Luke's Reviews: Cabaret

I love Joel Grey, Alan Cumming, Bob Fosse, John Kander, and Fred Ebb, so by all accounts and purposes I should love Cabaret.  However, for some reason I don't.  Or at least I didn't.  But the production by Kennesaw State University that I saw a few nights ago made me see the show in an entirely new light, and breathed a life into it that I never knew it had.  Some of the content in the show was, as I expected, a bit risque for my tastes, and there was some unappreciated language.  But this is one of the few shows where I walked out thinking that every, "nasty" aspect was absolutely necessary.  The grit, the dirt, and the smut of the show was all absolutely necessary and absolutely powerful.  I always told people that Cabaret is interesting because the songs have nothing to do with the plot, I learned at this performance that that is not true at all (shame on you 1972 movie for disillusioning me so).  The songs were powerful, purposeful, and doggone catchy.  Not only that, but the performers were superb, the set was exciting, the costumes evocative, even the lighting was noticeably commendable. So I say bravo to Kennesaw State University and their mind-changing production of:

The Show

As I said before, I just didn't like Cabaret.  For those of you who are unfamiliar, the show is about life in Germany as Hitler was rising to power.  We see this troubled time through the eyes of, an American writer, a British lounge singer, a German Jew, a Nazi sympathizer, and a disturbingly perverted Emcee (among others).  This plot line is underscored by the songs sung in the Kit-Kat club, a popular haunt for those in Germany who love to party.  It was written by theater legends John Kander and Fred Ebb (Chicago, Curtains, & The Scottsboro Boys).  The original production of the show won 8 Tony Awards (including best score and best musical) and the 1998 revival won 4 more (Including best Revival and three of the four actor awards).  This revival also has the honor of being the third longest running revival in Broadway history (behind Oh! Calcutta and Chicago).  As for the cast they are mostly people who aren't too famous (with the exception of the 1972 movie in which the lead roles of Sally Bowles and Cliff Bradshaw were played by Hollywood stars Liza Minnelli and Micheal York) except for the role of the Emcee.  It seems just about everyone has played the Emcee at one time or another.  Joel Grey (Wicked, 2011 Revival of Anything Goes) who originated the role in a Tony Award winning performance, Alan Cumming (who was propelled to stardom with this role), "my buddy Raul" Esparza (Leap of Faith, Tick...Tick...Boom, 2006 Revival of Company), Adam Pascal (RENT, Aida), Norbert Leo Butz (Wicked, Dirty Rotten Scoundrels, Catch Me If You Can), Johnathan Price (Miss Saigon), Neil Patrick Harris (2004 Revival of Assassins, 2012 Revival of Company), John Stamos (known for his TV work on ER and Full House), and countless others have played the Emcee at one point or another.  After seeing the show I absolutely understand why, the role is so juicy and I also see why the show was such a success.

The Production Team:

• SET DESIGN -- The set was actually really cool.  The stage was pretty much the set-up of the nightclub where most of the musical numbers took place.  There were tables on the stage (both for actors and audience members to sit in), a wooden stage (on top of the actual stage) and a spiral staircase leading to a balcony type thing where some members of the orchestra played.  But the coolest part of the set were the doors.  Behind this stage and below the scaffolding balcony, there were a series of doors that were hung from a track that they could slide on and off stage.  It's tough to describe, but it made the scene changes kind of exciting actually.  The set was really good for the cast size there was, nobody ever seemed cramped, and the staged didn't swallow up the actors when there were only a few of them on.  It was really one of the best, most inventive sets I've seen in a long time.
• COSTUME DESIGN -- I was actually really impressed with the costumes.  The Kit-kat Girls' costumes weren't great (I wouldn't want my sister wearing one), but they weren't as bad as they really could have been.  The Emcees costume (or should I say, the 10-20 he had to wear throughout the show) was really cool and, what impressed me the most, not exactly like either of the Broadway productions.  Aside from those the costumes were mostly period, and nothing really noteworthy (except for the Gorilla suit...which was a nice touch).
• LIGHTING DESIGN -- Usually the lighting is nothing too exciting, but in this production I really noticed it because it added to the scenes.  For one thing, the reddish tint that illuminated the stage during most of Sally's and Emcee's songs, helped to differentiate whether we were in the Kit-kat club or a small German apartment   I also loved that on the final beat of the show (If you've heard the finale you know it ends on a huge orchestration note) the entire stage was lit up as if no show was going on at all.  It was so great in showing how "the cabaret" was over and real life was going to have to start.  But by far the best lighting moment in the show was in the Act I finale.  I can't really describe it much, but the lights would flash at the audience and the entire ensemble would stomp in sync and it had this incredibly powerful, suspense-building building effect that left the entire audience enraptured.
• EVERYTHING ELSE -- The other production elements of this show were good, but didn't necessarily stand out.  The choreography was good, but the songs and the setting don't really lend themselves to big dance numbers.  The blocking was also good, but the best blocking doesn't look like blocking at all, so it doesn't really stand out when you watch the show.  I should point out that one really good blocking choice was the curtain call.  The way it was staged, none of the actors smiled, waved, or looked at all happy to have taken part in the horror of the finale (if you've seen the finale of the show you'll know why).  It gave the audience time to reflect on the scene that just took place and was really a chilling effect.

The Cast:

