kristen or idina: the tony goes to.....- Page 2

[Unknown User]

Posted: 1/10/04 at 1:52pm

I would love to see the award go to someone that is actually seching themselves creatively in their roles and doing soomething extrodinary. Donna is at this point phoning it in. kristin is great but nothin special. idina keeps growing in the role and finding new things in the character. Hands down.. if I were giving the award it would go to her.

[newyorkuniq]

Posted: 1/10/04 at 2:14pm

Stephanie D'Abruzzo deserves that Tony.

[wickedfan]

Posted: 1/10/04 at 2:15pm

Deserving and receiving are two totally different words.

[bob8rich]

Posted: 1/10/04 at 2:41pm

I disagree that Kristin's part is "easier". I think it is far more multi-faceted. Actingwise it ranges from high comedy to subtle emotion as the character swings from naive indifference to heartfelt caring. In fact, I think Glinda changes more than Elphaba during the course of the play. And vocally Kristin is required to sing a whole range of different kinds of song, while Idina either belts our her rock or sings pop ballads (very well, I agree). I am not be-littling Idina's performance - she is amazing, demonstrating powerful vocals and a real depth of emotion in her acting. But Kristin does more than that - her's is a performance of subtlety, exquisite comic timing and awesome star quality that sets it apart from anything I've seen in quite a while. Various ages have seen their Broadway divas - Merman, Verdon, Andrews, Lansbury, Peters, et al. While Idina Menzel is a great talent and gives a stunning performance, Kristin Chenoweth is a bona fide DIVA and she totally commands the stage each second she is on it.

[friesgirl]

Posted: 1/10/04 at 3:07pm

I can only comment on Kristin, Idina, and Stephanie as those are the performances I've seen.

Stephanie: Gives a versatile performance with two distinct characters. Is able to bring much heart to the song "Fine, fine line" one of my favorite moments in the show. She was able to make me believe Kate Monster as a character, even though she was visible on stage puppeteering it and that is a hard thing to do. She deserves recognition, but against the two other ladies, I don't see how she stands a chance. I value her performance highly, but the voters won't because they'll probably think it's too "cute" of a role.

Kristin: With the exception of Epic Proportions, I hadn't' seen anything with Kristin in it prior to Wicked. I found her hilarious and wonderful as Glinda. She has an undeniable presence on stage, and she's a community favorite. However, like someone already stated in one thread (and I don't remember who it was) her role being expanded is a disservice to the story. It should be Elphaba's story. Kristin does wonders but it isn't really supposed to be about Glinda as much as it is (and it was expanded just for her, written for her abilities), and maybe it would be better for the show if she DIDN'T steal so much thunder while on stage. I'm not bashing Kristin at all, just making an analysis. She will probably win.

Idina- I had never seen Idina in anything else, but I did enjoy her on recordings of her other work. She blew me away as Elphaba, surprised me at how great she was. I heard she was wonderful, but I saw the show and my expectations were surpassed beyond belief. It's amazing how an icon like the one of the Wicked Witch of the West could be made so sympathetic, but you don't pity Idina's Elphaba, you admire her. She's cynical but vulnerable, beautiful and complex, powerful and 'limited.' She's who I would vote for in this race. The vocal demands of this role are immense, but a lot of her acting is instinctive, and it shows. "Defying Gravity" is a perfect example of this, her expressions and especially her eyes. Elphaba is a character that realizes her strength and power but also her limits, and "No Good Deed" is a great character transformation in the second act. Unlike Kristin, this role wasn't written specifically for her, so she has to really work to make Elphaba her own, and I think she succeeds brilliantly.

[TheaterBaby]

Posted: 1/10/04 at 3:10pm

I think Stephanie will win....but if it's a choice between Kristin and Idina, I think Kristin will win. Her songs might be cute compared to the determiniation in Idina's songs, but the pitch and vocal range on Kristin's songs are very demanding (perhaps mor so than Idina's). Both parts are acted very well.

[luvtheEmcee]

Posted: 1/10/04 at 6:45pm

I want to see Idina get it, but I think Kristin will.

[tpdc]

Posted: 1/10/04 at 7:39pm

These are all such wonderful performances. I think D'Abruzzo needs to listen to Chita and only buy the top half the dress because the TV audience isn't going to see the bottom. The race is between the other four women and any of them is a likely winner. Murphy is doing something new. Her Tonys are for darker, more serious roles. She hasn't done this type of work since she made her name in SONG OF SINGAPORE. As she carries her show and the success of the revival is thought largely due to her, she could win.

