amazing and gave me this incredible experience) wasn’t too keen on the show itself, she did agree that when it was over we could wait, huddled in the alley behind the theater, with the other groupies.

I stood in the alley and clutched my expensive, glossy souvenier program for dear life, praying that despite the fact that no one comes out after matinees, Hugh Jackman would deign to come out and scrawl his name across the pages. The Broadway gods heard my prayer and he did. I floated back to the hotel and began to call everyone I could think of to tell them I had just met Hugh Jackman.

I thought I could never be more in love with him than I was at that moment. And I was right. Until recently, that is. You see, Mr. Jackman is back on Broadway. He is currently staring in A Steady Rain with Daniel Craig. A few weeks ago, during a preview show, someone snuck in with a recorder. Gasp! I know. I was horrified, too.

But here’s the really big news. Worse than trying to tape the show is the terrifying moment the pirate caught on camera. A cell phone went off. In the middle of a Broadway show! Personally, I think there is a special place in hell for people who unwrap candy, send text messages, and let their phone go off during live theater. It’s next to the place in hell for people who take your order and ask, “You wanted diet, right?” But I digress.

So there they were: Daniel Craig, Hugh Jackman, a pirating patron, a ringing cell phone, and an audience aghast. Mid-scene, Hugh Jackman took a beautiful and powerful stand against all that is wrong with the modern flippant theater-goer. For a moment, he broke the illusory fourth wall and, all the while still in character, turned to the audience to ask, “You wanna get that?”

The crowd went wild and my heart soared. He looked into the crowd and assured the villian that he should just answer it. They’d wait. Afraid of drawing any additional attention, the cell phone holder simply allowed the ringing to continue until it finally reached voice mail. I suppose no one wanted to be seen ducking into a coat pocket or purse to remove the offending gadget.

I cannot tell you how proud I am of Mr. Jackman. Way to maintain the integrity of the theater. Yes, breaching the fourth wall is not a great idea most of the time. However, I’ve also been told that nothing is more important than the show itself. If you need a moment to get the control back, then you take it!

I’ve included an article about the event and a clip from the same pirate who captured this sin against drama. While under normal circumstances I’d be furious, today I applaud the visual proof that Hugh Jackman took a stand and reclaimed his show. Bravo!

(And next time, put the damn phone on vibrate or just stay home, you jackass!)

Hugh Jackman Article

Let me give you a little information about this show, just to make sure everyone is up to speed.

It’s called 45 Minutes From Broadway. It was originally a 2-hour show. We bought the rights to the 1-hour show. We didn’t have enough people to cast the entire production, so now our 45 Minutes From Broadway actually runs just about 36 Minutes From Broadway. Unfortunately, that wouldn’t fit with the song.

I came out for this show a few weeks ago and at my audition I performed a monologue that was awfully funny. They asked if I’d be singing and I stated that I would only sing if they really, really wanted me to. You see, there are two non-singing parts in the play. I asked to be considered for them, if at all possible.

Lo and behold that on the first day of rehearsal I found out that my character was, in fact, the lead female role with lots and lots of singing. I did not rejoice at this news. In fact, I was pretty peeved and a bit panicked.

Singing has never been something I shine at. I’m ok. I rock out a mean “Fever” a la Peggy Lee when I’m reading off of a karaoke machine, but that’s where my skill level tapers off. For the most part, that’s ok with me. Unfortunately, this show did not call for a Peggy Lee-eqsue singer. Instead, it requires more a Marin Mazie, Audra MacDonald, Sherrie Rene Scott-type of singer. You know—a soprano.

I’ve been freaking myself out over and over again as the rehearsals for this show have progressed. I’ve had panic attacks, my throat has seized up on me, and I’ve been known to break into a sweat every time I am forced to get through the high notes of “So Long, Mary.”

My cast has been amazingly supportive. I’ve received nothing but encouragement and praise from them. My director and the music director, however, have told me that “it sucked,” that “she hates your key changes,” “that won’t carry past the footlights,” and a variety of other panic-inducing comments. Awesome.

Four days ago we added a new cast member. This man has years of experience and is the only “professional” actor in the bunch. It’s his full-time job and how he makes his living. To his credit, he hasn’t given us one moment of “I’m so far above you all” attitude. In fact, he even came out with us for karaoke and participated in shots with the cast. Well done, him.

He is very, very talented. (And heart-flutteringly hot, I might add.) I find myself nervous to sing in front of him because I know that I’m not of the caliber of singer he usually performs with. That’s not him. This is all my own crazy.

The acting part I have down. I know my lines well, I have my blocking set, and I know the basic show. I’m hoping that my acting ability will be enough to carry me through my singing. Maybe I can just act like someone who is a good singer?

I open in just a few hours. I’ve been coughing all morning and I’m suddenly afraid that I’ll lose my voice. I still need to buy the stuff for my final rehearsal cake, a pair of white tights, some cough drops, and maybe a few shooters of tequila to imbibe just before each song.

