Mike Faist getting Tony-nominated for Connor just reminds me of what a travesty it is/was that Aaron Tveit wasn’t for Gabe in Next to Normal and it is clearly something that I will never get over

Shop Closed

I must say that I’ve been terrible at seeing plays this season. The latest casualty is Jitney at Manhattan Theatre Club, which has been selling out for weeks now. While I’m happy that so many people want to see August Wilson’s new piece on Broadway, I’m selfishly mad that I couldn’t get in and digital lottery tickets were snatched up the minute they went on sale. But kudos to you, New York theatergoers, for proving yet again that a show featuring actors of color can be a commercial success!

Way Down to Hadestown

Today, Hadestown ended its brilliant extended run down a the New York Theatre Workshop. The show is absolutely beautiful. From the first moments when Lulu Fall, Jessie Shelton, and Erica Sweany enter the stage with their lanterns and open their mouths, each Fate with their own beautiful, soulful voice, that all blend together perfectly, I just knew I was in for a treat. Nabiyah Be is a star in the making, and it’s refreshing to see a black lead for a role that doesn’t call for a black actress, and instead is just a fantastic voice and brings a gentle spirit to Eurydice. As Orpheus, Damon Daunno is the perfect mix of adorable, affable, and charming, and is given the sweetest lyrics that would make anyone fall in love with his lovable artist with a goofball grin. Amber Gray was so captivating and magnetic as Persephone, and Patrick Page has the perfect deep voice as a sinister and tantalizing Hades. Rounding out the cast, Matt Saldivar as the narrator looks like a badass Mark Ballas who manages to break your heart by the end of the show. All in all, the show is perfectly cast with a group of phenomenal voices that perfectly blend in Anais Mitchell’s score. The music was fantastic, catchy, eclectic, soulful, and beautiful and is one of the best scores I’ve heard in awhile. And under Rachel Chavkin’s direction, the movement of the show worked so well in NYTW’s space and the show felt organically diverse.

Despite knowing the outcome of Orpheus and Eurydice, Hadestown still manages to be a moving, thoughtful show on the price of love, artistry, and power. I am anxiously awaiting the cast album to be released, but I couldn’t let the run end without shouting my praise for the show out into the universe!

It’s Tony Time!

In my attempt to see everything before the Tony Awards, I have severely lacked updating this blog for all those negative number of people who actually read this. Expect a deluge of posts soon, unless I continue my lazy streak, but it’s not like anyone will notice! But enough about me.

It’s been a banner year on Broadway, which right now, really can’t be called the Great White Way. And that’s amazing. The Tony Awards mark the end of this season, and what an incredible year it has been! And while yes, all award shows put the emphasis on the competition, let us take a moment to reflect on the fact that everyone involved in the 39 shows this year gets to create art for a living. So to all those who weren’t nominated and all the shows that closed too soon, congratulations on making it to Broadway to begin with. Your art touches people. Your art matters. Thank you!

Waiting for Hamilton

Wait for it wait for it wait for it. Now that Broadway previews are less than a week away for Hamilton, I am so excited!!!!! I don’t actually have a coherent blog to post, I just want to publicly acknowledge my excitement and anticipation over Hamilton coming to Broadway! There’s just so much to say about the show, that I’m sure there will be multiple posts in the near-future. Posts that fall under the complete opposite side of the excitement spectrum. Please don’t wait for those.