What are the Tonys here for if not to honor theatrical creativity? What creativity is there in remounting a production at its last home? Why is a revival that exactly duplicates a revival capable of being nominated?
When I decided to take in the late set of Marilyn Maye's recent New York City appearance, I assumed that I could slip in and out quickly and call it a night. Boy, was I surprised upon arrival to see the swelling crowd on Broadway, milling around the door of the Iridium Jazz Club.
My daughter doesn't remember Rabbi Heschel or Dr. King, but she knows the story of liberation that we tell every year, And some day she will tell the story of being a small part of the second inauguration of President Obama to her children.
If one were to look for unlikely social climbers in literature, one of the most obvious examples is Eliza Doolittle. The character created by George Bernard Shaw for 1912's Pygmalion was further immortalized in the 1956 hit musical, My Fair Lady.
A few weeks back, I read an announcement that the now white hot Colin Firth might be signing on for a re-make ofMy Fair Lady. Not since Steve Martin decided to put a new spin on The Pink Panther have I been so moved to ask, "Why?"