PRINCIPLES -- 

• Chase T. (Emcee) -- I loved this guy even before he opened his mouth.  The little slot in the door opened and we saw his eyes peeking out and I'm thinking "oooooooh, this could be awesome".  Then he began singing "Wilkomen" and I just wanted to stand up and applaud right there.  Every second he was on stage (whether he was in the spot light or not) made the show better.  His voice was spectacular, but it was his acting and his unbridled energy and courage on stage that was so amazing to watch.  Honestly, one of the best scenes in the entire show is when he simply sat on the darkened stage (with a spotlight around him) and listened to a little boy sing on a phonograph.  It was so beautiful, and so haunting watching his face and what this song meant to him.  Even the stark changes of his character from the absurdity of "If You Could See Her", to the passion of "I Don't Care Much", to the intensity of the "Finale" were just spellbinding.  After being blown away by his performance, I did some internet stalking (it's what I do) and found that he isn't currently a student at KSU (I think he was at one point, but I can't back that up).  He is officially a "professional actor" having done several professional shows including the National Tour of Shrek: The Musical.  But even with his success it appears he keeps coming back to KSU (which is why I think he may be an alumni) where he's played roles like Bobby Strong [Urinetown] and Edgar [Batboy].  I know that I will definitely make it to every KSU performance I can if it means I can see Chase in another show, the man is just wonderful!
• Sarah P. (Sally Bowles) -- I had the pleasure of seeing Sarah in the Kerrigan and Lowdermilk concert I went to a few weeks ago, so I was really excited to see her in Cabaret.  Her voice was really good, her accent constant, and she played the part masterfully.  Of course her singing was spectacular (She finally made me like the song "Cabaret"), but my favorite moments were when she wasn't singing, just verbally sparing with Cliff.  She was quick with her lines and her physicality was excellent.  And I do need to mention her emotional performance of the song "Cabaret", it was so moving and one of the most powerful moments in the show.  Excellent job Sarah.
• Russell M. (Cliff Bradshaw) -- The role of Cliff is interesting because it's one of the smallest leading men roles I've ever seen.  He only sings one song (and a reprise towards the end), but the entire plot-line of the story focuses around him.  So I can't really say much for his singing or dancing talents, but his acting was great.  He knew when to be awkward and when to explode with emotion.  The scene where he calls out Sally in the Kit-Kat club (despite having the worst language of the show) was really strong and left the audience a bit in awe.  And then there's that line.  At the end of the show he delivers this line that encompasses the entire show (unfortunately I can't find it in it's entirety on the internet and I would hate to misquote it, but if you've seen the show then you know what I'm talking about).  Anyway, he delivered this line superbly, with just the right bewildered and tired expression that left you feeling sorry for him, and the rest of Germany.
• Barbara G. (Fraulein Schneider) -- I had seen Barbara in the Kerrigan and Lowdermilk masterclass, but I think she was much stronger here.  She has a good belting voice, and you can really see the emotion in her face.  Unfortunately, I felt like some of her songs kind of drug on.  I think this is likely the writing instead of the acting, for she did a great job, but her songs were a bit repetitive and I found myself getting a bit bored.  Her singing was great, and her plot line was one of my favorites, but I just don't have too many good things to say about her simply because of her character.
• Terry P. (Herr Schultz) -- Terry did an excellent job in this role, but I don't know that it fit him exactly.  For one thing, his accent was the only one that I could hear slip now and then (for the most part everyone's accents were really impressive), and his voice, while spectacular, didn't really seem to fit his character.  I almost felt that he was too good a singer, or at least too polished.  Visually, he played the role great.  His walk, his face, and they way he carried himself was excellent, and I really enjoyed his performance, I just felt like he has more talent than this role allowed him to display.
• Caleb M. (Ernst Ludwig) -- I'm going to be honest, Caleb was one of my favorites in the show.  For one thing, his accent was the best, never for a moment did it slip.  But what I liked about him was how comfortable he was, he was given a bit of an intense character that many people (myself included) would be inclined to overact.  But Caleb just kept this joyful subtlety the entire show.  None of his lines were forced and when the time came for him to be intense, it made the contrast even more affecting.
• Avery R. (Fraulein Kost) -- For the longest time I couldn't figure out why this character was in the show at all, but now I think I understand.  Kost really encompasses where Sally is going, and where she could end up if she isn't careful.  Kost isn't a villain in the show, but a solemn reminder.  With that in mind I really enjoyed Avery's portrayal of the character.  Her singing was honestly underused.  She had a really beautiful soprano voice, which unfortunately isn't demanded very highly in this show.  But her one song (which I think was almost entirely in German, that or she has horrible diction :P) was beautifully sung.  Although she wasn't really crucial to the story, she made a possibly forgettable role stand out.  Congratulations Avery.

ENSEMBLE --

• The Kit-Kat Girls don't really have much individuality or characters in the show, but they sing the songs that carry the plot.  I would like to point out that all of these girls were excellent.  I love the fact that before the show even started they were mingling (in character) with a few members of the audience as they would random patrons at their club.  During the actual performance they were solid.  I feel like the dancing was probably their most impressive feat ("Mein Herr" must have been very uncomfortable physically).  They also did really well (WAY better than I would've done) at being comfortable on stage.  I'm sure at least a few of them had to get used to the kinds of things they had to do, but they didn't look the least bit uncomfortable (the same cannot be said for the audience at certain parts).
• The Kit-Kat Boys -- I have great respect for these guys.  I mean, guys get made fun of for being in the theater anyway, and when you're forced to roles like these it doesn't help that.  They did look a bit uncomfortable at times, but that is absolutely understandable.  I actually saw one of them walking around campus the other day and considered saying hi but figured it might be a bit embarrassing, but, in case he's reading this, "Hi Logan V.  Excellent job!"

Conclusion

I once had someone tell me that the first show they ever saw on Broadway was Cabaret (when she were 5!) and it was her favorite show to this day.  I thought she was insane.  I didn't see how anyone, especially a child, could appreciate, much less enjoy the grit and sleaze that I thought made up the entire show.  Now I understand.  I can't quite say that it's my favorite, but I now have a great respect for Cabaret and I would certainly see it again if another group decides to put it on.  KSU's cast was able to take a show that I actively disliked and made every line, and every lyric so new and different than I thought they were.  I've never had a single performance change my opinion of a show so much, so a massive BRAVO to KSU's company of Cabaret!

The 2012 Jimmy Awards

Have you ever been waiting for a package to come? You are so excited to get it that you check the mail every day and constantly imagine how happy you'll be when it finally arrives. Of course, it seems like you've been waiting forever after only a few days. Then you realize, you have been waiting forever, or practically. What was supposed to happen in a week becomes two weeks, then a month, then two months. Eventually you tell yourself that it's not coming. Regardless of whether or not you believe it, that's what you have to tell yourself to stay sane. THEN IT COMES!!!!!!


Yeah, this has never happened to me.


But I did experience something similar with this year's Jimmy Award Videos. For those of you who don't know what the Jimmy Awards are, you can read about it in some detail in the blog I did last year or the nhsmta website, but for now let's just say that it's like the Tony Awards for Highschool. I have been avidly following the Jimmy's since they began in 2009 and I have loved watching how it has grown. As a symbol of this growth this year, PBS did a 3 episode mini-series on the journey these 60 highschoolers took entitled Broadway Or Bust (this is why they delayed posting the videos to Youtube). The kids who are chosen to participate get to train with professionals for 5 days and then get to perform on the 6th day at the Minskoff Theatre (where The Lion King usually performs). These are some of the videos from that performance and my thoughts on the contestants.

