A spirited cast breathes new life into the battle for women’s voting rights in Suffs, now playing at the Music Box. The show transforms a critical period of American history into an exciting night at the theater, dramatizing the campaign for gender equality in voting rights and championing the fearless women behind it.
One of the production’s greatest assets is its ensemble, which embodies the feistiness of the suffragists and exhibits a moving sense of comradery on stage. Jenn Colella turns in a willful performance as Carrie Chapman Catt, an activist who refuses to stray from her non-confrontational strategy. She is a joy to watch as she campaigns for female suffrage in the opener “Let Mother Vote” and criticizes the aggressive tactics of younger suffragists in “This Girl.” Broadway veteran Emily Skinner is delightfully snarky as socialite Alva Belmont. She showcases her range by doubling as rural housewife Phoebe Burn in Act II, delivering a poignant rendition of “A Letter From Harry’s Mother.”
Another one of Suffs’s delights is its score by Shaina Taub, which balances a story of protest struggle with moments of genuine humor, such as in the song “G.A.B.” Director Leigh Silverman’s staging elegantly complements the world Taub has created. At the end of the second act, Taub’s Alice Paul takes center stage while her castmates are silhouetted behind her, visually highlighting that it took a legion of women joining together for their voices to be heard.
At once a history lesson and a call to action, Suffs is an inspiring and timely piece of theatre.
It begins with the rousing “Hip To Be Square” and it’s a non-stop cavalcade of the songs of Huey Lewis and the News, some of which you may remember and some of which you may not. They are all fueled by a megawatt energy, credit to choreographer Lorin Latarro, that will have you inspired to do the bubble wrap at your next high school reunion. This is “The Heart of Rock and Roll”, currently at the James Earl Jones Theatre. In a year populated by some very serious (and good) musicals, here’s one that stands out for the audacity to have nothing on its mind but sheer entertainment. And a terrific twosome at the center, Corey Cott and McKenzie Kurtz, who bears a striking resemblance to a young Hilary Clinton.
If you had a good time at Grease and Mamma Mia, you’ll have a blast at “The Heart of Rock and Roll.” It’s hot fun in the Summertime!
Witness the first major Broadway revival in 25 years of Thornton Wilder’s timeless classic, OUR TOWN, hitting Broadway’s Barrymore Theatre in a strictly limited engagement. Directed by Tony Award-winner Kenny Leon, this production has a stellar cast of 28 actors, led by acclaimed performers such as Jim Parsons, Zoey Deutch, Katie Holmes, and more.
Don’t miss Emmy, Golden Globe, and Screen Actors Guild Award-winner Jim Parsons as the captivating “Stage Manager,” alongside a stellar ensemble including Obie & Audelco Award-winner Billy Eugene Jones, Tony & Grammy Award-nominee Ephraim Sykes, Tony & Drama Desk-nominee Michelle Wilson, and many others.
Previews kick off on Tuesday, September 17, 2024, with the grand opening set for Thursday, October 10, 2024. Secure your tickets now for this unforgettable Broadway experience! Tickets available at Telecharge.com or by calling 212-239-6200.
Be part of the magic as OUR TOWN comes to life once again, exploring the timeless drama of life in the village of Grover’s Corners, New Hampshire. Directed by the acclaimed Kenny Leon, this revival promises to captivate audiences with its universal themes and powerful performances.
Thornton Wilder’s Our Town plays at the Barrymore Theatre for an unforgettable evening of theatre. Visit OurTownBroadway.com for more information.
Most of us know Ossie Davis as an actor and an activist. That is about to change with the opening tonight of his play “Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch”.
Perhaps best known for the work that inspired the popular musical “Purlie”, “Purlie Victorious” stands on its own as a major achievement. It is also a rediscovery, since it hasn’t been seen in a commercial production since 1961 when it opened on Broadway at the Cort Theatre.
