Does My Bomb Look Big in This? Fantastic, Riveting Work at the Sohoby Randi / June 6, 2019The Tony Awards are Sunday! Here’s What Should Happen
It’s the mooost wonderful tiiiime of the year! It’s Tony season! Well I guess it’s been Tony season; now it’s TONY WEEKEND! How pumped are you? How are you talking about anything else? The big Federer-Nadal match is over, no one is seeing Dark Phoenix, and the world is still going to shit so there is nothing more to do but sit back, relax, and let the joy of Tony Weekend wash all over you.
Until Monday morning, when we piss and moan about all the injustice of amazing performers losing arbitrary awards to equally amazing performers and all of them getting to do the best job on the planet, so unfair.
So what will I be pissing and moaning about in particular on Monday morning? A lot of things! Mainly, that here in the UK I can’t watch it live, but also that a few of my favorite performances probably won’t be rewarded; that Scott Rudin will add to his vast collection of trophies even though he’s a big dumb bully; and that Tony voters should have to see all the nominees in order to be Tony voters (you have one job; if you don’t want it, give it to me plz).
If Tony knows what’s good for her (yes, Tony is a girl!), she’ll do her level best to keep a few of those predicted complaints from happening, but most importantly she’ll put on one hell of a show and, with James Corden’s help, demonstrate to the Emmys, the Grammys, and the Oscars most years how to do awards shows right. Mostly, as long as Tony Toni Tone sticks to the whole underworld theme of the best shows this season (Hadestown is obvs about Hades and the underworld, and The Ferryman title refers to Hades’s ferryman Charon who rows the newly dead souls across the river Styx and into the underworld. POSS CROSSOVER EVENT?), things will be good.
I’ve already rambled on about the nominations and who should have been nominated (so read that post first if you haven’t already), so this one will be purely about the actual nominees.
Let’s start with the most important, since we all know these posts tend to go on and some of you never make it to the end. Yeah I see you! We’ll do all 3 big musical categories, the biggie plus score and book. Hadestown, as I’ve been saying since last year, is the best musical by far. It’s the only solidly great one, too, but even if it had great competition I can’t see anything surpassing it in terms of quality, uniqueness, and emotional depth. Most of its magic comes from Anais Mitchell’s incredible score, like nothing we’ve heard before, especially not on Broadway, which should absolutely win as well. A lot of voters want to award the good-hearted social message of The Prom for Best Musical, and while I understand that, there should be zero doubt about voting for Hadestown for Best Score.
And although it seems the vast majority of people still don’t understand what a book of a musical is, Mitchell’s flawless structure and creative twist on classic myths to tell this old-but-new kind of story should win Best Book as well. Tootsie will, because it has the most jokes, and that’s what people usually think of in terms of book: the script and how enjoyable it is. But it also has to do with the overall story and its structure and how it is told, and Hades tops the charts for all of that. Still, as long as Hadestown wins Best Musical and Score, all will be right.
While the current, feel-good-about-being-a-good-person musical The Prom is the closest competition, everyone absolute adores Ain’t Too Proud, which I can see being the real surprise, if such a surprise as Hadestown not winning Best Musical were to happen, but that would be some real bullshirt (it losing, not ATP winning). Oh and Beetlejuice isn’t winning shit; someone tell Warner Bros. they need a new head of their theatrical division (*cough* me *cough*).
Seriously watch this and tell me I’m wrong about this music. (And about the actors who should win.)
For those of us still salty over Chavkin’s loss for Great Comet, it’s not so much a wish that she wins now to make up for that as it is a wish that her directorial genius is finally rewarded for something equally astonishing. But the race is on between her and Daniel Fish, whose Oklahoma! is a complete and relevant reimagining of the dusty classic. But that one is divisive among all crowds, Tony voters included, and since it is going to win Best Revival of a Musical (a sure thing over the ya-basic Kiss Me, Kate), perhaps they will deem Fish’s (feeshees) work recognized enough with that. I hope so because I’d be front row center with a giant foam finger that says ‘CHAVKIN’ if I could.
