Which Best Musical Winners were one-act musicals?

Follies didn't win Best Musical, sadly. Two Gentlemen of Verona did.

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Updated On: 7/1/09 at 10:03 PM

oh, and in answer to your question, Man of La Mancha is a one act musical. at least it was originally (and I saw a one act production regionally).

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Updated On: 6/30/09 at 10:06 PM

Off topic, but that reminds me that I'm in the mood for a Once on this Island revival.

And, sorry, but I can't think of any. It's too late.

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Spring Awakening definitely has 2 Acts. 'I Believe' closes act one, and 'The Guilty Ones' opens Act 2.

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Gosh, that's really wild. What about Best Musical Revival winners?

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Was it? I just remember it was really long. hmm.

Although, since they have no intermission, these are technically "one-acts," are they ever really referred to that way? Doesn't "one-act" generally imply a shorter play?

I would never refer to A Chorus Line, Follies, et al as "one acts," just shows without an intermission.

Updated On: 7/1/09 at 10:47 AM

"1776" can be performed with an intermission and an entr'acte. There is a "suggested" place to put one if desired (right after Mama, Look Sharp), and the additional music cues are supplied if you license the show. They also discourage you from doing so. The same is true for "A Chorus Line."

But the original, Tony-winning Broadway production of "1776" and its national tour, which I saw at the ripe old age of seven, was performed without an intermission.

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Hmm, I just saw a production of 1776 (with some Equity actors) over the weekend that put the intermission after the "Saltpeter" reprise, a good twenty minutes of show time before "Mama, Look Sharp" and the act was already seeming overlong... over two hours with no intermission is really cruel, particularly with a show that can be as dull as this. My two favorite shows are THE WILD PARTY and FOLLIES, both of which are over two hours with no intermission (the preferable preview version of TWP is a good 155 mins with no intermission actually) so it may sound hypcritical but this show tends to drag and, either way, the show really is very, very dull and could use some (and I NEVER say this) judicious cutting to some of that book. Stone really liked hearing himself write (check out that SWEET CHARITY screenplay if you think Simon is long-winded), it seems.

PASSION, 1776 and TWO GENTLEMEN OF VERONA. What a group! Throw in CONTACT and HALLELUJAH, BABY (sorry Arthur!) and you have quite a selection of BEST MUSICAL winners...

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best12- Yes, well, I went as a favor to a friend. He was very good and literally rang the bell magnificently at the end. It's a dinner theatre, of sorts, that does very obscure plays (THE WOMAN IN BLACK was their last show before 1776) and one "classic" musical a season (that seems to be endemic of the schedules of many avant-garde local theatres, three risky obscure plays and an overdone, generally dull or at least cliche musical (GUYS & DOLLS, HELLO DOLLY, 1776, MAME, LITTLE SHOP, ANYTHING GOES, etc. all need big Broadway budgets to be effective these days in reality)) and this was the classical musical. It's a very dull show, sadly.

As an aside, I once almost convinced the artistic director to do CHESS, as he revealed himself to be a fan of the show, but when faced with the Broadway script or nothing we both opted for nothing. Around the same time I was part of a production of CHESS that tried to do the London version but was thwarted when not only could they not get materials to do the Broadway version, they weren't granted any at all for some bizarre reason. I'm sure Tim Rice has lost a lot of royalties from aberrations like this on the licensing side because no one in their right mind would enjoy having anything to do with putting on or viewing the Broadway script of CHESS. Seriously, read it. The show ain't SITPWG, but the London version at least has some level of artistry, be it as it may. Anyway, Rice-rewritten concert version that was on PBS was what we were attempting on performing (which is essentially the same as the London version minus "Der Kleine Franz" and this or that). My friend says CHESS may be up for consideration again so we shall see.

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Besty, correct me if I'm wrong. But, didn't the roundabout production, the one that played at The Gershwin have an intermission after Mamma Look Sharp?

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I may be all wet on this, but I saw the original Nine in early previews and I believe it was done as an intermission-less show -- that was changed soon (certainly before opening). And even though it didn't win the Tony (grrr), Grand Hotel didn't have an intermission.

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