Best Actress - Musical TONY
Best Actress - Musical TONY
Best Actress - Musical TONY#0
Posted: 5/20/04 at 1:01am
I just saw Caroline or Change and there is no way Tonya Pinkins should win for Best Actress in a Musical. I wish Anika Noni Rose
could win for this category. She was MUCH better than Tonya.
Her singing, physical movement and on-stage time was much more
significant. A great talent who I hope goes far.
As for Tonya's voice - she was okay. But didn't have to stretch
at all. I'm sure she sings well solo in other venues, but this
role isn't the one.
There is no way Tonya's role is anywhere near the intense, difficult, and extremely vocal role that Idina has. The time she was on stage, she was either folding laundry, sitting on steps or in a kitchen. Wow, that really exhausted me! It didn't surprise me that A LOT of people left at intermission.
"My Personal Opinion Is" that it's between Idina and Donna. Donna is an excellent actress in her role. Idina has the voice and stamina for her role. It would be good if they could have a tie between these two so they both come out winners the way the Actress in a Play award was at the Drama Desk awards.
I'll probably be more stressed sitting in my seat at the TONY's than they will be!
re: Best Actress - Musical TONY#1
Posted: 5/20/04 at 8:46am
I'm sorry you didn't enjoy Tonya's performance. I've seen her three times (both at the Public and on Broadway) and each time she gave an absolutely magnificent performance both from an acting and a singing perspective -- certainly the single greatest performance by an actress in a musical this season. Hers is vocally the most difficult and challenging role of the five nominated for the Tony and it is completely understandable that on some nights it is going to be a struggle for her to give all of her quite formidable resources to give all of the life and power and nuance that IS Caroline.
I can remember seeing Patti Lupone in vocally off nights in "Evita" and Jennifer Holliday belting herself hoarse through performances of "Dreamgirls" and yet I still saw the genius. The first time I saw Tonya at an early preview at The Public, she was vocally ragged and raw and working hard to keep the performance together, but still I saw the essence of the character of Caroline. Here is a woman who was beaten and abused by her husband -- the man of her life -- yet, she has managed to find the strength and dignity to leave and strike out on her own, taking on the responsibility of raising four children..... alone. She longs for a man, a REAL man -- Nat King Cole if he were available, but obviously he's not -- but none are on the horizon, so she just maintains and carries on. She works for a family -- nice enough she guesses, but $30 a week to iron clothes in a basement ("there's no underground in Louisiana... there is only un-der-wa-ter") isn't enough to live on, but then she doesn't really have any other better options, so just just keeps on ironing and carrying on. The little white boy of the family is obviously looking for her to be some kind of mother-surrogate, but she already has 4 children of her own -- sorry, but she already has enough problems of her own to deal with without taking his on as well (she'll let him light her once-a-day cigarette.....hopefully that'll be enough for him).
The world around her is changing -- the civil rights movement is heating up and black people are finding a place at the table. Her best friend is "changing," dressing like the young folks, going to college to take advantage of opportunities Caroline never had and probably never will have. The world in 1963 Louisiana is changing all around her -- her friend, her daughter, her community -- changing so fast that she can't even begin to even think about trying to go along with it. The musical is entitled "Caroline" "OR" "Change" for a reason -- Caroline can see the future, can see all of the new opportunities, can understand that the world that she has known is in transition, BUT she eventually realizes that she cannot take advantage of any of it. Heartbreakingly, she comes to understand that the hope and promise and freedom of the future is not for her, but for her children.
On the surface (at least to her employers and anyone else within eyeshot) she seems to be a very religious, old-fashioned, but cold and embittered woman, who's anger and rigidness they just don't understand. We in the audience however can see the real woman who's real resentment is for her realization that she cannot "change" -- unlike everyone else around her -- because for her to "change"... to realize her dreams, she would have to destroy the dreams of the ones she cares the most about.
Caroline MUST sacrifice her potential future and stay in her degrading $30 a week existence in order for her children to have the opportunity to achieve all the things that she couldn't. I have known many Carolines in my life and this was the first time I have ever seen anyone try and tell that story in a Broadway musical. Caroline -- OR -- change ..... and without the Carolines, the many extraordinary changes of the last generation or two could never have happened..... for so many individuals, as well as for entire communities.