If I can live through this, my second terrifying musical in three years, then I can handle just about any show at any time. Fingers crossed that if the audience did bring tomatoes, they don’t stain my costume.

It’s important to remember that whatever happens, for about 37 minutes tonight, I get to be someone else under the lights of a lovely stage, and truly, there are few things I love as much as that experience. Here goes nothing!

Click on a show title for more information about the production. When you click on a name, you will get the complete Broadway credits from Internet Broadway Database. Each show link will provide you with the information about the play as well as providing a link (where available) to the show’s official site.

Best Play:
God of Carnage
This show looked pretty fantastic.  Some truly talented artists performed in this piece.  I think I may have to find it and read it soon.

Best Musical:
Billy Elliot, The Musical
This show won a ton of awards.  This is the only time you’ll see it linked, but don’t be surprised when you see it listed about a dozen more times.

Best Book of a Musical:
Billy Elliot, The Musical

Best Original Score (Music and/or Lyrics) Written for the Theatre:
Next to Normal
The performance of this show at the Tonys took my breath away.  I think it looks a little intense, but I must have it.

Best Revival of a Play:
The Norman Conquests
This show actually has three parts.  This link is to the first of the three.

Best Revival of a Musical:
Hair
Somehow this show is always powerful.  I don’t understand it, but it’s moving each and every time. You can’t help but sing along.

Best Special Theatrical Event:
Liza’s at The Palace Winner
Who saw that coming?  What can I say?  In my heart of hearts, even though she weirds me out, I love Liza.

Best Performance by a Leading Actor in a Play:
Geoffrey Rush – Exit the King
I loved his speech.  He is a great character actor on screen and I’m delighted to hear that he carried it off on stage.

Best Performance by a Leading Actress in a Play:
Marcia Gay Harden – God of Carnage
She strikes me as someone I’d like to get to know.  I know I’ve loved her in several movies over the years.  And she was in Angels in America, Millennium Approaches.  That’s pretty awesome.

Best Performance by a Leading Actor in a Musical:
David Alvarez, Trent Kowalik, and Kiril Kulish – Billy Elliot, The Musical
Yes, the three boys all won.  I think that is a Tony first.  And they were so freaking cute making their speech!

Best Performance by a Leading Actress in a Musical:
Alice Ripley - Next to Normal
I love her.  I fell for her as a singer when she was in Side Show, a show in which she played a conjoined twin.  Yes, a conjoined twin.

Best Performance by a Featured Actor in a Play -
Roger Robinson – Joe Turner’s Come and Gone
This is the show the Obama’s went to see not too long ago.  Excellent taste, apparently.

Best Performance by a Featured Actress in a Play
Angela Lansbury – Blithe Spirit
She is now one of only two women ever to win five Tony Awards.  She just rocks my little theater world.

Best Performance by a Featured Actor in a Musical:
Gregory Jbara – Billy Elliot, The Musical
He actually brought his wife on stage with him for his speech.  He’s a great actor and you all may have seen him in some cholesterol commercials or as the weird brother in In and Out.

Best Performance by a Featured Actress in a Musical:
Karen Olivo – West Side Story
She’s been on Broadway a while, but I fell for her last year as Vanessa in In the Heights.

Best Direction of a Play:
Matthew Warchus - God of Carnage
Talk about impressive!  Nominated twice in the same category for directing two shows, one of which actually has three parts.  And while accepting his award for this play, acknowledged the cast of his other as well. Well done, Matthew.

Best Direction of a Musical:
Stephen Daldry - Billy Elliot, The Musical
Seems only fair considering how well the show did.

Best Choreography:
Peter Darling - Billy Elliot, The Musical
Usually the showcase the singing in a show at the Tonys.  Billy Elliot is a dancing show and the choreography I saw that night proved to me that this man certainly earned his Tony.

Best Orchestrations:
Martin Koch - Billy Elliot, The Musical
Michael Starobin and Tom Kitt - Next to Normal
Yep. A tie!

Best Scenic Design of a Play:
Derek McLane - 33 Variations
Believe it or not, I’m running out of opinions.

Best Scenic Design of a Musical:
Ian MacNeil – Billy Elliot, The Musical
Ditto.

Best Costume Design of a Play:
Anthony Ward – Mary Stuart
Pretty impressive show to costume, don’t you think?

Best Costume Design of a Musical:
Tim Hatley – Shrek The Musical
Hats off to the guy who created the Shrek costume.  Not an easy job, I think.

Best Lighting Design of a Play:
Brian MacDevitt – Joe Turner’s Come and Gone
Look at this man’s list of credits.  Damn!

Best Lighting Design of a Musical:
Rick Fisher - Billy Elliot, The Musical
We expected them to win a lot, but holy cow!

Best Sound Design of a Play:
Gregory Clarke - Equus
I think this is the only thing the show won, but it was very well reviewed.

Best Sound Design of a Musical:
Paul Arditti – Billy Elliot, The Musical
He actually did the sound design for more than one nominated show.  Well done, indeed.

