The Broadway Musical Blog – Musical theater news and gossip from the Great White Way

Dishing out daily (or almost daily) Broadway musical news and gossip. The companion site to The Broadway Musical Home (broadwaymusicalhome.com), a directory of Broadway musicals with the story, songs, merchandise, video clips, lyrics, tickets, rights & awards for almost 200 shows.

Archive for American Idiot

My Top 10 Broadway Moments in 2010

A guest blog by Ken Davenport

It’s the time of year for the ol’ look back. What memorable moments have the last 12 months brought us that could help define the next 12 months?

Here are my top 10 Broadway moments for 2010 . . . in no particular order.

1. It’s a bird, it’s a plane! No, it’s actually a performance of Spiderman!

Will it? Won’t it? Everyone in the biz has been asking this question about Spiderman for years. And, well, a new era of musical theatre began when the curtain (finally) went up after the first (long) preview. Obviously, the drama isn’t over yet . . . but come on, 2 years ago when work halted at the Hilton, did you think we’d ever see Spidey on stage?

2. 39 Steps transfers again, but this time, from Broadway to Off.

When one show does it (Avenue Q), some might call it a fluke. When two shows do it, it’s officially a trend. And rumor has it that a third recently shuttered Broadway show is headed for the 499 that 39 Steps is vacating. My prediction? When Chicago finally loses its steam at the Ambassador, it’ll transfer to the Little Shubert and run for another 10 years.

3. Billie Joe Armstrong puts his guitar where his mouth is.

Getting your creative team behind your production is important. But when your creative team is a humongo rock star, it’s essential. Billie Joe stepped into the spotlight when asked and played 8 performances [of American Idiot] and literally stopped traffic on 44th Street in the process. He’s on his way back to the St. James this winter to boost the box office again.

4. Did you see who took that photo?

In a related story, check out this article in the New York Times about the Billie Joe appearance. What’s so memorable about it? Well, the photo was taken by someone in the audience, and the Times used it, which shows you where journalism is headed over the next 10 years. And the audience member who took it? It was Jordan Roth, owner of Jujamcyn Theaters. And that shows you where theater is headed over the next 10 years.

5. Sean Hayes is gay?

Newsweek caused quite a fuss over its article that questioned whether Sean Hayes could convincingly play a heterosexual man [in Promises, Promises]. It got everyone fired up, from his costar Kristin Chenoweth, to Aaron Sorkin, to just about every single poster on All That Chat. Sean got the last word when he hosted the Tonys and did a fantastic job.

6. La Cage Aux Folles is back. Too soon?

Last year’s production of Ragtime had everyone saying that there is a minimum number a years a show needs to be off the boards in order for a revival to work. Then in struts La Cage, less than five years after its last revival, proving to everyone that it’s not always about the . . . timing. It’s about excellence.

7. Scarlett Johansson debuts A View From The Bridge . . . and she’s good!

Alright, alright, I’ve got a soft spot for Scar (as I call her), but after her performance in Bridge and her acceptance speech on Tony night, who didn’t fall in love? Crushes aside, her performance was exactly what we hope for when an A-lister hangs out with us for a while. I guarantee that other Hollywood hotties were saying, “I wanna try that.” And that is good for all of us. Because like it or not, stars have the ability to bring new audiences to the theater.

8. Glee makes singing cool again.

Matt Morrison was on the cover of Details last month. Lea Michele is in US Weekly almost every week. Who knew we’d have some Broadway hotties making a splash out West and serving as singing and dancing role models.

9. One agency goes, and another one comes.

2010 saw the end of the Eliran Murphy Group, an ad agency which serviced the majority of the Off-Broadway shows in town. But it also saw the arrival of a bigger dog on the block. AKA, an advertising force from the UK, arrived on our shores over the summer, and snatched up bunch of high profile players at competing firms. We all knew there was room for another agency in town. But no one knew it would be something with the experience of AKA. Things just got real, yo. With three major players on the street (Serino, Spot and AKA), there’s actually some real competition and a choice for Producers.

10. The NFL puts a play in its playbook.

Who says big business won’t back Broadway? Here comes the NFL, one of the biggest businesses of all, with more eyeballs every Sunday than we could dream about in a year, sponsoring Lombardi. The odds were on Lombardi not making it to the playoffs, but thanks to the NFL, the show looks destined to run past Super Bowl Sunday and beyond.

So I’ve shown you mine, now you show me yours. What were your most memorably moments on or off Broadway in 2010?

Ken Davenport is a Broadway and Off-Broadway producer who helped bring  13 and Altar Boyz to New York and is now working towards mounting a revival of Godspell. For more like this, you can follow his blog at theproducersperspective.com or find him on Twitter or Facebook.

