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Post by Deleted on May 2, 2017 17:03:04 GMT
I think:
Best Actor - Ben Platt
Best Actress - Bette Midler
Best Featured Actor - Lucas Steele (I'm torn on this because I think they'll want to give Comet an acting win but at the same time Creel is very well liked and almost overdue at this point)
Best Featured Actress - Rachel Bay Jones
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Post by Hamilton Addict on May 2, 2017 17:03:05 GMT
I imagine it will be something like (in my opinion!): Actor: Andy Karl OR Ben Platt Actress: Bette Midler Featured Actor: Gavin Creel OR Brandon Uranowitz Featured Actress: Rachel Bay Jones OR Stephanie J. Block Ben Platt is more likely to win it, but I still think Andy has a shot. Many people have dismissed this, saying Ben Platt is a lock. However, I don't feel that it is a lock if not everyone has agreed. From what I've read (the forum on BroadwayWorld), the supporting actor race seems to be between Gavin and Lucas Steele. Out of that category, I've only seen Gavin, but I'm rooting for him as I thought he was absolutely terrific!  |
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Post by Deleted on May 2, 2017 17:07:35 GMT
As much as I love me some Andy K, I don't think his performance is as much of a tour de force as Ben Platt's, which would be a genuinely deserved win.
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Post by Deleted on May 2, 2017 17:07:35 GMT
I imagine it will be something like (in my opinion!): Actor: Andy Karl OR Ben Platt Actress: Bette Midler Featured Actor: Gavin Creel OR Brandon Uranowitz Featured Actress: Rachel Bay Jones OR Stephanie J. Block Ben Platt is more likely to win it, but I still think Andy has a shot. Many people have dismissed this, saying Ben Platt is a lock. However, I don't feel that it is a lock if not everyone has agreed. From what I've read (the forum on BroadwayWorld), the supporting actor race seems to be between Gavin and Lucas Steele. Out of that category, I've only seen Gavin, but I'm rooting for him as I thought he was absolutely terrific! I agree, I think Ben is likely, but I wouldn't count out Andy at all. He got tremendous reviews, he is the whole show and never leaves the stage in a physically tough role. Also, the whole injury and still performing on opening night whilst injured will give him great word of mouth too amongst the voters. I do ultimately think it will go to Ben, but if they wanna give Groundhog something, it will be this category. And this is also the only award show Andy is up against Ben I believe other than Drama League, so it looks fairly easy for Andy to pick up the Drama Desk and Outer Critics Award too. |
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Post by madsonmelo on May 2, 2017 17:20:38 GMT
Platt and Midler are probably the most hyped performances on Broadway right now (alongside with Metcalf), so I don't think they will lose anything. Platt is also the heart of the show, he's everywhere.
Steele has a real amount of things to do in Comet and he's the best shot for a major award, so it's pretty safe.
Bay Jones has those 20 final minutes of DEH (So Big/So Small).... she's winning.
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Post by eatbigsea on May 2, 2017 18:40:58 GMT
I'm so pleased for Come From Away. I think it has a real shot to take musical, although DEH is of course the front-runner. I have real hopes for CFA to take book as well. Similarly, Rachel Bay Jones is the front-runner for featured actress in a musical, but I would be delighted if Jenn Colella took it.
As for the men, I would be really sad to see Ben Platt lose (I don't think he's going to). As much as I have some issues with DEH, Platt's performance was astonishingly good. For featured actor, I really wasn't all that impressed with Lucas Steele but haven't seen Dolly yet (I'm going this weekend) so will have to reserve judgment.
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Post by 49thand8th on May 2, 2017 18:52:20 GMT
Anyone curious on the ones that were snubbed or forgotten, if any have slipped your mind, these are the productions that received no nominations at all but were eligible: Amélie, A Bronx Tale, Cats, Charlie and the Chocolate Factory, The Cherry Orchard, In Transit, The Encounter, Les Liaisons Dangereuses, Oh Hello, Paramour, Significant Other & Sunset Boulevard. I thought they might throw a bone at Allegiance, but then again, I'm Asian so I should know better. |
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Post by viserys on May 2, 2017 19:14:49 GMT
Anyone curious on the ones that were snubbed or forgotten, if any have slipped your mind, these are the productions that received no nominations at all but were eligible: Amélie, A Bronx Tale, Cats, Charlie and the Chocolate Factory, The Cherry Orchard, In Transit, The Encounter, Les Liaisons Dangereuses, Oh Hello, Paramour, Significant Other & Sunset Boulevard. I thought they might throw a bone at Allegiance, but then again, I'm Asian so I should know better. Wasn't Allegiance at least one season earlier? |
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Post by 49thand8th on May 2, 2017 19:22:38 GMT
Was it?! I've had a long week and it's only Tuesday! HAHA.