Special Tony Award® for Lifetime Achievement in the Theatre:
Jerry Herman
What an illustrious career he has had.  I admire him so much and love his work.  The man rocks.

Regional Theatre Tony Award®:
Signature Theatre, Arlington, Va.

Isabelle Stevenson Award:
Phyllis Newman

Tony Honors for Excellence in the Theatre:
Shirley Herz

And there it is. The year has wrapped up but next year is just a few months away.  Ok, so 12, but I’m looking for the happy.  Thanks for holding up against the crazy again!

The menu this year is focused on favorite foods so it’s an eclecctic spread featuring Kraft mac and cheese, baked brie en croute, and New York cheesecake, just to name a few items. 

The shows look fantastic and I’m putting my bets on Next to Normal and BIlly Elliot for the big musical winners. 

Some of my all-time favorite actors will be presenting and singing for us.  Brian Stokes Mitchell will be co-hosting the pre-Tony awards.  Niel Patrick Harris will be running the show.  Could it get better?  Really?  I don’t think so.

I cannot wait and I will keep you updated on the Kari Tony Crazy as the day progresses.  Helmets on, everyone!

This year, not only did they pick a host, they picked a kick ass host.  This year our guide through the world of the Tony Awards is…

Neil Patrick Harris!

I love him.  I love him so very much.  First of all, he was one of my earliest crushes in the Doogie days.  Secondly, he’s performed on Broadway himself as a singing, dancing assassin.  He was even one of the performers at the Tonys a few years ago when Assassins was nominated as Best Revival of a Musical.

Third, let’s not forget how oddly charming he is on television in How I Met Your Mother.  His obnoxious character is somehow endearing.  And if all of that is not enough, he’s also Dr. Horrible.  Who doesn’t love Dr. Horrible? 

I just have to tell you how incredibly pleased I am with the choice of host this year.  I’m looking forward to a little singing and dancing and swooning in my living room.  Hooray for Tony Season!

(This is actually the most wonderful time of the year!

Today is also Cinco de Mayo.  At work we’ve put together a little pot luck to celebrate.  I made a layered dip, someone else made a cake; it’s all very festive.  When someone from another department came in this morning, one of my coworkers said, “Guess what we’re celebrating today.” 

I couldn’t refrain from shouting out, “It’s Tony Nomination Day!”  There was a moment of awkward silence and then I heard, “That’s what Kari’s celebrating today.”  He he he.  That is exactly what Kari is celebrating today.

Below you’ll find the list of nominations.  In keeping with last year’s crazy Tony experience, I thought I’d give you a little information about each and try to add some helpful links.  God, but I do love the Tony Awards.  

Alas, due to work contraints and a crummy computer (loved it when I got it but that was 8 years ago), I have to do this in pieces.  Top shows tonight, the rest to follow.

Nominations for the 2009 American Theatre Wing’s Tony Awards®
Presented by The Broadway League and the American Theatre Wing

Best Play

Dividing the Estate
Author: Horton Foote
Producers: Lincoln Center Theater, Bernard Gersten, André Bishop, Primary Stages
This comedy by the late Horton Foote depicts a family that must confront its past as it prepares for its future. Dividing the Estate is set in small-town Texas where Stella Gordon’s late husband’s estate must be split up amongst herself, neighborhood friends, and other family members.

God of Carnage
Author: Yasmina Reza
Producers: Robert Fox, David Pugh & Dafydd Rogers, Stuart Thompson, Scott Rudin, Jon B. Platt, The Weinstein Company, The Shubert Organization
Yasmina Reza’s “comedy of manners without the manners” deals with the aftermath of a playground altercation between two boys and what happens when their parents meet to talk about it. Jeff Daniels, Hope Davis, Marcia Gay Harden, and James Gandalfini star.

Reasons to Be Pretty
Author: Neil LaBute
Producers: Jeffrey Richards, Jerry Frankel, MCC Theater, Gary Goddard Entertainment, Ted Snowdon, Doug Nevin/Erica Lynn Schwartz, Ronald Frankel/Bat-Barry Productions, Kathleen Seidel, Kelpie Arts, LLC, Jam Theatricals, Rachel Helson/Heather Provost
Neil LaBute’s play begins with Greg’s tight-knit social circle thrown into turmoil when his off-hand remarks about a female co-worker get back to his girlfriend.

33 Variations
Author: Moisés Kaufman
Producers: David Binder, Ruth Hendel, Goldberg/Mills, Latitude Link, Arielle Tepper Madover, Bill Resnick, Eric Schnall, Jayne Baron Sherman, Wills/True Love Productions, Tectonic Theater Project, Greg Reiner, Dominick Balletta, Jeffrey LaHoste
Jane Fonda stars in Moisés Kaufman’s play about a woman who races against time to solve the riddle of a composer’s 200-year-old obsession. As she faces her daughter, her past, and Beethoven himself, she must struggle to embrace the legacy of her own life.
(For those who can’t place the name of the playwright, Kaufman also wrote The Laramie Project.  Yeah, he’s that guy.)