That people left at intermission has nothing whatsoever to do with Pinkins' or the rest of the cast's performances which are all exceptional, or frankly any aspect of the show itself (trust me, I can make a VERY long list of acclaimed Tony award winning shows where I saw a dozen, even in a few cases, dozens of people walk out of at intermission -- this includes every one of Sondheim's shows). I absolutely LOVE the fact that this musical makes no attempt to cater to the audiences' preconceived notions of what a "BIG BROADWAY MUSICAL" is supposed to be. There aren't any choruses of happy tapdancers or showy bejeweled spectacles or flying monkeys to placate the masses -- well.....thank god and FAN--FRIGGIN-TASTIC.
There have several reviews and criticisms that I have heard and read of this show that seem to suggest that if this "stoic" "one-dimensional" "unsympathetic" "mean" Caroline character had just .... I don't know.... suddenly broken out into a Broad Toothy Grin and SMILED at the audience, did a nice little happy soft shoe and a buck-and-wing, and at the end of the show, gave all the white folks onstage a big ole HUG and handed the little boy a carton of smokes, sang an uplifting spiritual and then maybe made a speech about how she had realized just how happy she was to be a maid, followed by an impassioned recitation of racial harmony and unity and justice for all .......well, heck, then THIS and not "Wicked" would be the show to beat for the Best Musical Tony.
This is a very smart and respectful and thoughtful examination of the choices (limited as they so obviously were) that a poor, uneducated black domestic may have had in the South in 1963. Unlike "A Member of the Wedding" or "Driving Miss Daisy" or "Beulah" or so many other popular "feelgood" (for white people) totally BS stories where the black "domestic" so loved and was so devoted to the white family that they worked for that they seemingly never even thought about their own personal reality -- their family, their wife/husband, their children, their sexuality, their hopes and dreams..... From "Gone With The Wind" to "Bagger Vance," these characters only exist to the extent that they fulfill the desires of the white people they work for -- beyond that, they are invisible. Who THEY are as people is never even considered.
This musical, however, is Caroline's story. It is lyically and richly told with equal doses of longing, pathos and resignation. Tesori's score and Kushner's book and lyrics give flesh and depth to the story of a brave, passionate woman who is simply trying to deal with the hand that has been dealt to her. The world hasn't done right by her , but nonetheless, she is determined to do right by her children. The fact is that, as any thorough reading of the history of the period will show, there were FAR more Carolines during the Civil Rights movement than Rosa Parkses or Fannie Lou Hamers, and the Carolines are to be respected and embraced....
Tonya Pinkins' performance (whatever her vocal state on a given night) encompasses all of these complicated layers of guilt, anger, love of family, regret, sexual longing, self-doubt, loneliness and basic raw human emotion. Altogether they constitute a performance that is truly the stuff of legend.
Idina has won nothing in terms of the early critics' awards and received several rather lukewarm/unenthusiastic reviews when her show opened (especially compared to her co-star Chenowith who got raves and a love letter from Ben Brantley) so there is no reason to believe she is in the running for the Tony or anything else. Murphy is the frontrunner since she has swept the early critics' awards (whether she's the favorite for the Tony or not isn't clear since she's already won twice -- including once during the whole Julie Andrews/Victor Victoria scandal/hoopla). Pinkins just received an Obie along with across the board critical raves. The race is between her and Murphy. Who wins? We'll see on the 6th.
re: Best Actress - Musical TONY#2
Posted: 5/20/04 at 9:29amMy God, Ms. Channing - what would I do without you? (seriously)...you laid out this show for me in understandable terms (I've been dying for a decent review to give me a better understanding of what I might be in for, should I go see it)...I want to see this show, so very much. joeyjoe and I are moving this month and the expenses are outrageous, so we just can't afford to go right now - but I gotta tell ya - if I had to choose a Tony winner right this minute, I'd give it to Tonya just based on your review and the few short clips I've seen on television. I think Idina's voice is strong and clear and she made some good acting choices in a very bad show, and Kristin is Kristen - always good in whatever vehicle she happens to appear in. But neither of those performances are Tony winners in my mind. I'd vote for Tonya Pinkins and I hope to God I get to see this show before it gets swept away like all the rest of the (artistically) best musicals always do. Crowd-pleasers can rot for all I care - those shows might appeal to the simple minded tourists who only think of Broadway shows as tits-and-feathers-and-tap-shoes, but the Artistically wonderful shows that die before they're given a chance will ALWAYS get my vote! Thank YOU Margo Channing!
