I'm gonna echo all the grace love! Also, I don't like that people aren't still talking about Simon McBurney and all his multifaceted work on "The Encounter." This also has been one hell of a year to make a case for there being a tony for "Ensemble Cast" because of shows like "Indecent", "Jitney", "Little Foxes", and "Oslo" where the show is truly carried by a full company of actors are really pulling their own weight!
I second (or is it tenth...?) Grace McLean!!! I absolutely love her performance. And agree with a poster above: her bit in the club scene is fantastic.
I just want to go ahead and say everyone in Come From Away. Yes, Jenn is great. And so is Astrid, as someone mentioned. But I think everyone in that cast is doing great stuff, and I wish there was an ensemble category. I especially love Petrina Bromley's parts as Bonnie and Sharon Wheatley's parts as Diane.
More Grace McLean support here. The larger space of the Imperial has diluted – or maybe just re-contextualized – the show’s “wow” moments, all of which felt more explosive at Kazino, but Grace still registers what is a relatively minor role, material-wise, in a big way. I’ll also add lots of love for Gelsey Bell’s Princess Mary, who knocks it out of the park. I’ve seen a few different Marys, but nobody can touch the range of emotions she wrings out of those couple of short scenes.
My opinion of THE PRICE was higher than the general opinion, and most of the talk of the acting was around Ruffalo and Devito – and deservedly so – but I thought Tony Shaloub and Jessica Hecht were equally exquisite. The production was so smartly focused on the text and the performances, and as an ensemble, they really delivered. (So kudos to director Terry Kinney on that score, too.)
Also, Michael Emerson’s (what I call) stylized naturalism was the perfect fit for Will Eno’s WAKEY, WAKEY, hilarious and fatalistic and sad and scary, and to echo an early thought about another (mostly) one-man show, Simon McBurney’s tour-de-force performance in THE ENCOUNTER – along with the play itself – just left me breathless.
And lastly, while I enjoyed everything about Branden Jacobs-Jenkins’ EVERYBODY, Marylouise Burke as Death is what I’ll probably remember most about it five years from now.
CHURCH DOOR TOUCAN GAY MARKETING PUPPIES MUSICAL THEATER STAPLES PERIOD OIL BITCHY SNARK HOLES
Sherie Rene Scott in The Front Page--that production's only redeeming quality, as far as I'm concerned.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
I also agree that Michael Xavier in Sunset Blvd is overlooked.
I don't think anyone in Sunday In the Park got underrated- two leads and the whole supporting cast are very loved and appreciated. Withdrawing from Tony/ Not getting a Tony does not mean the NY theater did not appreciate them enough, and they will definately have an eaiser time landing the next job now. A new cast recording helps too!
There are a lot of great ensemble shows this year. Even though some actors get less praises than others, I would also argue that for the awards season, it's impossible to nominate everyone, so even from the very start, the producers would only focus on one or two actor to campaign for- and naturally critics/reviews will talk more about those actors.
The supporting cast of SITPWG was fantastic, but I feel like Penny Fuller hasn't been getting enough love. Her "Beautiful" was just that.
The company of Pacific Overtures is a strong ensemble cast. Ann Harada is a real standout. Her "Welcome to Kanagawa" was the only time I've actually laughed during that song.
"This reminds of a debate my brother and I were having about whether or not Stephen Sondheim is really light opera." -Frasier Crane
Several of mine have already been named (Grace McLean, Will Roland, Jennifer Laura Thompson, Sharon Wheatley) so I have a few others.
Nicholas Belton from The Great Comet. I've heard surprise when some people didn't realize he plays a dual role until curtain call, and the times Andrey does appear make an impression, sometimes wordlessly.
Michael Park in Dear Evan Hansen. I was so happy when he was able to return for the Broadway run. He brings a warmth to the role that I thought was missing from John Dossett's portrayal.
Brad Oscar in Sweeney Todd. The power of his voice is very easy to hear in that small space and he has his charm, even as a character like the Beadle.
