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Archive for the ‘musicals’ Category

Why I love the Tonys (and You Should Too!)

In Award shows, musicals, Tonys on June 11, 2013 at 7:22 am

Phoebe B.

I watch the Tonys every year. In fact, it is the only award show I really even watch and I love it a lot. Unlike most awards shows, the Tonys–or at least about sunday night’s ceremony–don’t leave me feeling gross or mad or bad or furious when I’m watching (I’m looking at you, Oscars). In fact, I feel good–and sunday night I felt great. I think  the Feminist Spectator pretty much sums up why I think the Tonys are so awesome in general and why this year was particularly grand:

“Was it my imagination that the show also seemed politically and socially progressive and might point to a hopeful moment in Broadway theatre?  Each of the musical numbers seemed strikingly multiracial, from the cheerleaders of Bring it On to the fearful but feisty students of Matilda, and from the factory workers of Kinky Boots to the singers of Motown, in which the one or two white people in the chorus nicely reversed the typical demographic balance.  Even Annie’s orphans included African- and Asian-American girls.

Four people of color won major awards for acting:  Courtney B. Vance for Lucky Guy (sorry for leaving him out in my first posting of this blog!); Patina Miller for Pippin (whose gown, when she accepted, showed off her gorgeous, strong arms); Billy Porter for Kinky Boots (who thanked his mother for her graceful acceptance of things she doesn’t understand which, he suggested, could be a model for us all); and the elegant elder stateswoman, Cicely Tyson for Trip to Bountiful (who deserved more than the 30 seconds of speaking time she received).

Women, queer people, and drag queens stood out in the winners’ category all evening.  Diana Paulus won early for directing Pippin, eloquently urging people watching to “do what you love.”  Pam McKinnon won shortly after for directing Who’s Afraid of Virginia Woolf.  She, too, spoke beautifully and sincerely about her long relationship with Edward Albee and the importance of the arts.  My Facebook feed exploded with shock and delight that two women took home this year’s directing honors, but Playwrights Horizon’s Beth Nathanson’s remark—“It’s about fucking time!”—seemed most astute.”

From Cicely Tyson’s beautiful acceptance speech and incredible dress to a plethora of drag performers and gay male winners thanking their husbands, Courtney B. Vance’s win,  and the many women who won, the Tonys were a major win. Also, NPH kissed the dog from Annie and it was delightful. The Oscars (and the Emmys) should seriously take note.

For the awesome full article, go to the Feminist Spectator. Seriously, read the whole thing, it’s great.

Here are some of the winners:

Cicely Tyson accepting her Tony for best female performance in a play

Cicely Tyson accepting her Tony for best female performance in a play

Petina Miller looking divine and overjoyed as she accepts Best Actress in a Musical (Pippin). Her performance earlier in the night was also amazing!
Patina Miller looking divine and overjoyed as she accepts Best Actress in a Musical (Pippin). Her performance earlier in the night was also amazing!

Angelica Huston Rises Above Smash

In Angelica Huston, gender, musicals, Smash on February 27, 2012 at 9:06 am

Phoebe B.

Grand moments in NBC’s new show Smash have been few and far between. After seeing many previews for it, I felt assured that the show would be full of big dance numbers, great songs (including some Marilyn favorites), and flashy costumes. The premiere had its moments like anytime Angelica Huston was onscreen, but not including Katherine McPhee’s (Karen) version of “Beautiful,” which was anti-climactic and quite frankly seemed an odd choice. But since then, there has been very little grand about Smash. Indeed, NY Mag’s TV recapper takes the show to task in the most hilarious way possible, while this reviewer wishes for something more like A Chorus Line—which was definitely what I was expecting and hoping for. However, there is one thing that is seriously grand and awesome about Smash, and that is Angelica Huston on network television. In fact, I think they really should have put her on top of the pyramid in the publicity shot (and not Katherine McPhee).

Aside from Angelica Huston, there is another relatedly redeeming thing about Smash: the show, as NY Mag’s recapper Rachel Shukert remarked, truly takes women’s ambition seriously. We see this in Ivy and Karen’s desire to be on Broadway; in Julia’s (Debra Messing) career taking precedence over her husband’s; and in Eileen’s (Huston) desire to go out on her own in the theater production world. In fact, in Julia’s marriage, she is the career-oriented one in the relationship and seemingly the major breadwinner. What makes these women lovable and remarkable is that they have ambition and work hard, rather than just the usual things like body, sex appeal, etc. Although, we also see how other men and women see them: an early shot of Ivy stays on and revels in her tush as do the series of people at the casting table. But, as Shukert says in her NY Mag recap,

“One of the things I genuinely like about this show is that so far, it has generally treated the career ambitions of its female characters seriously, as opposed to something of which they have to be disabused in order to be “lovable.” Smash, for all its flaws, shows us women who are lovable because of their talent, not in spite of it, and that’s why it’s so disappointing to see Karen be such a pushover about this.”

But the show’s push towards valuing smart and amazing women appears oddly conflicted. For example, when Karen travels back to Iowa for her best friend’s baby shower, another friend casually remarks, “Feminism is dead.” It appears that in Iowa everyone over 21 is married and/or with child, per Karen’s friend’s remarks. Because of this, Karen’s friend argues, Karen should let her boyfriend, Dev, take up the slack while she does this Marilyn, the Musical workshop. Granted this logic is fairly terrible, but it is seemingly the logic of the show in this particularly moment. And Dev’s proposal, which comes earlier in the episode, mind you, is something he suggests after he interrupts Karen’s drink with the director via an obnoxious performance of his manhood. At that moment too, he seemingly marks her as his territory through a uncomfortable performance of PDA. No wonder Karen is not too thrilled about accepting his offer. At once, the show celebrates Karen’s drive but undermines it by strange and anti-feminist moments like these. Smash does something similar with Ivy in showcasing her drive, but also figuring her as desperate for attention and thus falling prey to the dangers of the casting couch (she sleeps with the director).

And, this conflicted sense of women in Smash is mirrored in the ways in which Marilyn is imagined and produced for the musical. She is the powerhouse that inspires the show, but the musical they write within the show figures Marilyn somewhat meekly, and always in terms of the men she married. Smash’s Marilyn is far less complicated than–and has got nothing on–Michelle Williams’ version of the icon in My Week With Marilyn. That said, I do like Ivy, and am pleased she got the part.

Marilyn (Ivy) vs. Marilyn (Karen)

It is amidst this landscape of conflicted and waffling representations of women that Angelica Huston emerges as the magnificent Eileen. And she is divine. We encounter Eileen mid-divorce with her seriously slimy and cheating ex-husband, Jerry, with whom she is trying to negotiate a reasonable settlement. Rather than settle on an unfair compromise, she puts all their holdings in escrow, including but not limited to their co-production of My Fair Lady. But as My Fair Lady goes into escrow, so too does Marilyn, the character, emerge somewhat oddly as Eileen’s new American Eliza Doolittle. Just as both Marilyn and Eliza Doolittle make themselves over, so too it seems is that Eileen’s plan. But unlike, these characters, Eileen intends to do it on her own instead of relying on a man.

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