Broadway Legend Joined: 5/20/03
re: Best Actress - Musical TONY#3
Posted: 5/20/04 at 10:43am
Margo,
Have I mentioned that your the best addition to this board in a loooong loooong time?
re: Best Actress - Musical TONY#4
Posted: 5/20/04 at 10:46am
I love you Margo Channing.
In our soundbite culture we don't often see people take the time like you did to really explain where they're coming from. Too bad they can't send around your post to the Tony voters! If I were Craig and Rob, I'd cut and paste your post and make it a column.
BroadwayBest, have you met BestOfBroadway? Why, you're two peas in a pod.
re: Best Actress - Musical TONY#5
Posted: 5/20/04 at 12:08pmThank you Margo. Your posts are consistently among the best here, and this was no different.
Broadway Legend Joined: 4/10/04
re: Best Actress - Musical TONY#6
Posted: 5/20/04 at 12:12pmAs I mentioned to you before, I do enjoy your posts Margo. Your comment on this thread was written very eloquently and with much thoughtfulness. Every BWW board member is certainly entitled to his or her opinion - and you presented your thoughts with regard to "Caroline or Change", Tonya Pinkins, and the Tony race for "Best Leading Actress" award with clarity and substance.
Joined: 12/31/69
re: Best Actress - Musical TONY#7
Posted: 5/20/04 at 12:27pm
I keep reading some very scathing comments about the deplorable nature of crowd-pleasing musicals. May I add just a comment or two?
It seems a given that alot of the business for these shows in Manhattan is coming from tourists - and by deduction, we can assume that means these people are on vacation. Many of us - especially in an age when so much is frought with anxiety - look for an escape from our troubles when we are taking a break. Just because we come to that fair city to indulge in a little excitement and fun - which, yes, can mean taking in a show with baubles, bangles and beads - does not mean that we spend the entirety of our lives as mindless, simpering boobs. Believe it or not, some of us actually have provocative and stimulating theater right here in our own backyards. Even in this supposedly culturally void wasteland of Southern California, we have the opportunity to experience a myriad of offerings. Just looking at the recent past, we were able to enjoy "I Am My Own Wife," "Anna in the Tropics," the revival of "Big River," "The Beard of Avon," and "Bare" - just to name a few.
Personally, I just can't feel bad about the situation as it stands. I certainly don't think it's the death knell of live performance. All I see are thousands of people nightly who have gone out of their way - and spent alot of money - to enjoy some lively and exciting entertainment. While at the same time, millions of dollars are pumped into New York's economy and many performers have steady work.
I just don't see how the fact that these few shows draw so much attention necessarily means that other types of theater can't exist. We ARE talking about just a couple of handfulls of theaters. The bigger question to me is why is it up to the tourists to keep vibrant and thought-provoking pieces viable in New York? We are arguably talking about the largest concentration of educated and artistically minded and aware people on the planet. The fact that a few hundred families from the mid-west choose to go to "The Lion King" and "Beauty and the Beast" doesn't explain why Off-Broadway theaters can't sell tickets to the millions of people who actually live there.
When we were recently in New York for a visit, we saw everything from "King Lear" to "Wicked" - and didn't regret a thing.
I would just humbly suggest that energy can be better spent working on the creation of new work, rather than whining, moaning and bitching about the fact that some people choose to have a good time in ways different from your own.
re: Best Actress - Musical TONY#8
Posted: 5/20/04 at 12:40pmIn this thread I saw nobody do any of those things. I saw somebody articulate with skill and verbal dexterity why they think Tonya Pinkins is a serious contender for the Tony.
Broadway Legend Joined: 5/20/03
re: Best Actress - Musical TONY#9
Posted: 5/20/04 at 12:41pm
Creating new work and bitching about the lack of interest in that work and not mutually exclusive.