I would love to see the Tony go to either Chenoweth or Menzel. I've seen WICKED twice. Menzel is terrific and Schwartz has handed her a lot of material to knock the audience out with. Mantello and the music director have helped her to score every moment she is on stage. I don't think Menzel's excellent work is a breakthrough. She is breathtaking in this role but she was equally so in RENT and THE WILD PARTY. I think this talented woman has always been underrated. That said, I think the creators have given Chenoweth a better written role and she makes the most of it and gives the performance of her career. I think Chenoweth is going to win. But I would not be at all surprised if Menzel pulls an upset.

[Unknown User]

Posted: 1/10/04 at 8:15pm

I haven't seen the show, but from the cd and the storyline, Idina has my vote.

[tpdc]

Posted: 1/10/04 at 11:26pm

More of Menzel's role makes it to CD than Chenoweth's and Chenoweth's best moments are in the book scenes.

[newyorkuniq]

Posted: 1/10/04 at 11:49pm

Kristen just got a Tony give it a rest..

[Elphie]

Posted: 1/11/04 at 6:57pm

Question: What is this Tonya person in?
I've never heard of her.

[gherbert]

Posted: 1/11/04 at 7:41pm

Tonya Pinkins is the star of Caroline, or Change, which will most likely be going into the Eugene O'Neill Theatre in April from the Public Theater's Newman Theater. Her performance has been given an ecstatic reaction from critics and now that the show is transferring she is almost guaranteed a nomination (but you don't really know how the rest of the season will pan out. Her previous credits include Sweet Anita in Jelly's Last Jam, which won her practically every New York award possible, and her most recent Broadway credit is Kate in the Broadway mounting of The Wild Party. In what looks to be the strongest performance category this season I wounld NOT count her out.

[NYCbabe3789]

Posted: 1/11/04 at 8:00pm

Idina should get it. She's long overdue for her tony and her performance in WICKED is amazing. Kristin is very good as well, but the part was written for her and in my opinion it is not much of a stretch for her. Idina has a completely different character from her past roles and performs it beautifully.

[Elphie]

Posted: 1/11/04 at 10:12pm

Caroline, or Change?
Sounds interesting. Okay- I know who Tonya is- I have the Wild Party soundtrack. Too bad Kate wasnt such a big part in the Broadway version. Whats this musical about- Caroline, or Change? Oh and another question- how many nominees can be placed in the best actress category? My guess would be five...but I dont know. I think they will be Idina Menzel, Kristen Chenoweth, Donna Murphey, Stephanie (Dont even want to attempt the last name at this hour), and this Tonya lady from what people are saying on here. I keep hearing her name mentioned- saying that she is incredible- so I'll take the broadwayworld.com word for it haha. I think, probably everyone will slash at me, that Kerry Butler should be nominated, but I know the whole Ellen Green situation is going to bite her in the ass and a lot of critics didnt like her even though she had more good reviews than bad. She tried very hard to make Audrey her own and she did. I know there was a sentimentalness lost in the new LITTLE SHOP OF HORRORS...but blame that on the director not Kerry.

[gherbert]

Posted: 1/12/04 at 7:07am

Caroline, or Change is a new musical by Tony Kushner (Angels in America) and Jeannine Tesori (Thoroughly Modern Millie). The story is of a black maid in the Louisiana in 1963 named Caroline, who is a single mother of four. In the Gellman home hwere she works there are many changes going on: the mother has died recently and corresponding to tradition the father has married the mother's best friend who is a Northern liberal. The new wife decides to teach the boy of the family, Noah, who idolizes Caroline, a lesson because she is annoyed about his habit of leaving change in his pockets to be found by Caroline when she waches his clothes. The new mother says that Caroline may keep anything she find, thereby giving her the raise that she deserves but the family cannot afford. Caroline is torn on whether to take the money or not to and the show deals with the reprecussions of the excercise. Surrounding the story is the civil rights movement and such events as John F. Kennedy's assassination.

You are correct, there are five nominees in the performance categories as of 2000.

[Elphaba]

Posted: 1/13/04 at 12:17am

Idina.....hands down. She IS Elphaba from the book.......

[thirdrowcenter]

Posted: 1/22/04 at 11:00am

After seeing Wicked, Avenue Q, LSOH, (seeing Wonderful Town Sunday), BFO and Caroline, or Change...I can't decide between Tonya Pinkins and Kristin Chenoweth for the Tony. I truly loved Idina Menzel but I think Kristin's performance makes the show so special. Tonya Pinkins rips your heart out, don't count her out.
Sunday I give Donna Murphy a shot at the Tony nomination, lol. Updated On: 1/22/04 at 11:00 AM

[Corine2]

Posted: 1/22/04 at 11:06am

Well I would want Kristin to take it but Idina was equally as talented.
Stephanie will probably be in the supporting category and I want her to win it.
Donna Murphy is my favorite and first choice for the lead category.

