Futurity: A Thrilling Indie-Rock Brechtian Fever Dream

César Alvarez and the cast of Futurity (Photo: Ben Arons)
César Alvarez and the cast of Futurity (Photo: Ben Arons)

Jenn Stick FigureI had difficulty connecting with Futurity at the start. I liked that it was quirky but thought it was maybe trying too hard to be “different” or “out of the box.” Then again, there were these pearls of wisdom that kept multiplying as the show progressed, and I found myself getting more and more involved. This is a show that gets you talking. Jenn and I spent the whole walk from Avenue B to Broadway discussing the issues brought up: slavery, war, fighting for change, progress, changing people’s minds, using art as a weapon, if art makes things better, if it even makes a difference. Pieces like this spark conversation and hopefully forward movement.

But let me pass you over to our guest blogger today, Jenn Haltman. Jenn is my uber-talented friend and partner in crime (well, art). I got excited by the idea of Jenn sharing her thoughts rather than I as she clicked with the show in a more significant way. I think I got there; I was just a little late to the party. Here’s Jenn and her very own doodle (note: she looks just like me but with longer hair).

Soho Rep and Ars Nova have combined forces to co-produce Futurity, which makes a lot of sense. Soho Rep perennially produces bold new theatrical voices, and Ars Nova has a very heavy musical component to its programming. They were smart to look beyond their respective, intimate home theatres and present this work at the Connelly Theatre to allow for the space needed for the breadth of this story. I went in knowing nothing about the production except that it was originally produced at A.R.T. in Boston in 2012 (there is even a concept album on Spotify).

Futurity opens with The Lisps (an indie, experimental band) coming out on stage in front of a traditional velvet curtain, riffing about things they talked about backstage and setting up the characters of the show, causing us, the audience, to wonder what we are about to see. Is this a concert? A musical?

They go on to tell a fictional story about the real Ada Lovelace, a 19th century mathematician known as the first computer programmer. We follow her correspondence with fictional character Julian Munroe, a young Civil War soldier. Ada and Julian are played, respectively, by The Lisps band members Sammy Tunis and César Alvarez. Through letters, the two forge a relationship based on their shared love of math and science, and they develop the “steam brain,” a thinking machine intended to improve society and eliminate war. Together they examine the idea of collective conscience, morality, and the question of whether or not a machine would think ceasing war and slavery is in fact the ultimate moral choice.

Alvarez also wrote the book and lyrics, and he co-wrote the music with Tunis and the incredibly talented percussionist Eric Farber (also a member of The Lisps) who plays various “contraptions” in the piece. They are joined by a wonderfully diverse cast of ten actors who play the ensemble of soldiers in addition to providing the impressive live accompaniment.

Since Futurity is framed as a musical within a concert, I was able to step back and appreciate the craft of it alongside the storytelling. As I watched the advancement of Ada’s invention against the ever-growing Civil War, it forced me to think about how each person plays a role in “advancement.”  It allowed me to value the inventor with the same weight as the soldier and how we all contribute what we can to a cause. One song in particular called “How Much” movingly shows the cost of war. The inimitable Karen Kandel plays The General, and her rallying of the troops about why they need to fight shows us both how far and how little we’ve come as a country. The set design by Emily Orling and Matt Saunders is subtle yet transformative (especially the reveal in the second act!), and David Neumann’s choreography is simple yet evocative. Director Sarah Benson (a favorite of mine) expertly shapes this sprawling vision with heart and intellect.

Tunis and Alvarez periodically step out of character to remind us of the construct of the evening, and this is where the Brechtian influence is most clear. German director Bertolt Brecht believed that plays should provoke self-reflection and action by the audience to improve the world around them. If everything is tied up in a neat bow at the end of the story, then the audience is left feeling complacent and not compelled to act. In true Brechtian style, Becca and I left talking about how the play reflects the world around us and what that means. With so many plays I’ve seen of late, I’ve walked out of the theatre thinking about my laundry or to-do list than what I just witnessed. Futurity will likely not leave me for a very long time. It’s proving to be a hot ticket, so if you can get your hands on one before it closes November 22nd, do it!


