I'd rather be 9 people's favorite thing than a hundred people's 9th favorite thing.

So I'm in love.
It's true.

With this charming little thing. Four actors, four chairs, one keyboardist, every joke you could think to crack on Broadway shows past and present, a few mildly fancy tricks and a WHOLE lot of heart.

I've heard beaucoups about (title of show) since its run downtown at the Vineyard, but didn't ever take a moment to go see it. I wish I had. The show I saw on Thursday night was easily one of the best productions I have EVER experienced. To be able to know it from its roots must be the coolest thing ever. I can honestly tell you I was entertained every single second. And yes, most of it was silly, cheesy OMG I CANNOT BELIEVE THEY JUST WENT THERE/SAID THAT/THINK THAT TOO joke cracking and otherwise. It's a gratuitous piece of work, aimed mainly at "showmos" who will get every tiny theatrical reference. It's not right for mainstream, but that's fine, because mainstream doesn't deserve it.

I find it fitting that I just happened to see this show while in the middle of ongoing uncertainty about my place - in New York, in the theatre. I moved here all bright eyed and winsome, determined to prove that being an actor is about talent and not the ability to play the game. Friends, it ain't. It's about your training and who you know and how amazing your headshots are and if you can step up and bring it at every audition, every time. It's about being your #1 priority and is even more consuming than a full time job or, God forbid, a life. I humbly stand here to announce that, though it's lovely to believe otherwise, people who have a successful acting career have learned to play the game. Thankfully, some are even talented.

This cast? I wish there were words bigger than talented, impressive, or dazzling. I wish I could convey something more than "I loved loved loved loved loved it." It's an intense moment when you watch an actor, playing him or herself, unleash a thought that you thought you alone thunk. (Yes, I just said thunk. Deal with it.) And then, in the middle of it all, a quiet gasp followed by a round of applause. Your neighbor thought it too. So did the guy two rows ahead and to the right. And that guy, and that girl, and him and her, he, she and all of them, too. And you're suddenly reminded why you ever even bothered to try at all.

Because occasionally, something this perfectly wonderful slides next door to the controlled fluff that lines the rest of the block. It's all so very worth it. Even if it's not the perfect portrait of success that someone you never even commissioned once painted.

From the cheap (cough, free) seats

Apparently, it was a very theatrical week.

On Wednesday, Crissie and I saw A Catered Affair. The reaction? "Well. That wasn't nearly as terrible as I thought it would be." Unfortunately, the show has gotten a bad rep for being too short and too depressing. Ok, so sad and brief it was, but it had its moments. Tom Wopat and Faith Prince carry the show and Harvey Fierstein is...well, Harvey. Which is to say quite good and funny, albeit a bit over the top and obvious at times. The score is forgettable. The set is acceptable. The rest of the cast is tolerable. I'm pretty sure it was nominated in all the right places. (And sadly, probably won't win in any of 'em. But oh, how I would love to see Tom Wopat take home a Tony.)

Exiting the theatre, I couldn't stop singing bits of Grey Gardens and remembering back to last year and wondering where all the remarkable shows went.

And last night, I was forced into going to see Jersey Boys. We had a spare single and I've been bugging my boss for awhile so he made me go. "But John, I don't waaaaaanna," I whined. "I am tiiiiired - would you judge me if I said no?" He said he would indeed, and as my boss, ordered me to go.

Tough job, I know.

So, it was like, phenomenal and stuff. According to legend, it was a dud at the box office and even *GASP* seen at TKTS before it won its Tonys. I don't know why. The show is brilliant, start to finish. Clearly, the public at large just needs some shiny statuettes to know something is worth seeing. (Please oh please oh please oh please oh please let Passing Strange win this year.) But I digress. The show is that magical mix of the stuffs good theatre is made of. And I know it is considered a jukebox musical, given that the entire score is one group's music, but I haaaaate to call it that and drag it onto the same field as Good Vibrations and Imagine and Ring of Fire, etc. I left the theatre beaming. Well. Yawning and beaming.

And now it's Sunday morning and even though I haven't had a full night's sleep this week, my body decided to wake me up at 7:30. Just for funsies. So I'm going to put my pre-work time to good use and cleeeeean. Lori arrives on Wednesday, and I don't foresee having much spare time between now and then.

And though scary is exciting, nice is different than good.

So. I have to amend my previous post. Crissie and I saw In the Heights last night. And the verdict is...it doesn't suck. Any other year, I would have laughed at the idea of putting this show into the running for much of anything. But the show I saw last night vs. the show I saw in previews prior to its off-Broadway run over a year ago? Worlds apart.

