This is one of the most exciting races in years. For some reason, some believe that Kristin will get the award because she had the best reviews. I would like to point out that the reviews of Kelli and Chita were just about equally as good. I enjoyed all three performances, and will be returning to see Kristin and Kelli in May. Below will be quotes from the reviews for each lady to compare. It's no secret that I would love to see Chita win this award, but I am planning on being as unbiased as possible when collecting these reviews. Feel free to correct me if you feel differently. Granted, reviews aren't everything when it comes to winning a Tony, but it doesn't hurt. I can't help but feel that there is a very strong race here beteween all three women.
Also, we can use this thread to discuss the race throughout the season, especially as the critics announce their predictions.
The New York Times
Kristin:
Perhaps best of all, this “Century” brings Ms. Chenoweth and Mr. Gallagher back to Broadway, where they can demonstrate the subtleties of being larger than life. These fine performers have been largely confined to television screens in recent years. And they grab the chance to chew (and devour) some real live scenery — and in Ms. Chenoweth’s case, hit pretty much every note on the scale, musical and otherwise — with the ecstatic vengeance of genies let out of their bottles.
As for Ms. Chenoweth, rebounding brilliantly after having to dampen her natural star fire in a strained revival of “Promises, Promises” five years ago, she uses Lily’s histrionics to create one of the most virtuosic portraits in song ever on Broadway. The vocal vocabulary she deploys here ranges from jazz-baby brass to operatic silver, often in a single number, and she switches among them with jaw-dropping ease.
Leading the big fantasy production number “Babette,” in which Lily ponders her divergent choices in art and love, Ms. Chenoweth seems to become an entire epic cast of divided selves. And every perfectly weighted note is set off by an impeccably exaggerated gesture. When Cecil B. DeMille-style shafts from heaven (it’s Donald Holder’s lighting) frame Lily as she contemplates playing Mary Magdalene, the apotheosis is entirely suitable.
Mr. Gallagher and Ms. Chenoweth are of course the show’s leading practitioners of the ridiculously sublime stance.
Kelli:
That’s the determined, hopeful, anxious woman in a hoop skirt who runs onto the deck, toward the ship’s prow, and into our field of vision as if in cinematic close-up. Her name is Anna Leonowens, and she is played, you lucky theatergoers, by Kelli O’Hara.
The effervescent revival of the 1978 musical comedy "On the Twentieth Century" that just steamed into the American Airlines Theatre marks a bewitching Broadway return for Tony- and Emmy Award-winner Kristen Chenoweth as 1930s Hollywood diva Lily Garland. Chenoweth is a petite powerhouse in the prima donna role of Lily, originated on Broadway by Madeline Kahn.
Chenoweth glamorously milks each comical cliche while her opera-trained voice trills and soars in song after song.
In between high-spirited train station scenes on the sleek Art Deco set, Chenoweth belts her heart out in splashy, gorgeously period-costumed numbers like "Veronique" (set in the French Revolution) and "Babette" (involving a decadent British Mayfair party). She physically soars too, frequently lifted aloft or carried around like a doll.
Kelli
Five-time Tony Award-nominated O’Hara, most recently seen in “The Bridges of Madison County,” gives a warm, loving persona to young widow Anna Leonowens, who must navigate sexism and cultural differences to get along with the capricious king. She establishes a ladylike friendship with him, while the charming royal children and bashful wives all come to adore her. O’Hara is perfectly suited to her role as a prideful Englishwoman, and sings rapturously throughout the show, especially on her poignant renditions of “Hello, Young Lovers.”
Chita
The story, based on a 1956 Friedrich Durrenmatt play, centers on a billionaire, played by Rivera, who pays a visit to her hardship-stricken European birthplace. "I married very often and I widowed very well," she sings.
She has come for revenge. The billionaire offers the townsfolk a chance to be wealthy beyond their dreams if they agree to make her long-lost lover Anton suffer.
Rivera is as elegantly regal, funny and sly as always. Her billionaire is haughty and irritable but there's simply no denying her. "I'm unkillable," the 82-year old icon says with a tiny, knowing smirk.
But he does have a scheme — to convince Lily Garland (the inimitable Chenoweth), his former lover and currently a major movie star, to headline his next Broadway show.
But Lily is the show’s magnet, even when she’s just standing in the spotlight posing — a posture that makes Chenoweth purr. In fact, everything this egocentric diva does makes her purr. Every move becomes a grand gesture, every emotion a grand passion, every inconvenience a grand tragedy. Nothing is outside Chenoweth’s comic skills or beyond the range of that amazing coloratura voice. She loves Lily — and Lily loves her back.
Kelli
Broadway’s darling, Kelli O’Hara, is ravishing as the English governess to the children in the royal household of the King of Siam, O’Hara has never sung with more vocal command or acted with more assurance, and she really opens her heart in “Getting to Know You.”
Chita
What an entrance line! And Chita Rivera relishes every nuance of it in her elegant turn as the mysterious woman in “The Visit,” If ever a star deserved her moment of triumph, it’s this 82-year-old belle dame, who was hell-bent on bringing this offbeat Kander and Ebb musical to Gotham. And what a commanding figure she strikes, dressed by Ann Hould-Ward in full-length white furs and dripping with jewels.
Chita and Rees are captivating when they find themselves “In the Forest Again,” where they once made love. And Chita is breathtaking in “Love and Love Alone,” the gorgeous ballad for the pas de deux in which she dances with her own younger self.
