"They Walk With My Heart, Not Gone"

Date of Performance: May 18 evening

By: Duncan Shiek (music), Steven Sater (book, lyrics), Michael Mayer (direction)

Starring: Jonathan Groff (Melchior), Lea Michele (Wendla), Blake Bashoff (Moritz), Emma Hunton (Ilse), Lilli Cooper (Martha), Phoebe Strole (Anna), Remy Zaken (Thea), Brian Charles Johnson (Otto), Matt Doyle (Hanschen), Skylar Astin (Georg), Blake Daniel (Ernst), Glenn Fleshler (Adult men), Christine Estabrook (Adult women), Gerard Canonico (ensemble), Eryn Murman, Matt Shingledecker, and Jenna Ushkowitz




What I have always loved about theatre is its intimacy and its power to connect people. There's something incredibly special that happens within the walls of a theater---people experience and process this singular, once in a lifetime event together. No performance is the same, no audience is the same, and if you're lucky, when the show is over, the people leaving the theater are not the same either.

Theatre allows, nay, demands that audiences connect with each other and with the performers. On May 18, I witnessed one of the most electrifying, emotionally charged performances of my life. Best friends Jonathan Groff and Lea Michele, who created the roles of Melchior and Wendla in Spring Awakening, performed for the last time. Whenever an original cast member leaves, fans tend to rally and casts cry, but SA is a huge youth hit with a cultlike following. Groff and Michele are beloved by their fanbase and by their fellow actors and technicians. It's a credit not only to the show, but also to Groff and Michele's influence, that so many fans flocked to their last show and that many of SA's creators and alumni attended--Duncan Sheik was crying in the standing room only section with John Gallagher Jr., Steven Sater and Michael Mayer returned, and cast alumni Lauren Pritchard, Johnny B. Wright, Krysta Rodriguez, and Robi Hager were also in attendance. To say that the audience turnout that evening was excited and eager would be an understatement. The majority of the people there were repeat "guilty ones" and devoted fans; it wasn't just New York regulars--many people had made special arrangements to be there--by plane, train, automobile. Even I am guilty of this--I planned my vacation around attending this show.


The show started a little late (Bashoff apparently had an awful nosebleed because he had been crying so much and there was a concern that he would not be able to perform) and as soon as Lea walked onstage for "Mama Who Bore Me" there was an eruption of applause--so much so, in fact, that she couldn't start her song for several minutes. This was my first time seeing her in the role and it was remarkable how much her Wendla differed from Alexandra Socha's (I saw Socha in October, and she has now officially taken over as Wendla). Socha's Wendla interpretation came off childlike, innocent and vulnerable, and her sex scene with Melchior seemed closer to rape (and more in line with Wedekind's original text). Michele's Wendla was innocent, but Michele tapped into Wendla's strength and her sexual desires. Socha's interpretation of Wendla is interesting, but Michele's is a better match for Groff's Melchior; it's easier to understand why Melchior is attracted to Michele's Wendla. Close friends and self proclaimed "soul mates" Groff and Michele have amazing chemistry, but this also works against them; there's less of an awkwardness between their Wendla and Melchior, especially in the hayloft scene when their characters have sex for the first time. Michele's voice is wonderful, incredibly rich, and she has an impressive range; while Socha's acting is a match for Michele's, there is no contest--Michele's vocals are stronger by far (and she can sing clearly and beautifully while crying which is impressive).

If you like "Mama Who Bore Me: Reprise," you really need to see the show live. The song on the cast recording features only a three part harmony. The song in the stage show has a five part harmony, and the accompaniment is great to listen to (the acoustics in the Eugene O'Neill are ridiculously good). When Phoebe handed Lea her microphone, they shared a smile, knowing it was the last time they would be doing that handoff and at the end of "Mama Who Bore Me: Reprise," there was so much applause that Lea struggled to maintain her composure.

This was my first time to see several of the actors in the Latin Classroom scene. When I saw the show in October, Brian Charles Johnson was understudying Moritz, Skylar Astin was out filming Hamlet 2, Matt Doyle was still swinging (and went on as Otto), and Blake Bashoff had yet to join the cast. Bashoff's Moritz is quite different from John Gallagher Jr.'s and Brian Charles Johnson's--his portrayal is infused with humor, and his body moves with both awkwardness and nervousness. Brian Charles Johnson's voice is scratchy and sounds like it's strained and in poor condition now. Skylar Astin is sorely underused--his riffs during his "Touch Me" solo are beautiful, and his scenes with the piano teacher are humorous, but beyond that, he unfortunately does not have a lot to do, and at certain points, you can sense his boredom. Matt Doyle's take on Hanschen has a different focus than Johnny B. Wright's. Doyle's Hanschen seems more entitled and worldly than Wright's and while I think Doyle does a fantastic job, I wish he had been promoted to Melchior instead. I'd argue he has the best male voice in the show, and his Melchior interpretation, for me, is stronger than his Hanschen.

