Entertainment :: Theatre
EDGE Picks the Tony Awards! by Tony Phillips
EDGE ContributorThursday Jun 12, 2008
"Eyes, hair, mouth, figure. Dress, voice, style, movement. Hands, magic, rings, glamour. Face, diamonds, excitement, image." Okay, now that all credibility has been lost by quoting an Andrew Lloyd Webber musical, let’s get straight to Tony’s 2008 Tony predictions, shall we?
First off, prediction numero uno is the big old hissy fit that will be thrown if this reporter’s spot on the red carpet is next to an idling news van again. Broadway’s biggest night can mean a lot of things to a lot of different people, but carbon monoxide poisoning should not be one of them.
Like its big sis, Oscar, this was a year that was also marred by strike. The stagehands shut down 27 Broadway shows last November, but certainly didn’t give us any of the drama that the writers out in Hollywood did with their "are they or aren’t they?" run-up to the actual Oscar telecast. We can only hope that little brat who made the evening news crying in front of "The Grinch" is amply rewarded for her efforts during the Tony Awards. And 86-ed from the theater for the rest of her life.
So before Whoopi hits the stage, here’s our vote:
Best Costume Design of a Play
Gregory Gale, "Cyrano de Bergerac;" Rob Howell, "Boeing-Boeing;" Katrina Lindsay, "Les Liaisons Dangereuses;" Peter McKintosh, "The 39 Steps."
Back in 1968, Merce Cunningham asked Andy Warhol to provide his silver cloud pillows as décor for the appropriately anarchic dance "RainForest." Warhol said sure, but also asked to do the costumes. His idea? He wanted the dancers nude. He also wanted a costume credit in the Playbill. The same principal applies to this year’s costume design nominees. It’s not so much about what the actor’s were wearing, but what they weren’t. Following that other dance axiom-"Dress the women and undress the men"-Kate Lindsay really should take home the Tony for "Liaisons" and probably will. Laura Linney’s dresses were beyond gorgie and unlike Jennifer Garner in "Cyrano," La Linney didn’t look like a Barbie under plastic wearing them. Plus, the show’s got tons of nudity and male full frontal at that! Come on, let’s give this girl the prize already. Of the remaining two, Rob Howell only had those exhausted fashion trends: Gina Gershon and Pan Am jet-set chic-yes, Marc Jacobs, we’re talking to you-to work with, while dark horse "39 Steps" had too few actors wearing too many costumes.
To sum up, Katrina Lindsay for "Les Liaisons Dangereuses" should win best costume design of a play and she will. Ben Daniels naked: gay heaven.
Best Costume Design of a Musical
David Farley, "Sunday in the Park with George;" Martin Pakledinaz, "Gypsy;" Paul Tazewell, "In The Heights;" Catherine Zuber, "Rodgers & Hammerstein’s South Pacific."
Let’s clear away some chaff before we begin a serious discussion of these nominees, shall we? First of all, Patti LuPone looked like a linebacker in "Gypsy." And yes, part of that is Patti LuPone is a linebacker, but isn’t it the costume designer’s job to work around that? Buh-bye, Martin Pakledinaz. Number two, there’s a Strawberry’s retail store just steps away from Tony venue Radio City Music Hall and it should get a best costume design award before Paul Tazewell for the tangy "In The Heights." Buh-bye, Paulie. Okay, that done, let’s talk about the remaining two. David Farley’s costumes for "Sunday" were gorgeous, but where was the nudity? Beefy Alexander Gemignani-the pipe-smoking boatsman lazing on the lawn in the Seurat painting this show is based upon-stripped down to an orange tank. Would it have killed him to take it off? Also, the second act contemporary costumes were a bore. That leaves the illustrious Catherine Zuber for "South Pacific" and her wonderful shirtless costume for Matthew Morrison, hunky Link from the "Hairspray" musical. "South Pacific" has a largely male cast and shower scenes: need more be said? From my seats there were a couple of lovely butt exposures, but I’m quite sure audience members on either side of the Beaumont’s, ahem, thrust stage, got at least a flash of cock. Thanks, "South Pacific" publicist.
To sum up, Catherine Zuber for "Rodgers & Hammerstein’s South Pacific" should win best costume design of a musical and she will. Special citation: after this season’s towel number in "The Ritz" and now his tightie whities in "South Pacific," Nick Mayo, we wanna spread you all over something.
Best Scenic Design of a Play
Peter McKintosh’s set for "39 Steps" was a triumph of minimalism and probably did the most with the least and should therefore win, but Tony voters probably won’t care. They were too busy having a nostalgia trip zoning out on Scott Pask’s very "Chorus Line" looking set for "Liaisons." Of the remaining two, "August" was just a big house and only under the most monsoon of sweep conditions will it take home the Tony. Anthony Ward’s kitchen set for "Macbeth" was also inspired, but Tony voters are still probably miffed that food was only served to those on stage.
Best Scenic Design of a Musical
"Sunday in the Park with George" should absolutely win the award. It’s mind-blowing meld of video and set created a new high water mark this season. And the Tony’s don’t have a video category. It’s hard to imagine any Tony voter taking in Anna Louizos’ Washington Heights set and thinking anything other than "Taxi!" So good luck, Anna. Of the remaining two, Tony voters will probably assuage their guilt over doling out a measly three nominations to Mel and give it to Young Frankenstein.
Best Choreography
Rob Ashford, "Cry-Baby;" Andy Blankenbuehler, "In The Heights;" Christopher Gattelli, "Rodgers & Hammerstein’s South Pacific;" Dan Knechtges, "Xanadu."
Rob Ashford did hands-down the finest work of the season with his second act opener for "Cry-Baby." The problem here is most Tony voters probably didn’t hang around after the car wreck that was act one. Let’s just give this show a Neely O’Hara "do the second act first" citation and move on. Andy Blankenbuehler would probably nab a Tony for "In The Heights" if it wasn’t for that pesky wife of his. Tony producers have gotten way too used to that two shot of choreographer and boyfriend to change things up now. And what happens if he does win? They’re going to show him kissing his wife on national television? Gross. That leaves "Starlight Express," oops, I mean "Xanadu." If you think that show has a chance, please reference above cred-killing Andrew Lloyd Weber quote in the introduction to this piece. Rollerblades scare a voting body for whom hip replacements are at issue. So I guess that leaves "South Pacific." And after almost a year of bitching about the experimental nature of Tony winner Bill T. Jones very avant-garde movement for "Spring Awakening," Tony voters might just be worn down and ready for a more traditional choice.
To sum up, Rob Ashford should win, but Christopher Gattelli will win for "South Pacific." Xanax-do tip: be on the lookout for Jackie Hoffman’s "I only do televised dancing on two Xanax and a cocktail" during the broadcast’s big "Xanadu" number.
Best Orchestrations
Jason Carr, "Sunday in the Park with George;" Alex Lacamoire and Bill Sherman, "In The Heights;" Stew and Heidi Rodewald, "Passing Strange;" Jonathan Tunick, "A Catered Affair."
Okay, not too many people even know what the hell orchestrations are, so let’s not spend too much time here and just give it to Jonathan Tunick, who had the unenviable task of orchestrating a fairly screechy score for "Catered Affair" and did his usual bang up job.
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