The first musical in our reading series is next week!

Our fourth and final reading of the first year of the Davenport Theatrical Reading Series is next week.

And we’re doing a musical!

As you may remember, when we first announced Date of a Lifetime back in October, we admitted that in true [title of show]-like fashion, we were taking a flyer on the authors, Carl Kissin and Robert Baumgarter Jr., because the show wasn’t finished yet.

We liked the idea, we liked what they had so far, and, well, we liked them, so we all went for it.

Come next Monday, December 13th and you can find out how they did!

Date will be directed by Jeremy Dobrish, and feature Farah Alvin and former original Altar Boy, David Josefsberg.

Details are below.  Because there was such a demand for these tickets when we first announced, we added a second performance.  RSVP today, because we expect both to “sell” out.

Monday, December 13th
6:00 PM & 8:30 PM
The brand new Davenport Studio
250 West 49th St. #301
(between Broadway and 8th)

Talkbacks will follow both performances.

RSVP here.

See you then!

Can it be festival time already? It is!

I hate winter.

I keep saying that every year I’m going to circulate a petition to try and get Broadway to move to the West Coast or West Figi or someplace like that.  I want to sing, “It’s Too Darn Hot!” all year long and mean it.

To make me feel better, all winter long I look for signs of the upcoming Spring and Summer . . . anything that helps me through a winter in the city (and I’m from Massachusetts – you’d think I could deal with this).

For example, as soon as we hit the winter solstice on 12/21 or 22, which traditionally marks the first day of winter, I usually spin it to say, “The days start getting longer tomorrow . . . spring is right around the corner!”

Ok, sorry to sidetrack you with my psyche . . . but the point is that one of these “Summer Signs” is the announcement that the spring/summer/fall festivals are now accepting submissions.

And guess what?

Applications are currently being accepted for the following NY Festivals:

If you’re a writer/producer/etc, now is the time to get your materials in order.  The deadlines are always sooner than you think.

Don’t have a show?  Find one.  Write one.  Make one up.  That’s what these guys did, and it worked out for them.  The Broadway show didn’t work.

But last I heard they were writing a sitcom.

So get a show submitted and get something up. You never know what’ll happen as a result.

On the other hand, I can guarantee you what will happen if you do nothing.

My Tony Award Predictions

Ok, here they are, as promised:  my predicts for what the 800 or so Tony Voters will select as the winners of this year’s Tony Awards.  To clarify, this is not what I think should win, nor is it what I necessarily voted for myself, but rather this is who I expect to be standing on that stage on Sunday night.

Drumroll, puhleeze.

BEST PLAY:  GOD OF CARNAGE

The French can be snooty and smelly, but neither of those adjectives apply to French writer Yasmine Reza or her work of “Art.”  Her star-studded, super-grossing ($900k for a play?), smart yet accessible comedy (complete with barf jokes) will win out over the primary competition, Labute’s reasons to be pretty.

BEST MUSICAL:  BILLY ELLIOT

The Best Musical landscape is similar to Best Play.  Another import, this one British, squares off against a smaller, perhaps more challenging, American musical, Next to Normal.  Unfortunately for all you patriots out there, the British and Billy will take the big prize of the evening.  And seeing the 147 kids in the show storm the stage at the end will be a sight to see, so stay up!

BEST ORIGINAL SCORE:  TOM KITT & BRIAN YORKEY, NEXT TO NORMAL

The Americans strike back here, as N2N deservedly picks up the score trophy.  This award also comes with a note from many voters that reads, “Sorry we didn’t vote for you for Best Musical.  We loved your show, but . . .”

BEST BOOK OF A MUSICAL:  LEE HALL, BILLY ELLIOT

For awhile, I thought N2N would pull a Urinetown or Falsettos split (and take both score and book while giving up the big prize to a more commercial choice, Millie and Crazy for You, respectively), as the voters like to reward writers of challenging work.  The upset of the night would be if the voters tipped their hat to Hunter Bell and the TOS crew with an award.  But frankly, I just don’t think enough of them saw the show last fall to make that happen.

BEST REVIVAL OF A PLAY:  THE NORMAN CONQUESTS

Great revivals were like foreclosures this year . . . on every block!  (Too soon?)  This category would have been even tougher to pick, had the nominators not forgotten about some of the fall shows (specifically, The Seagull).  Norman gets the girl in this category, partly for its great production, and partly because of the degree of difficulty in staging three British comedies and running them in rep  (I’d also bet that a bunch of voters voted for Norman while only seeing one of the plays.)

BEST REVIVAL OF A MUSICAL:  HAIR

The Most Improved Show award goes to Hair this year.  Luckily, West Side doesn’t need it with its Wicked-like grosses (it’s a revival!).