I was fascinated by Emma Hunton's Ilse, and after seeing her, I wish I could somehow meld Hunton and original cast member Lauren Pritchard together. Before seeing Hunton I felt that Pritchard's throaty vocals and long, flowing hair would always be the definitive interpretation of Ilse. While I think Pritchard has an ethereal quality that is absolutely ideal for Ilse, Hunton brings an innocence to Ilse that was not there before. Pritchard emphasized Ilse's adult lifestyle and her wistfulness for a return to her childhood days while Hunton plays Ilse as a young girl caught up in an adult world and desperately reaching out for connection; Hunton's Ilse is wounded and her pain slowly rises to the surface; Hunton and Bashoff's scene together, "Don't Do Sadness/Blue Wind" is heartbreaking, moving, and intensely frustrating; they craft two characters that so clearly need someone to reach out to them and it's devastating when they cannot bridge the gap and forge a support system for each other.

Throughout the entire show, there were many reminders that this was Michele and Groff's last show. Cast members were crying in the wings, Michele and Groff got entrance applause every time they came onstage, Bashoff bowed to Groff, Michele clutched Lilli Cooper's hand, and Groff cried during "Those You've Known." However, nothing can compare to "Totally Fucked." I'll post a video of it, but the video cannot even come close to describing what it was like inside the theater. At every show, "Totally Fucked" is a big fan favorite, but at this particular performance, the audience's expectation and excitement for this number was palpable. Groff had a glint in his eye as he began the number (similar to the expression he had when SA performed on Good Morning America and replaced "fucked" with "stuck" to remain television appropriate). People in the audience immediately reacted with applause. There was an amusing interplay between Johnson and Groff during Johnson's verse, and things completely erupted when Glenn Fleshler said, "For the last time, did you write this?" There was a long beat, Groff looked to the audience and screamed, "YESSS!!" The entire audience was pounding their feet and singing along and Michele let out a primal scream and held Blake Daniel's hand as she jumped around for the last time. There was a very long standing ovation (perhaps five minutes?) and the cast's reactions ranged from amused (Remy and Phoebe were laughing and Doyle struggled to remain stoic and not break character) to touched (Michele sobbed during the entire ovation--which was slightly entertaining since she was giving the audience the finger--and Groff, sitting on his stoop above the stage, broke character, and clutched his hand to his chest, obviously surprised and grateful).

Sitting there, I felt lucky and honored to be there, but more than that, I felt alive. There I was, sitting in a theater, surrounded by people from all over the country, but we were sharing this once in a lifetime experience together. We all identified with and loved this show and we were celebrating not only Michele and Groff's last performance, but also life in general. Spring Awakening is not just an angst filled teenage musical; it celebrates the human experience, acknowledging the pain and confusion we suffer, the desires and romances that fuel and change our lives, and the battles we fight, but it also acknowledges what helps us get through---purple summer, a beacon of hope in the darkness. I sat listening to "Those You've Known" and "The Song of Purple Summer," and I thought of the figures who have changed my life, and I recalled my loneliness and my darkest times and realized how far I had come.

Summer is dawning...and I believe.

Joey Potter Graduates to Broadway

Katie Holmes is coming to Broadway; she is set to star with Tony winner John Lithgow, Oscar winner Dianne Wiest, and respected stage actor Patrick Wilson in a revival of Arthur Miller's Tony winning play, All My Sons.


Has no one caught on that she can't really act? (see Mad Money, Abandon, Batman Begins for examples.)

Oy.

Well, I must admit; I'd almost buy a ticket just for the chance of seeing Tom Cruise act like a lunatic.

Kerrigan and Lowdermilk

Kait Kerrigan and Brian Lowdermilk are two of the most talented composers I have heard in a very long time. Tales from the Bad Years, which is primarily centered on the challenges and joys of being in your twenties, is sharp, sensitive, funny, and incredibly relevant. I have not fallen so desperately in love like this with music in a very long time. I hope you'll enjoy these selections.

"Anonymous Sex" with Phoebe Strole and Skylar Astin


"Not a Love Story" Phoebe Strole


"Run Away With Me" Michael Arden (this is technically from The Unauthorized Biography of Samantha Brown Arden gave a special performance at the Tales concert)

Side note: Michael Arden is wonderful.

"How to Return Home" Laura Osnes

Side note: Imagine what Osnes could be capable of if given great material like this!