I, myself, am an excellent multi-tasker and literally put my money where my mouth is. I'm currently a producer/investor in a new works festival called...well...FestivaL that will be performing in Williamsburg (hence the captial L...since you have to take the L train to get there). I've also been involved with several new works and several off-off Broadway theatre companies in NYC (as well as regional and off-Broadway which actually pays). So, yes...it's possible to work and bitch at the same time.
There will always be those people who pump money into the NYC economy by seeing the big 'crowd-pleasing' shows and there will always be those of us who care more about the artform. We'll just have to learn how to co-exist.
One more thing to think about. The NYC crowd can only keep a Broadway show going for about 7 months...then, the tourists are needed to keep it going. That was fine when a year or two run of a show meant success and payback of the investment. These days, that cannot be done. Shows must run for years to be truly profitable. Look at MILLIE. It's closing after a two year run and has still only made back 80% of its investment. It most certainly will recoup with the tour and licensing rights, but still.
Joined: 12/31/69
re: Best Actress - Musical TONY#10
Posted: 5/20/04 at 1:06pm
Namo - I think the only reason I reacted to Margo's thoughts the way I did was the reference to "placating the masses." Certainly, Ms. Channing bespoke herself eloquently and intelligently. My thoughts come from a response to many different threads, and I just happened to have taken the time to respond to this particular one. Perhaps because Margo had set the tone for honest and open thought-sharing. I suppose I would have been better off just starting a different thread. Certainly, this particular one has almost no points against which i was railing - and I apologize for attaching to it.
Margo - you were indeed most thought-provoking and well-spoken. I must emphatically agree with your thoughts and comments regarding the history of racial portrayal.
Robbie - I agree with what you said. It seems to me the problem is with what people try to accomplish. I read alot about "Caroline, or Change" when it was Off-Broadway, and I was always curious as to why the move "uptown" was attempted. It seemed counter-productive considering the acknowledged business climate of the Broadway scene today. And you are absolutely to be commended for the committed work you do - many more could do the same.
re: Best Actress - Musical TONY#11
Posted: 5/20/04 at 3:46pm
I don't know.....I think Idina has a chance for the Tony.
One of the performances I attended was largely made up of people who work in the industry...everywhere I turned, I seemed to see someone who is involved in theatre one way or another (actors, directors etc). Let me tell you, that audience went nuts after Idina performed "The Wizard and I". I'm not saying they were not receptive to Kristin's performance as well, because they definately were.
I ran into one such person (a performer) a couple weeks ago and knows the person I work for so they were chatting and I introduced myself, saying I had been at that particular performance and I enjoyed the show. So I asked for their opinion and Idina was the first name that came up.
Just my opinion, but Idina seems to have done a lot with her performance since the show opened.....so, I wouldn't dismiss the idea of her winning just yet.
re: Best Actress - Musical TONY#12
Posted: 5/20/04 at 4:14pm
I too would like to say thanks for giving me the overview before I see the show. 
Broadway Legend Joined: 3/28/04
re: Best Actress - Musical TONY#14
Posted: 5/20/04 at 5:12pm
I wouldn't scratch out Idina just yet for that Tony. I think D'Abruzzo is pretty much the only one not in the running for it. I don't want Donna to win. I didn't see "Wonderful Town," but I just don't think she needs another one. I think the Tony voters should give the award to someone who doesn't consistently receive nominations. Look at Winokur from last year. That girl may never be on Broadway again, but she won anyway.
What I'm getting at is that I hope Idina wins. I loved Cheno as Glinda, but it basically comes down to Idina for me. In the event that Idina does not walk away with it, I hope it goes to Tonya. Just as long as Donna Murphy isn't known as a 3 time Tony award winner from June 6th on, everything will be just fine.
re: Best Actress - Musical TONY#15
Posted: 5/20/04 at 7:28pmI, too would love to see Idina walk away with the Tony, PJ. However, I don't know if I would begrudge a hard-working and talented actress like Donna Murphy recognition for an outstanding performance merely because she's recieved the recognition before. Why are you so against her winning a third Tony? (I've never had the pleasure of seeing her live, so I cannot offer my opinion.)
re: Best Actress - Musical TONY#16
Posted: 5/20/04 at 7:37pm
"BroadwayBest, have you met BestOfBroadway? Why, you're two peas in a pod."