Best Musical

Billy Elliot, The Musical
Producers: Universal Pictures Stage Productions, Working Title Films, Old Vic Productions, Weinstein Live Entertainment
This tale of a young boy with a dream, this celebration of his triumph against the odds, is set against the historic British miners’ strike of the 1980s. The story follows Billy’s journey as a boy in a small mining town. After stumbling across a ballet class while on his way to a boxing lesson, he realizes that his future lay not in the boxing ring but on stage as a dancer.

Next to Normal
Producers: David Stone, James L. Nederlander, Barbara Whitman, Patrick Catullo, Second Stage Theatre, Carole Rothman, Ellen Richard
This musical explores how one suburban household copes with crisis, and how far two parents will go to keep themselves sane and their family’s world intact.

Rock of Ages
Producers: Matthew Weaver, Carl Levin, Jeff Davis, Barry Habib, Scott Prisand, Relativity Media, Corner Store Fund, Janet Billig Rich, Hillary Weaver, Toni Habib, Paula Davis, Simon and Stefany Bergson/Jennifer Maloney, Charles Rolecek, Susanne Brook, Israel Wolfson, Sara Katz/Jayson Raitt, Max Gottlieb/John Butler, David Kaufman/Jay Franks, Mike Wittlin, Prospect Pictures, Laura Smith/Bill Bodnar, Happy Walters, Michele Caro, The Araca Group
A legendary rock club faces its demise at the hands of eager developers, and a young rocker, hoping for his big break, falls for a small-town girl chasing big dreams of her own. The score of Rock of Ages features numerous classic rock hits from the 1980s.
(Ok, so while I love all things Broadway, I’m not generally a fan of shows where the songs are from the radio.  It used to be that the songs on the radio were from hit shows.  Jury is out here.)

Shrek The Musical
Producers: Dreamworks Theatricals, Neal Street Productions
Based on William Steig’s book and the Hollywood blockbuster it spawned, Shrek The Musical tells the story of a swamp-dwelling ogre; his wisecracking sidekick, Donkey; Princess Fiona; Lord Farquaad; and a chorus of fractured fairytale creatures.
(Mixed feelings here as well.  I loved the movie – the FIRST movie – and it has some of my absolute favorite stars.  Still, one of their big numbers is about farting.  Then again, if it gets kids to love the theater, I guess I’m ok with it.)

Best Book of a Musical

Billy Elliot, The Musical
Lee Hall

Next to Normal
Brian Yorkey

Shrek The Musical
David Lindsay-Abaire
(Believe it or not, this writer who penned such a silly show, also wrote Rabbit Hole, a poignant story about a family’s struggle with the loss of a child.  Seriously.  I was shocked, too.)

[Title of Show]
Hunter Bell
(I love this show.  It makes me smile and I hope he wins.)

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

Billy Elliot, The Musical
Music: Elton John
(Say what you will, but the man knows music.)
Lyrics: Lee Hall

Next to Normal
Music: Tom Kitt
Lyrics: Brian Yorkey

9 to 5: The Musical
Music & Lyrics: Dolly Parton
(Sort of on the fence here as well, but we all enjoyed the movie and let’s hear it for a little girl power.)

Shrek The Musical
Music: Jeanine Tesori
(She’s done the music for some really fantastic shows.  Truly great stuff.)
Lyrics: David Lindsay-Abaire

Best Revival of a Play

Joe Turner’s Come and Gone
Producers: Lincoln Center Theater, André Bishop, Bernard Gersten
Set in Pittsburgh in 1911, August Wilson’s Joe Turner’s Come and Gone tells the story of Herald Loomis who, after serving seven years hard labor, has journeyed north with his young daughter and arrives at a Pittsburgh boarding house filled with memorable characters who aid him in his search for his inner freedom.

Mary Stuart
New Version: Peter Oswald
Producers: Arielle Tepper Madover, Debra Black, Neal Street Productions/Matthew Byam Shaw, Scott Delman, Barbara Whitman, Jean Doumanian/Ruth Hendel, David Binder/CarlWend Productions/Spring Sirkin, Daryl Roth/James L. Nederlander/Chase Mishkin, The Donmar Warehouse
For a Queen to stand, a Queen must fall. Friedrich Schiller’s Mary Stuart is the dramatic account of the extraordinary relationship between England’s Elizabeth I (Harriet Walter) and her rival cousin, Mary Queen of Scots (Janet McTeer).

The Norman Conquests
Producers: Sonia Friedman Productions, Steven Baruch, Marc Routh, Richard Frankel, Tom Viertel, Dede Harris, Tulchin/Bartner/Lauren Doll, Jamie deRoy, Eric Falkenstein, Harriet Newman Leve, Probo Productions, Douglas G. Smith, Michael Filerman/Jennifer Manocherian, Richard Winkler, Dan Frishwasser, Pam Laudenslager/Remmel T. Dickinson, Jane Dubin/True Love Productions, Barbara Manocherian/Jennifer Isaacson, The Old Vic Theatre Company
Set in the dining room (Table Manners), living room (Living Together) and garden (Round and Round the Garden) of an English country house, Alan Ayckbourn’s trilogy The Norman Conquests follows six characters — assistant librarian Norman, his wife, in-laws and the local vet—from Saturday night through Monday morning. Norman attempts to seduce his sister-in-law Annie, charm his brother-in-law’s wife Sarah and woo his estranged wife Ruth, during a disastrously hilarious weekend of eating, drinking and misunderstanding.