"Not Her Way" Kate Shindle

Side note: Check out Kate Shindle's blog

"My Life is Over" Brynn O'Malley


"Party Worth Crashing" Kate Shindle, Brynn O'Malley, and Kait Kerrigan

The Search for Elle Woods, Episode 4

I never fail to be entertained by the challenges producers continue to throw at the contestants on this show. This week, the girls were tested on their ability to bond with their chihuahua costars. While I understand the importance of having an Elle that works well with the dog playing Bruiser, I'm not sure that a girl's ability to channel the "Dog Whisperer" should factor that heavily into casting directors' evaluation of her potential at this point in the audition process...but maybe that's just me. However, the challenge this week did allow for lots of girly screaming and plenty of shots of cute dogs. Cassie S frightened the dogs, Bailey called her dog stupid (major no no), and Autumn won the challenge and had the opportunity to meet Richard H. Blake, giving her (in theory) a leg up on the audition scene for this week, "Serious."
Now on to the performances...
I will agree with the judges that Autumn's performance was not her best, but I will argue that it certainly did not warrant a place on the chopping block. Though it does seem unfair, I suspect that they wanted to scare her a little or make an example of her. Beyond that, I can't understand why they would criticize her so much, when, even at her worst, she still performed better than many of the girls there.
Though she has outstanding vocals, I'm still not a Bailey fan, and especially after this week, I'm exhausted by her Laura Bell Bundy impersonation. There's nothing new about this portrayal; I've seen it before, and while Broadway replacements have the difficult task of honoring the performer(s) that came before them, they should also bring something different to to the role--Bailey does not. Her Elle is too cookie cutter, too precise. However, given that casting director Bernie kisses the ground she walks on, she has a very good chance of winning.
Ding Dong, Cassie S is gone, and my did she go out with a bang. Her "Serious" was pretty painful to listen to and to watch--the girl really needs to take some acting and singing lessons. She came off very young, very whiny, and not very sympathetic. You're almost glad when Warner dumps her. Cassie was shocked when she was called into the casting office, and seemed genuinely confident that she had done a great job. However, her cluelessness was not what made me cringe the most. The judges explained that she could be a great swing etc., and she completely rejected the idea, explaining that she wanted to be a STAR. Bad call, Cassie. The majority of people working on Broadway are ensemble members or swings, and one of the judges in front of you (Paul Canaan) is one in Legally Blonde. When Cassie finally got the boot, she proceeded to rant that she didn't deserve to be cut. Face it, Cassie--you are neither awesome blossom nor fabulous fantastic. Good riddance!
Celina was the other girl to get the boot. While it was clear that she did not have an "Elle presence," this week I did somewhat understand why the casting directors kept around. She's actually a good actress and singer; she just wasn't right for this part...and really, I can't say anything bad about a girl who told off Cassie S.
Though she was suffering from bronchitis, Emma showed marked improvement this week (ie: no more mean Elle) in her scene with Richard. Her acting was better, and so was her singing, but the girl still has trouble belting, and there's just no way that a girl that struggles with belting is going to be Elle.
I may have to jump on the Lauren bandwagon here; she was by far my favorite this week (though I would have appreciated seeing a little less of her cleavage, ahem). She's got a really strong belt, and while she made a few choices and a few inflections I didn't agree with, she was interesting to watch; she was warm and Elle seemed more three dimensional and more relatable compared to how other girls have portrayed her. Plus, she had really good chemistry with Richard (just like she did with Nikki...good sign. Side note: Lauren fans can breathe this coming week; judging from the promo run at the beginning of the series, she'll definitely be around for the "What You Want" audition scene, which isn't next week.)
I like Natalie, but as I thought about the episode, I actually forgot about her and wouldn't have remembered her if I hadn't looked back at the full audition scenes online. I think she really just needs to take it to the next level (as Tyra Banks would say). If she gets eliminated, I think it will be because she's not charismatic enough, not because she doesn't have the talent.
And finally...Rhiannon. I don't know why, but I really like her (as my best friend Kate explained, "She just looks like she'd be so cool to be friends with"). Of all the girls this week, she had, by far, the best comedic timing. However, she's not the strongest singer, which could cause her problems.


Next week's episode is making me a little nervous. It's centered on dancing, and something tells me Emma, Autumn, and Rhiannon could struggle...and if Autumn goes, this will be one unhappy musical theatre junkie. Additionally, the challenge next week looks horrendous. Who's the worst dancer? singer? actor? Who needs to lose weight? How very un Elle Woods of them! Isn't the Broadway show supposed to be praising girl power, confidence, and friendship? No snaps for you.

And the stunt casting continues...

Much to my chagrin, it has been reported that Aubrey O'Day from Puff Daddy's (P. Diddy, Sean Combs, Diddy...what is he calling himself now?) Making the Band group Danity Kane will join Hairspray, taking over for Ashley Spencer as Amber. Are you all familiar with Aubrey?

Here's hoping she looks more like this...

than this...

There are so many talented actresses on Broadway and plenty hoping for their big break, and it is such a disappointment that the Hairspray producers would choose to hand over the role to the slutty lead singer of a subpar girl group. I look at the actresses who have taken on the role of Amber--Laura Bell Bundy, Tracy Jai Edwards, Becky Gulsvig, Brynn O'Malley--and I just don't see how Aubrey fits in.

In other casting news, the stunt casting at Spamalot continues. Stephen Collins, best known for his role as Reverend Camden on the uber wholesome family drama 7th Heaven, will join the cast as King Arthur and Drew Lachey of 98 Degrees and Dancing with the Stars will appear as Patsy. As skeptical as I am about this casting, I must give Lachey credit. He has managed to parlay his Dancing with the Stars win a few years ago into a lucrative career.