Ouch Namo, that is harsh, no matter what the guy said... but true... lol It is great how forthright you are, very entertaining....
re: Best Actress - Musical TONY#17
Posted: 5/20/04 at 8:02pm
"Just as long as Donna Murphy isn't known as a 3 time Tony award winner from June 6th on, everything will be just fine."
How?
"I didn't see "Wonderful Town, but I just don't think she needs another one."
I know what you mean. I didn't see "The Boy From Oz", but I don't think Hugh Jackman needs to win another award for it.
re: Best Actress - Musical TONY#18
Posted: 5/20/04 at 8:49pmIt's a two-way race between Tonya and Donna. Ms. Pinkins has the edge but Ms. Murphy is closing in fast. Like this year's presidential race the Best Actress Tony is just too close to call right now.
Broadway Star Joined: 5/30/03
re: Best Actress - Musical TONY#19
Posted: 5/20/04 at 10:36pm
How does Pinkins have the edge when Donna Murphy has won three awards for this performance in the last few weeks?
PJ are you saying you're glad Winokur won over Peters because Peters has two Tonys and doesn't need to be called a three time Tony winner?
I think Murphy is the front runner but I would not be at all surprised to see Menzel win. Audiences love WICKED and especially Menzel. A lot of road producer Tony vote could go her way.
Broadway Legend Joined: 5/8/04
re: Best Actress - Musical TONY#20
Posted: 5/21/04 at 12:17am
After I saw Donna Murphy in WONDERFUL TOWN, I left the theatre thinking that there was just no way that anyone could beat her out for this year's Best Actress Tony. It almost seems an understatement to say that she gave a legendary performance. It was like a master class in musical comedy. I'm sure it will be discussed and dissected for many years. She was amazing.
I am baffled that anyone would be against her winning simply because she has honored previously. Excellence should be celebrated. Would you begrudge Audra her third Tony for Ragtime?, or a possible fourth, simply bc she has won before? Should Angela Lansbury have been denied her Sweeney Tony, because her shelf was already heavy with three others? Mary Martin triumphed over the highly acclaimed performance of Merman in Gypsy to take her third Tony for Best Actress/Musical. Should it be taken back, because she gave award-worthy performances before? Just asking ...
Featured Actor Joined: 11/10/03
re: Best Actress - Musical TONY#21
Posted: 5/21/04 at 6:29pmnot a very good reason to not give someone the tony..just because they have gotten it already..donna is a knock out and deserves this award..you really should see these things before you make such mean commentary.
re: Best Actress - Musical TONY#22
Posted: 5/21/04 at 8:05pmOkay, okay. I'm NOT saying that she doesn't necessarily deserve the Tony. I just want Idina to win. What with Donna being a frequent Broadway performer, she probably has quite a few more nominations coming her way in the years to come. However, someone who doesn't already have a Tony, such as Ms. Menzel, deserves to win this time around. That's just my personal opinion. But you never know. Idina could be the next big, Broadway and film star.
re: Best Actress - Musical TONY#23
Posted: 5/21/04 at 10:40pm
Every year is independent, and every performance should be judged on its own merits. Awards aren't about fairness and spreading the wealth. They're about rewarding the best. If Donna Murphy is consistently the best, then by all means she should keep being rewarded. It's as simple as that.
And I know it's hard when you have a favorite who's just that close to winning something. I was rationalizing away everything when Alfonso Soriano was up for MVP in 2002. And I still can't believe friggin' Miguel Tejada got the award. He didn't deserve it any more than Sori did...but that's another topic altogether. :)
re: Best Actress - Musical TONY#24
Posted: 5/22/04 at 1:30am
Anybody see Michael Riedel's column yesterday? He basically said Murphy's poor attendance record (especially missing most of last week's performances when a huge contingent of out of town Tony voters were here) and failure to play award politics is, in a close race, going to result in Tonya Pinkins -- who's never missed a performance -- taking home the Tony. Now Riedel is annoying, mean, rude and obnoxius, but he has great sources among the Tony voters and over the years he has been right about these things WAY more than he's been wrong. Check out his column here:
Riedel's column from Friday's Post
Videos