The plot may seem simplistic. Purlie has come home to Cotchipee County (locale: somewhere in the Deep, Deep South) to reclaim an inheritance owed to his family and purchase the church called Big Bethel. However, the machinations that involve this reclamation are anything but. And Davis’s sharp-witted script, embellished with delicious one-liners, is a comic feast of Machivellian twists and turns that result in one of the freshest and funniest play that that we’ve seen in years. The side-splitting shenanigans that transpire in the fast-paced 95 minutes are complemented by unexpected surprises. When Purlie welcomes his soon-to-be disciple Lutiebelle into his home, you think he will be effusively greeted by Aunt Missy, his sister-in-law. And that’s just when the fun begins, courtesy of the expert staging of Kenny Leon. Leon’s stagings of such powerhouse plays as “Fences,” “A Raisin in the Sun”, last season’s “TopDog UnderDog” and “Ohio State Murders” have cemented his reputation as one of our most accomplished directors. Hitherto, he’s not been able to establish his mark in comedy. That mark is made indelibly with this production. And what an ensemble has been assembled: Leslie Odom radiates charm, charisma and conviction as our protagonist who specializes in “white folk psychology”; Kara Young, nominated for back-to-back Tonys the past two seasons in “Clydes” and “The Cost of Living”, surprises as the most engaging comedienne Broadway has seen since Annaleigh Ashford captivated in “You Can’t Take It With You”; Bill Eugene Jones, seen earlier this season in “Fat Ham”, is uproarious as Gitlow, the “deputy for the colored”; Jay O. Sanders is bombastically hilarious as the Ol Cap’n, the symbol of the Old South; Noah Robbins, in the role that Alan Alda originated, is a wonderfully amusing antagonist to his father, the ol Cap’n; Vanessa Bell Colby’s “That’s the Biggest Lie Since the Devil Learned to Talk” line brings down the house with her exquisite comic timing and the sheriff and deputy of Bill Timoney and Noah Pyzik are goofily expert. It’s a terrific ensemble.
Derek McLane’s set transformation for the epilogue wins applause and it deserves to. And the epilogue itself is so memorable…combining ,as much as “Purlie Victorious” does, humor with power resulting in uplifting joyousness.
Verdict: You’ll have a great time. Purlie not only emerges Victorious but this is a triumphant return to Broadway of a wonderful play.
As Labor Day approaches, when we acknowledge and honor organized labor’s contributions to this country, Broadway’s Best Shows is looking back at stories of the labor movement onstage, of which there are many. Perhaps it’s only natural that Broadway feature union stories, since so much of the industry is unionized – actors and stage managers, directors, designers, and stagehands each have their own unions. And what could be more dramatic than a union showdown? It’s ample fodder for storytelling, given its high stakes and everyman heroes.
Newsies
“Now is the time to seize the day…” In 2012, Alan Menken turned his Disney movie about the newsboy’s strike of 1899 into a stage musical. Its young, energetic cast performed high-flying choreography from Christopher Gatelli, and it turned Jeremy Jordan into a star. It developed a passionate fanbase, which meant thousands of teenage girls now know about the union-busting tactics of William Randolph Hearst. The rousing songs, particularly “Seize the Day,” have even been sung on the picket lines for the 2023 Writer’s Guild strike.
Waiting for Lefty
A parable about workers on the verge of strike that captured the anger and anxiety of workers during the Depression, Waiting for Lefty by Clifford Odets is one of the most important plays of the 20th century. It had a ripped-from-the-headlines immediacy, as New Yorkers were still processing the 1934 taxicab drivers’ strike, the ensuing rioting, and Mayor LaGuardia’s staunchly pro-labor position. It premiered at Broadway’s Longacre Theatre in 1935. Odets directed the production, and performed in the role of Dr. Benjamin. While Odets’ other plays Awake and Sing, Golden Boy, and Country Girl have each been revived multiple times on Broadway, Waiting for Lefty was performed at hundreds of theaters across America during the Depression, but has not yet been revived for Broadway.