2010 Tony Award Winners and Losers

Thanks for joining us for our live coverage of this year’s Tony Awards. Hope you had as much fun as we did! Here’s who took home the awards and who walked away empty-handed:

Best Musical
Memphis
American Idiot
Fela!
Million Dollar Quartet

Best Performance by a Leading Actor in a Musical
Douglas Hodge, La Cage aux Folles
Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises
Chad Kimball, Memphis
Sahr Ngaujah, Fela!

Best Performance by a Leading Actress in a Musical
Catherine Zeta-Jones, A Little Night Music
Kate Baldwin, Finian’s Rainbow
Sherie Rene Scott, Everyday Rapture
Montego Glover, Memphis
Christiane Noll, Ragtime

Best Revival of a Musical
La Cage aux Folles
Finian’s Rainbow
A Little Night Music
Ragtime

Best Choreography
Bill T. Jones, Fela!
Rob Ashford, Promises, Promises
Lynne Page, La Cage aux Folles
Twyla Tharp, Come Fly Away

Best Performance by a Featured Actor in a Musical
Levi Kreis, Million Dollar Quartet
Kevin Chamberlin, The Addams Family
Robin De Jesús, La Cage aux Folles
Christopher Fitzgerald, Finian’s Rainbow
Bobby Steggert, Ragtime

Best Performance by a Featured Actress in a Musical
Katie Finneran, Promises, Promises
Barbara Cook, Sondheim on Sondheim
Angela Lansbury, A Little Night Music
Karine Plantadit, Come Fly Away
Lillias White, Fela!

Best Direction of a Musical
Terry Johnson, La Cage aux Folles
Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime
Bill T. Jones, Fela!

Best Sound Design of a Musical
Robert Kaplowitz, Fela!
Jonathan Deans, La Cage aux Folles
Dan Moses Schreier and Gareth Owen, A Little Night Music
Dan Moses Schreier, Sondheim on Sondheim

Best Scenic Design of a Musical
Christine Jones, American Idiot
Marina Draghici, Fela!
Derek McLane, Ragtime
Tim Shortall, La Cage aux Folles

Best Lighting Design of a Musical
Kevin Adams, American Idiot
Donald Holder, Ragtime
Nick Richings, La Cage aux Folles
Robert Wierzel, Fela!

Best Costume Design of a Musical
Marina Draghici, Fela!
Paul Tazewell, Memphis
Matthew Wright, La Cage aux Folles

Best Book of a Musical
Joe DiPietro, Memphis
Dick Scanlan and Sherie Rene Scott, Everyday Rapture
Jim Lewis & Bill T. Jones, Fela!
Colin Escott and Floyd Mutrux, Million Dollar Quartet

Best Original Score (Music and/or Lyrics) Written for the Theatre
Joe DiPietro and David Bryan, Memphis
Andrew Lippa, The Addams Family
Adam Cork and Lucy Prebble, Enron
Branford Marsalis, Fences

Best Orchestrations
Daryl Waters & David Bryan, Memphis
Jason Carr, La Cage aux Folles
Aaron Johnson, Fela!
Jonathan Tunick, Promises, Promises

Special Tony for Lifetime Achievement in the Theatre
Alan Ayckbourn
Marian Seldes

Regional Theatre Tony Award
The Eugene O’Neill Theater Center, Waterford, Connecticut

Isabelle Stevenson Award
David Hyde Pierce

A Preview of the 2010 Tony Awards

Tune into our LIVE coverage right now!

The Tony Awards are the only awards ceremony to be telecast nationally, which converts to free publicity for the out-of-town audience that makes up the bulk of Broadway ticket sales, and thus becomes a huge predictor of future success for the nominated shows. Tony wins often allow shows to run on for years – with audiences streaming in to catch this year’s Best Musical and performances by the best actors, while the losing shows sometimes fold the next day.

But the most exciting piece for me is that viewers get a chance to see performances of the big nominated musicals (with no expenses spared) plus all of the stars we’ve come to love (with tons of Hollywood celebrities thrown in this year!) all in one night. Sean Hayes, the star of the nominated Promises, Promises, will host the ceremony, which will feature the following performances:

  • A big opening number which will include Sherie Rene Scott’s “Up the Ladder” from her show Everyday Rapture and the cast of Memphis performing “Blue Suede Shoes,” among other bits of fun
  • Catherine Zeta-Jones’ rendition of “Send in the Clowns” from A Little Night Music
  • Performances from “Glee” stars Matthew Morrison and Lea Michele
  • A medley from Million Dollar Quartet
  • The title song from American Idiot, performed by the cast (and possibly Green Day)
  • Performance from the cast of Promises, Promises
  • Christiane Noll’s rendition of “Back to Before” from Ragtime
  • A medley from Memphis
  • A dance performance by the cast of Come Fly Away
  • Kelsey Grammer and Douglas Hodge performing “The Best of Times” from La Cage aux Folles
  • A montage of songs from Fela!