Now that I’ve seen Gary, I have…still not seen all of them. But I can’t imagine anything taking this from the once-in-a-decade, sweeping, epic masterpiece The Ferryman. And nothing should. The Ferryman proves that it’s not about how long shows are (3+ hours); it’s about what you do with that time. I’ve seen other shows longer than 3 hours that barely accomplished anything and some 80-minute ones that were perfect. But this one, hoo boy, it told a full-blooded epic family and historical drama in one night and it was like reading a phenomenal book, so ingenious and well done.
This is Stephanie J. Block’s for shooo but I haven’t seen The Cher Show because the one weekend I had a free theatre slot, she was on vacation and I am not seeing that show without her. Anyway, I’m sure she’s amazing and I love her and all. It’s hard for me not to root for my queen (Kelli) but she is miscast in Kate. I’m personally still gutted by Eva’s performance (I told you I’d be raving about Hadestown this entire post/for my life, didn’t I? if I didn’t well I just did guys). But it’s the promenaders who pose the only real threat to SJB. Well one of them, Beth Leavel, who is also beloved in the community and has put in her time and is also giving a great performance. She is probably the #2 vote getter but if you ain’t first yer last, and SJB is first this season.
While I love all of the men on this list, this has to go to my OG (that stands for Original Greg), Santino. I guess it’s all down to whether he wants it or not, because we all know he could win one if he wanted to. (That’s a Crazy Ex-Girlfriend reference, for those of you still not living your best life.) Granted I am not seeing big ole Toots for two more weeks (don’t you DARE go on vacation OG) but it’s the kind of big, showy, entire-production-carrying role that does not leave its cross-dressing star empty-handed, especially when he does the impossible and stops audiences from comparing him to Dustin Hoffman. (The TBD star of the new Mrs. Doubtfire musical can only pray for the same result.) While all the nominees are such great ones, it seems Brooks Ashmanskas not only has the best name but also poses the biggest threat of an upset here, as the most likely win for The Prom (and, in my view, backpay for Martin Short’s 2006 Broadway variety show, still one of the funniest things I’ve ever seen). Although a huge part of me wants Lin-Manuel Miranda to one day be the presenter that awards Derrick Baskin his Tony, just so Derrick can reprise his greatest line of all time: “Well, well, well. If it isn’t Lin-Man-well, well, well”, this is almost surely Santino’s and it’s honestly the least Broadway could do for his returning to the Great White Way and thus incurring the wrath of Rachel Bloom.
What a terrible category for voters! All of these performances are truly deserving and would win in other years. Both Paddy and Bryan won Oliviers for these same roles, but Bryan will prevail here. He already won the best award of the year, the Drama League Distinguished Performance that goes to just one actor, across roles of all size and gender and musicality (as in, whether it has it or not) (I’m trying to say that plays and musicals are combined). It would be a shock if he doesn’t win this, but not like so sad because he is swimming in awards and we all like socialism now, right?
Six incredible actresses to choose from (and yet no Glenda Jackson, so weird right?) seems like a hard task but this is the biggest slam dunk of the night, the one with the most consensus – it’s Elaine May’s. She plays someone with Alzheimer’s which seems like this decade’s version of Ricky Gervais’s hundo p secret to winning an Oscar (doing a Holocaust movie), and so given that Ricky is the latest out-of-touch white man to be CANCELLED, it seems totes approps that that should change to this, especially given that May’s performance is what some Tony voters said (anonymously) was the best performance of any sort they’d literally ever seen.