Source: New York Public Library
I Can Get It for You Wholesale
I Can Get It For You Wholesale is a fascinating text about intracommunity conflict and labor actions by garment workers in Depression era New York. The plot kicks off when protagonist Harry Bogen tries to scab around striking workers. Streisand stole the show as Harry’s overworked receptionist Miss Marmelstein. I Can Get It For You Wholesale will be produced in New York in fall 2023, directed by Trip Cullman downtown at Classic Stage Company and starring a stacked cast, including Santino Fontana, Judy Kuhn, Joy Woods, Rebecca Naomi Jones, Sarah Steele, and Adam Chanler Berat, with Julia Lester as Miss Marmelstein.
The Pajama Game
This classic Golden Age musical takes a lighthearted look at unionized garment workers in Iowa. Its central romance is two star-crossed lovers on opposite sides of a strike–the head of the Union Grievance Committee, Babe Williams, and Sid Sorokin, the new management. The show is notable for being Bob Fosse’s choreography debut. His legendary choreography for “Steam Heat” takes place at the Union rally!
Ragtime
Ahrens’ and Flaherty’s 1997 historical-fiction musical, with a book by Terrence McNally adapting E.L. Doctorow’s novel, touches on nearly every hot button issue in America–racism, sexism, xenophobia and anti-immigrant hatred, and religious tension–and through its sweeping scale, demonstrates how these different issues are connected, and how the political debates and social problems of 1900 connect to today. Audience members are often surprised by the world of 1900s New York the show portrays, especially the militant, mobilized, and very large labor union movement. Two of the show’s protagonists, wealthy Mother’s Younger Brother and impoverished Jewish immigrant Tateh, have their lives turned upside down by strikes and radical ideas, personified in the show by radical anarchist Emma Goldman.
Broadway has long been a platform for diverse stories, and the LGBTQ+ community has found a powerful voice within its hallowed theaters. From groundbreaking dramas to electrifying musicals, the Broadway stage has showcased the struggles, triumphs, and vibrant lives of LGBTQ+ individuals. Let’s delve into the realm of LGBTQ+ plays and musicals, exploring iconic productions that have captivated audiences and left an indelible mark on both the stage and society.
Angels in America: Tony Kushner’s monumental masterpiece, “Angels in America,” shattered barriers and ignited conversations about sexuality, politics, and the AIDS crisis. Set against the backdrop of 1980s America, this two-part play explores the intersecting lives of a group of individuals affected by the epidemic. With its poetic language, powerful themes, and unforgettable characters, “Angels in America” remains an enduring symbol of LGBTQ+ resilience and the fight for equality.
Fun Home: Based on Alison Bechdel’s graphic memoir, “Fun Home” invites audiences on a deeply personal journey of self-discovery and acceptance. This groundbreaking musical delves into Bechdel’s experiences growing up in a funeral home, her relationship with her closeted gay father, and her own exploration of her sexuality. With its poignant storytelling and memorable songs, “Fun Home” shines a light on the complexities of family dynamics and the quest for authenticity.
A Strange Loop: Uplifting and introspective, “A Strange Loop” offers a fresh and unapologetic perspective on the challenges faced by a young, black, queer artist. Michael R. Jackson’s innovative musical takes audiences on a journey through the mind of Usher, a struggling writer grappling with self-doubt, body image, and societal expectations. With its blend of humor, soul-stirring songs, and raw honesty, “A Strange Loop” celebrates the power of self-love and artistic expression. A Strange Loop is coming to the West End.
The Normal Heart: Larry Kramer’s seminal play, “The Normal Heart,” serves as a powerful testament to the early years of the AIDS crisis and the tireless activism that emerged during that time. Through the character of Ned Weeks, loosely based on Kramer himself, the play confronts the government’s inaction, the stigma surrounding HIV/AIDS, and the urgent need for community support. “The Normal Heart” continues to be a rallying cry for LGBTQ+ rights and a reminder of the importance of solidarity in the face of adversity.