Presenters for the 64th Annual Tony Awards include many stars from Hollywood, television and the stage. They are (in alphabetical order): Paula Abdul, Antonio Banderas, Justin Bartha, Patrick Breen, Laura Benanti, Cate Blanchett, Laura Bell Bundy, Michael Cerveris, Kristin Chenoweth, Barbara Cook, Viola Davis, Michael Douglas, Kelsey Grammer, Rosemary Harris, Patrick Heusinger, Katie Holmes, Brian d’Arcy James, Scarlett Johansson, Angela Lansbury, Anthony LaPaglia, Laura Linney, Lucy Liu, Jane Maxwell, Idina Menzel, Lea Michele, Helen Mirren, Alfred Molina, Matthew Morrison, Chris Noth, Bernadette Peters, David Hyde Pierce, Daniel Radcliffe, Eddie Redmayne, Mark Sanchez, Liev Schreiber, Tony Shaloub, Will & Jada Pinkett Smith, Stanley Tucci, Denzel Washington and Racquel Welch.

I’ll be covering the ceremony live here on the blog, Twitter and Facebook. My coverage will start at 7 pm ET with the creative arts awards and continue until it ends late at night. Exasperated by or elated at the winners or losers? I wanna hear about it so don’t be shy about joining the conversation!

I don’t know about you, but I’m very much looking forward to this year’s Tony Awards!

Tune into our LIVE coverage right now!

2010 Drama Desk Award Winners – Memphis and La Cage Aux Folles Take Home the Big Prizes

The 2010 Drama Desk Award ceremony took place tonight. Thanks for joining us for the live-update. This year’s winners for the categories whose nominees included musicals are below:

Outstanding Musical
Memphis

Outstanding Revival of a Musical
La Cage Aux Folles

Outstanding Actress in a Musical
Montego Glover, Memphis
AND
Catherine Zeta-Jones, A Little Night Music

Outstanding Actor in a Musical
Douglas Hodge, La Cage Aux Folles

Outstanding Musical Revue
Sondheim on Sondheim

Outstanding Set Design
Phelim McDermott, Julian Crouch, Basil Twist, The Addams Family

Outstanding Sound Design
Acme Sound Partners, Ragtime

Outstanding Lighting Design
Neil Austin, Red

Outstanding Costume Design
Matthew Wright, La Cage aux Folles

Outstanding Featured Actress in a Musical
Katie Finneran, Promises, Promises

Outstanding Featured Actor in a Musical
Christopher Fitzgerald, Finian’s Rainbow

Special Drama Desk Award
Jerry Herman (for more than half a century of exuberant music and heartfelt lyrics)

Outstanding Director of a Musical
Michael Mayer, American Idiot

Outstanding Choreography
Twyla Tharp, Come Fly Away

Outstanding Orchestrations
Daryl Waters & David Bryan, Memphis

Outstanding Book of a Musical
Alex Timbers, Bloody Bloody Andrew Jackson

Outstanding Lyrics
John Kander & Fred Ebb, The Scottsboro Boys

Oustanding Musical Score
David Bryan, Memphis

The 2010 Outer Critics Circle Award Winners

The first award-winners of the season have been announced. There were a couple of big surprises, including the big win for Memphis in the Outstanding New Musical category. The committee also decided on ties for Outstanding Off-Broadway Musical, Outstanding Actress in a Musical and Outstanding Choreography. What do you think of their selections?

Outstanding New Broadway Musical
Memphis

Outstanding New Off-Broadway Musical
Bloody Bloody Andrew Jackson
AND
The Scottsboro Boys

Outstanding New Score (Broadway or Off-Broadway)
Memphis

Outstanding Revival of a Musical (Broadway or Off-Broadway)
La Cage aux Folles

Outstanding Director of a Musical
Terry Johnson, La Cage aux Folles

Outstanding Choreographer
Bill T. Jones, Fela!
AND
Sergio Trujillo, Memphis

Outstanding Set Design (Play or Musical)
Phelim McDermott & Julian Crouch, The Addams Family

Outstanding Costume Design (Play or Musical)
Matthew Wright, La Cage aux Folles

Outstanding Lighting Design (Play or Musical)
Kevin Adams, American Idiot

Outstanding Actor in a Musical
Douglas Hodge, La Cage aux Folles

Outstanding Actress in a Musical
Montego Glover, Memphis
AND
Catherine Zeta-Jones, A Little Night Music

Outstanding Featured Actor in a Musical
Levi Kreis, Million Dollar Quartet

Outstanding Featured Actress in a Musical
Katie Finneran, Promises, Promises

View the full list of noiminees

And Finally…The 2010 Tony Award Nominees

The nominees for the big one – the Tony Awards – were announced this morning. The only telecast ceremony of the bunch, these are the awards the average person on the street has heard of and oftentimes have a lot to do with whether a show continues its run for years or closes the next week. We will be announcing the winners live on Twitter and Facebook during the ceremony on Sunday, June 13, so be sure to follow or like us to stay posted and join the conversation. Here are the nominated musicals:

