Music Directors Need Tonys, Too

I totally agree that there should be a Tony for Best Ensemble. There are some shows that just don't have a clear-cut lead, and in those cases, more than usual, a stellar performance from one person requires stellar performances across the board. Aside from the plays mentioned in the article (weird it left out musicals), a show like SPELLING BEE or [title of show] perfectly makes the case for such an award.

It's hard to say if a Best Ensemble Tony will ever exist, or if it'll last. I love the Tonys to the point where I am bitter about decisions that were made before I was born, but Tony Logic is so fickle and unpredictable that most of the time I just have to laugh. The Best Replacement Tony was, in my opinion, not such a great idea, and I'm glad that ended up not happening, but I do strongly believe in a Special Theatrical Event Tony.

But the Tony Award that needs to exist above all other Tony Awards is one for Music Director (as the crazily talented Georgia Stitt pointed out on Twitter). How does this not exist?! I mean, seriously. Seriously?! Obviously the committee understands that music is really important and that a lot goes into it, since there's a Tony for Best Orchestrations and one for Sound Design (both of which I fully support). So not having a Music Direction Tony is ridiculous and incredibly disrespectful of the insane amounts of work music directors do. Spend ten minutes in rehearsal of a musical, and that becomes extremely clear. The Tony Awards should recognize and honor that.

Tearing Up The Slips of Paper: EVERYDAY RAPTURE

It's been about a month since I saw EVERYDAY RAPTURE, so I really should have written about it earlier (sorry!). But better late than never, right? I wanted some time to process it, anyway--there's a lot going on in the show, and it affected me a lot so I wanted to get a little distance.

Going into the show, I only knew that it was Sherie Rene Scott's one-woman show--that's it. I didn't realize it would be autobiographical at all, and I'm glad about that; it let me go into the show without any preconceptions. I generally prefer see shows as cold as possible, anyway, but I think it was important for me to do so in this case. I'm not the biggest fan of one-person shows, or autobiographical shows, for that matter (although I really enjoyed WISHFUL DRINKING).

EVERYDAY RAPTURE is much more than a autobiographical one-woman show, however. Sherie Rene Scott's childhood in Kansas and early experiences in New York provide the framework for the show, but for me it was much more of an exploration of faith and performance. How do you balance a belief that you are a speck of dust with the certainty that the world was created for you?

I didn't grow up a Mennonite, but I am a practicing Catholic so there's much in Scott's upbringing I relate to. My religious education and background wasn't nearly as extreme, and I didn't have the kind of community that Scott apparently did--even in high school, I was the token Catholic amongst my friends--but that grappling with humility is certainly something I recognize. Only for me, it's not "I am a speck of dust;" it's more like, "The Lord gives and the Lord takes away; blessed be the name of the Lord." Or even reconciling "Blessed are those who have not seen and still believe" with the very logical, science-based framework I grew up in (my parents are scientists, I was a high school debater, and I'm dating a med student).

I think the issue of integrating faith and religion into your daily life, is a really important one, especially when they're seemingly at odds with your career or with the way you life your life in general. It means a lot to see someone tackle that on Broadway. And honestly, it makes me so happy to see a Broadway show that takes Christianity and faith seriously. I have so much admiration for Kristin Chenoweth for publicly speaking about her Christianity and showing people that it's entirely possible to be a Christian and work in the New York arts scene and be liberal and love gay people. Not to say that Christians in New York theatre are oppressed, but being a Christian and being conservative, Republican, and/or close-minded have became the same thing for a lot of people in this part of the country, and it's unbelievably heartening to see people actively disprove that.

My hope is that audiences leave EVERYDAY RAPTURE with a deeper understanding of what a person's relationship with religion can be--or a relationship with any belief system, really. I'm going to force my non-theatre loving, culturally Buddhist boyfriend to see it in hopes it helps him better understand that side of me.

EVERYDAY RAPTURE is also about a lot of other things--there's a brilliantly funny/frightening sequence involving a fan on youtube that is packed with fascinating issues--but the crux of the show (as I see it, at least) is what stuck with me the most. I'm looking forward to going back.

But What We Are Is An Illusion

I saw the LA CAGE revival a little over a week ago, and it was basically what I expected, although I had no idea the material would hit as close to home for me as it did. Not that I am a gay man whose engaged son thinks I'm not "masculine" enough for his conservative finacee's parents, but I am going through something similar that definitely colored my experience of the show. Knowing the plot and a few of the songs, I never thought I would tear up at any point during LA CAGE--I'm not much of a Jerry Herman girl (though I am mildly obsessed with "I Won't Send Roses"). But obviously I underestimated how much the subject matter would affect me, and even though I felt a little ridiculous, I always love it when a show moves me in an unexpected way.

Having said that, I'm not much of a fan of the material itself, although I had a good time and I loved the performances (Kelsey Grammar's in particular, and I really enjoyed Robin de Jesus). My main issue with the show is that it feels so dated and not edgy anymore. I know in 1984, LA CAGE was groundbreaking, and I think it's exactly what audiences (and theatre people) needed at that particular time. But right now, when this is its second revival and when the political and social climate has changed, particularly regarding homosexuality, I wish the production had been more innovative. What Georges and Jean-Michel ask of Albin is devastating and horrifying; that Albin comes around to it is a huge display of love and trust that for me didn't come across. What I would really love to see in the show would be some non-traditional casting choices, which I feel would add another layer to the show and restore some of the edginess I'm sure it originally had. Being an infant during the original run, I can only go off what I've heard :)

Specifically, I would absolutely love to see an actor of Asian descent play Albin (B.D. Wong, anyone?). I think that would make a lot of scenes completely terrifying, especially the one in the second act where Albin tries to act more "masculine." With all the negative stereotypes about Asian men--many of which are very similar to negative stereotypes about gay men--that number would be not just about acting "masculine," but about acting "white." Granted, I'm probably more sensitive to the issue since my boyfriend is of Asian descent, but I think it's an important issue that isn't often seen on a Broadway stage. It would definitely make that scene a lot more uncomfortable for audiences, but it really bothered me that the scene was played for laughs. I found it just heartbreaking, and I think an Asian Albin would bring that element out, simply by his ethnicity.