The Laramie Project: “The Laramie Project” is a poignant and heart-wrenching play that explores the aftermath of the brutal murder of Matthew Shepard, a gay college student in Laramie, Wyoming. Through a series of interviews conducted with the people of Laramie, the play reflects the town’s response to the hate crime and examines broader issues of prejudice and intolerance. By giving voice to various perspectives, “The Laramie Project” calls for empathy and understanding in a divided world.
The Boys in the Band: Mart Crowley’s groundbreaking play, “The Boys in the Band,” made its mark in 1968 as one of the first plays to unapologetically portray gay characters. Set during a birthday party, the play explores the complexities of friendship, love, and self-acceptance within a group of gay men. It remains a significant cultural touchstone, representing a time of evolving LGBTQ+ visibility and the challenges faced by the community.
The Nance: Set in the 1930s, “The Nance” provides a glimpse into the world of burlesque and the life of a “nance” — a stock character often portrayed as a campy, effeminate gay man. Douglas Carter Beane’s play sensitively explores the dichotomy faced by the protagonist, Chauncey Miles, as he navigates his personal life while performing on stage. “The Nance” serves as a powerful reminder of the struggles faced by LGBTQ+ individuals during an era of limited acceptance.
Torch Song Trilogy: Harvey Fierstein’s “Torch Song Trilogy” follows the journey of Arnold Beckoff, a drag queen and gay man, as he seeks love, family, and acceptance in 1970s and 1980s New York City. This landmark play explores themes of identity, relationships, and the longing for a sense of belonging. With its mix of heartache, humor, and resilience, “Torch Song Trilogy” became a touchstone for LGBTQ+ audiences and a symbol of hope.
Hedwig and the Angry Inch: A rock musical like no other, “Hedwig and the Angry Inch” tells the story of Hedwig, a transgender rock singer from East Germany. With a fusion of catchy songs and a compelling narrative, this musical explores themes of gender identity, love, and the quest for self-acceptance. “Hedwig and the Angry Inch” has captivated audiences with its fierce energy and unapologetic celebration of individuality.
Kinky Boots: Inspired by a true story, “Kinky Boots” follows the journey of Charlie Price as he takes over his family’s struggling shoe factory and forms an unlikely partnership with drag queen Lola. With a vibrant score by Cyndi Lauper, this feel-good musical celebrates acceptance, self-expression, and the power of embracing one’s true self. “Kinky Boots” offers a joyous celebration of diversity and the triumph of love over prejudice.
Priscilla Queen of the Desert: Based on the hit film, “Priscilla Queen of the Desert” takes audiences on a fabulous journey across the Australian Outback with a trio of drag queens. This exuberant musical combines dazzling costumes, disco hits, and a heartfelt story of friendship and self-discovery. Through its vibrant spectacle and themes of resilience and acceptance, “Priscilla Queen of the Desert” has become a beloved LGBTQ+ anthem.
Broadway has played a vital role in giving voice to LGBTQ+ narratives, allowing for greater understanding, acceptance, and celebration of the community’s experiences. As Broadway continues to evolve, it remains an essential platform for sharing the diverse stories of the LGBTQ+ community, fostering empathy, and inspiring change.
Whether you’re cramming in a few more shows before this year’s Tony Awards (reminder: June 11th!), entertaining friends from out-of-town, or just in need of a good meal in Midtown, here are five quality restaurants in the Theater District, hand-picked by the Broadway’s Best Shows editorial team. All five wait staffs will get you to your 7 or 8 o’clock curtain in time if you ask. We highly recommend reserving tables in advance.
La Masseria
This Theater District mainstay opened in 2004, and is more elegant and a little less chaotic than other red sauce joints in the neighborhood, while still being great for families or groups. Try the Capri-style ravioli di angelina or the i cucuzielli fritti alla Chef Pino, a.k.a. the chef’s specialty fried zucchini.
235 W 48th St (between Broadway and 8th.) Reservations available by phone or email here.
The Lambs Club
The Lambs Club was formerly the home of a private club for actors and performers, and the decor might make you feel dropped into an episode of Mad Men. Chef Jack Logue offers a three-course pre theater menu for $75, or you might try the baroque-ish “Stanford White burger” with Gruyere and pickled onion.