Best Musical
American Idiot
Fela!
Memphis
Million Dollar Quartet

Best Book of a Musical
Dick Scanlan and Sherie Rene Scott, Everyday Rapture
Jim Lewis & Bill T. Jones, Fela!
Joe DiPietro, Memphis
Colin Escott and Floyd Mutrux, Million Dollar Quartet

Best Original Score (Music and/or Lyrics) Written for the Theatre
Andrew Lippa, The Addams Family
Adam Cork and Lucy Prebble, Enron
Branford Marsalis, Fences
Joe DiPietro and David Bryan, Memphis

Best Revival of a Musical
Finian’s Rainbow
La Cage aux Folles
A Little Night Music
Ragtime

Best Performance by a Leading Actor in a Musical
Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles
Chad Kimball, Memphis
Sahr Ngaujah, Fela!

Best Performance by a Leading Actress in a Musical
Kate Baldwin, Finian’s Rainbow
Sherie Rene Scott, Everyday Rapture
Montego Glover, Memphis
Christiane Noll, Ragtime
Catherine Zeta-Jones, A Little Night Music

Best Performance by a Featured Actor in a Musical
Kevin Chamberlin, The Addams Family
Robin De Jesús, La Cage aux Folles
Christopher Fitzgerald, Finian’s Rainbow
Levi Kreis, Million Dollar Quartet
Bobby Steggert, Ragtime

Best Performance by a Featured Actress in a Musical
Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Karine Plantadit, Come Fly Away
Lillias White, Fela!

Best Direction of a Musical
Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime
Terry Johnson, La Cage aux Folles
Bill T. Jones, Fela!

Best Choreography
Rob Ashford, Promises, Promises
Bill T. Jones, Fela!
Lynne Page, La Cage aux Folles
Twyla Tharp, Come Fly Away

Best Orchestrations
Jason Carr, La Cage aux Folles
Aaron Johnson, Fela!
Jonathan Tunick, Promises, Promises
Daryl Waters & David Bryan, Memphis

Best Scenic Design of a Musical
Marina Draghici, Fela!
Christine Jones, American Idiot
Derek McLane, Ragtime
Tim Shortall, La Cage aux Folles

Best Costume Design of a Musical
Marina Draghici, Fela!
Paul Tazewell, Memphis
Matthew Wright, La Cage aux Folles
Santo Loquasto, Ragtime (Why was this nominee removed?)

Best Lighting Design of a Musical
Kevin Adams, American Idiot
Donald Holder, Ragtime
Nick Richings, La Cage aux Folles
Robert Wierzel, Fela!

Best Sound Design of a Musical
Jonathan Deans, La Cage aux Folles
Robert Kaplowitz, Fela!
Dan Moses Schreier and Gareth Owen, A Little Night Music
Dan Moses Schreier, Sondheim on Sondheim

2010 Drama Desk Award Nominations

As award season continues, another round of announcements are out – these for the coveted Drama Desk Awards, which include Broadway, Off-Broadway and Off-Off-Broadway productions. Without further ado, here are the nominees for the categories that include musicals:

Special Award
Jerry Herman

Outstanding Musical
American Idiot
Everyday Rapture
Memphis
The Addams Family
The Scottsboro Boys
Yank!

Outstanding Revival of a Musical
A Little Night Music
Finian’s Rainbow
La Cage Aux Folles
Promises, Promises
Ragtime

Outstanding Actor in a Musical
Brandon Victor Dixon, The Scottsboro Boys
Douglas Hodge, La Cage Aux Folles
Cheyenne Jackson, Finian’s Rainbow
Chad Kimball, Memphis
Nathan Lane, The Addams Family
Bobby Steggert, Yank!

Outstanding Actress in a Musical
Kate Baldwin, Finian’s Rainbow
Montego Glover, Memphis
Jayne Houdyshell, Coraline
Christiane Noll, Ragtime
Sherie Rene Scott, Everyday Rapture
Catherine Zeta-Jones, A Little Night Music

Outstanding Featured Actor in a Musical
Kevin Chamberlin, The Addams Family
Robin De Jesus, La Cage Aux Folles
Jeffry Denman, Yank!
Christopher Fitzgerald, Finian’s Rainbow
Jeremy Morse, Bloodsong of Love
Bobby Steggert, Ragtime

Outstanding Featured Actress in a Musical
Carolee Carmello, The Addams Family
Carrie Cimma, Lizzie Borden
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Kenita Miller, Langston in Harlem
Terri White, Finian’s Rainbow

Outstanding Choreography
Warren Carlyle, Finian’s Rainbow
Marcia Milgrom Dodge, Ragtime
Lynne Page, La Cage Aux Folles
Susan Stroman, The Scottsboro Boys
Twyla Tharp, Come Fly Away
Sergio Trujillo, Memphis

Outstanding Music
David Bryan, Memphis
Michael Friedman, Bloody Bloody Andrew Jackson
Joe Iconis, Bloodsong of Love
John Kander & Fred Ebb, The Scottsboro Boys
Andrew Lippa, The Addams Family
Joseph Zellnik, Yank!