"Summer Lovin"

This summer, the Grease revival will welcome You're the One That I Want runner up (and current Amber in Hairspray) Ashley Spencer and fellow show finalist Derek Keeling (most recently of the Broadway tryout cast of Tale of Two Cities) as the new Sandy and Danny. The two actors will join a company which also includes American Idol Taylor Hicks as the Teen Angel.


For interested parties, curtain call from Taylor Hicks' debut performance as the Teen Angel and other opening night festivities





Appearance on Regis and Kelly

"Conventionality Belongs to Yesterday"

The cast of Spring Awakening spoofs the cast of that other youth oriented hit Grease (and themselves) at the Easter Bonnet competition.

Search for Elle Woods, Episode 3

Before we get started, I must profess my undying love and devotion to Seth Rudetsky. A writer, actor, vocal coach, and radio host, his appearance on this show is like a shining beacon of sanity (and his video blogs after each episode are genius). If you're not familiar with who he is, look up some of his stuff; you won't be sorry.

Moving right along....Tonight the girls tried their hand at Blonde's opening number "Omigod, You Guys." This song is one of the most addictive in the entire score and sets the tone for how the audience feels about Elle. If you can't hook them by the end of this number, you're never going to. The audience has to adore Elle, and recognize both her sweetness and her strength in this number. So, were the contestants up to the task? The verdict is in...

Autumn again proved to be one of the strongest in the bunch. She flubbed one of the opening lyrics, but managed to cover it up without flinching. Her acting is subtle and thought out; she makes good choices, but what about Legally Blonde is subtle? She may need to vamp it up a little. (Side note: Autumn is now sporting blonde curls; judging from that and several of her comments on her fan page, I'm guessing she's the winner).
Bailey is good and her "Omigod" song and book scene were solid. I will give her that much. She's more consistent than most of the girls, but for some reason, the more I see her, the less I like her. For me, there's a lack of sincerity there.
Cassie S continues to make herself even more polarizing (and given MTV's edit of the show, I'd bet money that she's not going to win; MTV will be careful to only show the winner in a positive or sympathetic light--the target audience for LB is young girls and their parents, and with that kind of audience, you can't boost ticket sales when you're leading lady is known to be a raging diva; parents will buy tickets to see a young lady their daughters can look up to and respect, and Cassie S's antics thusfar take her out of the running). Cassie S did improve from last week; but that's not saying a lot. Her voice is still a little on the shrill side and I can't stand the scrunched up faces she makes (check out Bailey's audition for a good example).
The appeal of Spam, what Bob Dylan says, how to balance a chemical equation...Celina joins this list of things I don't understand. I still am wondering why she's there, when audition after audition, she fails to show anything akin to an "Elle Woods presence." She came off a little mocking and extremely out of place.
Emma showed improvement this week vocally, but the judges were right: she comes off mean, and Elle Woods can be interpreted in many ways, but mean is not an adjective that describes her. Here, she comes off as just a bitchy sorority girl--not exactly someone we want to root for.
Lauren has a bit of a battle ahead of her. She clearly does not look like a college graduate, and her face tends to look a little scowly. I don't think she's mean, I just think, unlike Bailey who always looks wide eyed and giddy, Lauren's face tends to be more serious. Her acting and belting were good, but it all didn't come together this week. (Side note: Rumor has it that Lauren does not get the role of Elle, but she does get cast on the tour. Though she may not work as Elle, she may be a very good swing or Delta Nu.)
Lindsey, Lindsey, Lindsey. Lindsey got the boot this week, and to be perfectly honest, I was not the least bit surprised. Her voice was too low for the song and she struggled with the lyrics throughout the entire episode. (Honey, if this is your dream role, you need to know the words; I understand flubs happen, but when you clearly are clueless about the lyrics, something's wrong. I know all the lyrics to the song, and I'm not auditioning on national television.)
Natalie was lovely this week, and while in the long run, she may not end up being the best girl for Elle, she would make a great Delta Nu, or a hilarious Margot or Serena.
Though ridiculously likable, Rhiannon doesn't work for Elle in my opinion. Her vocals aren't as strong as they need to be, but her acting is very interesting and even more impressive to me, she put an incredible amount of energy into all of the girls' auditions when they had to sing back up. Cast her as a Delta Nu.  As Margot, she'd be genius.

Becky Gulsvig to "Bend and Snap" as Elle in the Legally Blonde National Tour

Having appeared as Amber in Hairspray, performed as a Deltu Nu sorority girl, and understudied the roles of Serena, Margot, and Elle in Legally Blonde, Gulsvig has proven herself to be a versatile and valuable performer. The vocally excellent Gulsvig has been tapped to lead the national touring company as Elle Woods, the sorority girl with a heart of gold. Her energy is quite different from Bundy's, and her Elle comes off as more intellectual and serious, but Broadway Blonde fans swear by her.