132 W 44th st (between 6th and 7th.) Reservations on Resy.
Gallagher’s
This nearly one hundred year old institution is so old school it even has a dress code (no tank tops, sports jerseys, or hats) but the menu isn’t tired at all. The name of the game here is the steaks, which you can see carefully aging through a storefront window on 52nd. Again, not a spot for a light meal! Try to save room for the pecan pie a la mode.
228 W 52nd (between Broadway and 8th.) Reservations on OpenTable.
Barbetta
Situated in a former Astor mansion, the luxurious Barbetta is the oldest restaurant in New York to still be owned by the family that opened it, way back in 1906. The menu features delicacies from the Peimonte region of Northwest Italy. If you arrive for the pre-theatre pre fixe menu early enough, you might be able to score a table in the restaurant’s jaw dropping back patio – it’s first come, first serve. The menu notes the year each dish was added to the repertoire, like the minestrone soup, made using the same recipe they used on opening day in 1906.
321 W 46th (between 8th and 9th.) Reservations here.
The Mermaid Inn
The Mermaid Inn might be best known as a stylish and unpretentious cocktails and oysters bar, and their raw selections and happy hour options are excellent. For those who prefer their crustaceans cooked, they offer Manhattan’s best lobster roll. Be sure to try their french fries seasoned with Old Bay spice mix. The Inn also has locations in Greenwich Village and Chelsea, and will soon reopen on the Upper West Side at Columbus and 76th.
127 W 43rd (between Broadway and 6th.) Reservations on OpenTable.
We would be remiss not to mention:
Sardi’s and Joe Allen
We’ll never reveal just how much of our “Broadway’s Best Kept Secrets” newsletter feature comes from overheard conversations at Sardi’s and Joe Allen. The caricatures lining the walls at Sardi’s have become so famous that sometimes we need a reminder that they also serve food there– particularly classic the spinach cannelloni. Joe Allen stays open late for an after-theater burger, and you can eye the posters of flop shows while you gossip and eat.
Sardi’s, 234 W 44th (between Broadway and 8th.) Reservations on OpenTable.
Joe Allen, 326 W 46th (between 8th and 9th, across the street from Barbetta.) Reservations on OpenTable.
Meet Tom Kitt, the Tony-nominated composer of this season’s ALMOST FAMOUS.
Photo by Jenny Anderson
Tony, Emmy, Grammy, and Pulitzer Prize-winning composer and orchestrator Tom Kitt earns his seventh Tony nomination with ALMOST FAMOUS. He shares his nomination with co-lyricist and book writer Cameron Crowe, who also wrote the original film.
Kitt won his two Tonys, as well as a Pulitzer Prize, for composing and orchestrating NEXT TO NORMALwith lyricist Brian Yorkey. He has also been nominated for orchestrating SPONGEBOB SQUAREPANTSand JAGGED LITTLE PILL, and for composing IF/THENand FLYING OVER SUNSET. He won an Emmy for composing the 2013 Tony Awards opening number with Lin-Manuel Miranda, and a Grammy for the JAGGED LITTLE PILL original Broadway cast album.
Get to know more about this Broadway musical stalwart with our TONY TALK Q&A:
Who was the first person to text/call you when you got the nomination?
The first text I received was from my friend Sarah Levine Hall who is a producer on the Tony Awards. I was watching my son’s percussion recital, and I briefly checked my phone and saw that she had sent me a hand clap emoji.
Show some love to a fellow nominee this year. Whose work blew you away?
This is a hard question to answer as there is so much brilliant work on Broadway this season, but personal favorite would be my friend Annaleigh Ashford whose work in Sweeney Todd is virtuosic in every way.
Top restaurant in the theater district?
Joe Allen is my go-to. Love the food, the ambience, and the “High Fidelity” poster.
The first Broadway show you ever saw?
Peter Pan with Sandy Duncan.