The Medleys

Frequent readers will know that the medleys are my favorite part of the Jimmy Awards. In these medleys, each actor/actress sings a clip from the show that (s)he won for. This is also my favorite way to learn about new shows. It was the Jimmy medleys that introduced me to shows like Les Miserables, The Mystery of Edwin Drood, Jane Eyre, John & Jen, and The Scarlet Pimpernel. Here are the medleys of 2012:

MEDLEY #1

Right off of the bat I think this is my favorite medley.  I loved the humor they threw into it (I almost died at "Phantom shadows on the floor").  This medley also had some of my favorite performers out of all of the students.  I think my favorites in this medley were Mr. Hyde [Jekyll & Hyde](I sing that song all the time, so I know how hard it is...he's better at it than I am) and Harold Hill [The Music Man].  Both of them had great stage presence and really impressive voices.  I have also been a fan of Marius [Les Miserables] and Seymour [Little Shop Of Horrors] from their regional videos, but I felt their medley performances weren't as amazing as their videos.  I also want to congratulate the Phantoms [The Phantom of the Opera], they were really great, and any higschooler who can take on a role such as The Phantom is already amazing in my book!

MEDLEY #2

This was the girl Medley I was most excited about seeing because it had characters from shows that I feel are underrepresented in highschools (such as Parade), actresses who were featured in "Broadway Or Bust" (such as the girl who played Celie), and a female Jesus [Godspell] (which was intriguing to say the least).  I must say, these girls didn't disappoint.   It starts off with a couple of Belle's (probably the second most represented character at the Jimmy's, second only to Millie Dillmount) singing a song that ISN'T "Home" (I was really excited to see that).  Another thing that makes this medley unique is that it has characters that could be considered supporting actresses.  Cinderella [Into the Woods] and Lilly Craven [The Secret Garden] both come from shows who have very defined leading ladies...and these aren't them.  This entire group were all really good.  Even actresses that didn't really impress me in their regional videos  (like Maria) did a really good job.  I think my favorites were Dorothy [The Wizard of Oz], and Celie [The Color Purple].  Of course I loved all of them, but these were the two who I felt really stood out in this video.

MEDLEY #3

Technically I'd have to say this is my least favorite of the guy medleys, which is a testament to how great they all are!  These guys really did a great job and you could tell that each and every one of them deserved to be here.  This was mostly the "straight man" Medley (as is evidenced by the "incredible variety" in costumes), but even so it had some great moments.  There were some actors (such as Albert [Bye Bye Birdie] and Don Lockwood [Singin' In The Rain]) who surprised me with how good they were because I wasn't too impressed with their regional videos.  I also really enjoyed the first Jimmy [Thoroughly Modern Millie] (who was a favorite since his regional video) and Cornelius Hackle [Hello Dolly!].  But even these were hard to single out because the entire cast of this Medley is just so talented   I also have to mention the transition between "Singing in the Rain" and "Put on a Happy Face"...BRILLIANT!

MEDLEY #4

This is probably my favorite Medley of the girls.  I love the variety of characters (it's nice to have a few who don't just sing love songs) and all of these actresses are so talented!  The second best actress in this medley was, in my opinion, Elle Woods [Legally Blonde].  Although I'm not loving the song choice for this medley (which wasn't in her control), she did a great job performing and singing it, and I could see the rest of her range from the Broadway or Bust clips so I know she had the chops to pull off the rest of the character's songs.  My favorite girl in this medley was the phenomenal young lady playing Mrs. Lovett [Sweeney Todd].  I wish I had a video of this girl I could show to all actresses attempting this role (including Helena Bonham Carter) as the epitome of perfection.  I have literally never seen anyone come so close to Angella Lansbury's legendary performance of this role.  Even when she wasn't in the spotlight you could kind of see Mrs. Lovett peeking through the ensemble.  I give honorable mention to Polly Barker [Crazy for You] for her outstanding confidence and stage presence  and Timoune [Once On This Island], because once she found her voice she did really well.

MEDLEY #5

I really like this medley even though it didn't have a lot of original characters.  I mean, you can close your eyes and point to a highschool and chances are they are doing Hairspray, or Les Miserables, or Pippin.  Even shows that don't get a whole lot of highschool action (such as Phantom of the Opera or Ragtime) are well known to practically everyone in the theatrical community.  This Medley also follows the times representing the shows that have suddenly risen in popularity in the past few years (such as Crazy for You and Dirty Rotten Scoundrels).  However, even through it's common characters, this medley shone brightly.  I feel I ought to point out that two of the three male finalists (The young men who played Raul [The Phantom of the Opera] and William Barfee [25th Annual Putnam County Spelling Bee]) were singing in this medley.  But mostly, there are just no bad singers in this entire competition.  I think my favorites were probably Raul (that voice...so pure!) and Pippin [Pippin].  Close second goes to Barfee and Freddy Benson [Dirty Rotten Scoundrels], but even those are close.  All of these guys are totally awesome!

MEDLEY #6

I almost wish there was a medley that I didn't like.  I feel so repetitive saying they were all amazing but it's really true.  What set this apart is that it has two of my female picks to win it all  (from their regional videos): The young women who played Lola [D*** Yankees] and Rosemary Pinkleton [How To Succeed in Business Without Really Trying].  Of course they were far from the only talented young ladies apart.  I thought that Adelaide [Guys and Dolls] was pretty perfect, Gertrude [Seussical: The Musical] did an excellent job, and I really liked the first Princess Winifred [Once Upon a Mattress].  There is just no shortage of incredible talent filling this stage!  It honestly gives me hope in the future of Broadway.

And that does it for the medleys.  All of these kids were so superb I was practically besides myself.  This is the first year when I don't have a clear favorite because they were all so fantastic!  If I had to give the award to one actor and actress from these videos alone, I would probably give them to Michael Ferlita (who was the spectacular Mr. Hyde) and Brooke Tate (the hilarious Mrs. Lovett).  Of course neither of them even made the final six...so that's my theater talent scout skills for ya.  So you may be asking yourself, which six did make it?  Well, I'll show you in this next segment:

The Solos

Let's start with the young ladies:

This is Erica Durham (she was the second Aida [Aida] in Medley #4) singing "Sal Tlay Ka Siti"  from The Book of Mormon.  Although her medley didn't impress me too much, she did a good enough job in her solo.  The song choice was good for her and made me laugh once I got it (the title had to be explained to me.  For those of you out there who are as slow as me: "Salt Lake City").  I don't know that she belonged in the top three, but she didn't do particularly bad.