Outstanding Lyrics
Rick Crom, Newsical The Musical
Kevin Del Aguila, Click, Clack, Moo
John Kander & Fred Ebb, The Scottsboro Boys
Dillie Keane and Adèle Anderson, Fascinating Aïda Absolutely Miraculous!
Andrew Lippa, The Addams Family
David Zellnik, Yank!

Outstanding Book of a Musical
Joe DiPietro, Memphis
Joe Iconis, Bloodsong of Love
Dick Scanlan & Sherie Rene Scott, Everyday Rapture
David Thompson, The Scottsboro Boys
Alex Timbers, Bloody Bloody Andrew Jackson
David Zellnik, Yank!

Outstanding Orchestrations
William David Brohn, Ragtime
Larry Hochman, The Scottsboro Boys
Tom Kitt, American Idiot
Tom Kitt, Everyday Rapture
John Oddo, All About Me
Daryl Waters & David Bryan, Memphis

Outstanding Musical Revue
Fascinating Aïda Absolutely Miraculous!
Million Dollar Quartet
Newsical The Musical
Simon Green: Traveling Light
Sondheim on Sondheim

Outstanding Set Design
Sandra Goldmark, The Boys in the Band
Phelim McDermott, Julian Crouch & Basil Twist, The Addams Family
Derek McLane, Ragtime
Christopher Oram, Red
Jay Rohloff, Underground
Karen Tennent, Hansel and Gretel

Outstanding Costume Design
Antonia Ford-Roberts & Bob Flanagan, The Emperor Jones
Santo Loquasto, Ragtime
Clint Ramos, So Help Me God!
Bobby Frederick Tilley II, Lizzie Borden
Matthew Wright, La Cage Aux Folles
David Zinn, In the Next Room or the vibrator play

Outstanding Lighting Design in a Play
Neil Austin, Hamlet
Neil Austin, Red
Christian M. DeAngelis, Lizzie Borden
Maruti Evans, John Ball’s In the Heat of the Night
Natasha Katz, The Addams Family
Dane Laffrey, The Boys in the Band

Outstanding Sound Design in a Musical
Acme Sound Partners, Ragtime
Jonathan Deans, La Cage Aux Folles
Ashley Hanson, Kurt Eric Fischer & Brian Ronan, Everyday Rapture
Peter Hylenski, The Scottsboro Boys
Scott Lehrer, Finian’s Rainbow
Brian Ronan, Promises, Promises

April News Roundup

An awful lot has happened this month on the Great White Way – numerous shows have opened, squeezing in just in time for award consideration, and there’s been lots of exciting announcements and good old controversy. If you’ve been hiding under a rock, here’s what you’ve missed:

The Addams Family opened to dismal reviews, while the critics ate up the La Cage Aux Folles revival and had mixed things to say about American Idiot, Million Dollar Quartet, Sondheim on Sondheim and Promises, Promises.

Everyday Rapture, the last minute Sherie Rene Scott showcase, opens tomorrow night and released a very fun cast recording pre-opening. The buzz so far is that those who love the woman will adore the production, while others may be left scratching their heads. We’ll see what the critics have to say tomorrow.

There’s quite a break before the next round of shows look to make their way to Broadway. The big official announcements are that Catch Me If You Can, which had an out-of-town-tryout last year in Seattle, is looking at a spring 2011 Broadway opening. However, Jack O’Brien and Jerry Mitchell, who were involved in the Seattle mounting are already tied up in Phantom: Love Never Dies, which was pushed back to the spring in response to Andrew Lloyd Webber’s health problems, so everyone’s wondering which production they’ll stick with.

The other exciting spring openings are How to Succeed in Business Without Really Trying, which will feature Harry Potter star Daniel Radcliffe, The Book of Mormon, from South Park creators Trey Parker and Matt Stone and Avenue Q composer and co-creator Robert Lopez and the Australian/West End transfer of Priscilla, Queen Of The Desert, whose producers are reportedly talking to Matthew Cavanaugh (West Side Story) and Will Swenson (Hair) about joining Tony Sheldon in the production.