I believe that it's absolutely a three way race between Kristin, Kelli, and Chita. I thought Malone was fantastic and deserved to be nominated, but I don't see her winning, unless by some strange chance the other three cancel each other out. Feel free to add Malone's reviews, if you wish.
I have to agree about Malone. While the role isn't as flashy as others, it's by far the most nuanced performance by the women in question. Malone's performance is the one that I can't get out of my head.
Comparing critical plaudits for each of the esteemed ladies is all well and good (and why are we ignoring Beth Malone and Leanne Cope while we're at it?)
But the important thing is comparing what YOU feel when you watch each of the performances more than what the reviewers write.
I've been blown away by performances by Kelli and Chita in years past, but this year only one lady made me leap out of my seat with spontaneous applause several times in the night, and that lady was Miss Chenoweth. I've stated this elsewhere but my vote's with her.
Others may disagree, but this year, I don't feel there's a true front-runner or favorite for the award. And that's what makes this year so exciting. I was lucky enough to see all the musicals that opened this season in New York (save The Last Ship, which I saw in Chicago) and this season was rich in female performances. This is a tight year and truthfully, I think all of the nominees are good enough to be labeled "best actress."
Leanne Cope's award is her nomination. I saw AAIP so early in it's run that I really can't remember much but her dancing, which deserves awards just for that. But I think her chances of winning are quite slim.
By no means am ruling out Beth Malone--her taking an award home from any ceremony wouldn't surprise me. Her big Alison is stunning...just as Chita is in The Visit, Kelli is The King and I, and Kristin is in OTTC.
Oh great another thread about this.....this isn't getting old. I also wonder why everyone is counting out Beth Malone. She could easily be a dark horse.
Countdown til Jordan comes on raging about how much loves me! 3..2..1...
"Others may disagree, but this year, I don't feel there's a true front-runner or favorite for the award. And that's what makes this year so exciting."
That's exactly what I'm trying to show with this thread! Of course, a front-runner could emerge as critics' predictions and pre-Tony awards are announced. Anything can happen.
Let's keep in mind too that the buzz can shift as the preliminary awards and critics picks start to come out during the month of May.
I do think it's a three way race, and I wouldn't be surprised to see any of them win. I do think that Chenoweth and Rivera benefit from having flashier roles, and perhaps as a result, flashier reviews, but who knows what will happen.
Right now, my gut tells me Chenoweth, but that will probably change a dozen times between now and the awards.
I think Kristin has the edge at the moment, but Beth Malone is absolutely in the race (possibly above Chita and even Kelli). It's a haunting, beautiful performance, she has a strong personal narrative, and the bigger names could easily split the vote.
Remember when LaChanze won over Kelli and Patti LuPone? That could easily happen again here.
It's really tough to say how this will turn out. Neither Kelli nor Beth are in contention at the Drama Desks. In fact, Beth isn't up for any awards other than the Tony this season. She could very well be caught in a sweep for Fun Home. Then again, so could Kelli if the voters really love The King and I. Who's to say the race isn't between Beth, Kelli, and Leanne based on the strength of the showings of their respective shows? While I do think Leanne should be happy to be nominated, I think it's really up for grabs among the other four. It will be a race to the finish line. It's a wonderful category, though; an embarrassment of riches. If only the category were this stuffed with winning performances every year.
Even though I'm rooting for O'Hara, I will be very happy if any of the three win. This season is the best when it comes to "winning performances" in quite a while.
Laura Benanti-She Loves Me Cynthia Erivo-The Color Purple Erin Mackey-Amazing Grace Audra McDonald-Shuffle Along Lea Salonga-Allegiance Ana Villafane-On Your Feet! Whoever will be playing Trina in Falsettos
And possibly (if these shows end up coming in)... Samantha Barks-Amelie Jessie Mueller-Waitress Eva Noblezada (or whoever would be playing Kim)-Miss Saigon Whoever would be playing Mona in Best Little Whorehouse
I love Beth Malone. I don't think that she'll win, but I think that Fun Home will open up many doors for her. She'll win in the future if she doesn't win this year.
That's truly the best thing about Beth Malone's nomination. Even if she doesn't win, other opportunities will come her way. She was one of my favorite parts of FUN HOME (which is saying something) and I hope she gets the career she deserves.
Gloriously revived by the Roundabout Theatre Company, this 1978 musical — now with sparkling turns by Kristin Chenoweth and Peter Gallagher — is a fast-paced romp.
Chenoweth uses her whippet-thin body and multioctave vocal range to delicious comic effect.
All told, “On the Twentieth Century” is on track to score big at Tony Awards time — Chenoweth might as well start practicing her acceptance speech
Kelli
Kelli O’Hara reunites with that show’s director, Bartlett Sher, and gives yet another finely calibrated performance as the “I” of the title. Her warm, occasionally bemused poise makes her a fine fit for Anna Leonowens, the British widow who’s been appointed governess of the King of Siam’s many children.
Chita
It’s Chita Rivera’s world: We just live in it. This works out very well for the Kander and Ebb musical “The Visit,” in which the charismatic star plays a billionairess who buys her hometown.
But “The Visit” is Claire, and Rivera. Claire’s dance duet with her younger self, tenderly choreographed by Graciela Daniele, is one of this season’s emotional peaks. It’s hard to think of a better sync between role and star.
“I’m unkillable,” Claire says. And you may find yourself wishing Rivera could also go on forever.
joined:8/4/04
joined:
8/4/04
Posted: 4/29/15 at 8:34pm