Here's some videos to help you decide if she's "What You Want":

Becky Gulsvig and Laura Bell Bundy go through blocking with director Jerry Mitchell.

"Tony Tony, There's Only You Tonight"

The 62nd Tony Awards held last night and broadcast on CBS garnered their lowest ratings ever. I honestly don't understand why or how. Held in the magnificent Radio City Music Hall, this year's telecast featured the traditional performances by the nominees for best new musical and best revival, but also included small excerpts from the other new musicals that opened this season, special performances by the cast of Rent (past and present) and the Lion King company, and Whoopi Goldberg in short parodies of past Tony winners. Millions of people flock to Broadway every year, and here is a perfect opportunity for Broadway to come to the people, and viewers are not tuning in. It breaks my heart, and worries me that the Tonys' days of being broadcast on national television are numbered.

All in all, despite the low ratings, I found it to be a fun night, and an appropriate representation of the strong season. I did a very good job predicting the winners (Best Actor in a Play, Choreography, Featured Actor in a Play, and Orchestrations threw me off).

Highlights (and Lowlights):


Lows
Mark Rylance's speech, which was actually an excerpt of prose Say What?
Xanadu's performance; Xanadu is off kilter and campy, and its performance only hinted at the humor and silliness of the show
A Catered Affair performance came off stiff, slow, and boring--not a great way to sell tickets
The Rent tribute; nice idea, but came off more like a speech than a performance 525, 600 Minutes
Gabriel Byrne's appearance; could he at least try to show some enthusiasm?
Stephen Sondheim didn't show up to accept his lifetime achievement award. Really?

Highs:
Mary McCormach's bewildered look during costar Mark Rylance's acceptance speech
Laura Benanti's emotional, warm speech; I get annoyed when people go up there and give generic, emotionless thank yous. You won a Tony, dammit; show some passion--you're in theatre for goodness sakes!
Lin-Manuel Miranda's rapped acceptance speech and shout out to Stephen Sondheim and his performance with the In the Heights company 96,000 and acceptance speech
"Everything's Coming Up Roses" performance; you don't get a a standing ovation at the Tonys for nothing I Dreamed It For You, Baby
Richard Griffith's silly Harry Potter joke
Julie White and Michael Cerveris' presentation of the creative awards before the telecast
Daniel Evans singing along during "Seasons of Love"
Anna Shapiro and Tracy Letts' speeches; while Shapiro's was poignant and emotional, Letts' was sharp and witty, but both were incredibly memorable
Loved Paolo Szot's comment that he loved playing a man who "opposed war and fought for love"

Search for Elle Woods, Episodes 1 and 2

Omigod, you guys...they're totally ripping off the Grease reality show and searching for Laura Bell Bundy's replacement! This show is just as silly and ridiculous as I expected, and watching the contestants, I can't help but feel sorry for Laura Bell Bundy for knowing that her replacement is being chosen in such a ridiculous fashion and wonder what Annaleigh Ashford and Becky Gulsvig, two Elle understudies who were more than deserving of taking over the role, think. However, Jerry Mitchell and the producers-that-be decided to go in a different direction; Annaleigh is now in Chicago doing Wicked and Becky is primed to launch the Legally Blonde tour. Where does that leave the Broadway company? Is one of these women actually capable of carrying a show, performing 8 times a week, and appearing onstage for around 90% of the show's length?

Exhibit A: Annaleigh Ashford "So Much Better"
Exhibit B: Becky Gulsvig Act One Highlights

The premiere was contrived; Host Haylie Duff made several references to her Broadway debut as Amber in Hairspray--how hard she worked, the frustrations of the audition process, the long hours. Clearly, no one told her:
1. Her talent didn't get her the role. Her last name did.
2. She was one of the worst received Ambers.
3. It is not necessary to refer to oneself again and again; we get it--you were on Broadway. Next, please?

As calculated and scripted as this show seems to be, I must at least applaud the producers for including acting and dance auditions in this show; all potential Elles are forced to undergo workshops in fitness, vocal performance, acting scenes, and dance sequences, whereas the Grease contestants only "sang" for their supper.

Instead of doing a traditional recap of the episodes, I think I'm going to focus more on the contestants. So here we go:
Autumn is by far my favorite in the running right now. Her "So Much Better" audition in the first episode was strong, and just as importantly, it was different--she clearly wasn't trying to channel Laura Bell Bundy's Elle and I appreciate that she was presenting her own interpretation. Her acting audition with Nikki Snelson was inspired. While I could have done without her dropping on the floor in relief when the judges told her that Nikki had dropped a line to test her, I still applaud her performance. Autumn is also a member of AEA and earned raves for her turn as Beth in the first Little Women national tour, so she definitely has some credibility as a performer. She may be a redhead, but she might be the perfect girl to go Blonde.