Music by César Alvarez with The Lisps, Lyrics and Book by César Alvarez, Directed by Sarah Benson
Connelly Theatre, Closing November 22nd
Running time: 90 minutes, no intermission

Cast: César Alvarez, Andrew R. Butler, Fred Epstein, Eric Farber, Eamon Goodman, Karen Evans Kandel, Kristine Haruna Lee, Mia Pixley, Jessie Shelton, Kamala Sankaram, Darius Smith, Storm Thomas, and Sammy Tunis

Credits: Choreography: David Neumann; Set Design: Emily Orling and Matt Saunders; Percussion and Contraption Design: Eric Farber; Lighting Design: Yi Zhao; Costume Design: Emily Orling; Sound Design: Matt Tierney; Props: Noah Mease; Fight Choreography: J. David Brimmer; Music Direction: César Alvarez


The Humans: A Hilarious and Haunting Family Portrait

Reed Birney, Jayne Houdyshell, Cassie Beck, Sarah Steele, and Arian Moayed (Photo: Joan Marcus)
Reed Birney, Jayne Houdyshell, Cassie Beck, Sarah Steele, and Arian Moayed (Photo: Joan Marcus)

Option 1 - SmileThis, y’all. What a well-made play. A Roundabout Theatre Company production currently running at the Laura Pels, and now expected to transfer to Broadway in the spring, The Humans is a new play by Stephen Karam, whose play Sons of the Prophet (a 2012 Pulitzer Prize finalist) was also staged at the Roundabout back in 2011.

Thanks to the fantastic direction by Joe Mantello (you can always count on him) and an extremely strong cast, everything about this piece feels so…real. That’s the only word I can think of to describe it. Time and time again, I keep coming back to that one – real.

First let me give you some context. The Blake family has gathered together for Thanksgiving dinner, this year at their younger daughter’s new apartment in lower Manhattan. Brigid has moved in with her older boyfriend, Rich, and the place isn’t bad by New York standards. It’s a ground floor apartment, and they have a second floor in the basement of the building, both fully executed by set designer David Zinn (see photo below). Sure, there are bars on the windows, and the trash compactor is crazy loud, and who knows what the hell the neighbors are doing upstairs, but hey, it’s home! They’ve just moved in, and their stuff hasn’t made it to the apartment yet, so it’s a very bare bones Thanksgiving, adding to the creepiness vibe of the place as the thumps get louder and louder upstairs. Brigid’s older sister Aimee is there, and their parents, Erik and Deirdre, have trekked in from Pennsylvania with their grandmother “Momo” who is suffering from the beginnings of dementia. The evening is full of prepping for dinner, exchanging gifts, complaining about the noise, and getting to know the boyfriend (watch a clip here). Because it’s a play (and we all know how plays work), we can guess from the start that this isn’t going to be the smoothest of family dinners, but the way in which the plot unfolds is so seamless that it doesn’t feel the least bit contrived. Nothing in the entire 90 minutes seems false or forced. Things unravel like a sweater as old reflexes kick in, snide comments are exchanged, and secrets are revealed.

Whatever these actors did to prep for these roles worked. It’s as if they really grew up together in the same home. The dynamic of each relationship has been so well developed. As tensions rise and fall, each character alternates taking on the role of mediator or instigator. It’s so familiar it’s almost like watching your own family up there – maybe not the same relationships or secrets but in the way they speak to each other. The history between them is just as strong as what’s being said in the moment. Whenever Brigid makes a rude comment toward her mother, I didn’t sit there thinking, “She’s a mean person.” Rather I saw the layers of their relationship and understood that they have a history to which we are not privy. We may not get the whole story in this play, but we know it’s there, and the actors definitely know it. AH – all of them are so good! I don’t feel the need for other adjectives! All I’ve got is GOOD and REAL.

Oh, also, don’t let me give the impression that this is a heavy, all-intense family drama. That’s definitely part of it, especially as we build to the haunting climax, but this play is crazy funny. Other things I loved? It’s told in real time. The characters overlap and interrupt each other the way people really talk. They overhear one another’s conversations, but it doesn’t feel like a convention. We are truly flies on the wall witnessing raw, real moments between family members as they snap at each other and love one another hard. The Humans is so relatable it’s painful at times, and when I wasn’t laughing, I was struck by the inner workings of this family. I found myself continuously surprised as other elements were looped in toward the end of the play, even moments of pure terror. And when the lights went out, my hair was standing on end.

The Humans
Written by Stephen Karam, Directed by Joe Mantello
Laura Pels Theatre, Closing January 3, 2016
Running time: 90 minutes, no intermission

Cast: Cassie Beck, Reed Birney, Jayne Houdyshell, Sarah Steele, Arian Moayed, and Lauren Klein
Credits: Set Design: David Zinn, Costume Design: Sarah Laux, Lighting Design: Justin Townsend, Sound Design: Fitz Patton

For more reviews, visit Becca on Broadway.