I haven't seen Anastasia live, but Caroline O'Connor seems truly spectacular from the clips I've seen and I don't think I've been hearing enough about her.
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement
Nicholas Belton from The Great Comet. I've heard surprise when some people didn't realize he plays a dual role until curtain call, and the times Andrey does appear make an impression, sometimes wordlessly.
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I second this so strongly. Every time I go I'm absolutely amazed by how he manages to switch between Bolkonsky and Andrey so effortlessly (and all those quick changes my goodness), and I think he manages to do so much with such limited stage time. His song with Pierre is one of my favorites. And he's such a nice guy as well!
Additionally, the entire cast of The Play That Goes Wrong deserves more credit in my opinion. I mean, they have a set actively trying to kill them eight times a week (like, actually – it's definitely genuinely dangerous. I've read that there's been a number of broken ankles, dislocated shoulders, etc.) and there's absolutely no way any of them could phone in their performance. My personal favorites from the cast were Henry Shields and Dave Hearn (who have been getting some love, but not enough tbh!), and Rob Falconer, who played the wonderful little part of Trevor the Sound Guy.
And I know Amélie is a show with a boatload of problems, but the two leads – Phillipa Soo and Adam Chanler-Berat – were very amazing in spite of the rather shaky material that they were working with. Neither of them really had a moment to shine, but that was the show's fault, not the performers', and I commend them for giving it their all despite that.
The embarrassment of riches in "Comet..." means the stellar individual performances tend to blur, which is too bad with so many gifted people shining so brightly. Any number of people are awards worthy, but only one or two will be singled out, alas.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
leighmiserables said: "Additionally, the entire cast of The Play That Goes Wrong deserves more credit in my opinion. I mean, they have a set actively trying to kill them eight times a week (like, actually – it's definitely genuinely dangerous. I've read that there's been a number of broken ankles, dislocated shoulders, etc.) and there's absolutely no way any of them could phone in their performance. My personal favorites from the cast were Henry Shields and Dave Hearn (who have been getting some love, but not enough tbh!), and Rob Falconer, who played the wonderful little part of Trevor the Sound Guy."
I didn't get to see Jitney but I'm sure André Holland's performance was as underrated as every other performance he's given in the history of his career.
Also add me to the list of people who viewed Michael Xavier's performance as underrated - I honestly think he was my favorite part of the show beyond Glenn.
Also, someone earlier mentioned the revival of Liaisons, and I 100% agree - Birgitte Hjort Sorensen absolutely broke my heart, and Janet McTeer was terrifyingly imposing. The revival as a whole, in my opinion has been unfairly overlooked.
There's been so much push for Laura Linney as Regina and Cynthia Nixon as Birdie that I think the reverse casting has been underrated. I thought Nixon offered a very legitimate way to play Regina, which was as a businesswoman. She was heartless, but hey, that's corporate America and she was simply making a deal/merger. What's more, I thought Laura Linney was wonderful as Birdie. Really captured the confused, rambling, non-room-readng personality of someone who's a chronic alcoholic.
Rodney Hicks in Come From Away ... really brought some much-needed humor and spice to a book that otherwise verged on sappy.
Anthony Azizi in Oslo. I've read so much praise for Michael Aronov but I thought Azizi was equally compelling in the less flashy role, and what's more, it's ridiculous that he's not being considered for Lead Actor. Abu was onstage for almost the entire three hours.
Let's not forget that (and I'm just adding to the McLean love here) that Grace McLean has one of the hardest one-two punches on Broadway right now. Actually, make that one-two-three punch. She goes absolutely nuts in Balaga/Abduction (playing the drums, making out with Helene, doing what appears to be an aerial split?) but then IMMEDIATLY follows it with In My House, and then immediately follows that with A Call To Pierre (one of her greatest acting and vocal achievements- the "Natasha and ANATOLE KURAGIN" note still gives me chills). I am also so touched with how she talks about the role- she's not angry at Natasha, more like heartbroken. She's given everything to this girl she adores and this girl, in her mind, has repaid her by spitting in her face.