Waiting for Godot
Producers: Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy, Elizabeth Ireland McCann
Two seemingly homeless men (Nathan Lane and Bill Irwin) are waiting near a tree on a barren stretch of road for someone—or something—named Godot. The result is a wordplay of poetry, dreamscapes and nonsense, which has been interpreted as a somber summation of mankind’s inexhaustible search for meaning. John Goodman and John Glover also star in this modernist classic by Samuel Beckett.
(The cast of this show looks amazing.  It has Nathan Lane and I have found that anything with Nathan Lane is worth watching.  I’ve had the good fortune to see him on Broadway twice now and the man has a presence I can’t quite explain.  When he steps onto a stage, you’re bowled over by his energy.  It’s damn impressive.)

Best Revival of a Musical

Guys and Dolls
Producers: Howard Panter and Ambassador Theatre Group, Tulchin/Bartner, Bill Kenwright, Northwater Entertainment, Darren Bagert, Tom Gregory, Nederlander Presentations, Inc., David Mirvish, Michael Jenkins/Dallas Summer Musicals, Independent Presenters Network, Olympus Theatricals, Sonia Friedman Productions
This “musical fable of Broadway” tells the tale of two New York couples betting on love despite the odds. Nathan Detroit (Oliver Platt) is looking for a location for his floating crap game; in order to raise cash he bets high-rolling gambler Sky Masterson (Craig Bierko) that Masterson will not be able to take the straight-laced missionary Sarah Brown (Kate Jennings Grant) on a date to Havana. Meanwhile, Detroit’s long-suffering fiancée, Miss Adelaide (Lauren Graham), has caught cold, on account of having to wait 14 years for her wedding day.
(I have loved Oliver Platt since his role as Porthos in the Disney version of the Three Musketeers.  And I love Lauren Graham as Lorelei Gilmore, but I confess to some trepidation about her as a Broadway star.  Then again, we all remember the singing at the end of the series and it was pretty impressive.  Basically, I think this could be amazing.  Besides, it’s Guys and Dolls!  What’s not to love?)

Hair
Producers: The Public Theater, Oskar Eustis, Andrew D. Hamingson, Jeffrey Richards, Jerry Frankel, Gary Goddard Entertainment, Kathleen K. Johnson, Nederlander Productions, Inc., Fran Kirmser Productions/Jed Bernstein, Marc Frankel, Broadway Across America, Barbara Manocherian/Wencarlar Productions, JK Productions/Terry Schnuck, Andy Sandberg, Jam Theatricals, The Weinstein Company/Norton Herrick, Jujamcyn Theaters, Joey Parnes, Elizabeth Ireland McCannPal Joey
Producers: Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy, Marc Platt
This rock musical depicts the the birth of a cultural movement in the 1960s and ‘70s that changed America forever. Hair follows a group of hopeful, free-spirited young people who advocate a lifestyle of pacifism and free-love in a society riddled with intolerance and brutality during the Vietnam War. As they explore sexual identity, challenge racism, experiment with drugs, and burn draft cards, the “tribe” in Hair creates an message of hope.
(This show is oddly just as relevant today as it was the year it was released.  The music is still impressive, and the concept of a torn nation and a generation struggling with its identity is one we can see all too clearly.)

Pal Joey
Producers: Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy, Marc Platt  
Set in Chicago in the late 1930s, Pal Joey is the story of Joey Evans (Matthew Risch), a brash, scheming song-and-dance man with dreams of owning his own nightclub. Joey abandons his wholesome girlfriend, Linda English, to charm a rich, married older woman, Vera Simpson (Stockard Channing), in the hope that she’ll set him up in business.
(I love Stockard Channing.  And I love this show.  Frank Sinatra was the original Pal Joey.  His version of the swaggering performer really set a high standard.)

West Side Story
Producers: Kevin McCollum, James L. Nederlander, Jeffrey Seller, Terry Allen Kramer, Sander Jacobs, Roy Furman/Jill Furman Willis, Freddy DeMann, Robyn Goodman/Walt Grossman, Hal Luftig, Roy Miller, The Weinstein Company, Broadway Across America
Two star-crossed lovers, Tony and Maria, find themselves caught between the rival street gangs of different ethnic backgrounds, the “Jets” and the “Sharks.”  They struggle to exist together in a world of violence, hate and prejudice.
(Did you know that this was originally called East Side Story?  It was about a Jewish girl and a Catholic boy.  By the time they got the go ahead on the show, the issue had shifted so they re-wrote it towards race issues.)