Top: Cassie Beck, Sarah Steele, Bottom: Reed Birney, Arian Moayed, and Jayne Houdyshell (Photo: Sara Krulwich)
Top: Cassie Beck, Sarah Steele, Bottom: Reed Birney, Arian Moayed, and Jayne Houdyshell (Photo: Sara Krulwich)




Option 1 - Meh

If You Can’t Take It With You didn’t secure Annaleigh Ashford as one of the best physical comedians out there right now, Sylvia certainly does. I might even venture to say that she’s my generation’s Carol Burnett. It could be too soon to tell, but here’s what I know: every gesture, each sound emitted, and even the slightest tilt of her head is jam packed with comedy gold.

Fresh off her Tony win, the star is back on stage with the first Broadway production of A.R. Gurney’s Sylvia, playing the title character. For those of you who are not familiar with the play, now would be the time to mention that the title character is also a dog. Sylvia is about a love triangle but not your average one. A man named Greg (Matthew Broderick) finds a stray dog in the park (Ashford) and brings her home, much to the dismay of his wife, Kate (Julie White). Robert Sella also stars, covering several roles, each one funnier than the last. The twist of Gurney’s comedy is that Sylvia can talk. Well, not in the sense of, “Oh! A talking dog!” Rather, she has conversations with people, but they’re not necessarily communicating. She is still a dog after all. When she barks, she says, “Hey.” “Hey! Hey! Hey!” The fact that this remains laugh-out-loud funny throughout the play is impressive. It’s hard to describe why it’s so amusing to see a human behaving like a dog. As Greg finds himself going through a mid-life crisis and Kate finds her marriage falling apart before her very eyes due to the furry arrival, Sylvia is hoping to find a permanent home on the couch.

Broderick is his usual self on stage. Just like in It’s Only a Play, I was quickly bored with his flat inflection. Every line sounds the same, and he looks stiff as a board up there, especially next to Ashford who’s jumping around and running and scratching and hey-ing. (Fun fact: Sarah Jessica Parker, Broderick’s wife, played Sylvia in the Off-Broadway 1995 premiere.) Julie White, in what could be a one-note role as the aggravated wife, is delicious as usual. And Sella, whose work I was unfamiliar with, was delightful to watch transform as he fills in the edges of the small ensemble.

My opinion on the play itself keeps shifting as I work on this post. Some days I think it is paper thin with the same gimmick over and over, but fortunately in this production, Annaleigh is so skillful that it doesn’t get old. On the other hand, the play is pretty darn cute, and it made me miss my old pup, Kirby. It may be a simple story, but it is about something real: the love between people and their dogs.

Kirby 2Kirby

Written by A.R. Gurney, Directed by Daniel Sullivan
Cort Theatre, Closing January 24th, 2016
Photo Credit: Joan Marcus
Pictured: Annaleigh Ashford and Matthew Broderick


Cloud Nine

Cloud Nine

Option 1 - SmileThe last time a major production of Caryl Chuchill’s Cloud Nine was seen in New York was in 1981 so I was very pleased to catch the revival at Atlantic Theater Company. This lovely, touching performance is running through November 1st, and I do think it’s worth your time.

Cloud Nine was a popular play to study back in college, especially in my Contemporary British Feminist Playwrights class when I studied abroad in England. How does one sum up this play? It’s about family, love, and sex. Even more so, it’s about oppression and putting people in boxes, forcing them to meet certain expectations, particularly gay people and women.

The first act is set in colonial Africa during the Victorian era, and then the second act jumps forward to 1979 in London. However, the characters have only aged 25 years, something my older seatmates across the way had a little trouble grasping, but don’t worry, we talked it out during intermission. This storytelling twist provides a unique opportunity to view this set of characters in two contradicting worlds, yet ironically, the standards and expectations of society seem not to change much between the two time periods. And as we watch this in the year 2015, we find that the topics of LBGT rights and feminism are just as ripe.

Cloud Nine is point blank and subtle all at once. It’s controversial and ordinary. It’s goofy and serious. Done in the round, this production, directed by James MacDonald and featuring a smart, excellent ensemble, accomplishes just what I think the play intends. I would love for you to go and tell me what you see. Do you think it makes a point? Do you think the point has been made before and it’s becoming trite? Or is this old play still bringing something new to the table?

The older folks sitting by me asked, “Is Caryl Churchill a feminist?” “Yes,” I replied. “Ohh, did she hate men?” I hope they are able to come away from this piece recognizing that those are two different things.

