“Memphis,” “Red” Big Winners at Tony Awards

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The Tony Awards–the annual celebration of Broadway’s best–is usually the best of the awards extravaganzas. Despite perennially low ratings, the show is usually worth the watch even if you haven’t seen many or even any of the nominated shows. The 64th annual Tonys, I’m sorry to say, was something of a slapdash affair. It opened with a promising montage of all the nominated musicals, but as the night progressed it became apparent that the show’s cast and producers were guilty of that most grievous theatrical offense: under-rehearsal. The presenters often stumbled over their teleprompted intros and host Sean Hayes, though affable and willing, couldn’t match the wit or energy of last year’s emcee Neil Patrick Harris.

Still Broadway showcased its latest offerings and doled out the coveted prizes. “Memphis,” the musical about a white disc jockey in the 1950′s who falls in love with black ( or race records as they were then called) music and a black singer, picked up a slew of trophies, including Best Musical.  “Red,” John Logan’s play about artist Mark Rothko and his assistant, which evolves into an elegant rumination on the meaning of art and artistic legacy nabbed the Best Play prize as well as four others.  While it’s hard to argue with the choice, I had hopes for “Next Fall,” Geoffrey Nauffts’ tender and moving play about two gay lovers coping with religious and family complications. There is such a special spirit in that play, one that transcends all the social issues it raises, and goes straight to the heart of all of us searching for, finding and claiming the love we deserve.

“La Cage aux Folles” won the Best Musical Revival award and star Douglas Hodge picked up the Best Musical Actor trophy. “If you want to see a Democrat kiss a Republican every night, come to La Cage,” Hodge said during his acceptance speech, referring to his GOP loving co-star and fellow nominee Kelsey Grammer. Catherine Zeta-Jones’ painful  performance of “Send in the Clowns” from Sondheim’s “A Little Night Music,” was evidence  that she was clearly the designated Hollywood star winner as she picked up the Best Actress in a Musical award.

Best Play Revival went to August Wilson’s “Fences,” a moving play about a failed black baseball player in 1950′s Pittsburgh who struggles with life’s losing hand. The production–one of this uneven Broadway season’s most acclaimed–also garnered Best Actor and Actress awards for Denzel Washington and Viola Davis, who delivered the most eloquent and sweetest speech of the night. Davis–who was nominated for an Oscar in 2008 for her brief but riveting scene stealing role in “Doubt” also won a Tony in 2002.

Tony highlights included performances from Green Day and the band’s musical, “American Idiot;” a raucous number from”Million Dollar Quartet,” the musical homage to Sun Records founder Sam Phillips and icons Johnny Cash, Carl Perkins, Elvis Presley and Jerry Lee Lewis ( Levi Kreis who played Lewis got the Best Featured Actor in a Musical award); and infectious numbers from “Fela, “Promises, Promises” and “Memphis.”

For a community that values its heritage, the theatre people let down some of its legends. In an effort to keep the show within the three hour limit, some awards are presented prior to the national telecast. Okay, we know some of the technical people have to accept that less glamorous fate. But to give such a short shrift to Lifetime Achievement winners playwright Alan Ayckbourn and actress Marian Seldes is simply unforgivable. The producers should have curtailed some of the lackluster banter and/or cut an extraneous number or two so that two of theatre’s most cherished contributors could have truly basked in their well deserved spotlight.

If I had to guess, I’d say for next year’s 65 annual  bash, new producers and writers will try to re-claim Tony’s previous grace and glory.

Please follow Amy Beth Arkawy on Twitter. You can also read her other News Junkie Post articles.

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