This is Nicolette Burton (who played Kathrine [Kiss Me Kate] in the sixth Medley) singing "Maybe I Like It This Way" from Andrew Lippa's The Wild Party.  Actually I was particularly unimpressed with her medley performance because she had such a great song but she completely sped through the funny moments and didn't play it to it's potential.  That being said, I see why the judges put her in the final three; her solo is really powerful and there is no question that she has a KILLER voice!

This is the 2012 Jimmy Award Winner for Best Actress Elizabeth Romero (who was Lola [D*** Yankees] in Medley #6) singing "Disneyland" from Smile.  I would like to start by saying: "I TOTALLY CALLED THIS ONE!!!"  As soon as I saw her video I knew Elizabeth was going to win!  Of course, I knew some background information.  Her highschool is possibly the most talented group of people on the planet outside of Broadway.  They have had at least one representative at EVERY JIMMY AWARDS EVER!  Elizabeth is the second of her school (and the first girl) to win the entire competition.  And she deserved it.  Her song choice was brilliant and did an excellent job merging her inspired acting choices with a truly impressive voice.  Brava Elizabeth!

And now for our extraordinary gentlemen:

This is Drew Shafranek (who played Harold Hill [The Music Man] in Medley #1) singing "Before The Summer Ends" from Dracula: The Musical.  Drew wins (or at least ties with Elizabeth) on the most obscure song of the finals.  Very, very few people know of Frank Wildhorn's adaptation of "Dracula", mostly because this song is one of the three good ones of the entire show.  I give props to Drew for knowing the song, and even more for singing it so well.  I mean, the emotion behind this guys voice is breathtaking, and his vocal talent is pretty mind blowing as well.  This guys charismatic medley performance coupled with this stirring solo adds up to a stellar combination.  I'm honestly a bit surprised he didn't win and I hope and expect to see him starring on Broadway before long.

This is Evan Greenburg (who portrayed William Barfee [25th Annual Putnam County Spelling Bee] in Medley #5) singing "Master of the House" from Les Miserables.  Evan was my favorite during "Broadway Or Bust" because, not only was he from my home state, but I also really related to him on a lot of levels.  I was really excited to see him chosen as a finalist and I think he performed his song brilliantly.  I don't think he ever really had a chance to win (I'm honestly not sure how he made it to the finals, but I'm glad he did), because, let's be honest, his voice doesn't blow you away.  However, his acting is indeed phenomenal and he took a song that we have all heard a hundred times and added his own tricks to it that made me laugh every time.  Well done Evan, well done!

This is the 2012 Jimmy Award Winner for Best Actor Joshua Grosso (who was Raul [The Phantom of the Opera] in Medley #5) singing "Il Mundo Era Vuoto" from The Light In The Piazza.  I'll be honest, I wish he would've chosen a song in English.  I mean, the singing was spectacular, but it would've been nice to understand what he was saying.  Of course, song choice aside, this kid is freaking amazing!!!!  I mean, I was honestly a bit shocked that he was so down on himself during his "Broadway or Bust" interviews because it was pretty clear from the first episode that he had a spectacular voice!  He gave a solid performance in his medley and then this, even though I couldn't understand it, was really a work of art.  Color me impressed Joshua (with your talent, not your song choice).

And.....everything else

Although I don't think they're near as interesting as the medleys or solos, I thought I should include the other recorded performances of the night.  First I will show you the opening number. This is the first thing the kids get to work on when they get to New York (I think it's good to try to make them a group before they remember that it's a competition).  What they do here is really a cool idea.  Thy make a giant mash-up of shows currently running on Broadway, including long running shows like Lion King and Wicked, and the new shows like Newsies and Evita.  They highlight a few people to sing solos and it's a really cool bonding number for them all.

The closing song is just about as cool.  This song usually includes a few more soloists than the opening and is more based off of a single song.  The songs have ranged from well known ("Good Riddance" [American Idiot] ) to obscure ("I Am My Own Invention" [Wonderland]).  If there was a moment for everyone to start crying, it would be this closing number.  It really ends the night off as it should.  This year they chose to focus it around "Here Right Now", the show stopping number from Ghost.

Conclusion

And thus ends my 2012 Jimmy Award Post.  I'm sorry it was so late, but as I said, it wasn't completely my fault.  If you liked what you saw here then I would encourage you to read my post on last years Jimmy's, check out the Broadway or Bust website (where you can watch the whole thing), and look at NHSMTA's Youtube channel (especially the medleys and solos over the years).  Make sure to vote in the poll and leave comments, I will read them.  Thanks for reading.

Kerrigan & Lowdermilk

Some of the greatest composers and lyricist of our time have not yet hit the great white way, but that doesn't mean they aren't spectacular.  There are so many amazing artists out there who don't actually have a Broadway show under their belts.  One such song-writing team is Brian Lowdermilk (composer) and Kait Kerrigan (lyricist).  I had the extreme pleasure of seeing them in concert the other day.  I  actually got to talk with them after the show!!!!  I was so excited!  It was my second actual encounter with someone I've stalked on Youtube (the first being Colin Hanlon when he did Wicked at the Fox).  But I digress.  They were brilliant in concert and it just reminded me how much I love their music!  So I thought I'd introduce some of the greatest songs you've never heard to those of you who haven't had the pleasure of discovering Kerrigan & Lowdermilk's brilliance.  I'll try to keep this list relatively short, but if you like what you hear in this post I'd recommend checking out their Youtube account for more.

*since I know I have several young readers of this blog, each video will come with a brief disclaimer on the content.  If you have any questions to how "bad" a song is, I'd be happy to answer.

TALES FROM THE BAD YEARS
One of the things that Kerrigan and Lowdermilk excel at is capturing the spirit of the young adult.  This is evident in several of their shows, but is most prominent in Tales From The Bad Years a song cycle about those "20-something" years.

Twenty-Something

I'm not going to lie, I LOVE THIS SONG!  This might be my favorite song that they wrote!  I'm not even in the age range their describing yet but I relate to the song so much!  Since the first time I heard it, I began just waiting for my friends to turn 20 so that I could show them this song and let them experience it's brilliance.  What makes it even better is two of my Youtube obsessions combine.  The group singing this (and one other song here) is one of my favorite highschools: the kids at Newton North (they're in Massachusetts...where I've never been and I know absolutely nobody.....is that creepy?). Enjoy!