Note: the seating is not very comfortable. The bleachers that were constructed to allow for a more intimate, in-the-round performance are not ideal. The Atlantic is encouraging audience members to bring a pillow or small cushion to make their seat more comfortable. Usually I’m the first to complain about bad seating (my back issues makes me an easy target), but I did okay! It’s not a reason to skip the show.

Cloud Nine
Written by Caryl Churchill, Directed by James MacDonald
Atlantic Theater Company, Closes November 1st
Photo Credit: Doug Hamilton
Pictured: Lucy Owen and Chris Perfetti


The Gin Game

The Gin Game


Option 1 - MehDo you know this play? I had never heard of The Gin Game until it was announced for this season. Written by D.L. Coburn, the two-hander (a play with only two characters) ran on Broadway in 1977, directed by Mike Nichols and starring Jessica Tandy and Hume Cronyn, and I was surprised to learn that it won the Pulitzer in 1978 for Drama. Thanks Wikipedia!

Now James Earl Jones and Cicely Tyson star in the second Broadway revival, and albeit engaging and laugh-out-loud funny at times, the piece didn’t resonate with me. Perhaps I’m not the right demographic. When you boil it down, the title hits the nail on the head – The Gin Game basically consists of two elderly people playing gin for two hours. The conversation certainly wanders to other topics like their families, struggles, and lives before coming to the same nursing home, but the play lacks an event. Tensions rise as they bicker and fight over round after round of gin, but it doesn’t build to anything.

Jenn and I couldn’t help but wonder how successful this play can be, regionally let’s say, without powerhouses like Mr. Jones and Ms. Tyson in the roles of Weller and Fonsia. These two are royalty, and at 84 and 90 years old, respectively, carrying a two-person play is crazy impressive. However, if Mr. Jones weren’t up there, for example, Weller would be way less endearing of a character since, essentially, he verbally abuses Fonsia for the duration of the play, pushing and poking at her until she finally snaps back.

Here’s what I’ll say: if you’ve never had the chance to hear that voice live or see either of them perform, then go check it out. But the ticket is for them, not the play.

For more reviews (and info on Becca Doodle, my new rating system!), go to www.BeccaOnBroadway.com.

The Gin Game
Written by D.L. Coburn, Directed by Leonard Foglia
Golden Theatre, Closes January 10, 2016
Pictured: James Earl Jones and Cicely Tyson


Lower Manhattan: NYC’s Newest Micro-Destination

Lower Manhattan: NYC’s Newest Micro-Destination

Summer is one of the busiest times in New York City with the sun and warm weather prompting as much sightseeing as possible. Instead of the usual Times Square attractions, however, New York City Vacation Packages (NYCVP) has seen a trend in tourists flocking to Lower Manhattan and the recently constructed landmarks there, which has quickly made it the city’s newest micro-destination.

“Tourists would come down here to catch a ferry to see the Statue of Liberty or take one of our walking tours, but now they are coming down here to have an entire Downtown experience with good food, museums, the Financial District & Wall Street, the National 9/11 Memorial & Museum, and the opening of One World Observatory. You can spend an entire day or two sightseeing in Lower Manhattan alone,” said Joel Cohen, Vice President of NYCVP.

Given all the growth and development Lower Manhattan has seen in recent years past, NYCVP has recently updated their Destination-Downtown New York City VIP Vacation to reflect the burgeoning micro-destination to include the National 9/11 Memorial & Museum as well as the brand new One World Observatory.

NYCVP’s Lower Manhattan vacation packages includes such attractions as:

  • Battery Park (State St. & Battery Place) – One of NYC’s oldest public areas and the launching point for the Statue of Liberty and Ellis Island ferry.
  • Bowling Green Park (Whitehall St. & Broadway) – The first official park in New York, founded in 1733.
  • Brooklyn Bridge (East River) – One of NYC’s most beloved landmarks and an architectural phenomenon. .
  • Ellis Island (Ellis Island) – Home to the Ellis Island Immigration Museum, where more than 12 million immigrants entered the United States from 1892 through 1954.
  • National 9/11 Memorial & Museum (Fulton St & Greenwich St) – Honoring the lives of those who were lost on September 11th, 2001, built in the footprints of the Twin Towers.
  • One World Observatory (1 World Trade Center) – The tallest skyscraper in the Western hemisphere and the newest attraction in Lower Manhattan with an almost 360 degree observation deck.
  • St. Paul’s Chapel (209 Broadway) – The oldest surviving church in Manhattan, where George Washington worshipped. Located across from what was once the Twin Towers, St. Paul’s Chapel also served as a place of rest and refuge for recovery workers at the WTC site.
  • Statue of Liberty (Liberty Island) – As the United States’ own icon of freedom, it was the welcoming site to immigrants arriving to Ellis Island to start anew.
  • Trinity Church (75 Broadway) – With so much history behind it, this church is famous for its three huge bronze doors, a small museum displaying historical documents and a churchyard with monuments from colonial American history.
  • Wall Street (Financial District) – The leading financial center in the world, Wall Street is the home to the New York Stock Exchange and near the Federal Reserve Building.