BEST SPECIAL THEATRICAL EVENT:  LIZA’S AT THE PALACE

Obviously, I’m praying that I’m wrong with this one.  Will’s got a chance, thanks to the phenomenal success of the run and because it’s fresh in everyone’s memory.  But a Hollywood A-lister bringing down Broadway royalty seems like a long shot to me, so I’m putting my money on the safe bet. That’s ok.  I’m still happy having put my investors money on the other guy.  🙂

BEST PERFORMANCE BY A LEADING ACTOR IN  A PLAY:  GEOFFREY RUSH, EXIT THE KING

This is the easiest to call, which is unfortunate for Raul Esparza, who deserves to have a couple of trophies on his mantle.  But God knows, he’ll have more chances to get up on that stage, as I don’t see him making an exit anytime soon.

BEST PERFORMANCE BY A LEADING ACTRESS IN  A PLAY:  MARCIA GAY HARDEN, GOD OF CARNAGE

There is a 60 second section in God of Carnage where Marcia doesn’t utter a word.  But you can practically read her thoughts as if they were written in a bubble above her head.  She wins for that moment alone.

BEST PERFORMANCE BY A LEADING ACTOR IN  A MUSICAL: THE THREE BILLYS, BILLY ELLIOT

Tatum O’Neal, Daisy Eagan , Anna Paquin.  Voters love to give a kid a trophy.  And the only thing better than one kid nominee  . . . is three.

BEST PERFORMANCE BY A LEADING ACTRESS IN  A MUSICAL:  ALICE RIPLEY, NEXT TO NORMAL

In an example of the Hollywood Rain Man syndrome (where playing a challenged individual of any type, physical or mental, gives you a boost at award time), Alice will win for her terrific portrayal of the challenged mom in N2N.

BEST PERFORMANCE BY A FEATURED ACTOR IN  A PLAY:  JOHN GLOVER, WAITING FOR GODOT

This one could also be called the Best Spitter Award (previous winners would have included Jonathan Groff in Spring Awakening).  John wins for saying the most with the least to actually say.

BEST PERFORMANCE BY A FEATURED ACTRESS IN  A PLAY:  ANGELA LANSBURY, BLITHE SPIRIT

There is currently only one woman who has won five Tony Awards.  After Sunday, there will be two.  Watch for the standing ovation when Angela takes the stage.

BEST PERFORMANCE BY A FEATURED ACTOR IN  A MUSICAL:  CHRISTOPHER SIEBER, SHREK

The guy is on his knees for the whole show for Shrek’s sake!

BEST PERFORMANCE BY A FEATURED ACTRESS IN  A MUSICAL:  HAYDEN GWYNNE, BILLY ELLIOT

Hayden hits a trifecta here:  Outer Critics, Drama Desk, Tony.  That much momentum can’t be stopped.

BEST DIRECTION OF A PLAY:  MATTHEW WARCHUS, GOD OF CARNAGE

For awhile, I thought Matthew’s two noms would split his vote, but then I saw I took another look at God’s grosses ($900k for a play?), and realized that he would take the Tony on the back of the show’s success, and deservedly so.

BEST DIRECTION OF A MUSICAL:  STEPHEN DALDRY, BILLY ELLIOT

For awhile, I was calling a bit of an upset here, because without Diane, Hair would not be the hit it is.  But at the end of the day, I think the majority of voters will give it to Daldry for the sheer magnitude of the work he did in directing Billy.

BEST CHOREOGRAPHY:  PETER DARLING, BILLY ELLIOT

When dancing is a major part of your plot, you better win choreography!  Hands and toes down, Darling is the winner.

BEST ORCHESTRATIONS:  MARTIN KOCH, BILLY ELLIOT

Big show + big score = Tony.

BEST SCENIC DESIGN OF A PLAY:  DEREK MCCLANE, 33 VARIATIONS

The other nominees in this category are mostly stationery sets, so Derek’s “musical” set wins.

BEST SCENIC DESIGN OF A MUSICAL:  IAN MACNEIL BILLY ELLIOT

They had to drill a giant hole in the basement of the theater to allow for that house to come up through the ground, like a man from a mine, but it’ll earn this man a Tony.

BEST COSTUME DESIGN OF A PLAY:  DALE FERGUSON, EXIT THE KING

Whenever Kings and Queens are in a play, the odds for winning a costume award jumps up tremendously.  Normally, I’d say give this one to Mary Stuart, but I’m going with Dale, for the absurdist suit of armor.

BEST COSTUME DESIGN OF A MUSICAL:  TIM HATLEY, SHREK

Costume awards go to designs that stand out, and in a field of nominations that include one show about the 60s and two shows about the 80s, Shrek certainly stands out.

BEST LIGHTING DESIGN OF A PLAY:  HUGH VANSTONE, MARY STUART

On Broadway, “rain” is an electrician and a lighting designer’s job. It rains in Mary Stuart. And that’s cool and memorable. So it’ll rain a Tony on Hugh.

BEST LIGHTING DESIGN OF A MUSCIAL:  RICK FISHER, BILLY ELLIOT

With the design awards, sometimes bigger is better.  The bigger the show, the bigger the budget, and the more toys the designers have to play with.  In this case, bigger is Billy.

BEST SOUND DESIGN OF A PLAY:  RUSSELL GOLDSMITH, EXIT THE KING

This is a tough one.  Your guess is as good as mine.  I went with the sounds of a dying king.  Creepy.