*BEWARE!: THIS VIDEO CONTAINS SOME BRIEF, RATHER EXTREME LANGUAGE.

Someone Else's Life

This is definitely one of the best male solo's that Kerrigan and Lowdermilk have written.  It honestly reminds me a lot of "Monticello" by Pasek and Paul (a group you may get to hear about in a future post).  It conveys this wonderful message about wanting to move on to do something important in life, while being hilarious in it's own way.  Steven Booth [Dogfight, Glory Days] sings this version (ironically the same guy who sung "Monticello") and he is pretty fantastic.

BEWARE: THIS VIDEO CONTAINS SOME BRIEF, MEDIUM LANGUAGE.

Not Her Way

This song is also pretty brilliant.  It has it's funny moments and has some crazy amazing vocals by the spectacular Kate Shindle [Legally Blonde, Wonderland].  It's probably my favorite female solo from this show.  I suggest this to a lot of strong belters for auditions because it's such a great powerhouse song.

BEWARE:  THIS VIDEO CONTAINS ONE RATHER EXTREME SWEAR WORD, BUT THAT'S ALL.

For the sake of keeping this post "relatively" short, that's all the videos I'm going to post.  But I would highly suggest you listen to "The Bad Years" (completely clean), "Not A Love Story" (completely clean), and "The Thanksgiving Plan" (very brief, medium language).  The whole show is really good, but these are my favorites

THE UNAUTHORIZED AUTO-BIOGRAPHY OF SAMANTHA BROWN

I was actually introduced to this show even before I knew who Kerrigan and Lowdermilk were.  The very first winner of the Jimmy Awards, Steven Mark (who you'll see in just a minute), performed a song from this show as his solo and it was breath-taking.  Although it isn't my favorite of their shows (mostly because of how great Tales From The Bad Years is), it is the one with what is probably their best songs.  The Unauthorized Biography of Samantha Brown is about (big surprise) a girl named Samantha Brown.  From what I can tell she's a highschool senior who decided one day that she was going to drive.  She goes on a journey of self discovery and I think has several flashbacks (most of which I think relates to her car).

Freedom

I really, really love this song (It makes my top 5 female duets).  Samantha remembers the time when her best friend Kelly went on a road trip with her.  It's a fun song about living life to the fullest and throwing caution to the wind.  It also features some of the incredibly talented students from Newton North singing with voices beyond their years.

THIS VIDEO IS COMPLETELY CLEAN

Run Away With Me

My goodness.  This is a song that will take your breath away.  This is probably Kerrigan and Lowdermilk's most popular song (for good reason).  Everybody loves this song and for that reason there are SO MANY amazing versions of this song on Youtube.  Aaron Tveit [Next To Normal, Catch Me If You Can] has a brilliant version, Josh Young [Jesus Christ Superstar (2012 Revival) had a cool take on it, and Micheal Arden [Big River (2003 Revival)] also has a really great version, which can be found on Itunes.  But the first, and very possibly my favorite, version I've heard is by Jimmy Award Winner Steven Mark.  But whichever version you hear, the song is beautiful and awfully romantic.

THIS VIDEO IS COMPLETELY CLEAN

The Girl Who Drove Away

This is a song that I had never bothered to listen to until the concert the other night, but for me it was one of the highlights of the evening.  This is probably my favorite female solo in the show, it's a wonderful opening of the show.  Once again it shows how good Kerrigan and Lowdermilk are at connecting with this age range and tapping into that raw energy mixed with indecision.  At the concert Kait Kerrigan herself gifted us with her performance of the song, but the best one I could find on Youtube is sung with excellence by Tony Nominee Laura Osnes [Bonnie & Clyde, Cinderella (2013 Revival)].

THIS VIDEO IS COMPLETELY CLEAN

Once again I'm not going to post anymore videos of this for sake of time.  But I encourage you to listen to Laura sing "Say The Word" (clean) and perhaps watch some of the video clips from the Goodspeed production of "Samantha Brown" (there's actually a good bit of language in some of these).

...AND EVERYTHING ELSE
The thing I'm finding about young artists like these is they have a bounty of songs that don't necessarily belong to any one completed show.  They have a few shows in progress or songs cut from shows that don't really fit neatly into any one category.  So these are there "miscellaneous treasures" that I'm sure you'll enjoy.

My Party Dress
This song comes from an adaptation they did of the children's book series Henry And Mudge.  Those who know me know that I don't bother to read books that aren't scripts, but my sister assures me that the book was quite good.  This song is sung neither by Henry, nor Mudge, but by Henry's self-absorbed cousin who comes to visit.  The song is absolutely hilarious and it's a joy to see actresses unleash their inner 4 year old to pull the song out.  Of course, nobody plays a better little girl than the impeccably adorable Celia Keenan-Bolger [25th Annual Putnam County Spelling Bee, Peter and the Starcatcher].  Here is her hilarious interpretation of the song:

THIS VIDEO IS COMPLETELY CLEAN

Vegas

I almost feel bad for liking this song as much as I do because the content of it is....PG-13 at best.  BUT IT IS SO FUNNY!  I always kind of imagined it from Tales From The Bad Years (It certainly isn't from Henry & Mudge) but from what I decipher from the website it was written without a show in mind.  As one Youtube comment describes it: "it's like a male version of Freedom, only more comedic".  This is a song about two guys who decide to go driving down to Las Vegas and the wild things that happen to them....or do they?  Regardless of the show, this song is pretty dang hilarious!

BEWARE: THIS SONG HAS SEMI-FREQUENT EXTREME LANGUAGE.

Avalanche

To be perfectly honest, I might just like the people who sing this song more than the song itself.  I found the song as Kate Shindle (mentioned above) sang it and I was blown away.  More recently I found a video of Lindsey Mendez [Godspell (2011 Revival), Dogfight] singing the song and it is, again, SO EPIC!  But regardless, it's a really powerful song.    Although I might like Kate Shindle's version better, I feel like Lindsey Mendez tells the story better (I never really listened to the lyrics until I heard her sing it), so that's the one I'm posting.  But I would encourage you all to listen to Kate Shindle sing it too.