When did you decide to become a theater artist?
It was when I was at Columbia University as an undergrad. My girlfriend at the time (now my wife) Rita Pietropinto introduced me to another student named Brian Yorkey and we began writing shows together, dreaming of someday getting to Broadway.
What is your earliest Tonys memory?
My earliest memory is of me convincing my mom to let me stay up past my bedtime to watch the show with her and my sister. We couldn’t wait for the performances of the musicals we were constantly singing songs from.
Who’s your favorite Tonys host in history, and why?
This would be a tie between Neil Patrick Harris and James Corden, because they both entrusted me with the great honor of co-writing the opening number for them. Also, special shoutout to my friend Ariana DeBose who was incredible last year.
All-time favorite Tonys performance on the telecast, and why?
It would be “Bigger,” the opening number that I wrote with Lin-Manuel Miranda for Neil Patrick Harris in 2013. It was the first time I had ever done anything like that, and it was so gargantuan and terrifying. And then on the telecast, everything clicked, and it was truly magical. To this day, I marvel at what the entire team (Neil especially) was able to pull off and how emotional it all makes me feel.
Most memorable Tonys acceptance speech, and why?
For me, it would be Lin-Manuel Miranda’s acceptance speech in 2016 for Hamilton, where his “love is love is love” rallying cry was a direct call for humanity to rise above the hate and violent acts that divide us, and for artists to continue to find the melodies that bring us into harmony.
What is one play or musical you would like to adapt or revive on Broadway, and why?
I would love to explore an adaptation of Sam Shepherd’s play, “True West” as a musical. It would be exciting to see Shepherd’s indelible characters and rich dialogue become songs, maybe in an alt-country feel.
Meet Jessica Hecht, the Tony-nominated actress from this season’s two-hander SUMMER, 1976, in which she stars opposite Laura Linney.
SUMMER, 1976. Photo by Jeremy Daniel
Hecht is one of our most versatile and gifted theater artists, with Broadway credits dating back to 1997, when she starred in the Tony-winning play THE LAST NIGHT OF BALLYHOO. This year’s marks her second Tony nomination, after being recognized for her work in 2010’s A VIEW FROM THE BRIDGE. Additional Broadway appearances include BRIGHTON BEACH MEMOIRS, A VIEW FROM THE BRIDGE, and FIDDLER ON THE ROOF, among several others.
Fiddler on the Roof. Photo by Joan Marcus
She has appeared many times on the New York stage throughout her career, including this season’s LETTERS FROM MAX by Sarah Ruhl at Signature Theatre Company. She is also known for her television roles on Friends, Breaking Bad, and Special, for which was nominated for a Primetime Emmy Award, among others.
Get to know this New York theater icon with our TONY TALK Q&A:
Who was the first person to text/call you when you got the nomination?
I texted Laura Linney to express how indebted I am to her.
Show some love to a fellow nominee this year. Whose work blew you away?
I loved David Zayas in Cost of Living.
Top restaurant in the theater district?
I like Bond 45 for the incredible Antipasto…Also I met Todd Haimes there several times and it now holds these memories of him.
The first Broadway show you ever saw?
Shenandoah!! Which I saw in 1976! I went with my class from middle school in Bloomfield, CT. It was a revelation!
When did you decide to become a theater artist? While at Connecticut College, I met the great Morris Carnovsky and he was so devoted to the work he had done in the Group Theatre and I was awed by him and just followed him around like a puppy and he told me to go to New York and Study with Stella Adler and I never looked back.
What is your earliest Tonys memory? Well I think being at the live awards for The Last Night of Ballyhoo…and having our play win for Best Play…as we sat in the nosebleed seats (in a dress I borrowed from magnificent Dana Ivey!) has become my earliest adult memory…and it just trumps all other memories.
Who’s your favorite Tonys host in history, and why?
Nathan Lane and Mathew Broderick made you feel like you were on the inside of some delicious joke in a familiar and true, “this is our time” way that was thrilling.
All-time favorite Tonys performance on the telecast, and why?
