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 On a Clear Day You Can See Forever

2012 Theatre World Awards Winners

The 2012 Theatre World Award Winners have been announced!

Tracie Bennett – End Of The Rainbow
Phillip Boykin – The Gershwins’ Porgy and Bess
Crystal A. Dickinson – Clybourne Park
Russell Harvard – Tribes
Jeremy Jordan – Bonnie & Clyde
Joaquina Kalukango – Hurt Village
Jennifer Lim – Chinglish
Jessie Mueller – On a Clear Day You Can See Forever
Hettienne Park – Seminar

Review all of the nominees for this year’s awards. What do you think were the best productions, performances and designs from this season on Broadway?

2012 Tony Award Nominees

BEST MUSICAL
Leap of Faith
Newsies
Nice Work If You Can Get It
Once

BEST PLAY
Clybourne Park
Other Desert Cities
Peter and the Starcatcher
Venus in Fur

BEST BOOK OF A MUSICAL
Lysistrata Jones, Douglas Carter Beane
Newsies, Harvey Fierstein
Nice Work If You Can Get It, Joe DiPietro
Once, Enda Walsh

BEST ORIGINAL SCORE (MUSIC AND/OR LYRICS) WRITTEN FOR THE THEATRE
Bonnie & Clyde, Frank Wildhorn and Don Black
Newsies, Alan Menken and Jack Feldman
One Man, Two Guvnors, Grant Olding
Peter and the Starcatcher, Wayne Barker and Rick Elice

BEST REVIVAL OF A PLAY
Arthur Miller’s Death of a Salesman
Gore Vidal’s The Best Man
Master Class
Wit

BEST REVIVAL OF A MUSICAL
Evita
Follies The Gershwins’ Porgy and Bess
 Jesus Christ Superstar

BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A PLAY
James Corden, One Man, Two Guvnors
Philip Seymour Hoffman, Arthur Miller’s Death of a Salesman
James Earl Jones, Gore Vidal’s The Best Man
Frank Langella, Man and Boy
John Lithgow, The Columnist

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A PLAY
Nina Arianda, Venus in Fur
Tracie Bennett, End of the Rainbow
Stockard Channing, Other Desert Cities
Linda Lavin, The Lyons
Cynthia Nixon, Wit

BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A MUSICAL
Danny Burstein, Follies
Jeremy Jordan, Newsies
Steve Kazee, Once
Norm Lewis, The Gershwins’ Porgy and Bess
Ron Raines, Follies

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A MUSICAL
Jan Maxwell, Follies
Audra McDonald, The Gershwins’ Porgy and Bess
Cristin Milioti, Once
Kelli O’Hara, Nice Work If You Can Get It
Laura Osnes, Bonnie & Clyde

BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A PLAY
Christian Borle, Peter and the Starcatcher
Michael Cumpsty, End of the Rainbow
Tom Edden, One Man, Two Guvnors
Andrew Garfield, Arthur Miller’s Death of a Salesman
Jeremy Shamos, Clybourne Park

BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A PLAY
Linda Emond, Arthur Miller’s Death of a Salesman
Spencer Kayden, Don’t Dress for Dinner
Celia Keenan-Bolger, Peter and the Starcatcher
Judith Light, Other Desert Cities
Condola Rashad, Stick Fly

BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A MUSICAL
Phillip Boykin, The Gershwins’ Porgy and Bess
Michael Cerveris, Evita
David Alan Grier, The Gershwins’ Porgy and Bess
Michael McGrath, Nice Work If You Can Get It
Josh Young, Jesus Christ Superstar

BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A MUSICAL
Elizabeth A. Davis, Once
Jayne Houdyshell, Follies
Judy Kaye, Nice Work If You Can Get It
Jessie Mueller, On a Clear Day You Can See Forever
Da’Vine Joy Randolph, Ghost the Musical

BEST DIRECTION OF A PLAY
Nicholas Hytner, One Man, Two Guvnors
Pam MacKinnon, Clybourne Park
Mike Nichols, Arthur Miller’s Death of a Salesman
Roger Rees and Alex Timbers, Peter and the Starcatcher

BEST DIRECTION OF A MUSICAL
Jeff Calhoun, Newsies
Kathleen Marshall, Nice Work If You Can Get It
Diane Paulus, The Gershwins’ Porgy and Bess
John Tiffany, Once

BEST CHOREOGRAPHY
Rob Ashford, Evita
Christopher Gattelli, Newsies
Steven Hoggett, Once
Kathleen Marshall, Nice Work If You Can Get It

BEST ORCHESTRATIONS
William David Brohn and Christopher Jahnke, The Gershwins’ Porgy and Bess
Bill Elliott, Nice Work If You Can Get It
Martin Lowe, Once
Danny Troob, Newsies

BEST SCENIC DESIGN OF A PLAY
John Lee Beatty, Other Desert Cities
Daniel Ostling, Clybourne Park
Mark Thompson, One Man, Two Guvnors
Donyale Werle, Peter and the Starcatcher