Best Special Theatrical Event – We will pick up here when my computer isn’t so tired.  Bear with me; I promise to get you the information.  Whether you really want it or not!

Liza’s at The Palace
Producers: John Scher and Metropolitan Talent Presents, LLC; Jubilee Time Productions, LLC

Slava’s Snowshow
Producers: David J. Foster, Jared Geller, Joseph Gordon-Levitt, Judith Marinoff Cohn, John Pinckard

Soul of Shaolin
Producers: Nederlander Worldwide Productions, LLC; Eastern Shanghai International Culture Film & Television Group; China on Broadway

You’re Welcome America. A Final Night with George W. Bush
Producer: Jeffrey Richards, Jerry Frankel, Steve Traxler, Home Box Office Inc., Gary Sanchez Productions, Bat-Barry Productions, Ken Davenport, Ergo Entertainment, Ronald Frankel, Jon B. Platt, James D. Stern, The Weinstein Company, Tara Smith/b. Swibel, Dede Harris/Sharon Karmazin, Arny Granat

Best Performance by a Leading Actor in a Play

Jeff Daniels, God of Carnage
Raúl Esparza, Speed-the-Plow
James Gandolfini, God of Carnage
Geoffrey Rush, Exit the King
Thomas Sadoski, Reasons to Be Pretty

Best Performance by a Leading Actress in a Play

Hope Davis, God of Carnage
Jane Fonda, 33 Variations
Marcia Gay Harden, God of Carnage
Janet McTeer, Mary Stuart
Harriet Walter, Mary Stuart

Best Performance by a Leading Actor in a Musical

David Alvarez, Trent Kowalik, and Kiril Kulish – Billy Elliot, The Musical
Gavin Creel, Hair
Brian d’Arcy James, Shrek The Musical
Constantine Maroulis, Rock of Ages
J. Robert Spencer, Next to Normal

Best Performance by a Leading Actress in a Musical

Stockard Channing, Pal Joey
Sutton Foster, Shrek The Musical
Allison Janney, 9 to 5: The Musical
Alice Ripley, Next to Normal
Josefina Scaglione, West Side Story

Best Performance by a Featured Actor in a Play

John Glover, Waiting for Godot
Zach Grenier, 33 Variations
Stephen Mangan, The Norman Conquests
Paul Ritter, The Norman Conquests
Roger Robinson, Joe Turner’s Come and Gone

Best Performance by a Featured Actress in a Play

Hallie Foote, Dividing the Estate
Jessica Hynes, The Norman Conquests
Marin Ireland, Reasons to Be Pretty
Angela Lansbury, Blithe Spirit
Amanda Root, The Norman Conquests

Best Performance by a Featured Actor in a Musical

David Bologna, Billy Elliot, The Musical
Gregory Jbara, Billy Elliot, The Musical
Marc Kudisch, 9 to 5: The Musical
Christopher Sieber, Shrek The Musical
Will Swenson, Hair

Best Performance by a Featured Actress in a Musical

Jennifer Damiano, Next to Normal
Haydn Gwynne, Billy Elliot, The Musical
Karen Olivo, West Side Story
Martha Plimpton, Pal Joey
Carole Shelley, Billy Elliot, The Musical

Best Scenic Design of a Play

Dale Ferguson, Exit the King
Rob Howell, The Norman Conquests
Derek McLane, 33 Variations
Michael Yeargan, Joe Turner’s Come and Gone

Best Scenic Design of a Musical

Robert Brill, Guys and Dolls
Ian MacNeil, Billy Elliot, The Musical
Scott Pask, Pal Joey
Mark Wendland, Next to Normal

Best Costume Design of a Play

Dale Ferguson, Exit the King
Jane Greenwood, Waiting for Godot
Martin Pakledinaz, Blithe Spirit
Anthony Ward, Mary Stuart

Best Costume Design of a Musical

Gregory Gale, Rock of Ages
Nicky Gillibrand, Billy Elliot, The Musical
Tim Hatley, Shrek The Musical
Michael McDonald, Hair

Best Lighting Design of a Play

David Hersey, Equus
David Lander, 33 Variations
Brian MacDevitt, Joe Turner’s Come and Gone
Hugh Vanstone, Mary Stuart

Best Lighting Design of a Musical

Kevin Adams, Hair
Kevin Adams, Next to Normal
Howell Binkley, West Side Story
Rick Fisher, Billy Elliot, The Musical

Best Sound Design of a Play

Paul Arditti, Mary Stuart
Gregory Clarke, Equus
Russell Goldsmith, Exit the King
Scott Lehrer and Leon Rothenberg, Joe Turner’s Come and Gone

Best Sound Design of a Musical

Acme Sound Partners, Hair
Paul Arditti, Billy Elliot, The Musical
Peter Hylenski, Rock of Ages
Brian Ronan, Next to Normal

Best Direction of a Play

Phyllida Lloyd, Mary Stuart
Bartlett Sher, Joe Turner’s Come and Gone
Matthew Warchus, God of Carnage
Matthew Warchus, The Norman Conquests