THIS VIDEO IS COMPLETELY CLEAN

Conclusion

By now hopefully you are as astounded by these two young song writers as I am.  To be perfectly honest, I am excited about where theater is going and excited that new ORIGINAL works are being done (not that I don't love a good movie adaptation....but I like the freshness of a new plot).  I'm really excited about seeing them become ridiculously famous and counting myself as one of their earliest groupies (and then the autograph I got will be worth a ton!).  What I loved about the concert the most, and why I would recommend going to see them to anyone, is the chemistry between the two of them.  They just look like they have so much fun on stage and I wish I could just hang out with them all the time (they'd honestly make a fun reality show....I'd watch).  I am confident that the future of theater is safe in the hands of Kait Kerrigan and Brian Lowdermilk.  And now, I'm going to leave you in the same way they end all of their concerts.  The finale song to Tales From The Bad Years is this beautiful number called "Holding On" in which they taught us (the audience) how to sing the chorus and the entire theater resounded at the end.  And yes, those three lines are still stuck in my head.

THIS VIDEO IS COMPLETELY CLEAN

Luke's Top Ten: Broadway Duets

So those who know me know that I love making lists.  I have lists for everything!  Well, that's not completely true....I don't have lists for the important things in life, but I have lists for everything else.  I have a list of roles I want to play, I have lists of deaths I want to be informed of (I shall weep openly if Mandy Patinkin or Angela Lansbury finally dies), I have lists of my favorite villains, sidekicks, songs about mornings, songs about monsters (I'm completely serious on all of these), etc.  So since the summer is almost over and I feel like I haven't been blogging enough, I figured I'd start a new series and begin sharing some of these lists with you.  Now, in the same way that your favorite song changes day to day, many of my "favorites" lists are subject to change.  But I feel that this is ok, and if I get old it will be fun to look back and see what used to hold my fancy.  So that being said, LET THE LISTING BEGIN!!!!

DUETS:
I must say that duets are one of my favorite types of song.  Why?  Because Duets are the most likely to carry the story along.  Solos are for expressing emotion, and ensemble songs are for blowing the audience away, but duets show change.  They are some of the most dynamic types of song.  It also doesn't hurt that a good deal of battle songs, love songs, and just songs about strife in general come in the form of duets.  So although it is nearly impossible to limit my favorite duets to only 10, I shall try (but I may add an "honorable mention" section).  I shall also note that I'm only including BROADWAY duets.  There were several songs that I wanted to add on this list, but the shows they came from never actually appeared on Broadway (many of them were off-Broadway or West End only).

10 - When You're Home [In The Heights]
I tend to forget about this song because I don't really think of In The Heights for its duets (which is dumb because it has several good ones).  But I love this song for several reasons.  One, I am a huge fan of Benny's voice (all of his songs are awesome) and I just feel like this song does a great job of capturing the spirit of the show.  I love the energy behind it and the message.  I also find myself singing the bridge ALL the time!  It's not really amazing, but it's a well written song that I can really listen to in almost any mood.

9 - Dirty Rotten Number [Dirty Rotten Scoundrels]
Here's a fun one.  It's two extremely talented gentlemen singing a wonderfully written song.  I love the chemistry between these two characters (Freddy Benson and Lawrence Jameson) throughout the whole show and this song just brings so much closure to their relationship (there is more to the show, but it's really more of a "P.S." moment).  This song is only at 9 because there isn't a lot of emotional pull to the song, but it is a  good song that really sums up the whole show.  I'm sure I'll be singing this all the time once I retire.

8 - I Am The One (reprise) [Next To Normal]
This song is not fun.  It's not happy.  It's not even a full song, just a reprise.  But there is just SO MUCH emotion behind it.  I once saw a bootlegged video of the original cast doing this song (it was later taken down) and ever since I couldn't get enough of it.  For one thing I love N2N!  I can't tell you how many songs almost made the list (but a lot of them have 3-4 people).  This short song just oozes intensity (which is slightly less present in the recording as when you see it performed, but it's there).  **Beware: there is slight language in this song, but it's pretty minor.

7 - Color And Light [Sunday In The Park With George]
I really don't know why I love this song so much.  I didn't the first few times I heard it (I actually first got into it by clicking the wrong link on Youtube), but I've come to really love it.  Of course, that's the way I feel about this whole show.  I love Mandy Patinkin, Bernadette Peters, Sondheim, Lapine, and the fact that practically half of the cast was in Into the Woods.  But the show moves really slow and the music is not my usual style (which is why most of the people I recommend it to don't like it).  But for some reason "Sunday in the Park With George" is just so calming and beautiful that I listen to it all the time.  And no song is better than Color and Light.  The beauty of melody, the creativity in the lyrics (especially George's), and just the sheer rhythm of the song is enough to love it.  It's like a fight song, but soft and beautiful.  I also love how many times it changes tones (something Sondheim does really well).

6 - Dangerous Game [Jekyll & Hyde]
Remember earlier when I mentioned intensity?  WELL IT'S BACK!!!!  This song has that dark, sultry, even seductive sound that makes your hair stand on end.  I've legitimately had goosebumps when Lucy hits that very first note.  And then all that inward restrained energy comes raging out at the end of the song as they belt like there's no tomorrow.  Honestly, I would LOVE to get to perform this song one day (as long as I could find a "Lucy" ok with the creepiness).  It's just so powerful in every sense of the word.

5 - Devil Take The Hindmost [Love Never Dies]
Now, I know I'm going to get a lot of flack for including a song from Love Never Dies and not Phantom of the Opera, but rest assured I respect the classic.  The original Phantom is the better musical in every sense of the word, but Love Never Dies does have it's moments, and this is certainly one of them.  Mostly because it's one of the best fight songs I've ever heard.  A lot of the fight songs I wanted to include couldn't be on this list, but that's ok because I at least got to include Devil Take The Hindmost.  Now, this is another song that many of my compatriots haven't really taken a shining to, but I just love it.  I love the song itself, but the more I listen the more I love the complexities.  I love the way Raul's singing is quick and passionate as he is on the defensive and the Phantom sings it smoothly, menacingly, in a way that shows he knows he is in control.  This coupled with Andrew Lloyd Webber's music and the raw emotion behind each and every word makes it just a great song to listen to!  And, to be honest, it's nice to see Raul as a human being.  I always thought he was a bit too "perfect" in the original musical (not that I condone what they did to his character).