The full vacation package includes accommodations for 2-nights or longer at W Downtown, Statue of Liberty and Ellis Island ferry tickets, timed admission to the National 9/11 Memorial & Museum, timed admission to One World Observatory , and a number of free bonus features.

For more information about Lower Manhattan, New York City’s newest micro-destination, or to plan your vacation to New York City, visit NYCTrip.com or call 877-NYC-Trip to speak to a personal vacation planner.

Fun Home

Fun Home



We interrupt our normally scheduled programming (aka the chronological order of the shows I’ve seen) to first talk about Fun Home because it’s too important. I’ve been waiting for this show all season. I know this might sound a little over-the-top, but I can’t help myself: it’s flawless. End of story. A musical like this only comes around once in a while (you can see highlights here). Consider me officially obsessed.


Some backstory: Fun Home is based on the graphic novel “Fun Home: A Family Tragicomic” by cartoonist Alison Bechdel about her relationship with her closeted father. The name Bechdel might ring a bell if you’re familiar with the Bechdel test or the comic strip “Dykes to Watch Out For.” Nevertheless, you’re about to get to know Alison and her family very well as she looks back on her childhood and teenage years, building a timeline and attempting to unlock (and draw) the mystery of her father. We meet her at three different stages: Young Alison is nine or so, Medium Alison a freshman in college, and current-day 43-year-old Alison.


Present-day Alison doesn’t quite narrate; rather she excavates her past with the audience in tow. As she sifts through her dad’s old things, she pieces together memories to literally draw from them and make a cartoon. And then she captions the different moments, casting a new light or interpretation on them whenever possible. “Caption: Dad and I both grew up in the same small Pennsylvania town. And he was gay, and I was gay.” Through her eyes, we quickly fall into this world of memories. It’s additionally effective because the production is performed in the round; company and audience, we’re all in this together. The set pieces spin and shift and disappear through the floor as we move through time. Like the recent production of The Glass Menagerie, the design does an excellent job of creating a memory piece (shout-out to Associate Scenic Designer Tim McMath who designed our gorgeous Summertime set).


And within the in-the-round theatre, we meet fully developed, three-dimensional characters, and the fact that they’re based on a real family makes the experience all the more visceral. Each performance is more fantastic than the last. The chillingly good Michael Cerveris (who just won a Tony!) loses himself in Bruce, Alison’s father – his inner pain radiating from every move, every smile or outburst, every awkward attempt to connect or push people away. The same goes for Tony-nominated Judy Kuhn’s poignant, understated performance as Alison’s mother, Helen. And the three Tony-nominated women who play Alison each bring something unique and beautiful to the role. Eleven-year-old Sydney Lucas plays Young Alison, and all I want to know is where did this girl come from?! She’s stellar and changes everything when she sings THIS (it was also the Tony performance on Sunday). Emily Skeggs brings an infectious, wide-eyed joy to Medium Alison as she discovers her sexuality. And Beth Malone as adult Alison is the center of this show, keeping everyone and everything grounded. From the moment she starts speaking, you know you’re in good hands.


Here is one of my theories about musicals. If it has a bad score, it dies, it’s forgotten. If it has a great score and not the strongest book, it’s forgiven. As long as it’s got that score, people let the bad, typically contrived, book slide. So when a musical comes along with a book that’s just as strong as the score, if not stronger, it leaves a mark. Shows that meet this criteria stand out (think Sweeney Todd, Next to Normal). So bless you Lisa Kron for this book and lyrics, and Jeanine Tesori – whose music doesn’t always click with me – for writing a beautiful score that I’ve been listening to nonstop since Monday evening. The story weaves seamlessly in and out of song and spoken word (hear the Tony winners discuss the music and lyrics here).


And just a quick word about the subject matter and gay characters. I won’t delve into this too much because I fear I’m not eloquent enough to discuss how important and enormous it is to have a lesbian character be the lead of a musical. It’s unheard of. So instead I’m going to quote an LA Times interview I just read with Oskar Eustis, Artistic Director at the Public Theater where Fun Home began Off-Broadway:


Fun Home, Eustis believes, has the potential to do for lesbians what Angels in America did for gay men: “Take a marginalized group and say, ‘No, you are actually center stage.’ The art form…depends on empathy. It has been magical watching Broadway audiences at Fun Home. No one is thinking, ‘Oh, I know a lesbian.’ They are identifying themselves with the story, and that changes you. Once you’ve identified with someone, you can’t think of them as the other anymore.”