Judging from several internet polls, Bailey seems to be the fan favorite. A wholesome, Southern gal and pastor's daughter, she comes across as incredibly likeable and warm, had impressive chemistry with Nikki, and her interpretation of Elle is much closer to Bundy's than Autumn's. She is surprisingly adept at hiding her heavy Southern accent and when dancing in large groups, even in a sea of blondes, she somehow stands out. However, I worry that her Elle, while relatable, is not very realistic. Could her Elle really rise to the top of the class at Harvard? Would we really believe that her Elle was intelligent, or would she just seem incredibly lucky?

Cassie O. has gone home, having been eliminated in the second episode. In the first episode, she lost some points with me when she explained that she "just loved the sound that comes out of her mouth." It came off very narcissistic, but she redeemed herself when she talked about how she loves to talk with a dorky lisp. Her "So Much Better" audition was one of the strongest, and her acting during that song showed potential. It's unfortunate that her acting in the scene with Nikki Snelson was so wooden, stilted, and awkward. She lacked a great deal of energy, she stumbled over her words, and she seemed quite confused. It was extremely disappointing given her vocal talent.

Cassie S. might be familiar to some of you as Brenda from Hairspray, the Nicest Kid in Town who was just a little too "fun lovin and freewheelin." As a dancer, she is stellar, but this also comes back to haunt her as she tends to fall into a pattern of standing in stances like fifth position during acting scenes, making her appear stiff and posey. Her singing, for me, is subpar, and unfortunately, no one has told her that her motto, "awesome blossom fabulous fantastic" is hideously annoying. She seems like too much of a diva, and I am NOT a fan.

Celina is a complete mystery to me for many reasons. I'm not sure why the judges chose her to be a finalist. She looks and acts nothing like Elle Woods, and her raw demeanor and scratchy voice would be much better suited for Elle's classmate Enid in the show. Celina also confuses me because she is one of the few contestants who actually has professional experience (appearances in 42nd Street, Cats, and Tarzan, to name a few). Given her background, I expected her to be more polished, professional, and more prepared. However, she did not handle the "dropped line" challenge well at all, and looked fidgety and uncomfortable as she struggled to improvise. She needs to go soon; I understand the judges want to mold her, but I think they're fighting a losing battle when it comes to her.

I look at Emma and I want to like her. Physically, she is ideal for the role. Her singing and acting are fine (though in her scene with Nikki, she did come off as a little aggressive), and she struggles a little with the dancing portion, but so far, she hasn't shown a "wow" factor. It also worries me that she is lauded theatre director Jerry Zaks' daughter--she must have had a lot of opportunities for lessons yet she is not an amazing performer. If it hasn't kicked in yet, will it ever? Still, I hope she surprises me. However, I will say that I think it is a little suspect that she did a show with actor-judge Paul Canaan, but both have neglected to mention this fact.

Lauren is the youngest of the bunch and her youth worried me at first. Despite her youthful appearance, she acts older and more mature in her scenes as Elle and comes off incredibly poised. While I did not necessarily agree with all of her acting choices, I did find her approach interesting. Her singing voice is also remarkably strong given her age and experience and it stands up against the more seasoned performers she's competing against. However, her "I'm not here to make friends" attitude could come back to haunt her and her youthful appearance could be a drawback in the theatre world, where casting directors tend to go for older performers.

Lindsey is stunning. Long, lean, and by far, the most striking of the girls, Lindsey is the first one that caught my attention. However, her acting scene with Nikki Snelson was an enormous disappointment. She came off disingenuous, she stumbled over words, she overacted, and she stood silently and awkwardly when Nikki dropped a line, and did not even attempt to cover the mistake and move on. If she had acting chops, I think she could be a serious contender; unfortunately, after this past week's workshop, I am concerned that she has a long, hard climb ahead of her if she ever wants to be the next Elle Woods.

Though she does not have conventional Elle Woods looks, Natalie's performances in the first two weeks have established her as a serious contender. Her "So Much Better" audition was the best of the bunch, and she belted the final note perfectly (several of the other girls' auditions were painful to listen to) and though she was thrown a little by Nikki's line drop, she managed to recover and improvise well. However, before the audition, she did get extremely emotional, which worries me. WIll she have what it takes to withstand the competition? Or will her emotions get the best of her?

Rhiannon is cute, quirky, and extremely likable. However, she found it hard to keep up with the choreography which is worrisome, and though her acting is good, she gives Elle Woods a goofiness that I don't think necessarily works. Elle has a mixture of sass, silliness, and poise. Rhiannon needs to tone down the silliness and up the poise.

It's the End of the Theatre Season and Time for...Tony Predictions

Best Play
August: Osage County
Rock 'n' Roll
The Seafarer
The 39 Steps
Winner: August: Osage County
Spoiler: Rock 'n' Roll
Rock 'n' Roll is extremely deserving of the award, but it did close in March, and since then August has been on a roll, winning the Pulitzer Prize for Drama, the Drama Desk, and several other critics' awards. The compelling family drama is now the one to beat.