4 - A Little Priest [Sweeney Todd]
Sondheim never ceases to amaze me.  I'm a sucker for dark humor anyway, but I don't know if I've ever seen a piece of dark humor as brilliant as A Little Priest.  Now, there are some people (my parents included) who just don't get it.  And they have a point, for a lot of people the sheer subject matter of the entire show is so disturbing that it's hard to appreciate any of the comedy.  But I think that it's genius the way the writers took what is arguably the most morbid bit of the show and turned it into one of the show's few purely comedic songs (the other being "Down By The Seaside).  This is also a song I have a history with.  For one, it's one of my favorite songs to sing at home (my family had to lay ground rules for my sister and I: "No Sweeney Todd in the car or the dinner table"), but also it's one that I've taken a stand on.  And that stand is this: TIM BURTON RUINED THE SONG!!!!!!  Don't get me wrong, I'm actually a fan of the Tim Burton movie Sweeney Todd.  Johnny Depp did a good job, their Joanna did a good job not sounding obnoxious like so many Joanna's tend to do, and the kid they got to play Tobias Ragg was phenomenal.  But one of the things I was not happy with was the way Burton sucked all the joy out of the piece to make it simply a horror musical, which I don't believe it was intended to be.  For that reason I insist that everybody who listens to this song, although they can enjoy the Tim Burton version, must hear Angela Lansbury's brilliance!  And so, here is a TONY award winning performance, at it's finest:

3 - His Eyes [Jekyll & Hyde]
I do believe I can go on record saying that this is (and I expect forever shall be) my favorite female duet of all time.  There are lots of good ones out there (For Good [Wicked], Take Me of Leave Me [RENT], I Know Him So Well [Chess]), but there's something about this song that I just absolutely adore.  I expect part of the reason I love this song is because the two women they got for the Touring cast (the one you're about to see) are simply brilliant.  Their songs are honestly what stole the show (let's be honest, nobody wanted to see David Hasselhoff).  Don't believe me?  Listen to Colleen Sexton sing A New Life.  It's mind blowing!  Anyway....where was I?  Oh, that's right: His Eyes.  I love this song for a few reasons.  One is the amazing talent that sings it, another because I always love duets when two people are singing the same thing, but aren't in the same room.  You know what I mean?  When the exact same words apply to both of their lives I just think that it's really clever (the only thing I love more is when a character gets a reprise of a song that wasn't originally theirs).

2 - A Little Fall Of Rain [Les Miserables]
The thing about Les Miz (and there are only a few other shows like this), is practically half of the songs have been my favorite song of the show at one point or another.  One day it's Empty Chairs at Empty Tables, the next it's Master of the House.  E
ven the "little" songs like Valjean's Soliloquy and Dog Eat Dog have had their time in the honored spot.  But one of the songs that I always come back to is A Little Fall of Rain.  Not only does it star (at least in this version) Lea Salonga (who might have my favorite female voice EVER), but it's also one of the most emotionally charged songs of a ridiculously emotional show.  Because, let's face it, everybody's favorite character in the show is Eponine.  Sure Valjean's the main guy, and I have a soft spot for Thénardier, but on the whole, most people you ask (especially teen-aged girls) will answer Eponine.  And for good reason.  She has some of the best songs, she's almost always "in the right", and she's a character a lot of us can empathize with.  This connection the audience feels with her means her death is going to be a tear-jerker right off the bat, but compound that with the song that Claude-Michel Schönberg wrote for this moment and the theater begins to flood.  So get your tissue box ready and prepare to experience the beauty:

1 - What You Own [RENT]
This song might be my favorite song ever.  I love to sing it, I love to watch it, I love to listen to it, I love the writer, both of the actors, the show, the lyrics, the message, the melody, the harmonies, the tone, EVERY SINGLE THING ABOUT THIS SONG IS PERFECT!!!!!  Not only that, but this song has become my personal anthem.  If you could listen to what I say while I shuffle through the streets with my backpack on and hands shoved in my pockets, the most common thing you would hear would be the opening verse of What You Own.  But what I love about the song is I can sing it even when I'm not lamenting about the superficiality of every day life.  The song is so pliable that it's one of the first I reach to regardless of my emotion!  That and, as some of you know, Anthony Rapp is in the running for my favorite male Broadway actor in existence, and Adam Pascal is just inhumanly amazing!  I also love that this song is one of the few RENT songs with absolutely nothing even remotely "PG-13" about it.  I defy anyone to think of a single bad thing about this song (I've tried, none have come to me!)  So now, behold Jonathan Larson's masterpiece:

HONORABLE MENTION:

Muddy Water [Big River] (The video is kind of odd, but it's the only recording of this song on Youtube)

Please [Miss Saigon]

Two Nobodies In New York [Title of Show]

No More [Into the Woods]

Non-Broadway Duets
Think Big [John and Jen] (check the description on the video)
Are You There? [Bare]
Therapy [Tick...Tick...Boom]
One Big Adventure [Peter Pan] (I couldn't find a copy of this full song, but here's a clip)
Run and Hide [John and Jen]

Conclusion
So if you've been watching the videos and clicking on the links by now you've just been exposed to some of the greatest music every to grace the Broadway stage.  How does it feel?  Are you catching the "Duet fever"?  If so, feel free to leave some of your favorite duets in the comment section so I can listen to them too.  Did I miss any of your favorites?  Do you prefer the love duets, fight songs, or good old happy numbers? Make sure to check out the poll (top right of the page) and comment below.  Until next time...

Woe Is Me

WHY!?!?!?!?!?!?!?!?!?!?!?!?!??!?!?!?!?!?!?!?!?!  WHY MUST I ENDURE SUCH AGONY?!?!?!  WHAT HAVE I DONE TO DESERVE SUCH PUNISHMENT????  OH THE AGONY, THE PAIN, THE MISERY!!!!!!!!!

In case you couldn't guess what induced the above lamentation, remember earlier in the year when I said "my next post will be about the Jimmy Awards"?  Well, I fully intended to stay true to that statement, but the powers that be felt otherwise.  The Jimmy Awards did take place on June 25th 2012 as scheduled.  Then the wait began.  I knew that it was only a matter of days before the videos of the performances were posted, so I figured the prudent thing to do would be to check Youtube every 4-5 hours until the these videos were posted and the minute they were, enjoy their splendor and then begin blogging.  The posted a nice "recap" video to wet our appetite  and get us even more excited for the performance videos.  Days past, then weeks, every morning I become more and more sure that today would be the day.  "Barricades come up and barricades come down" and each day I'm thinking "I Know It's Today!"  and each day I am crushed by disappointment.  Well, congratulations National Highschool Musical Theater Awards, you have officially crushed my spirit.  I now have no hope.  I only check Youtube twice a day, and I'm afraid that they may never take pity on me.  I've been to their website to look at all 955 pictures, I know who won and who else came close, I've sent messages via Facebook and Youtube to ask the administrators when we can expect the videos, but my soul will forever be without rest until those videos are posted.  If you want to join with me and nag the NHSMTA then be my guest.  They need to know we're suffering!!!