Best Direction of a Musical

Stephen Daldry, Billy Elliot, The Musical
Michael Greif, Next to Normal
Kristin Hanggi, Rock of Ages
Diane Paulus, Hair

Best Choreography

Karole Armitage, Hair
Andy Blankenbuehler, 9 to 5: The Musical
Peter Darling, Billy Elliot, The Musical
Randy Skinner, Irving Berlin’s White Christmas

Best Orchestrations

Larry Blank, Irving Berlin’s White Christmas
Martin Koch, Billy Elliot, The Musical
Michael Starobin and Tom Kitt, Next to Normal
Danny Troob and John Clancy, Shrek The Musical

* * *

Special Tony Award for Lifetime Achievement in the Theatre
Jerry Herman

Regional Theatre Tony Award
Signature Theatre, Arlington, Va.

Isabelle Stevenson Award
Phyllis Newman

Tony Honor for Excellence in the Theatre
Shirley Herz

* * *

Tony Nominations by Production

Billy Elliot, The Musical – 15
Next to Normal – 11
Hair – 8
Shrek The Musical – 8
Mary Stuart – 7
The Norman Conquests – 7
God of Carnage – 6
Joe Turner’s Come and Gone – 6
Rock of Ages – 5
33 Variations – 5
Exit the King – 4
9 to 5: The Musical – 4
Pal Joey – 4
West Side Story – 4
Reasons to Be Pretty – 3
Waiting for Godot – 3
Blithe Spirit – 2
Dividing the Estate – 2
Equus – 2
Guys and Dolls – 2
Irving Berlin’s White Christmas – 2
Liza’s at The Palace – 1
Slava’s Snowshow – 1
Soul of Shaolin – 1
Speed-the-Plow – 1
[Title of Show] – 1
You’re Welcome America. A Final Night with George W. Bush – 1

www.TonyAwards.com

That’s right.  In just a few more hours, Cynthia Nixon (Tony winner, 2006 Rabbit Hole) and Lin-Manuel Miranda (Tony winner, 2008 In the Heights) will hold a press conference during which they will announce the lucky and talented folks who have been chosen by the American Theater Wing to be included in the list of nominees. 

As some of you may know, I am a big fan of the Tonys.  I subscribe to their newsletters on three different e-mail addresses.  They are my top “friend” on MySpace.  And between the moment the nominations are announced and the final curtain of the Tony broadcast, my life takes on a definite tilt.  I begin speaking in lyrics, I tap down the halls, and I tear up at the slightest mention.

You know what?  I look forward to this month of anticipation all year long.  So let’s hunker down and prepare for the storm of crazy that’s coming your way.

Happy nearly Tony Day!

Last night, after being sent home from work because my voice was scaring people, I took a long nap before prepping to go out for a show.  Yes, I had a performance last night.  I agreed to take on a show for my dinner theater group before the cold had latched on full force and it was too late to back out.  Instead, I had to buckle down and hope I had enough cough drops to make it through the night.

My character was Belva Deare, an ingenue with Miracle Studios, a B-movie production company in 1958.  I was playing the saloon girl, Kitty, in the production of Guns of the West.  In my preparation for the role I tried to channel Angela Lansbury in Harvey Girls with all of her 50’s saloon girl glamour. 

My costume consisted of a blue dress, black corset with added beaded shoulder straps, some beading in my curled hair, big eyes with fake lashes and red, red lips.  I had the black leather boots and the choker necklace and a bag that was stuffed with more medication, some hand sanitizer, and lots of Kleenex.  Sexy, right?

Apparently so.  As the cast sat down to eat our delicious meal (which is all part of what makes this so much fun—hooray for goat cheese-stuffed chicken and wee veggies) our waiter stopped to take our order and check to see if there was anything we needed.  Other than a vaporizing humidifier and a hot water bottle, I didn’t need much.  That didn’t stop me from trying to catch the waiter’s eye whenever possible, however.  A very attractive and attentive young man, he smiled a lot and may even have winked once or twice.

While in character it is not uncommon for me to flirt with every man in the room.  That is especially true when I’m cast as a “slidiot.”  It’s a term I’ve coined combining both “slut” and “idiot” and seems to best capture the characters I’ve been portraying lately.  Don’t get me wrong—I love playing them and I certainly enjoy the freedom that comes with portraying a ditzy tramp, but one does start to wonder about one’s persona when one is always asked to play the tart.  But I digress.

As Belva/Kitty, I was in prime form and found myself flirting, not only with the paying audience, but with the wait staff.  Specifically, with our hottie waiter.

Not being one to take that too seriously, particularly while in character, I just enjoyed myself and let things go until just before we started our scenes.  Now, the way our shows work, we improv all night with the audience and have two or three scripted moments before back to the improv.  Our scenes were on their way when we had each taken to our posts as the waiter walked past me, large tray on his shoulder. 

As I leaned on the chair, not out of character motivation but out of the dizziness that comes with a congested chest, blocked nose, and tight corset, our waiter brushed past me and whispered, in a voice so deep and bodice ripping that only I could hear it, “You’re gorgeous,” and walked on by.

