With the 71st 2017 Tony Awards just a few short days away, now would be a good time to rank the nominees for Best Musical from worst to first. I use that saying lightly because, really, all four of the nominees are great. But, there can ultimately be only one winner! So, here we go:
#4: Groundhog Day
A new stage musical based on the hit 1993 film featuring music and lyrics by Tim Minchin and a book by the film’s original screenwriter, Danny Rubin. Groundhog Day was a pretty bad movie. It wasn’t particularly all that funny; and about halfway through, the serial monotony of the story becomes stale quick. But, the creative team for the stage show have done something very unique–they’ve turned a bad movie into a fun, lighthearted, and side-splittingly funny Broadway musical. The show stars Broadway star and prior Tony nominee Andy Karl (I say prior nominee because he is a nominee for his role here for Best Actor in a Musical) in a role he seems made for. The music, by Matilda composer Tim Minchin, is pop-centric and catchy. And the show, while touching on some themes that are serious in nature, never takes itself too seriously. The real highlight of the production is the incredible sets and staging, which use a great combination of special effects, miniature and distant-perspective props, and what I can only assume is some pretty talented use of body doubling. Groundhog Day is nominated for 7 Tony Awards including Best Musical, Best Performance by an Actor in a Leading Role in a Musical (Andy Karl), Best Book of a Musical (Danny Rubin), Best Original Score (Music and/or Lyrics) Written for the Theatre (Music & Lyrics: Tim Minchin), Best Scenic Design of a Musical (Rob Howell), Best Direction of a Musical (Matthew Warchus), and Best Choreography (Peter Darling and Ellen Kane).
#3 Dear Evan Hansen
All his life, Evan Hansen has felt invisible. But when a tragedy thrusts him into the center of a rapidly evolving controversy, he is given the opportunity of a lifetime: the chance to be somebody else. Dear Evan Hansen has an incredibly powerful lead performer in its main man Ben Platt, who is definitely the front-runner for the Tony Award for Best Actor in a Musical. Luckily for the show, the rest of the performers are also incredibly strong. The production team, including RENT director Michael Greif, uses a minimal staging technique that relies mostly on projections and small, compact sets to set the tone of the story. Greif copies his approach of putting the orchestra above the action as he did in his last Broadway outing If/Then. And the music to the show, although somewhat repetitive and with oftentimes simplistic lyrics, is very good. The main issue I had with Dear Evan Hansen was its somewhat thin plot. While the book gives us a true-to-life story that focuses on the major issues of suicide and an ever-increasing egocentric and self-centered society, the show never presents the complexities that come with the reality of these issues. The scenes tend to become repetitive and advance the plot only in minuscule bites; and the impact the show could’ve made with a sharper and deeper book, gets lost. But don’t let my criticisms fool you, Dear Evan Hansen is a mega-hit and is by far the front-runner for this year’s Tony Awards. The production is nominated for 9 Tony Awards, including Best Musical, Best Performance by an Actor in a Leading Role in a Musical (Ben Platt), Best Performance by an Actor in a Featured Role in a Musical (Mike Faist), Best Performance by an Actress in a Featured Role in a Musical (Rachel Bay Jones), Best Book of a Musical (Steven Levenson), Best Original Score (Music and/or Lyrics) Written for the Theatre (Music & Lyrics: Benj Pasek & Justin Paul), Best Lighting Design of a Musical (Japhy Weideman), Best Direction of a Musical (Michael Greif), and Best Orchestrations (Alex Lacamoire).
#2 Come From Away
On September 11, 2001 the world stopped. On September 12, their stories moved us all. A new musical based on a true story. Come From Away is named after the terms used to describe out-of-towners in Gander, Newfoundland, the setting of where the true story takes place. The show uses even more minimalistic staging than Dear Evan Hansen; but its soaring score and moving plot pull at the heartstrings and provide an inspirational hope from a horrific tragedy. MEMPHIS director Christopher Ashley is surrounded by an amazing production team, highlighted by choreographer Kelly Devine (Tony nominated for her work here), who provides a beautiful order to a somewhat frenetic staging. The music, which is incredibly unique for a Broadway show, has a Nordic and folksy theme that incredibly emphasizes the setting and its beloved traditions. A knockout performance by Jen Colella (Tony nominated here and winner of the Drama Desk Award last week) unites the book’s overarching theme of overcoming what seems like an insurmountable tragedy with personal empowerment and tenacity. Don’t be surprised is Colella takes home the prize on Sunday. Come From Away is nominated for 7 Tony Awards, including Best Musical, Best Performance by an Actress in a Featured Role in a Musical (Jenn Colella), Best Book of a Musical (Irene Sankoff and David Hein), Best Original Score (Music and/or Lyrics) Written for the Theatre (Music & Lyrics: Irene Sankoff and David Hein), Best Lighting Design of a Musical (Howell Binkley), Best Direction of a Musical (Christopher Ashley), and Best Choreography (Kelly Devine).
#1 Natasha, Pierre, and the Great Comet of 1812
Josh Groban and Denée Benton star in a new musical inspired by a 70-page slice of Tolstoy’s War and Peace. There are pieces of musical theater that push the boundaries of the art and expand it to places its never really been before. Hamilton, for example, broke the rigid ethnic lines of casting like-raced actors in like-raced roles. That show also showed that hip-hop and rap can translate into theatrical productions amazingly well. TITANIC pushed the envelope of elaborate set pieces and groundbreaking special effects the way MISS SAIGON‘s famous helicopter scene continues to dazzle audiences. And Spider-Man: Turn off The Dark introduced elaborate digital projection and aeronautical-centric choreography that has yet to be replicated. Natasha, Pierre, and the Great Comet of 1812 joins the list of those incredible productions that break ground in the performing arts. The show is housed in the Imperial Theatre. Or, I should say, the show houses the Imperial Theatre. That’s because the entire house was gutted and uniquely rebuilt and repurposed for this show. Stage pieces encompass major areas of the orchestra; and the audience is placed around the action, which occurs in a literally 360-degree fashion. The music, played by musician actors who play the score throughout the production in various locations throughout the theater, has a rock-operatic feel. And the lighting effects are used to blind the audience at all the right times. Of course, the main attraction for the show has been its leading man, recording artist Josh Groban (Tony Nominated here), whose incredibly powerful baritone voice sends chills up your spine. The final number, which ties the story together and finally addresses the title component of The Great Comet of 1812, is unbelievably spine-tingling punctuated by a breath-taking lighting effect that leaves the audience speechless. Natasha, Pierre, and the Great Comet of 1812 is nominated for the most Tony Awards of any show this season, including Best Musical, Best Performance by an Actor in a Leading Role in a Musical (Josh Groban), Best Performance by an Actress in a Leading Role in a Musical (Denée Benton), Best Performance by an Actor in a Featured Role in a Musical (Lucas Steele), Best Book of a Musical (Dave Malloy), Best Original Score (Music and/or Lyrics) Written for the Theatre (Music & Lyrics: Dave Malloy), Best Scenic Design of a Musical (Mimi Lien), Best Costume Design of a Musical (Paloma Young), Best Lighting Design of a Musical (Bradley King), Best Direction of a Musical (Rachel Chavkin), Best Choreography (Sam Pinkleton), and Best Orchestrations (Dave Malloy),