I’m so thrilled that the Tony for Best Musical went to this intimate, heart-wrenching, funny, true-to-life story of love, self-denial, self-discovery, and above all, family.


Caption: Get your tickets, and come on home.


Fun Home

Music by Jeanine Tesori, Book and Lyrics by Lisa Kron, Based on the Graphic Novel by Alison Bechdel, Directed by Sam Gold
Circle in the Square Theatre, Open-ended
Photo Credit: Joan Marcus and Jenny Anderson
Pictured: Sydney Lucas, Beth Malone, Emily Skeggs, and the Cast of Fun Home



The Tonys Bring It Home

The Tonys Bring It Home

Tony Award Dress Rehearsal


Can I get an AMEN?! What a wonderful thing to celebrate the success of Fun Home last night (and all the other winners and nominees and non-nominees). It was a fun evening of surprises right and left (all four Actor/Actress in a Musical categories went the opposite way of the predictions).


Before I dive into my high/lowlights of the evening including links to all the performances, a brief word about Sunday morning. If you haven’t heard, I attended the Tony Dress Rehearsal with Miss Jenn Haltman, and it was a grand ol’ time. The best moment for me may have been stepping into Radio City and seeing the iconic Tony set on the stage. It was pretty surreal. The dress rehearsal is as you might expect – they run through the entire evening, all the performances, all the banter, presenters, even fake winners and acceptance speeches. There’s a set of ten or so actors who “play” the nominees, sit in their seats, and one goes up to deliver a thank-you speech after each award is announced. It’s actually quite entertaining. You also get to see how the sausage is made, like how the cameras work and how the crane reaches over the audience. It was a super cool morning, but now, onto the real thing.




  • Let’s begin with the best of the best: Sydney. Effin. Lucas. Is there really anything else to discuss? This was the performance of the evening. The folks at Fun Home made the (very) smart decision to highlight one song and one performer (with cameos by Tony nominee Beth Malone and now two-time Tony winner Michael Cerveris) to represent their show, a decision I fully support. And to have Joel and Jennifer Grey introduce the number made it all the more apropos. This song stands for so much in the musical theatre genre, and the fact that an 11-year-old is delivering it makes it all the more impressive. I could talk about it for ages, but I’ll let the song speak for itself. Here’s Tony nominee Sydney Lucas singing “Ring of Keys” from Fun Home. Also, a mini-anecdote from director Sam Gold in the press room after winning his Tony, talking about directing Sydney in that song: “The day that I was first going to stage that song with Sydney in rehearsal, I was really nervous…What was I going to say to her? She was nine at the time. I started to ask her, ‘Do you understand what this song is about? What can we talk about?’ And she was like, ‘I got this.’ She had it already. She understood everything about it. She’s a very mature actor and didn’t need to be treated like a kid. I treated her [from] that moment forward like all of the adults.”
  • Something Rotten also gave a great performance. Since there was no real opening number (missing you, NPH), Rotten ended up serving as the big opening of the night, presenting the Act One show-stopper “A Musical” featuring Tony nominees Brian D’Arcy James and Brad Oscar. It’s funny, right?
  • Let’s focus now on the lady power happening last night. I did a lap around my living room every time a woman won. Firstly, yay lady director Marianne Elliott for Curious Incident. Second, representation in all the design categories: Catherine Zuber for The King and I Costume Design, Bunny Christie for Curious Scenic Design, and Natasha Katz for American Lighting Design. And then! Lisa Kron and Jeanine Tesori for Best Book and Score for Fun Home. They made history by being the first all-female writing team to win for a musical. What should be on the lowlights is the fact that these wins happened during commercials. Considered “Creative Arts Awards” – and deemed not worthy to be aired with the rest of the program – book, score, choreography, and designer awards all happen off-screen with only five-second snippets of their speeches shown later. So here I share their fantastic and important speeches: Lisa Kron for Best Book and Jeanine Tesori/Lisa Kron for Best Score.
  • Let’s hear it for Ruthie Ann Miles as Lady Thiang. This category seemed like a shoe-in for one of the Fun Home I haven’t seen The King and I yet (going in July), but I’m still so excited for her and her adorable speech. And how nice to squeeze in a little bit of diversity on that stage (wow, I just looked it up: she is the second Asian actress ever to win a Tony).
  • While we’re on the topic of The King and I, let us all bow down to the wonder that is Kelli O’Hara. Congrats on winning your first Tony after six nominations. Yes, standing ovation! And that speech!! And have you seen the quick change video going around right now? Amazing offstage choreography. Kelli, I hope you’re still shuffling off to Buffalo filled with joy.
  • I want to do a couple of shout-outs to my other favorite actor wins. Alex Sharp is so wonderfully earnest. Annaleigh Ashford I’ve been rooting for since I first saw her in Legally Blonde in 2007. And Michael Cerveris for Fun Home! A frazzled Tony speech but a terrific performance as Bruce Bechdel.
  • Best presenters of the night were Larry David and Jason Alexander. How Larry David manages to ride that line of hilarious yet offensive is quite the feat.
  • Although I am not a supporter of the medley performance (more on that below), I think On the Town, An American in Paris, and The King and I were solid performances, showing off their stars and choreography.