BEST SCENIC DESIGN OF A MUSICAL
Bob Crowley, Once
Rob Howell and Jon Driscoll, Ghost the Musical
Tobin Ost and Sven Ortel, Newsies
George Tsypin, Spider-Man Turn Off the Dark

BEST COSTUME DESIGN OF A PLAY
William Ivey Long, Don’t Dress for Dinner
Paul Tazewell, A Streetcar Named Desire
Mark Thompson, One Man, Two Guvnors
Paloma Young, Peter and the Starcatcher

BEST COSTUME DESIGN OF A MUSICAL
Gregg Barnes, Follies
ESosa, The Gershwins’ Porgy and Bess
Eiko Ishioka, Spider-Man Turn Off the Dark
Martin Pakledinaz, Nice Work If You Can Get It

BEST LIGHTING DESIGN OF A PLAY
Jeff Croiter, Peter and the Starcatcher
Peter Kaczorowski, The Road to Mecca
Brian MacDevitt, Arthur Miller’s Death of a Salesman
Kenneth Posner, Other Desert Cities

BEST LIGHTING DESIGN OF A MUSICAL
Christopher Akerlind, The Gershwins’ Porgy and Bess
Natasha Katz, Follies
Natasha Katz, Once
Hugh Vanstone, Ghost the Musical

BEST SOUND DESIGN OF A PLAY
Paul Arditti, One Man, Two Guvnors
Scott Lehrer, Arthur Miller’s Death of a Salesman
Gareth Owen, End of the Rainbow
Darron L. West, Peter and the Starcatcher

BEST SOUND DESIGN OF A MUSICAL
Acme Sound Partners, The Gershwins’ Porgy and Bess
Clive Goodwin, Once
Kai Harada, Follies
Brian Ronan, Nice Work If You Can Get It

SPECIAL TONY AWARD® FOR LIFETIME ACHIEVEMENT IN THE THEATRE
Emanuel Azenberg

REGIONAL THEATRE AWARD
The Shakespeare Theatre Company, Washington, D.C.

ISABELLE STEVENSON AWARD
Bernadette Peters

SPECIAL TONY AWARD
Actors’ Equity Association, Hugh Jackman

TONY HONORS FOR EXCELLENCE IN THE THEATRE
Freddie Gershon
Artie Siccardi
TDF Open Doors

The Reviews for On a Clear Day You Can See Forever are In…

The reviews for On a Clear Day You Can See Forever are in, and though they aren’t the worst we’ve seen this season, they are nowhere near rave reviews. With some very intensive script-changes that throw gender-bending into the mix, critics found the new book almost as problematic as the original. The biggest upset was the splitting of the main female character’s multiple personalities into multiple cast members, rather than keeping it a showcase of one actress’ abilities. Most agree that Christine Jones’ sets and the songs themselves were the greatest stars, but overall were underwhelmed by this “reincarnation.”

NEW YORK TIMES

Toward the long-awaited end of the new semirevival of “On a Clear Day You Can See Forever,” which opened on Sunday at the St. James Theater, an eminent psychiatrist proposes that what we have been watching was perhaps only “my own psychoneurotic fantasy.”

Click here to read the full “On A Clear Day You Can See Forever” review.

ASSOCIATED PRESS

The diagnosis is in for Harry Connick Jr.’s Broadway musical about a psychiatrist undergoing a psychic meltdown: It needs more time on the couch.

Click here to read the full “On A Clear Day You Can See Forever” review.

HOLLYWOOD REPORTER

Respect to director Michael Mayer and playwright Peter Parnell for their audacious attempt at reinventing a problematic musical in the Broadway revival of On a Clear Day You Can See Forever. The 1965 show has always been much loved for its lush Burton Lane score but denied the stamp of greatness by Alan Jay Lerner’s over-complicated structural mess of a book.

Click here to read the full “On A Clear Day You Can See Forever” review.

VARIETY

The play initially was constructed as a vehicle for a star singer/comedienne (played by Barbara Harris on stage, Barbra Streisand on screen). The challenge and the fun came from watching an insecure neurotic instantly and repeatedly transformed through hypnosis into her glamorous, past-life self. Mayer has seen fit to divide this star part in half and have it played by two actors, removing the one element that thoroughly worked in the original.

Click here to read the full “On A Clear Day You Can See Forever” review.

NEWSDAY

It’s a relief and a special pleasure to report that Mayer, in a square-cornered turn from his smart-rock productions of “Spring Awakening” and “American Idiot,” has joined playwright Peter Parnell to change an unworkable plot into a more-than-serviceable gender-bending framework. There’s a mostly-classy cast, a fantasy op-art set and almost two dozen wonderful songs from the Broadway production and the film.

Click here to read the full “On A Clear Day You Can See Forever” review.

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