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Post by Deleted on May 2, 2017 19:31:49 GMT
Was it?! I've had a long week and it's only Tuesday! HAHA. That's pretty much how long it ran anyway!  |
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Post by ali973 on May 2, 2017 22:35:37 GMT
Umm..can I just ask a somewhat irrelevant question?
Are there any souvenir brochures (souvenir programs in America!) for Hello, Dolly and Sunset Boulevard?
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Post by Deleted on May 2, 2017 22:40:13 GMT
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Post by ali973 on May 2, 2017 22:43:17 GMT
Interesting..it's squared like the Canadian brochure from the '90s! Thank you!
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Post by ali973 on May 2, 2017 22:56:27 GMT
Finally watched the announcements..
It reminded me of a panel that involved Leslie Odom Jr. last year, where everyone was celebrating the diversity in the nominations, and he said that the challenge is to keep this going, etc.
Though plays do better in terms of their diversity, musicals this year are quite poor in all categories sans Best Actress. And we all know that Bette Midler is most likely going to win this- which isn't unfair..but it's just something to take note of following last year's theme.
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Post by Kenneth_C on May 2, 2017 23:19:31 GMT
Random thoughts: I'm glad that Falsettos was remembered, and am particularly happy with the nominations of Stephanie J. Block and Andrew Rannells in same. (Loved Brandon Uranowitz, too, but would give the edge to Rannells.) I realize I'm in the minority, but I don't get all the love shown for The Great Comet. Although I adore her, I probably wouldn't have nominated Patti for War Paint. ( Gasp!) She basically plays the same bitchy note throughout, in an unintelligible accent. They really should've found room for Sunset Blvd. in the Best Revival category. A little more attention could've been paid to The Front Page, too. Although I am not seeing Hello Dolly! until the fall, am happy that Gavin Creel was nominated. He's been so good for so long. I also am not seeing Dear Evan Hansen and Groundhog's Day until then, so cannot choose a side in the big Best Musical/Best (Musical) Actor battles. It's almost criminal that Jon Jon Briones didn't receive a nomination for Miss Saigon. And, while we're on the subject of slights: Gideon Glick, Gideon Glick, Gideon Glick!  |
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Post by madsonmelo on May 3, 2017 3:55:23 GMT
Creel is indeed overdue, I might be wrong about Steele after all. Poor Anatole!
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Post by Deleted on May 3, 2017 7:55:25 GMT
Creel is indeed overdue, I might be wrong about Steele after all. Poor Anatole! Think it will depend how much they like Comet. Danny Burstein was far more overdue than Creel last year (6 time nominee) but couldn't beat out first time nominee Leslie Odom Jr. |
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Post by viserys on May 3, 2017 11:10:40 GMT
I realize I'm in the minority, but I don't get all the love shown for The Great Comet. You're not alone there. I am running hot and cold with this show. Part of me thinks it's crazy innovative, fun, entertainment and a very daring approach to one of the greatest literary classics in the world. I'm sure that being part of it all in the theatre must be an amazing night to remember. But in the broad cold daylight I find the music nearly impossible to listen to and it angers me that they picked one of the most banal and daftest parts of War & Peace for something that's more or less a teenage soap opera that doesn't do Pierre (the leading man of the book) any justice while Prince Andrej barely gets a look in. So I dunno. Since I haven't seen it live, I feel it's unfair to judge the show as it seems to be one of those "you have to be there" things. I'd be fine with it winning stuff like stage, lighting, costumes, etc. but I really don't see it winning serious stuff like book or music, let alone best musical. |
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Post by Deleted on May 3, 2017 11:15:16 GMT
I love Comet for it's staging, and for being a real innovative but fun evening at the theatre. However I agree the music doesn't stand up against others- and I don't think it really will win awards for that aspect. Personally I wouldn't hate it being awarded best musical because I think that should be about the sum of it's parts and it is an experience and a half, and something really original (despite being an adaptation haha) but I doubt it will.