Hamilton… Come on… 🙂
Most memorable Tonys acceptance speech, and why?
Danny Burstein. So genuine, so simple. It was ultimately a love note to the community from him …and Becca.
What is one play or musical you would like to perform on Broadway, and why?
Sarah Ruhl’s Stage Kiss would be a dream to do on Broadway. It’s equally theatrical and intimate …ingeniously so. I’d also do anything by Tennessee Williams of course….for much the same reason as Stage Kiss….Isn’t that the thrill? To be both wonderfully theatrical and steadily real.
Manhattan Theatre Club’s production of SUMMER, 1976 is running at the Samuel J. Friedman Theatre, currently scheduled through June 18, 2023.
Meet Audra McDonald, the Tony-nominated star of this season’s OHIO STATE MURDERS.
OHIO STATE MURDERS. Photo by Richard Termine.
A bona fide Broadway star, Audra McDonald is the only actress to have been recognized in all four acting categories. This year, she is nominated for the 10th time for her performance as Suzanne Alexander in Adrienne Kennedy’s OHIO STATE MURDERS. The production marked Adrienne Kennedy’s Broadway debut at the age of 91, and was directed by Kenny Leon.
THE GERSHWINS’ PORGY AND BESS. Photo by Michael J. Lutch.
Of her 13 Broadway outings, some of her most notable include CAROUSEL (1994), MASTER CLASS (1996), RAGTIME (1998), A RAISIN IN THE SUN (2004), THE GERSHWINS’ PORGY AND BESS (2012), and LADY DAY AT EMERSON’S BAR & GRILL (2014), all of which won her Tony Awards for her performances.
Audra McDonald as Billie Holiday for LADY DAY AT EMERSON’S BAR & GRILL (Photo by Warwick Saint)
Get to know more about this Broadway icon with our TONY TALK Q&A:
Who was the first person to text/call you when you got the nomination? I was on the train heading to the city for rehearsal, and my friend sent me a video message of his son saying “Hi Auntie Audra, congratulations on your Tony nomination!” That’s how I found out.
Show some love to a fellow nominee this year. Whose work blew you away? I was bowled over by “Fat Ham”. I thought it was an incredible adaptation and I was truly blown away.
Top restaurant in the theater district? It’s just south of the Theater District, but Boqueria – incredible tapas!
The first Broadway show you ever saw? Starlight Express
When did you decide to become a theater artist? When I was 9 years old, the first time I stepped on the stage in my dinner theater in Fresno, California. I felt such electricity and the sense that was where I belonged. I felt normal for the first time in my life.
What is your earliest Tonys memory? One of my earliest Tonys memories was being in the elevator heading to the stage for “Carousel” to rehearse our number and running into Sally Mayes. She had just come from rehearsal for their number, she was starring in the revival of “She Loves Me” and we both had nominations in the same category. I didn’t know her very well, but we saw each other, fell into each other’s arms, gave each other the biggest hug and said, “have the most amazing night!” It was my first sense of true camaraderie with performers and theater makers. I learned in the end, it’s all a lovefest.
Who’s your favorite Tonys host in history, and why? Rosie O’Donnell always did a wonderful job. With Rosie, it was about the love of the community and musical theater. She gave so much support to the theater with her TV show. There was such a love and an ease, and she hosted with awe and joy.
All-time favorite Tonys performance on the telecast, and why? There are so many amazing performances, but what comes to my mind is Jennifer Holiday’s ‘And I Am Telling You’ from “Dreamgirls.”
Most memorable Tonys acceptance speech, and why? I remember being incredibly moved by Billy Porter’s speech when he won for “Kinky Boots” declaring “this is who I am.” He spoke about his mother not necessarily understanding who he was but loving him anyway and her acceptance. She was there for him and nurtured him so he could grow to be his best self. His love for his mother in that moment and honoring her in that way was intensely moving.
What is one play or musical you would like to perform on Broadway, and why? The answer is all of them, because I love Broadway so much.