The doomed Spider-Man: Turn Off the Dark ran into another hiccup, when it’s only remaining headliner, Alan Cumming, bailed on the production. Originally slotted to open in the fall of last year, then in February of this year, the show now has no official start date or stars, save for the newcomer, Reeve Carney, who Taymor selected to play Spidey…

Plenty of rumors have popped up this month too. Rumor is that Gwyneth Paltrow and her mother Blythe Danner may be taking over for Catherine Zeta Jones and Angela Lansbury in A Little Night Music, when they depart the production in June. And Disney acquired the domain names DumboOnBroadway.com and NewsiesOnBroadway.com. The Post already told us about a potential Dumbo mounting on Broadway, but the Newsies purchase has sparked some positive buzz among our Twitter and Facebook followers.

Another adaptation of film to the stage is officially in the works – as producer Matt Murphy has acquired the stage rights for a musical adaptation of Dances With Wolves. Murphy, who is pulling together a creative team now, is looking to team the composer “with a Native American musical expert to lend authenticity to the score.” And the NFL has invested in their first Broadway show, Lombardi, which will star Dan Lauria (“The Wonder Years”) and is slated to open at Circle in the Square on Oct. 21, 2010.

The biggest controversy this month was that Next to Normal took home the Pulitzer Prize for Drama, even though it was not among the nominees. The board members are reputed to have attended the show the night before making their decision and Charles McNulty of the Los Angeles Times cried foul while others sat wondering “what’s with all the N2N hate?” The show did just recoup its investment – a very exciting achievement that many hope will help producers see they don’t have to rely on Hollywood stars and spectacle to make a success – a good show will get “butts in seats.”

In other award news, nominees for the Outer Critics Circle Awards and Drama League Awards have been announced. The Drama Desk nominees will be out on May 3rd and the Tony Award nominees on May 4th. Here’s when all of the award ceremonies will take place:

Drama League Awards: May 21, 2010
Drama Desk Awards: May 23, 2010
Outer Critics Circle Awards: May 27, 2010
Theatre World Awards: June 8, 2010
Tony Awards: June 13, 2010

Cast albums are out for Everyday Rapture, American Idiot and A Little Night Music and The Addams Family, Fela! and Memphis all recently went into the studio to record their own. The Off-Broadway (and suspected soon-to-transfer-to-Broadway) production of The Scottsboro Boys also ducked into the studio to record an album.

In casting news, Brian d’Arcy James, who originated the role of Dan in Next to Normal‘s original Off-Broadway run, will be rejoining the cast, this time on Broadway.  J. Robert Spencer leaves the show on May 16 and James will start his run in the show the following day.

And the final bit of excitement I’ll leave with you is official confirmation that shooting for the In the Heights movie, directed by Kenny Ortega and starring Lin-Manuel Miranda,  begins this August.

2010 Outer Critics Circle Nominations

Yesterday, Hunter and Sutton Foster announced the nominees for the 60th annual Outer Critics Circle Awards, which honor the best in Broadway and Off-Broadway theatre. Winners will be announced on May 27 here on the blog. Here are this year’s musical theater nominees:

Outstanding New Broadway Musical
American Idiot
Come Fly Away
Fela!
Memphis
Sondheim on Sondheim

Outstanding New Off-Broadway Musical
Bloody Bloody Andrew Jackson
The Scottsboro Boys
Tin Pan Alley Rag
Yank!

Outstanding New Score (Broadway or Off-Broadway)
Bloody Bloody Andrew Jackson
Memphis
The Scottsboro Boys
Yank!

Outstanding Revival of a Musical (Broadway or Off-Broadway)
La Cage aux Folles
Finian’s Rainbow
A Little Night Music
Promises, Promises

Outstanding Director of a Musical
Christopher Ashley, Memphis
Terry Johnson, La Cage aux Folles
Susan Stroman, The Scottsboro Boys
Alex Timbers, Bloody Bloody Andrew Jackson

Outstanding Choreographer
Rob Ashford, Promises, Promises
Bill T. Jones, Fela!
Susan Stroman, The Scottsboro Boys
Sergio Trujillo, Memphis

Outstanding Set Design (Play or Musical)
John Lee Beatty, The Royal Family
Beowulf Boritt, Sondheim on Sondheim
Phelim McDermott & Julian Crouch, The Addams Family
Donyale Werle, Bloody Bloody Andrew Jackson

Outstanding Costume Design (Play or Musical)
Jane Greenwood, Present Laughter
Martin Pakledinaz, Lend Me a Tenor
Matthew Wright, La Cage aux Folles
Catherine Zuber, The Royal Family

Outstanding Lighting Design (Play or Musical)
Kevin Adams, American Idiot
Kevin Adams, The Scottsboro Boys
Ken Billington, Sondheim on Sondheim
Justin Townsend, Bloody Bloody Andrew Jackson

Outstanding Actor in a Musical
Brandon Victor Dixon, The Scottsboro Boys
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles
Chad Kimball, Memphis
Nathan Lane, The Addams Family