[SomewhereThatsGreen]

Posted: 1/22/04 at 11:21am

Too bad the producers of WICKED couldn't have campaigned for Kristin in SUPPORTING... Call me crazy, but it is supposed to be the life and times of the wicked witch of the west, not Glinda...Would have saved all the vote-splitting that is bound to happen.

[WillParker]

Posted: 1/22/04 at 11:23am

kind of off the topic, but from the synopsis of Caroline or Change that was just given, the show does NOT sound a bit interesting...please tell me it's somewhat better than that description...

[thirdrowcenter]

Posted: 1/22/04 at 11:34am

Will: A well-told story seems to share its moment of truth, not with the audience at large, but just with you. At least that’s how it feels anyway–like a warm embrace. Caroline or Change's exquisite storytelling shares many such moments with you.

Sure there’s spin to spare behind Caroline and it’s hard to look past it. With its book and lyrics by Tony Kushner (Angels in America) and music by Jeanine Tesori (Thoroughly Modern Millie), chartering a plane may be one of two, maybe three ways, tops, to escape the hype. Debuting alongside a made-for-TV version of Kushner’s Angels, all the face time could almost be said to cloud the production’s welcome. Right up until we reach our designated seats right in the path of Hurricane Caroline.

As with many well-told stories, Caroline finds its strength through focusing first and foremost on its characters and the world they inhabit. Kushner wisely never once tells us what to think or feel. Instead, he just leaves us in the hands of his heroine, Caroline Thibodeaux (Tonya Pinkins), a 39 year-old maid in St. Charles, Louisiana in November 1963. Divorced with four children and a take home pay of a lousy $30, her fate seems very much sealed. And then, comes change. Literally.

Out of the blue, Caroline’s employer, Rose Gellman (Veanne Cox), decides once and for all to put an end to her stepson Noah’s (Harrison Chad) bad habit of leaving pocket change in his pants pockets. The solution: let the maid, Caroline, keep it; it will teach Noah a lesson, let him know who the boss is, and after all, Caroline could use the money, Rose is certain.

Not to put too fine a point on it, the rest is history for Caroline, proud to the core, bristles at the offer of pocket change as pay. The long low flame that’s burned quietly inside Caroline for years inside her suddenly grows hot. Making it even tougher to bear is the fact that Rose is wholly incapable of seeing how her idea, while well-intentioned, is such a stinker. Adding fuel to the fire too, of course, is young Noah, ready to put his own two cents in. Simultaneously, in the world outside, Kushner and composer Jeanine Tesori, allude here and there to other parallel signs of change: J.F.K is dead, there is talk of civil rights, and in Lake Charles, Louisiana, for the first time, there is politically-charged vandalism and unrest along with talk of a new kind of world. Even Caroline’s own daughter, Emmie, is talking about a whole other type of change on the horizon. To Caroline, the world has been a basement, stacked with laundry. Until now.

The show is just about pitch perfect. In keeping with Kushner’s vision, Tesori’s music mimics the moods and voices of Caroline’s people. It syncopates the Gellmans chit-chat, lends its wings to Caroline’s rebellious daughter Emmie (Anika Noni Rose), unleashes the sinister heat from the Wellman’s basement dryer (played by Tony award-winning Chuck Cooper from The Life, in one of two scene-stealing roles) and tempts and taunts us with radio-inspired memories personified by a girl-group (Tracy Nicole Chapman, Marva Hicks and Ramona Keller) a la the Supremes. Tesori's score skirts the edges of opera as frequently as it pays homage to gospel and Motown, as well as managing to traipse through Broadway musical tradition, as well. It’s an amalgam of melodic themes, which visit and re-visit the territory mined by Kushner’s exquisite lyrics.

And, then there are performers themselves, inseparable from the impact of the show, with Pinkins as Caroline, in the lead relishing what is definitely a moment for Pinkins and a moment for us. She is nothing short of electric and there is a particular number — and you will know the one — that alone covers the cost of admission. There should be an altogether different Tony in Pinkins future, I imagine. Much must also be made of: a spunky Chad as Noah; a wonderful performance by Cox; the powerhouse Chuck Cooper; Anika Noni Rose as Caroline's rebellious daughter Emmie... and the list truly does go on. Riccardo Hernandez' set design and Paul Tazewell's costume's, and Hope Clarke's seamless choreography also help make this show as wonderful as it is.