#1
Posted: 6/10/07 at 1:14pm
SPOILERS FOR TONIGHT'S TELECAST
1) Audra Macdonald performed "Rauncy" and in the middle stopped the rehearsal and said she couldn't hear the orchestra and apologized for stopping the rehearsal. She then said "god, I'm such a diva" and the audience went wild.
2) SPRING AWAKENING is doing a medley: Mama Who Bore Me into Bitch of Living into Totally F*CKed. For censoring, they just don't say the word "****" or "ass" (but do say "bitch") and the choreography is changed to cover their mouths and ears during those horrible words that the FCC has decided to censor.
3) The opening number is "One" from A CHORUS LINE and they perform it (pre-recorded) in front of Radio City Music Hall with Marvin Hamlisch on piano. It is QUITE amazing.
The Tonys in general this year are MUCH better, entertainment wise, than last year. Not having a host doesn't hurt the show at all, thank God.
4) Fantasia's performance is STUNNING. It's taken out of context of the show, so she performs it more as a "single" and more R&B, which works. She stole the entire "show" and got the only standing ovation of the rehearsal.
5) MARY POPPINS is doing "Chim Chimeree" into "Step in Time" into "Anything Can Happen." No, he does not climb the proscenium.
6) The speech about "what the American Theatre Wing does outside the Tony Awards" is different this year. Corny humor. I won't spoil the surprise.
7) They show clips of all nominated shows of the season (any award category). It was nice to see HIGH FIDELITY and GRINCH and THE TIMES again (hah!).
Christine Ebersole's performance was AWFUL. It is a cut down version. She looked sick. She wasn't into it. Not a good performance. Line readings instead of being in the moment. Either she is sick or is just conserving energy. For the rehearsal for recording a Tony clip for the telecast, she lipsynched to the musical director's vocals (pre-recorded for us in today's audience).
Any other questions, let me know.
RADIO GOLF won Best Play and GREY GARDENS won Best Musical, by the way ("for this rehearsal only.")
PS: I lied. John Kander got a standing ovation, too. Not just Fantasia.
1) Audra Macdonald performed "Rauncy" and in the middle stopped the rehearsal and said she couldn't hear the orchestra and apologized for stopping the rehearsal. She then said "god, I'm such a diva" and the audience went wild.
2) SPRING AWAKENING is doing a medley: Mama Who Bore Me into Bitch of Living into Totally F*CKed. For censoring, they just don't say the word "****" or "ass" (but do say "bitch") and the choreography is changed to cover their mouths and ears during those horrible words that the FCC has decided to censor.
3) The opening number is "One" from A CHORUS LINE and they perform it (pre-recorded) in front of Radio City Music Hall with Marvin Hamlisch on piano. It is QUITE amazing.
The Tonys in general this year are MUCH better, entertainment wise, than last year. Not having a host doesn't hurt the show at all, thank God.
4) Fantasia's performance is STUNNING. It's taken out of context of the show, so she performs it more as a "single" and more R&B, which works. She stole the entire "show" and got the only standing ovation of the rehearsal.
5) MARY POPPINS is doing "Chim Chimeree" into "Step in Time" into "Anything Can Happen." No, he does not climb the proscenium.
6) The speech about "what the American Theatre Wing does outside the Tony Awards" is different this year. Corny humor. I won't spoil the surprise.
7) They show clips of all nominated shows of the season (any award category). It was nice to see HIGH FIDELITY and GRINCH and THE TIMES again (hah!).
Any other questions, let me know.
RADIO GOLF won Best Play and GREY GARDENS won Best Musical, by the way ("for this rehearsal only.")
PS: I lied. John Kander got a standing ovation, too. Not just Fantasia.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
--Aristotle