Outstanding Actress in a Musical
Kate Baldwin, Finian’s Rainbow
Barbara Cook, Sondheim on Sondheim
Montego Glover, Memphis
Bebe Neuwirth, The Addams Family
Catherine Zeta-Jones, A Little Night Music

Outstanding Featured Actor in a Musical
Kevin Chamberlin, The Addams Family
Christopher Fitzgerald, Finian’s Rainbow
Levi Kreis, Million Dollar Quartet
Dick Latessa, Promises, Promises
Bobby Steggert, Ragtime

Outstanding Featured Actress in a Musical
Carolee Carmello, The Addams Family
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Cass Morgan, Memphis
Terri White, Finian’s Rainbow

The reviews for American Idiot are in…

The reviews for the Green Day album-turned-musical, American Idiot, have come out and  critics were quite pleased with the production, with a few reservations. Some called it the best musical of the season (and even of the 21st century), while others were a bit more discerning – pointing to a thin plot covered up by spectacle, lights and sound. They do all agree on one thing – this musical, following in the footsteps of Hair and Spring Awakening, is a rock-opera unlike anything Broadway audiences have seen before.

Get American Idiot Tickets

The New York Times

In any case the music is thrilling: charged with urgency, rich in memorable melody and propulsive rhythms that sometimes evolve midsong. The orchestrations by Tom Kitt… move from lean and mean to lush, befitting the tone of each number. Even if you are unfamiliar with Green Day’s music, you are more likely to emerge from this show humming one of the guitar riffs than you are to find a tune from The Addams Family tickling your memory. But the emotion charge that the show generates is as memorable as the music. American Idiot jolts you right back to the dizzying roller coaster of young adulthood, that turbulent time when ecstasy and misery almost seem interchangeable states, flip sides of the coin of exaltation. It captures with a piercing intensity that moment in life when everything seems possible, and nothing seems worth doing, or maybe it’s the other way around. Read Full Review

TheaterMania

Undoubtedly the best new musical of the season…Green Day’s songs are what propel the narrative, and they are ingeniously employed, sometimes in rather unexpected ways…American Idiot perhaps most resembles Hair, insomuch as it showcases one stunning song after another with just a loose narrative frame to hold it together, and a clear emotional throughline…But while Armstrong’s lyrics are laced with pessimism, the music is often buoyantly exuberant, which is one of the main reasons it succeeds as an amazing theatrical experience. Read Full Review

Chicago Tribune

American Idiot, the show, delivers a thick, gorgeous head rush of a musical soundscape without current Broadway parallel. It turns out to offer the kind of sensual lushness that a lot more traditional musicals would kill to emulate. That’s mostly due to the brilliance of Tom Kitt’s orchestrations, adding violin, cello, weight and gravitas to the Green Day sound without blunting its aggressive edge. With the gifted director Michael Mayer spreading his eight-member band out across a beautifully cacophonous setting — more a video-filled installation, really — from Christine Jones that evokes a constant blaring of Fox News in an endless sea of 7-Eleven parking lots and crappy urban apartments, you get a stunning musical wash of all corners of human emotion. Read Full Review

Financial Times

Doris Lessing once said that every generation thinks that it discovered sex. The same could be said for drugs and rock ’n’ roll. The new Broadway musical American Idiot can have nothing especially new to reveal about any of these subjects but it does reinvent them in such a way as to make them once again feel a little more dangerous and a lot more alive. Read Full Review

Backstage

The book fails to develop these characters beyond their initial conflicts, and it wouldn’t hurt to have more than a few diary entries from Johnny to guide us. Nevertheless, the dynamic score—the jagged lyrics are by Armstrong, who also composed the driving music, with Mike Dirnt and Trè Cool—leads us into the frazzled psyches of an aimless portion of America’s Generation Y. Tom Kitt, credited with musical supervision, arrangements, and orchestrations, builds a bridge between the worlds of rock and Broadway by making the songs accessible to general audiences without losing the chest-slamming intensity. Read Full Review

Newsday

If Spring Awakening was the birth of genuine rock musicals on Broadway, then American Idiot is its worthy son. Not as groundbreaking or original as its precocious papa in 2006, the punk-pop opera based on Green Day’s multiplatinum album is an exuberant assault – a slick and tough 95-minute package of alienated suburban youth, media overstimulation and seamless, high-concept theatricality. Read Full Review

The Hollywood Reporter

Although the original concept album is reasonably cohesive, it’s a thin premise on which to base a musical, and the show’s book, by the band’s Billie Joe Armstrong and director Michael Mayer, doesn’t manage to flesh it out sufficiently. Telling its story largely through music and movement with only a smattering of dialogue, “Idiot” never manages to make us care about the fate of its thinly drawn characters. Still, there’s a lot of passion onstage, and Mayer has provided the sort of propulsive staging that helps put the material over. Read Full Review