Best Musical
Cry-Baby
In The Heights
Passing Strange
Xanadu
Winner: In the Heights
Spoiler: Xanadu It has been well publicized that Heights is creator/star Lin-Manuel Miranda's labor of love. This knowledge, the show's graduation from Off Broadway and its sense of community make it incredibly endearing to voters. However, the campy, yet critically embraced Xanadu could steal the trophy (and the brilliant Cubby Bernstein campaign certainly helps). Side note: It personally breaks my heart a little that Cry Baby was even nominated. A Catered Affair was much more deserving.





Best Book of a Musical

Cry-Baby
Mark O'Donnell and Thomas Meehan
In The Heights
Quiara Alegría Hudes
Passing Strange
Stew
Xanadu
Douglas Carter Beane
Winner: Stew, Passing Strange
Spoiler: Douglas Carter Beane, Xanadu




Best Original Score (Music and/or Lyrics)
Cry-Baby
Music & Lyrics: David Javerbaum & Adam Schlesinger
In The Heights
Music & Lyrics: Lin-Manuel Miranda
The Little Mermaid
Music: Alan Menken
Lyrics: Howard Ashman and Glenn Slater
Passing Strange
Music: Stew and Heidi Rodewald
Lyrics: Stew
Winner: Lin-Manuel-Miranda, In the Heights
Spoiler: Stew, Passing Strange




Best Revival of a Play

Boeing-Boeing
The Homecoming
Les Liaisons Dangereuses
Macbeth
Winner: Boeing-Boeing
Spoiler: Macbeth





Best Revival of a Musical

Grease
Gypsy
Rodgers & Hammerstein's South Pacific
Sunday in the Park with George
Winner: South Pacific
Spoiler: Gypsy or Sunday in the Park with George; To be perfectly honest, Grease doesn't deserve to be in the company of these three. The other three revivals this season were absolutely stellar, and I'd go as far as to say that the revivals produced this season were far better than the original works that premiered. That said, this is South Pacific's to lose.





Best Performance by a Leading Actor in a Play
Ben Daniels, Les Liaisons Dangereuses
Laurence Fishburne, Thurgood
Mark Rylance, Boeing-Boeing
Rufus Sewell, Rock 'n' Roll
Patrick Stewart, Macbeth
Winner: Patrick Stewart, Macbeth
Spoiler: Mark Rylance, Boeing-Boeing This is a truly great set of male performers; while Rylance did not have the heaviest material to work with, he is central to Boeing's success, and I can see him taking home the trophy over Stewart's intense, passionate Macbeth portrayal.




Best Performance by a Leading Actress in a Play

Eve Best, The Homecoming
Deanna Dunagan, August: Osage County
Kate Fleetwood, Macbeth
S. Epatha Merkerson, Come Back, Little Sheba
Amy Morton, August: Osage County
Winner: Deanna Dunnagan, August: Osage County
Spoiler: Amy Morton, August: Osage County or S. Epatha Merkerson, Come Back, Little Sheba  Dunnagan, as the matriarch from hell Violet, is the favorite, but I was absolutely floored by Morton's performance as Dunnagan's eldest daughter Barbara. Morton has a good chance of winning, especially since Dunagan is leaving the show two days after the Tonys, which voters may not be too keen on. Though Morton and Dunagan's performances complement each other in the show, they could work against each other in the voting process, splitting the vote and leading to a Merkerson victory.





Best Performance by a Leading Actor in a Musical
Daniel Evans, Sunday in the Park with George
Lin-Manuel Miranda, In The Heights
Stew, Passing Strange
Paulo Szot, Rodgers & Hammerstein's South Pacific
Tom Wopat, A Catered Affair
Winner: Paulo Szot, South Pacific
Spoiler: Lin-Manuel Miranda, In the Heights





Best Performance by a Leading Actress in a Musical
Kerry Butler, Xanadu
Patti LuPone, Gypsy
Kelli O'Hara, Rodgers & Hammerstein's South Pacific
Faith Prince, A Catered Affair
Jenna Russell, Sunday in the Park with George
Winner: Patti Lupone, Gypsy
Spoiler: Kelli O'Hara, South Pacific  Kelli O'Hara is dazzling, but Lupone's turn as Mama Rose is a star turn.   O'Hara will have her turn, but this isn't it.





Best Performance by a Featured Actor in a Play
Bobby Cannavale, Mauritius
Raúl Esparza, The Homecoming
Conleth Hill, The Seafarer
Jim Norton, The Seafarer
David Pittu, Is He Dead?
Winner: Raul Esparza, The Homecoming
Spoiler: Jim Norton, The Seafarer Tony will most likely want to make amends for Raul's Company loss last year.