Nomnomnomnomnomnomnom.
(That's me eating my own words. In the Heights has actually matured into a fine, entertaining show.)

Moving along, there are not many things I love more than buying a plane ticket to Charlotte. I click "purchase" and immediately become a trembling child, squealing and giggling and happy all over. However, this week I found something to trump that feeling. A plane ticket to Charleston, coupled with a plane ticket from Charlotte. That's right. One week. My two favorite cities. And a night in Georgetown, to boot.

I need to move my ass to some more auditions. Soon.

I feel very strongly about mementos. Memorabilia, I guess you call it.

Ah, yes. Tony nomination day. It's like every theatre enthusiast's Thanksgiving. That is to say, the day before all the fun begins, counting down one month to the Best Day of the Year. There are a looooot of shows I still haven't seen (oh, how I MISS working for Broadway.com when it comes to my lack of free tickets). Crissie and I are going to start rushing for a few shows over the coming weeks. If anyone cares to join, please let me know!

Best Play:
August: Osage County
Rock 'n' Roll
The Seafarer
The 39 Steps

Absolutely no surprises here. My prediction? August: Osage County is going to take it.

Best Musical:
Cry-Baby
In the Heights
Passing Strange
Xanadu

I seriously almost cried when I read this. Halfway out of happiness, for Xanadu and Passing Strange and halfway out of shame and misery for...those other two. Seriously? Cry-Baby is one of the biggest trainwrecks I've seen. But I'll touch on that later as we hit the various categories. Where's Young Frankenstein? Ok, so it's no The Producers or Spamalot, but in comparison to Cry-Baby and In the Heights? Come ON. I'm not surprised in the least that A Catered Affair failed to make the cut. And poor, poor Disney/Little Mermaid. It was bad enough last year when they got all the nominations (save one for Ashley (shudder) Brown) and none of the awards - but to not even get a nod? Ouch. Denied the chance of bonus publicity! Er, I mean, to perform live on millions of TV sets. (Do millions of people even watch the Tonys? I guess I'm out of touch with the non-theatrical world.) Couldn't have been a happy day at the happiest place on earth/under the sea. Yuk yuk yuk. Word on the street is that Xanadu has a prayer. Should that happen, I'll be surprised, but not unhappy. My money is still on Passing Strange. Mostly because I LOVE it, but also because I think it's the only show on the list with originality AND artistic merit.

Best Book of a Musical
Cry-Baby, Mark O'Donnell and Thomas Meehan
In the Heights, Quiara Alegria Hudes
Passing Strange, Stew
Xanadu, Douglas Carter Beane

I DO think Xanadu has a shot at taking this one. And I'm not at ALL surprised that Young Frankenstein didn't make the cut here. It's certainly not a good script. But, I do think it's a good show, thanks mostly to its cast.

Best Original Score
Cry-Baby, Music & Lyrics: David Javerbaum & Adam Schlesinger
In The Heights, Music & Lyrics: Lin-Manuel Miranda
The Little Mermaid, Music: Alan Menken and Lyrics: Howard Ashman and Glenn Slater
Passing Strange, Music: Stew and Heidi Rodewald Lyrics: Stew

Ok. If I can't walk out of your theatre singing the songs I just heard at the top of my lungs, we have a problem. Seriously. The curtain fell on Cry-Baby and I couldn't remember a note. I know In the Heights has become Broadway's little darling, and I know I haven't caught the Broadway transfer and can only base my opinions on the off-Broadway production. I think the score is decent. I think it's going to be between this show and Little Mermaid. I mean, it's going to be a little hard to beat the Menken monster.

Best Revival of a Play
Boeing-Boeing
The Homecoming
Les Liaisons Dangereueses
Macbeth

Whaaaaat? No Cat on a Hot Tin Roof?!?!?!? Ok. I'm a Williams snob. This wounds me to a core. And, since I haven't had the pleasure of seeing any of these, I can't really make a good judgement. (I'm dying...DYING...to catch Boeing-Boeing though. Will it be the stuffs Tonys are made of? I don't knooooow!)

Best Revival of a Musical
Grease
Gypsy
Rodgers and Hammerstein's South Pacific
Sunday in the Park With George

Grease got a nod?! Wow. Poor Sunday in the Park With George. Any other year, this might have half a shot. I mean, is it a shocker to ANYONE that it's going to come down to South Pacific vs. Gypsy? My vote's with South Pacific. But I don't know that I'd place any money or importance on this bet.