  • I said it before and I’ll say it again, It Shoulda Been You drives me nuts. From David Hyde Pierce’s intro with a fan letter to the jokes to the song itself, I can’t do it. But let’s give well-deserved credit to the talent that is Lisa Howard and the sound that she produces. I just wish I liked the song.
  • I can’t really speak too much of Gigi because I have not seen it (nor do I intend to quite honestly), but it doesn’t do anything for me. Here’s Vanessa Hudgens performing “The Night They Invented Champagne.”
  • As Jenn said about Finding Neverland while we watched the performance yesterday morning, “Everything is happening onstage, and nothing is happening onstage.” Yes, Matthew Morrison can still sing underneath that beard of his, but this number was literally smoke and mirrors to distract from the fact that so little is actually going on. Here’s “Stronger” featuring Morrison and Kelsey Grammer. Also? That intro.
  • I would never speak badly of Chita Rivera; she’s Broadway royalty. But The Visit, or as I’m now calling it, “The Visit – What Is It?”…I just had no idea what to make of that performance. And sadly I’m not the only one – they just posted the closing notice Monday afternoon.
  • Although the memoriam was touching and featured a record amount of performers in a Tony number (not to mention actually being aired on the live show as opposed to last year), the speed of that slideshow left something to be desired. It didn’t need to be rushed! Why not start it at the top of the song (with the right notes ideally) instead of featuring Josh Groban for one minute and twenty seconds?
  • Let’s talk about the E.T. bit. While funny and unexpected, let’s read the room, shall we? Wait to send Kristin out in that ridiculous costume until the audience has stopped reeling from Sydney’s performance. The music had barely faded out when she wobbled out, unfortunately reducing the moment that had just occurred.
  • The Jersey Boys finale was a little bit of a letdown after some of the great closing bits we’ve had over the last couple years.
  • As I mentioned above, any award happening during the commercials is a lowlight.
  • And now, a mini-rant on medleys. Have you heard this before from me? Medleys are so rarely a good idea in my book. I totally understand that you want to show as much of your production’s range and stars as possible. I get that one number doesn’t fully represent what your musical is, but what a medley tends to do instead is get all…jumbly. It gets messy because too much is being squeezed into a few minutes. So for example, On the Twentieth Century, which I very much enjoyed the other week (review to come), comes off looking all over the place. There were technically FOUR songs covered in those few minutes. People don’t know what to come away with after seeing that. Why not just do the last song in the medley? I know we don’t get to see Peter Gallagher or the adorable tapping porters, but we’ll get to see Kristin sing her heart out and we’ll enjoy one full song. It’s a bummer Tony winner Christian Borle didn’t get to perform in the Something Rotten number, but guess what? It was still great, and now people get a sense of what that show will be. Why not just do “Shall We Dance?” from The King and I or one dance with the two leads in American in Paris? Haven’t we learned yet that medleys don’t do a show justice?

Alright, let’s not dwell too much on the negative (like no love for Hand to God). Things like this exist now! Not all of the shows can be recognized, and there will always be a lot of BS that gets in the way of celebrating the arts, but Fun Home taking home the big wins last night is a huge accomplishment. So let’s bask in that while we can. One more time, here’s a link to all of the performances. Go see a Broadway show!


Oh yeah, one more thing. Bring back Sound Design.