Best Performance by a Featured Actress in a Play
Sinead Cusack, Rock 'n' Roll
Mary McCormack, Boeing-Boeing
Laurie Metcalf, November
Martha Plimpton, Top Girls
Rondi Reed, August: Osage County
Winner: Rondi Reed
Spoiler: Mary McCormack or Martha Plimpton





Best Performance by a Featured Actor in a Musical
Daniel Breaker, Passing Strange
Danny Burstein, Rodgers & Hammerstein's South Pacific
Robin De Jesús, In The Heights
Christopher Fitzgerald, The New Mel Brooks Musical Young Frankenstein
Boyd Gaines, Gypsy
Winner: Boyd Gaines, Gypsy
Spoiler: Danny Burstein, South Pacific I would love for Robin De Jesus to win; I remember him as pimply faced cross dresser Michael from Camp, but it's simply not in the cards.





Best Performance by a Featured Actress in a Musical
de'Adre Aziza, Passing Strange
Laura Benanti, Gypsy
Andrea Martin, The New Mel Brooks Musical Young Frankenstein
Olga Merediz, In The Heights
Loretta Ables Sayre, Rodgers & Hammerstein's South Pacific
Winner: Laura Benanti, Gypsy
Spoiler: Loretta Ables Sayre, South Pacific




Best Scenic Design of a Play
Peter McKintosh, The 39 Steps
Scott Pask, Les Liaisons Dangereuses
Todd Rosenthal, August: Osage County
Anthony Ward, Macbeth

Winner: Todd Rosenthal, August Osage County
Spoiler: Scott Pask, Les Liasons Dangereuses




Best Scenic Design of a Musical
David Farley and Timothy Bird & The Knifedge Creative Network, Sunday in the Park with George
Anna Louizos, In The Heights
Robin Wagner, The New Mel Brooks Musical Young Frankenstein
Michael Yeargan, Rodgers & Hammerstein's South Pacific
Winner: Michael Yeargan, South Pacific
Spoiler: David Farley and Timothy Bird, Sunday in the Park with George






Best Costume Design of a Play
Gregory Gale, Cyrano de Bergerac
Rob Howell, Boeing-Boeing
Katrina Lindsay, Les Liaisons Dangereuses
Peter McKintosh, The 39 Steps
Winner: Katrine Lindsay, Les Liasons Dangereuses
Spoiler: Gregory Gale, Cyrano de Bergerac





Best Costume Design of a Musical
David Farley, Sunday in the Park with George
Martin Pakledinaz, Gypsy
Paul Tazewell, In The Heights
Catherine Zuber, Rodgers & Hammerstein's South Pacific
Winner: Catherine Zuber, South Pacific
Spoiler: David Farley, Sunday in the Park with George




Best Lighting Design of a Play
Kevin Adams, The 39 Steps
Howard Harrison, Macbeth
Donald Holder, Les Liaisons Dangereuses
Ann G. Wrightson, August: Osage County
Winner: Kevin Adams, The 39 Steps
Spoiler: Howard Harrison, Macbeth




Best Lighting Design of a Musical
Ken Billington, Sunday in the Park with George
Howell Binkley, In The Heights
Donald Holder, Rodgers & Hammerstein's South Pacific
Natasha Katz, The Little Mermaid
Winner: Donald Holder, South Pacific
Spoiler: Ken Billington, Sunday in the Park with George





Best Sound Design of a Play
Simon Baker, Boeing-Boeing
Adam Cork, Macbeth
Ian Dickinson, Rock 'n' Roll
Mic Pool, The 39 Steps
Winner: Mic Pool, The 39 Steps
Spoiler: Adam Cork, Macbeth




Best Sound Design of a Musical
Acme Sound Partners, In The Heights
Sebastian Frost, Sunday in the Park with George
Scott Lehrer, Rodgers & Hammerstein's South Pacific
Dan Moses Schreier, Gypsy
Winner: Scott Lehrer, South Pacific
Spoiler: Acme Sound Partners, In the Heights




Best Direction of a Play
Maria Aitken, The 39 Steps
Conor McPherson, The Seafarer
Anna D. Shapiro, August: Osage County
Matthew Warchus, Boeing-Boeing
Winner: Anna D. Shapiro, August Osage County
Spoiler: Matthew Warchus, Boeing-Boeing




Best Direction of a Musical
Sam Buntrock, Sunday in the Park with George
Thomas Kail, In The Heights
Arthur Laurents, Gypsy
Bartlett Sher, Rodgers & Hammerstein's South Pacific
Winner: Bartlett Sher, South Pacific
Spoiler: Arthur Laurents, Gypsy



Best Choreography
Rob Ashford, Cry-Baby
Andy Blankenbuehler, In The Heights
Christopher Gattelli, Rodgers & Hammerstein's South Pacific
Dan Knechtges, Xanadu
Winner: Rob Ashford, Cry Baby
Spoiler: Andy Blankenbuehler, In the Heights

Best Orchestrations
Jason Carr, Sunday in the Park with George
Alex Lacamoire & Bill Sherman, In The Heights
Stew & Heidi Rodewald, Passing Strange
Jonathan Tunick, A Catered Affair
Winner: Whoever gets Best Score.