Was Audra's 1998 Tony win unexpected? — Page 3

A couple of thoughts...first, I couldn't agree more about Noll. Marin belts it, but she sings a bit like William Hurt speaks -- she emphasizes every syllable and it takes away from the performance. Too formal, too cold.

I'm not sure I agree with the idea that her taking in Sarah's baby is such a shock. We don't have much backstory on Mother, other than it being the turn of the century. What we do know is that although she doesn't put it together until the end of the show, she is looking for something missing in her life -- she eventually learns she's looking for respect and a more balanced relationship and some independence to do her own exploring. The baby, along with Father going off for his adventure, are the catalysts that put Mother's change in motion. Her taking in an infant, albeit a black one, is a perfectly natural act for a parent to do, even in those times.

Make them hear you. I get that it's anthem heavy in Act II, so there is a diminished impact, but I like the song and I think in the stripped down version that closed last year, it worked better because it wasn't under the weight of an over produced show.

Stokes. Stokes can sing his ass off, but I've yet to see him in a performance where he disappeared into the character. My experience would be improved if I shut my eyes during his performances, but I'm left with the sense that he can't act his way out of a paper bag. Quentin Darrington was better in the part, but he doesn't have Stokes' pipes.

Musicaldudepeter and AC: the aside in this Thread about Audra winning a Tony for the 1994 Lincoln Center production of CAROUSEL elicits this response from me: This was a truly wonderful show in all respects, with its darker aspects brought out and making sense, especially in Michael Hayden's superb performance--I just didn't mind the fact that Hayden had trouble hitting the high notes in "If I Loved You". Audra was wonderful in the part of Carrie which may be a secondary role, but it occupies a lot of stage time and the songs were so beautifully sung. I feel that she deserved her Tony.

Incidentally, it was Michael Hayden that impressed me the most in this production. What kind of award recognition did he receive that season? And why has he disappeared from Broadway?

The pit conductor for CAROUSEL was Eric Stern, perhaps unheralded as is generally true in assessing greatness in Broadway musicals, but important nevertheless. Stern as music director was responsible for the excellent musical cohesiveness of this work. I stage doored this CAROUSEL and spoke to Eric Stern who said he was dumbfounded that anyone would take the time to comment on his work in the show. I tried to meet up with Michael Hayden, but he sped off in a cab. I miss his presence on Broadway.

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Point taken, to a degree. The lyric is different from what you quote, and can easily be read that she's not entirely shocked by her decision. She reflects about her choice, that it is different than the one others might make, but also that she doesn't like the implications of someone who would turn away:

"What kind of woman
Would do what I've done-
Open the door
to such chaos and pain!
You would have
Gently closed the door,
And gently turned the key,
And gently told me not to look,
For fear of what I'd see.

What kind of woman
Would that have made me?"

Thanks for the information about Michael Hayden's professional theatre work. I am very glad that he has been so busy. Living 300 miles from NYC now means I am not tuned into the many outlets that a good actor can have.

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