This would be the recap video I referenced above.  I invite you to watch it and then cry with me.

Comedies or Dramas?

Ahh the great thematic masks.  They represent the wonderful variety in live theater from comedies to dramas.  However, the Comedic mask is in front.  Is this coincidence?  Is one better than the other?

I've said it before and I'll say it again: Comedies don't win awards.  But as I reflected on this years Tony Award (yes, I lie in bed and think about the Tony's....doesn't everybody?) I began to realize that that wasn't necessarily true.  If One Man Two Governor's James Cordon beats Death of a Salesman's Philip Seymore Hoffman, then you know the nominators are giving some weight to comedic performances.  I saw the same thing as I realized that the majority of the nominees for featured actor's, led by the spectacular Christian Borle, were comedic.  But even if some of these actors were recognized for their comedic performances, it's the dramatic shows (Clybourne Park, Once, Porgy & Bess, Death of a Salesman) that won best show.  I began to wonder about this and I think that it makes sense.  I think people tend to attribute comedy to the actor and drama to the writer.  I don't know that this is accurate, I feel like the split would be the same, but nevertheless the we feel like it's the actor who makes us laugh and the writer who makes us cry.  But even if this is true, why do we like Comedies or Dramas better?  I'm going to try to look at this from all perspectives: The actor, the spectator, and the critic.

THE ACTOR:
Comedy is easy.  I can't imagine why people think otherwise.  I'll give you that it can be physically taxing, and takes hard work, but when you think about it anyone can be funny.  I bet that yesterday you made someone laugh.  You are probably funny!  See how easy that was?  And imagine how much funnier you'd be if you had a writer?  And what's more, people want to laugh.  They'll be happy to give you a pity laugh at the beginning of the show until they've been warmed up and they'll come back to the show again and again and still laugh at the exact same jokes.  And as an actor it is so nice to be in a comedy because you get instant gratification.  Right there on stage you can hear the audience roaring and it feeds your comedic fire.

Drama is real acting.  I think this statement goes hand in hand with "Comedy is easy".  I think Drama is so much more of a challenge, and therefore so much more fulfilling when done correctly.  This makes it the preferred genre of "real" actors.  Now I say this with some trepidation, for I myself am a predominantly comedic actor.  Not that I haven't had my fair share of heartbreaking emotional breakdowns or dramatic death scene's, but I am most known for my comedic roles.  But what I can say is, in many ways, my dramatic roles have been the most fulfilling.  When people come up to you after a comedy and say that you made them laugh you think, "thanks, but so did the lady at the Publix checkout", but when someone comes up to you telling them that you made them cry (only happened to me in one role) then you feel truly honored. That's why I think every actor, deep down, would love to sink their teeth in a good dramatic role.

THE SPECTATOR:
Comedy if fun.  You come to the theater (theatre?) to have a good time, and nothing brings a good time quite like a good comedy.  It's lines are so quotable that the best jokes ("I was raised to be charming, not sincere") will circulate through your conversations for years after the show has closed.  Going to a comedy is like going to an amusement park, you have a wonderful time and create a wonderful memory.  It is almost always worth the price of admission and appeals to people of all sorts.

Drama is life changing.  You come to the theatre (theater?) to appreciate art, and nothing is so artistic as a good drama.  When you leave the theatre you tend to be in a haze marveling at what you just saw.  You've been deeply moved and you might have a different view on life, or at least what life could be like.  If comedies are like a visit to an amusement park, then visiting a drama is like attending an art museum.  You take your time so as to get the full effect.  You marvel at the detail and precision of the artist (actor) and the genius of the inspiration.  You look hard for symbolism and try to understand all of the subtleties.

THE CRITIC:
Comedy is cheap.  Although critics are human beings, and therefore love to laugh, they are likely human beings with "refined pallets" and therefore have a taste for "the nicer things in life".  If you want to have a successful comedy you have to give it a way to distinguish itself, to be set apart.  In the past decade only a handful of shows have won for Best Musical and even less have one Best Play, and each of them have a defining feature.  The most common of these trademarks tends to be shock value.  The Book of Mormon, Avenue Q, and The Producers all shocked their audiences and subsequently won Tony Awards.  Now, I'm not saying that these shows don't have value beyond their shock value, they all have good writing and some great songs, but I do think it's a trend too evident to be ignored.

Drama is refined.  When I picture critics I imagine the kinds of folks who appreciate operas, wear fine clothes and are generally refined.  In other words: "they drink champagne, entertain tourists at their fine hotels and tell their servants, 'polish up the Mercedes'!"  (Can anyone tell me what the quote is from?).  I think this is why they like Drama's so much.  Drama is so much more subtle, it can often be best enjoyed by the theatrical geniuses, not the uneducated masses.  Obviously, shows that win Tony's are generally popular, but there have been several instances (*cough Frank Wildhorn cough*) where fans thoroughly enjoy shows that critics seem to find "beneath them".  Of course, I don't want to generalize all critics as stuck up snobs, most of them have incredible insight and I trust their opinion.  But let's just say they aren't perfect representations of what the people like. (Don't believe me?  The Broadwayworld.com Audience Choice awards found that Godspell should've won best revival of a musical).

CONCLUSION:
So there it is.  Whether your an actor, a spectator, or a critic there are pros and cons to both comedies and dramas.  Personally I love both.  I can go from listening to Titanic: The Musical one moment to 25th Annual Putnam County Spelling Bee the next without even batting an eye.  I think they both have their place in the theater and personally I shall do everything I can to be apart of both for as long as I am able.

Do you agree with me?  Do you prefer comedies or dramas?  Was I a bit unfair to the critics?  Should I finally let the Godspell thing go?  I'd love to hear your thoughts.  If you comment below I can absolutely promise you that I shall read it and probably respond.  Oh, and also, for those of you who participate in our polls:  It may interest you to know that you found Newsies the most snubbed at the Tony Awards (with Godspell and Bonnie & Clyde tying for second).  Apparently best Score and Choreography wasn't enough for you guys?