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Post by eatbigsea on May 3, 2017 11:33:44 GMT
I realize I'm in the minority, but I don't get all the love shown for The Great Comet. You're not alone there. I am running hot and cold with this show. Part of me thinks it's crazy innovative, fun, entertainment and a very daring approach to one of the greatest literary classics in the world. I'm sure that being part of it all in the theatre must be an amazing night to remember. But in the broad cold daylight I find the music nearly impossible to listen to and it angers me that they picked one of the most banal and daftest parts of War & Peace for something that's more or less a teenage soap opera that doesn't do Pierre (the leading man of the book) any justice while Prince Andrej barely gets a look in. So I dunno. Since I haven't seen it live, I feel it's unfair to judge the show as it seems to be one of those "you have to be there" things. I'd be fine with it winning stuff like stage, lighting, costumes, etc. but I really don't see it winning serious stuff like book or music, let alone best musical. I couldn't agree with you more, and I've seen it live. It's truly an amazing spectacle, and it deserves all the technical awards it is (probably) going to win, but not the big guns. Josh Groban does a great job playing Pierre, but the character seems like someone out of a completely different story (which he doesn't, obviously, in the entire book). The leading man of the story in Great Comet is essentially Anatole, which is bonkers to me. That bit of War and Peace works in the context of the entire story, but taken out of that you're absolutely right that it's a teenage soap opera. |
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Post by Deleted on May 3, 2017 11:37:22 GMT
See I don't think Comet's score is anything incredible, but what it is is varied, inventive and innovative. And really unlike anything that's ever been on Broadway. When we compare it to the only other show that has any chance of winning Best Score - Dear Evan Hansen - I really think Comet should take it. As I've said before, DEH has a few really nice songs but is it anything new? Is it anything we haven't heard in a number of contemporary musicals with pop/rock scores in the last decade? I particularly dislike the lack of effort to surprise the audience. If we look at Next to Normal, a show that has been continually compared to DEH, there's a section in which {Spoiler - click to view}
a character screams at her husband for thinking he can relate to her mental illness, their dead son reappears to comfort his mother and then their daughter laments about how her mother will never love her as much as she loves the son despite him being gone. Three songs happen in the course of this plot development and from just reading what happens you would think they would be slow, emotional ballads. Instead, they're all upbeat, rocky numbers that STILL manage to emotionally effect the audience. DEH has one truly upbeat number and 2/3 midtempo songs and the rest are ballads. And they all sound very similar to each other. I think at the end of the day music taste is subjective. There are passionate fans of both Hansen and Comet's scores (and I'm mixed on both). But because it's subjective, I feel like the score award should be given to the score that feels like it had the most work, care and effort put into it. For me, it isn't a question that that score is Comet's. |
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Post by madsonmelo on May 3, 2017 22:24:38 GMT
Creel is indeed overdue, I might be wrong about Steele after all. Poor Anatole! Think it will depend how much they like Comet. Danny Burstein was far more overdue than Creel last year (6 time nominee) but couldn't beat out first time nominee Leslie Odom Jr. Yeah, but Burstein was up against Hamilton. Steele is in a beloved show, but Creel is in one too, so, maybe the fact that he's in the industry for forever (his first nom was in 2002) will play a factor. |
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Post by Deleted on May 3, 2017 22:48:34 GMT
Oh it could absolutely be a factor, just saying that Creel is only mildly overdue compared to others that have been looked over in the past.
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Post by madsonmelo on May 4, 2017 0:14:01 GMT
Yeah, I don't know yet, I may end up with Steele as a winner, will be seing him this friday. Dolly is out of my reach.
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Post by Kenneth_C on May 4, 2017 1:45:07 GMT
I love Comet for it's staging, and for being a real innovative but fun evening at the theatre. Far from being a "fun evening at the theatre", Comet left me feeling figuratively battered and bruised. It was one of the most unpleasant experiences I have ever had in the theatre. Let me explain... I saw it during previews, from a central Orchestra [Stalls] seat, next to a runway located house right. I had read really good things about Comet from its regional performances, and decided to take a chance on this new musical. Walking into the theatre, everything looked amazing and I was really excited for what was to come. Unfortunately, my excitement crashed & burned within a few minutes of the start. Remember that ramp I was sitting by? Well, it was inhabited by several members of the Ensemble whose idea of 'audience interaction' amounted to screaming in our faces "Are we having fun yet?!!!" (Not literally, but you get the idea.) It was like suddenly finding yourself dropped into Baz Luhrman's Moulin Rouge -- specifically the "Can Can" number, full of in-your-face leering and desperately OTT antics. Once established, that mode basically kept up for the next 2 hours. Even when the Ensemble weren't screaming in my face, I found the show overly loud, overly boisterous, and overly busy. For example: there was one song (don't remember the name but it was between Natasha and her BFF) where the two actresses began singing at one level of the stage opposite one another, ran up the stairs behind them part way through, then crossed over, then ran back down the stairs. Completely meaningless activity that was distracting and did nothing but try and force energy into an otherwise dormant scene. [Gawd forbid that two people stand still for 4 minutes and sing a song!!!] The audience response at the end was tepid, with most of the enthusiasm coming from the onstage banquettes (who were no doubt happy with their pierogies). As I walked out of Comet, I not only had a headache from the onslaught of the prior 2 hours, but I was convinced that it would be slaughtered by the reviewers. It was, I believed, a tale told by idiots, full of sound & fury and signifying nothing. So, you can imagine my UTTER SHOCK when Comet opened and reviewers fell all over themselves. I don't think I have ever felt more disconnected from other people's theatrical experiences than that. I have been told, by people I know & respect, that changes were made since I saw it in previews. That staging was improved and that the hyper-aggressive Ensemble interactions have been considerably toned down. I have been told that I really need to see it again. But my original experience was far from being a "fun evening at the theatre". |
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