The more-than 30-member cast of the acclaimed revival of On the Town will perform selections from the classic Leonard Bernstein, Betty Comden and Adolph Green score, including "New York, New York," which is led by the trio of sailors.
The Roundabout Theatre Company's Tony-nominated revival of On the Twentieth Century, which stars Kristin Chenoweth, Peter Gallagher and Andy Karl, will offer a medley of tunes from the Cy Coleman, Betty Comden and Adolph Green score: "Life Is Like a Train," "Babette" and "On the 20th Century."
John Kander and Fred Ebb's The Visit will spotlight its Tony-winning (and currently Tony-nominated) star Chita Rivera, with excerpts from "Love and Love Alone" and "I Would Never Leave You" as well as a portion of the Graciela Daniele-choreographed ballet.
The new musical Something Rotten!, which comically explores the creation of the Broadway musical, will offer "A Musical," the show-stopping tribute to the art form led by Tony nominees Brad Oscar and Brian d'Arcy James.
^ I would actually still bet on Kuhn winning the Tony. I'm glad Fun Home decided against a medley, in any case. Ring of Keys is a fantastic choice.
When I see the phrase "the ____ estate", I imagine a vast mansion in the country full of monocled men and high-collared women receiving letters about productions across the country and doing spit-takes at whatever they contain.
-Kad
I'm so tired of medleys. THEY DON'T WORK! What's wrong with doing one solid number from a show? THE VISIT...I mean, what's wrong with doing JUST "Love and Love Alone?" It's a dazzling moment. Why bastardize it with an excerpt from another number? (Not that the other number is bad or anything-- I don't mean that.)
THE KING AND I...Well, granted "Shall We Dance?" has been done to death on the Tony Awards. But in that case, do "Getting to Know You." Don't chop up three lovely songs and try to mush them together. You know what happens when you do? You get mush!
I'm glad the folks behind FUN HOME are smart enough to realize that one strong number alone is the best way to go. What is with this obsession to get everyone and his mother onstage? Is it to make everyone in the cast FEEL LOVED? Is it because they think it shows off the show better?
Well, I hate to break it to producers, but it doesn't. The whole point of the Tony Awards excerpt is to TEASE the audience-- I don't mean in a bad way. But the point is to pick a particularly great number, do it, and then leave the viewers thinking, "Hey, what a great number! I bet all the other ones are just as good. I want to see that show!"
That's why I'm glad Something Rotten is doing "A Musical"... while it's the showstopper of the show, it will make audiences want to come see it. Like Aladdin doing "Friend Like Me", though I think "A Musical" is far showier.
"I think the last time a medley performance on the Tonys truly won me over and "worked," was Spring Awakening. It was awkward... but I liked it. "
I thought that one KIND OF worked, but they probably would have been better off doing "The Bitch of Living." That might have made Dame Lea have a hissy fit, though.
One medley that I think worked and still is very entertaining to watch is the one from JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT. Yes, it's from 1982 (a long time ago), but it worked really well.
Maybe a show can synopsize the piece, show some clips, etc., and then do a boffo number. GRAND HOTEL did this some years ago. Kathleen Turner narrated some clips and then Jeter and Co. did "We'll Take a Glass Together."
I think SR! is doing themselves a slight disservice by performing their big, showstopping, surprise number. Sure - it'll catch the attention of nearly everyone watching and will have the Tony audience going nuts - but I think saving that for audiences who see the actual show keeps it special and funnier and more of a surprise. Now, everyone will have seen the best part of the show. But I guess that's the point nowadays.
"I think SR! is doing themselves a slight disservice by performing their big, showstopping, surprise number. Sure - it'll catch the attention of nearly everyone watching and will have the Tony audience going nuts - but I think saving that for audiences who see the actual show keeps it special and funnier and more of a surprise. Now, everyone will have seen the best part of the show. But I guess that's the point nowadays. "
It still leaves a surprise for "Make An Omelette"...
The Visit's "I Would Never Leave You" is a great but strange number. I certainly wouldn't use it to sell the show on national television. I still say they should have done the choral number "Look At Me" featuring the entire cast.
I thought it said on the Tonys' website that D'Arcy James, Oscar, AND Christian Borle were all performing. How's Borle going to go on if they're just doing "A Musical"?
I'll echo the others who aren't happy about the number of medleys being done. The oddest to me, though, is On the 20th Century. Babette doesn't seem like a number that will be edited down well at all. The joys of it really come from the big build. I wish they'd had the nerve to say, "You know what? Our star is hosting the entire show. We can get away with not including her in our number," and just gone with "Life Is Like a Train." There's nothing saying you have to include all of your acting nominees, even when they might be considered front-runners--just look at Fun Home.