Best Performance By a Leading Actor in a Play
Ben Daniels, Les Liaisons Dangereuses
Laurence Fishburne, Thurgood
Mark Rylance, Boeing-Boeing
Rufus Sewell, Rock 'n' Roll
Patrick Stewart, Macbeth

Since I ain't seen 'em, I can't judge them. But, if I must make an educated guess, I'll go with Stewart or Sewell. (Also, whaaaaat?!??! No Nathan Lane?!?! No Norbert Leo Butz?!?! Aren't they, like, Broadway royalty?)

Best Performance By a Leading Actress in a Play
Eve Best, The Homecoming
Deanna Dunagan, August: Osage County
Kate Fleetwood, Macbeth
S. Epatha Merkerson, Come Back, Little Sheba
Amy Morton, August: Osage County

Ooooooh, I cannot WAIT to see August: Osage County. From what I've seen, I really think Deanna Dunagan is going to take it. I'm THRILLED to see Eve Best and S. Epatha Merkerson got nods.

Best Performance By a Leading Actor in a Musical
Daniel Evans, Sunday in the Park With George
Lin-Manuel Miranda, In the Heights
Stew, Passing Strange
Paulo Szot, Rodgers and Hammerstein's South Pacific
Tom Wopat, A Catered Affair

Hoooooray for Wopat! I think Paulo Szot has got it, though. Although, after last year's Raul Esparza upset, I'm completely terrified to predict in this territory. Could Lin-Manuel Miranda take it for the underdogs, again?

Best Performance By a Leading Actress in a Musical
Kerry Butler, Xanadu
Patti LuPone, Gypsy
Kelli O'Hara, Rodgers and Hammerstein's South Pacific
Faith Prince, A Catered Affair
Jenna Russell, Sunday in the Park With George

I'm thrilled Kerry Butler got a nod. That being said, comparing her to Patti and Kelli is like hoping Laura Bell Bundy had a shot again Christine Ebersole last year. I've heard a LOT of people murmuring Faith Prince's name. I don't know. My money's still on Patti.

Best Performance By a Featured Actor in a Play
Bobby Cannavale, Mauritius
Raúl Esparza, The Homecoming
Conleth Hill, The Seafarer
Jim Norton, The Seafarer
David Pittu, Is He Dead?

Since Raul missed out last year, can we give it to him this year? Please? Please??

Best Performance By a Featured Actress in a Play
Sinead Cusack, Rock 'n' Roll
Mary McCormack, Boeing-Boeing
Laurie Metcalf, November
Martha Plimpton, Top Girls
Rondi Reed, August: Osage County

Since Martha missed out last year, can we give it to her this year? Please? Please??

Best Performance By a Featured Actor in a Musical
Daniel Breaker, Passing Strange
Danny Burstein, Rodgers & Hammerstein's South Pacific
Robin De Jesús, In The Heights
Christopher Fitzgerald, The New Mel Brooks Musical Young Frankenstein
Boyd Gaines, Gypsy

Wow. Robin de Jesus is in the same category as Boyd Gaynes? Now I've seen everything. How does that even HAPPEN?! Christopher Fitzgerald had better get this. It's one of the few places I really do think YF actually DESERVES a nomination and I wasn't just EXPECTING it to get one.

Best Performance By a Featured Actress in a Musical
de'Adre Aziza, Passing Strange
Laura Benanti, Gypsy
Andrea Martin, The New Mel Brooks Musical Young Frankenstein
Olga Merediz, In The Heights
Loretta Ables Sayre, Rodgers & Hammerstein's South Pacific

If any category is going to give me a heart attack while choosing, it's this one. I mean, I think I've already displayed a good amount of love and affection for any and everyone in and around Passing Strange. (ALTHOUGH - I did enjoy Eisa Davis and Rebecca Naomi Jones' performances more than Aziza's.) But Andrea Martin? Oh my Sweet Lord. And Laura and Olga and Loretta? Equally as likely. I don't know. Going out on a limb, I'm going to go with Andrea Martin. Maybe Loretta Ables Sayre?! Laura Benanti?! I don't knoooooow!!!!

Best Direction of a Play
Maria Aitken, The 39 Steps
Conor McPherson, The Seafarer
Anna D. Shapiro, August: Osage County
Matthew Warchus, Boeing-Boeing

Judging from the reviews, I think Matthew Warchus has a shot. I mean, Boeing-Boeing is NOT the strongest script, and I understand this has turned into a remarkable production. (Have I mentioned I cannot WAIT to see it?!) Again, haven't not seen any, I'm not really in a place to judge. Gut reaction: Anna Shapiro.

Best Direction of a Musical
Sam Buntrock, Sunday in the Park with George
Thomas Kail, In The Heights
Arthur Laurents, Gypsy
Bartlett Sher, Rodgers & Hammerstein's South Pacific

I have a feeling this is going to be another Gypsy vs. South Pacific faceoff. I'm going with Bartlett Sher.