Toronto Star

The first great musical of the 21st century… it’s not just one more trendy flash-in-the-pan, but the climax of a journey towards a rock Parnassus that the American musical theatre has been on for these past 40 years. Read Full Review

Talkin’ Broadway

Even with Gallagher thrashing around at its center, American Idiot satisfies in spite of all that’s working against it — including the passage of time (and a presidency) that’s rendered much of its discontent obsolete. Yet the establishment of a new government and its new outlook on America and its future has not been a universal salve, so the young’s quest for absolution and understanding continues. Whether this will be their musical remains to be seen. That it otherwise seems to be everyone’s, in spite of being no real musical at all, is the kind of maddening, exciting contradiction only the theatre can engender. Read Full Review

Associated Press

The musical, which opened Tuesday at the St. James Theatre, is short, some 95 minutes. Just right for an MTV generation weaned on YouTube clips and music videos. “American Idiot,” in fact, plays like one. Wildly diverting to look it, the show has the barest wisp of a story and minimal character development. At best, its slacker guys are sketchy portraits, prototypes rather than real people. Fortunately, there are compensations, most notably the show’s highly theatrical, punk-rock score, sung by a high-energy cast, headed by John Gallagher Jr. The gifted actor, a Tony winner for Spring Awakening, portrays Johnny, the show’s petulant antihero who flees a deadening suburbia and descends into sex, drugs and fierce guitar playing in his quest to find himself in the big city. Read Full Review

Washington Post

American Idiot — a new musical built around the songbook of the popular alternative-rock trio, which opened Tuesday night at the St. James Theatre — suggests that as the foundation of melodic drama, the rebellious-youth thing is getting old. Presented in a visually dazzling package, with coolly aggressive dance steps and the group’s exhilarating songs, the show qualifies as a pulsating album in three dimensions, a gallery of zestfully choreographed music videos. The 90 minutes make for such stimulating spectacle, I would happily sit through them again. And yet, in its attempt to knit a story out of a band’s discography, American Idiot comes across as ordinary. Too many other productions of recent vintage have taken us over this same rocky terrain, the landscape of youthful alienation. It’s surprising how a show with enough imaginative candlepower to light a stadium can appear to have invested so little energy in illuminating its characters, or devising an involving narrative. Read Full Review

Village Voice

The result, though vivid and lurid and imaginatively depraved, is also somewhat inarticulate, spraying its boilerplate discontent at no one in particular, with a lotta standard-issue bitching about The Media and The Man. At least the Spring Awakening crew had onstage clueless grown-ups to rebel against. Of the two dudes who actually get off the couch (seriously, the third one spends the whole rest of the show there, literally drinking bong water, his girl and their newborn baby eventually fleeing in disgust), Johnny (played by breakout SA star John Gallagher Jr.) gets hooked on drugs and does the usual hooked-on-drugs stuff, while Tunny (the excellently named Stark Sands) is enraptured by a charismatic, all-American, media-saturating beefcake dude into joining the Armed Forces and heading off to the Middle East, where he immediately loses his leg and does not-at-all-usual lost-my-leg-in-the-Middle-East stuff—namely, a Peter Pan–style, cable-assisted midair ballet tangle with a nurse who strips off her burka to reveal Princess Jasmine’s outfit from Disney’s Aladdin. To the tune of “Extraordinary Girl.” Read Full Review

NY Daily News

If you’re content to just let the pop-rock and color and lights sweep you up, you’re going to have a good time. But don’t go expecting a plot with any edge or richness… You won’t get any of that. So while it misses at being a breakthrough musical, Idiot could be called a breakneck event – if just for the insistent beat that turns audiences into noggin-nodding bobbleheads. You don’t see that at South Pacific. Read Full Review

New York

Remember the aughts? Or naughts? Or whatever we finally decided to call those crappy Bush years? No? Then you, my friend, are the target audience for American Idiot, Michael Mayer’s dizzyingly miscalculated adaptation of the excellent 2004 concept album by the pop-punk band Green Day. But this musical—a half-exploitative, half-lobotomized attempt to fake a youthgasm—has none of the power of that album, coming as it does from a now-middle-aged rocker (composer, book writer, and Green Day front man Billie Joe Armstrong) and director (Mayer, who proposed and co-conceived this embarrassing feedback loop in the afterglow of Spring Awakening’s success). It’s a self-described “rock opera” set in a self-created “Recent Past,” and it purports to evoke, with a single tear and a power chord, the confusing days of the terror-stricken early 21st century, when we yo-yoed from cowed powerlessness to inchoate fury. Well, confusing and inchoate this show most definitely is: Its version of youthful anomie is so far off the mark, and such a muddled conflation of vague Gen-X nostalgia and generic rebellion sample tracks, that the effect is almost comical. But mostly just irritating. Read Full Review

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