69th Annual Tony Awards Results

69th Annual Tony Awards Results

The dances have been danced and the songs have been sung and the 69th Annual Tony Awards results are in. If you didn’t get to watch last night, here’s some of the shows that won big:

HomeFun Home

5 Awards

  • Best Musical
  • Best Book of a Musical
  • Best Original Score (Music and/or Lyrics) Written for the Theater
  • Best Performance by an Actor in a Leading Role in a Musical: Michael Cerveris
  • Best Direction of a Musical: Sam Gold


CuriousIncidentThe Curious Incident of the Dog in the Night-Time

5 Awards

  • Best Play
  • Best Performance by an Actor in a Leading Role in a Play: Alex Sharp
  • Best Scenic Design of a Play: Bunny Christie and Finn Ross
  • Best Lighting Design of a Play: Paule Constable
  • Best Direction of a Play: Marianne Elliott


KingThe King and I

4 Awards

  • Best Revival of a Musical
  • Best Performance by an Actress in a Leading Role in a Musical: Kelli O’Hara
  • Best Performance by an Actress in a Featured Role in a Musical: Ruthie Ann Miles
  • Best Costume Design of a Musical: Catherine Zuber


ParisAn American in Paris

3 Awards

  • Best Scenic Design of a Musical: Bob Crowley and 59 Productions
  • Best Lighting Design of a Musical: Natasha Katz
  • Best Choreography: Christopher Wheeldon
  • Best Orchestrations: Christopher Austin, Don Sebesky, Bill Elliott



AudienceThe Audience

2 Awards

  • Best Performance by an Actress in a Leading Role in a Play: Helen Mirren
  • Best Performance by an Actor in a Featured Role in a Play: Richard McCabe
  • Best Orchestrations: Christopher Austin, Don Sebesky, Bill Elliott



RottenSomething Rotten 

1 Award

  • Best Performance by an Actor in a Featured Role in a Musical: Christian Borle


What do you think? Did your favorite show take home a coveted Tony? Were you satisfied with the results or think a show got snubbed? Were Kristin Chenoweth and Alan Cumming actually funny? Discuss with us on Facebook and Twitter!
Click here for the full list of 2015 Tony Award Winners.
Or click here to see the full list of Tony Award Nominees.

It Shoulda Been You

It Shoulda Been You

It Shoulda Been You


I hate to be the bearer of bad news, but It Shoulda Been You is not the way to go this season. The premise is promising – an old fashioned wedding story of families colliding with a modern twist – but this brand new musical comedy misses the mark.


It’s Rebecca’s wedding day, and nothing is going well. Her mother and the groom’s mother aren’t getting along, her ex-boyfriend has gotten wind of the nuptials and is on his way to crash the ceremony, and her sister Jenny, always the bridesmaid, is expected to keep everything together (click here for highlights).


The book is weak and offensive. I suppose I might be more forgiving if the score were likeable, but the songs, after an hour and a half, were like nails on a chalkboard to my ears. The lyrics also include gems like, “How you pulled that out of your hat is making me smile like a Cheshire cat.” The music is made up of random notes following one another, trying to force a melody. I was looking forward to Lisa Howard’s 11 o’clock number because that woman has pipes, but I sat there thinking, this is what she has to sing every night?


Speaking of my excitement for Lisa Howard, I was so psyched for her to finally have a lead role on Broadway, but there’s a terrible subplot about her weight and her mother’s rude comments. The book is packed with fat jokes, Jewish jokes, black jokes, gay jokes, and alcoholic jokes, but none are smart. Mostly they made me cringe, and I’m not easily offended. I’m typically fine with that style of humor (The Book of Mormon, anyone?), but when written poorly, it just comes off as mean.


What a waste of talent. It’s a fantastic cast full of big names (Tyne Daly, Harriet Harris, Chip Zien, Sierra Boggess, David Burtka), and the brilliant David Hyde Pierce at the helm directing, so I can’t help but wonder what went wrong here. I’ll give it this much: there’s a surprise in the show that neither Matt nor I saw coming, and I don’t know the last time I was that genuinely surprised by a plot shift. But it doesn’t save the show by any means. For a brief moment I did think, “Oh, this will help the story,” but it only made it more convoluted.


But really, the show’s tagline is, “You’ll laugh. You’ll cry. You’ll be home by 10.” I mean, what? Their best foot forward is how short the show is?! That’s not gonna cut it for me. It shoulda been better.


Book your summer vacation here, and don’t forget to stop by Becca on Broadway for more reviews!


It Shoulda Been You
Book & Lyrics by Brian Hargrove, Music by Barbara Anselni, Directed by David Hyde Pierce
Brooks Atkinson Theatre, Open-ended
Photo Credit: Joan Marcus
Pictured: Lisa Howard