Best Choreography
Rob Ashford, Cry-Baby
Andy Blankenbuehler, In The Heights
Christopher Gattelli, Rodgers & Hammerstein's South Pacific
Dan Knechtges, Xanadu

Oh, look! The one category where Cry-Baby actually deserves its nomination. Wouldn't it be amazing if Xanadu won? I don't think it will. I would just like it. I have to give it to Rob Ashford here though. Cry-Baby is nothing without its choreography.

Best Orchestrations
Jason Carr, Sunday in the Park with George
Alex Lacamoire & Bill Sherman, In the Heights
Stew & Heidi Rodewald, Passing Strange
Jonathan Tunick, A Catered Affair

Sunday in the Park With George. The end.

Best Scenic Design of a Play
Peter McKintosh, The 39 Steps
Scott Pask, Les Liaisons Dangereuses
Todd Rosenthal, August: Osage County
Anthony Ward, Macbeth

Can I see them and get back to you? K thanks.

Best Scenic Design of a Musical
David Farley and Timothy Bird & The Knifedge Creative Network, Sunday in the Park with George
Anna Louizos, In the Heights
Robin Wagner, The New Mel Brooks Musical Young Frankenstein
Michael Yeargan, Rodgers & Hammerstein's South Pacific

Um. Young Frankenstein. I'm still quietly saying "wow" to myself.

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

I dunno. Jennifer Garner did have some pretty amazing cleavage. I tend to be less impressed by the period pieces and more impressed by the modern takes. I think The 39 Steps has the most original design. So. I'll pick it.

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

So Jennifer Garner's cleavage helped Cyrano...apparently Sutton Foster could not do the same for Young Frankenstein. I think South Pacific has the most dynamic costume scheme. There's my vote.

Best Lighting Design of a Play
Kevin Adams, The 39 Steps
Howard Harrison, Macbeth
Donald Holder, Les Liaisons Dangereuses
Ann G. Wrightson, August: Osage County

I'm suddenly feeling repetitively redundant. I don't know. And deep down, I know I care.

Best Lighting Design of a Musical
Ken Billington, Sunday in the Park with George
Howell Binkley, In the Heights
Donald Holder, Rodgers & Hammerstein's South Pacific
Natasha Katz, The Little Mermaid

I CANNOT BELIEVE PASSING STRANGE WAS NOT NOMINATED IN THIS CATEGORY. THEIR LIGHTING DESIGN IS ONE OF MY FAVORITE ASPECTS OF THE PIECE. (I guess this is my trade off for the show getting a Best Musical nod. Fine. So be it.) Could Little Mermaid have a shot here? Methinks, yes. Although, I'm pulling for Sunday in the Park with George to win this one.

Best Sound Design of a Play
Simon Baker, Boeing-Boeing
Adam Cork, Macbeth
Ian Dickson, Rock 'n' Roll
Mic Pool, The 39 Steps

I think it would be hilarious if Rock 'n' Roll DIDN'T win this...

Best Sound Design of a Musical
Acme Sound Partners, In the Heights
Sebastian Frost, Sunday in the Park with George
Scott Lehrer, Rodgers & Hammerstein's South Pacific
Dan Moses Schreier, Gypsy

Again. No Passing Strange?!?!?! Sigh. Fine. Then Sunday in the Park With George. But only cause I'm pouting.

Overall thoughts: I love Passing Strange. I hate Cry-Baby. I'm proud of Xanadu. I'm in shock over the complete lack of noms for Cat on a Hot Tin Roof - I mean, James Earl Jones was BORN to play roles like Big Daddy. I'm surprised, though not unhappy, about Young Frankenstein's lack of nods. (I'm sure Megan Mullaly and Roger Bart did NOT have a good day.) I expected more nominations for the actors in 39 Steps. I'm a little surprised that Cry-Baby DIDN'T get a nomination for best scenic design. I'm not at all surprised that Susan Stroman/Young Frankenstein didn't get the choreography or best direction nods. It proves the point I made with Jerry Mitchell and Legally Blonde last year - YOU ARE HUMAN. PICK ONE AND STICK TO IT. And I'm sad that Mary Testa didn't land a nomination. I love her. A lot. And just one nod to Is He Dead? Nothing for Farnsworth Invention? Sad day.

This year made me miss stand outs like Grey Gardens and Spring Awakening. It was certainly a year for drama and NOT musicals. At least we have the 2008-2009 season to look forward to. I mean 9 to 5 AND Shrek the Musicals?!?!?! Yesssssss....