For a moment I thought I must be hallucinating from too many cough drops in a 24-hour period, but then he turned his head to smile.  Yep.  This man thought I was gorgeous.  In all of my lung-hacking, snot-sniffling, emphasema-sounding glory, apparently I looked pretty good. 

At the end of the show I was starting to wilt a bit.  The villain was murdered, the murderer was caught, the audience applauded, and one table even stood up.  We all took our bows and began the job of heading back home.  I peeled off my eye lashes, slipped on some bright purple gloves and an over-sized sweatshirt and began heading to the door when I was joined by this same hot waiter.  Who asked me out. 

I was just as surprised as you, I assure you.  While I said yes and gave him my number, I couldn’t help but wonder if it was the smell of the camphor, the glazed look in my eyes, the husky voice, or maybe just the corset that caught his eye.  Whatever it was that trumped my personal grossness must have been pretty good because he called me a few hours later.

He told me again how attractive he thought I was.  While that was flattering during the show, while I was home in my PJs afloat in a sea of used Kleenex and covered in heating pads and round four of the vapor rub, it was well nigh unto surreal. 

He’s definitely a smoothy.  While I don’t know that flu attraction is enough to base a relationship on, I appreciated his attention and my general feelings on the subject are this: I was feeling gross, bloated, puffy, sniffly, and generally yucky and yet somehow he found that super hot.  You know what?  I’ll take it. 

Just wanted to share with you all that sometimes, when you have this level of animal magnetism, no amount of gross flu gunk can hide it.  Note to self: I must remember to use my powers for good and not for evil.

Now if you’ll excuse me, it’s almost time for my daily nasal decongestant.

Pro-bama ‘08!  (Have I mentioned how juiced I am that we won?!)

For the sake of my sanity, I’m not going to rehash every moment of the show.  You don’t want to hear about it and I’m trying to move past it.  However, I noticed a few things this weekend about courtesy and respect that I feel deserve a comment.

First, to my fellow cast mates.  Learn your $%@& lines!  It’s not just an issue of professionalism; it’s an issue of respect.  Yes, it’s community theater.  Sure, we’re all busy and it’s hard to find the time to learn our lines and live our real lives.  Still, when you’re on stage with someone it quits being about you.  The moment you share a light with someone you become responsible to and for that person.  If one actor knows every line and other does not, neither will look good.  The show will suffer.  It’s rude to expect the other actor to know your lines and rescue you because you just never got around to studying.

I had a moment during a line-through before opening night in which my scene partner gaffed a line.  I waited, thinking she would correct herself.  When she didn’t, she asked if what she said would be “enough” for me.  She had already accepted that she’d miss the line and rather than take the time to correct it, she was creating a contingency plan.  She did this often and I found it incredibly rude.  I learned all of her cues and I was able to give her exactly the line she needed to hear, but I wasn’t shown the same courtesy. 

On more than one occasion, I had to abandon my lines to rescue her from her own mistakes.  That’s disrespectful to your fellow actors to make us responsible for your errors.  Had I not corrected the scene, we would all have looked foolish because of her.  I find that rude.  It’s like the slacker kid in your science class who never showed up to lab.  You did all your work and some of his, but you have to share the grade.  It sucked in 10th grade and it sucks now.

The other moment this weekend that created a fiery rage directed at the discourteous and disrespectful was actually aimed at my audience.

During one performance, moments before an intensely emotional scene, I looked off stage in the direction of the audience.  This wasn’t to scope out the crowd as much as it was because my character needed to face that direction.  It’s easy to be distracted on stage.  Laughing, coughing, cell phones, etc., can all catch your attention and knock you out of character.  The group was quiet, but as I looked out, I noticed that the door to the theater was wide open. 

Imagine, if you will, a darkened theater.  Bright lights on stage create a world of their own in contrast to the darkness of the seats.  The edge of the light creates the fourth wall separating the audience from the actors.  And then picture someone standing in an open doorway, lit from behind…. Eating.

I looked up mid-scene to see a woman standing in the doorway, plate in one hand, fork in the other, feeding herself while she watched the show.  Don’t get me wrong.  I love dinner theater.  I do dinner theater.  This was not dinner theater. 

It took all of my self control not to turn to her, break character and announce “Ma’am, I’ve given up months of my life, hours of free time, and traces of my sanity to put on this piece.  The least you can do is shut up, sit down, and stop eating until it’s over.  And if that’s too much to ask for, then get the hell out of my theater.”  Seriously, folks, I wanted to bitch slap someone. 

Even if you’re hungry or a show you’re watching is no good, show the performers some respect.  They’ve worked hard to be there for you.  They’ve put forth time and effort to create something that you can appreciate. 

It just makes me angry.  I don’t want to think that manners are dead.  I’m not asking you to lay your coat over a puddle for me or to carry my umbrella.  I’m just asking for a sense of respect.  Thanks for listening.

Pro-bama ‘08!