BEST SOUND DESIGN OF A MUSICAL:  PAUL ARDITTI, BILLY ELLIOT

Paul will win for excellent work, yes, but also for a syndrome I call, “Tony By Association.”

So that’s it!  Make sure you tune in on Sunday to see how I do!  And don’t forget to make your picks on my Tony pool!  There is only 2 days left to play and win $500!  Click here.

If you’re not following me on Twitter, click here. Just like last year, I’ll be tweeting from my $900 seat (yep, that’s how it costs – crazy, huh?) and I’ll fill you in on everything that’s going on from inside Radio City, including the not-suitable for airing, in between commercial breaks stuff.

If you don’t yet have a place to watch – try Times Square!  The Tonys will be on the Big Screen!  With the new blocked off streets, it should be fun.  Tweet me from there if you go. I’d love to hear what the party is like.

Oh, one more prediction before I sign off:  during the telecast, I predict there will be two Jeremy Piven jokes.  🙂

Tony Nominations are Tomorrow. My picks for the big ones.

May Madness begins on Tuesday morning at 8:30 AM with the announcement of this year’s Tony nominations.

There are a few places to watch this year so tune in to either:
  • CBS’s The Early Show (which promises to show “some” of the categories).
  • NY1.  This is Roma Torre’s favorite time of year.
  • In the middle of Times Square on the JumboTron (someone please go and tweet a pic to me)
Below are my predictions (plus a few ‘type bytes’) on the nominations in the two big money categories (Best Musical and Best Play), enumerated in order of my confidence:
BEST MUSICAL
 
1.  Billy Elliot
Billy had us at hello.  Billy was a shoe-in for a nom (and a possible win) when it was first announced that the show was happening, and he won’t disappoint.
2.  Next To Normal
N2N is the Passing Strange of 2009 – the gutsy, artistic, “non-commercial” choice, that took a strange but courageous path to Broadway.  Nominators (and voters who like to look really smart) love these types of shows.
3.  9 to 5
Many shows like to open late in the season, in order to use the Tonys as free publicity at a time when they need the boost.  Unfortunately, if you’re not reviewed well, those reviews are fresh in the nominators minds when they head to the Edison cafe to pick the nominees.  That’s what happened to 9 to 5.  Nevertheless, Dolly’s charm beats Ben Brantley’s any day of the week, so expect a nom.
4.  Title of Show 
The fourth spot is the tough choice.  It’s the wild card.  You’ve got TOS, Rock of Ages, 13, Story of My Life, Tale of 2 Cities, and the big one . . . that twenty million dollar monster known as Shrek.

I think Shrek and Dreamworks will get Disney-fied (3 out of 6 Disney shows have not been nominated for Best Musical:  Aida, Tarzan and Little Mermaid).  And as much as I’m pulling for what I call a “Marisa Tomei” for 13 (Marisa shocked the world when she was nominated, and then won an Oscar for My Cousin Vinny), I think the fourth spot is a cage match between the scrappy and you-tubey Title of Show and the jukeboxy, and surprisingly well-reviewed shock of the year . . . Rock of Ages.

When it comes down to it, the insidery nominators will choose a show about their own industry that tells the story of how hard it can be to put on a show, over a show that just wants you to rock . . . hard.
BEST PLAY
1.  God of Carnage
This year has made a lot of people sick to their stomach. God of Carnage is this season’s Pepto.  Comedy is back, and that makes Carnage a cinch to lead the category.
2.  Reasons to be Pretty
Neil Labute made his debut on Broadway and he’ll make his debut in this category as well.  The real question is whether this solid play can compete in this market and stay around until the ceremony?
3.  Dividing The Estate
 
This transfer from Primary Stages had an all too short 10 week run on Broadway.  A possible extension was in the works, but the theater was booked (with the even shorter run of Story of My Life).  Hartford Stage did its part to keep the play in the minds of the nominators.  There’s a strong emotional movement ‘a foot’ to give Mr. Foote the Tony Award that eluded him (he passed away in March of this year at 92, which was too short of a run as well, if you ask me), and that will help secure the 3rd spot.
4.  The American Plan
The fourth Play spot is a tricky one with two major contenders:  Plan and Irena’s Vow.  While the subject matter and pure emotion of Vow is much more gripping than Plan, expect the nominators to give this spot to Mr. Greenberg, whom they know and love, rather than the Hollywood outsider, Dan Gordon.  Personally, I’d like to give Gordon kudos for taking a break from Hollywood and giving the stage a shot (If only more writers would do that).  Tovah will get a nom to make up for it.
Do you agree?  Disagree?  Have your own picks for tomorrow’s nominations?  Comment away!
Read tomorrow’s blog (or watch one of the viewing options mentioned above) to see how I did.
And make sure you continue to read throughout this awards season.  Our annual ‘Producer’s Perspective Tony Pool’ is coming up (prizes, prizes, PRIZES), and of course, I’ll be tweeting from The Tonys as the awards are given out.
So stay Tw-uned.
X