This one is the one I am going to be most dismayed by, except not even ‘dismayed’ just like ‘oh that’s not who I would have voted for but still great, still great’ so…so that’s nothing, right. It’s neck and neck between Amber Gray and Ali Stroker, the two it should be neck and neck between. So they are both totally deserving but my vote would be for Amber because I am obbbbsesssssed with her Persephone and not just because my first acting gig was playing Persephone’s best friend who sees her get abducted by Hades (my big line: “Come ON, Persephone! We’ll never get to the beach if you stop to look at every flower!” and then Hades comes up from underground and snatches her away and I’m like “but the beach!” I was 8 years old I think.) So like Persephone is a part of me, you know??? And Amber is doing something so original (as she always does) and turning Persephone after many years of this nonsense into a quirky, sort of pissed off yet beloved queen and straight KILLIN it (as she always does) and her performance is so forking touching so I just really want her to win and also she is pumping during intermission every night because she has an infant and that is BALLER. But Ali is amazing and I’m so happy there is a place for her forever on Broadway now so like whatever they’re all great just everyone be happy and have fun I guess. I am going to the beach next week so that’s p cool.
THIS is the category that makes me happiest to not be a Tony voter this year, honestly, because I CANNOT choose between Andre and Patrick. It’s between the two Hadestown men, for sure, which scares me because a) they’re both so phenomental (that was a typo originally but I’m going to keep it because it is mental how phenomenal they are so yeah) and b) I’m nervous that the votes will cancel each other out and open the way for one of the others, which like fine they are all great and wonderful but it has to be Patrick or Andre. I think Andre gets it by the skin of his sweet potatoes, which sounds like a phrase that means something but I’m just remembering how at stage door he was eating sweet potatoes and we talked about healthy food and how important it is for him to nourish his body properly so it keeps functioning at peak human like it is in the show. Anyway, I love him and he’s my best good friend.
For the other categories: For featured actress in a play, Celia Keenan-Bolger is finally going to win the Tony everyone thought she was going to win for The Glass Menagerie, which is great because she is just the best. For featured actor, I’m rooting for Robin de Jesus because 1) he’s cool enough to make his twitter handle ‘Robin the Jesus’ which I laugh about at least once a week, and 2) I just love him and he’s SO good and should be in more stuff.
As for the show, I’m sure James Corden will do a nice job and do some big musical opener that lets him live all our dreams while he comes very close to tears and it will be big-hearted and joyous but not as shockingly impressive as NPH’s opening “Bigger” was because nothing could ever top that, ever. I’m sure some musical nominees will choose to do medleys, which like have you not learned how much medleys suck yet? I hope that Hadestown chooses to do “Why We Build a Wall” to make a killer political statement, but I don’t think it will, even though like, we have 30 years left tops, when if not now?
Most of all, I hope everyone reading this watches this year! They need to increase their ratings! Do your part and ensure that all the kids in podunk middles-of-nowhere see people like them exist! Enjoy!
Related Posts
Golden Globes 2019: The Annual Shitshow is Back So Let’s Make Some More Shit Up
It’s officially my favorite season – awards season! This evening, January 6, brings us another round of the favorite game of the world’s most inane entertainment reporters: The Golden Globes. It’s that thing where the Hollywood Foreign Press Association nominates their favorite celebrities (or celeb spouses, banking on the other half showing up to their party) that happen to be in movies or television this year for whatever awards they can squeeze them into and then they sit back and laugh as the categories and often winners make no real sense and you’re like excuse me what but no one actually cares at all because even though it’s nonsense the Globes are the most enjoyable awards show of the season and everyone is drunk and laughing the whole time so there’s no real harm done, except to the sanctity of awards for famous people which, like, isn’t that important to sanctify in the scheme of things, you know?
The Hollywood Foreign Press Association is notorious for their ludicrous decisions and inability to discern comedy from drama, making the Golden Globes the most nonsensical awards of the season, but they’re the most fun, mainly because of the open bar. The A-list crowd lets loose and has a gay old time. Nothing makes me more jealous in the world of Hollywood than watching all the celebrities get up from their tables and chat with all the other celebrities during commercial breaks and then not give a shit about getting back to their seats in time after the breaks end because no one cares if the rough and ready rodeo that is this event appears a tiny drop less professional than it already does (would it even register?).
The truest golden years were when Amy Poehler and Tina Fey hosted, providing funnier comedy in their 10-minute opening monologues than any of the Best Comedy movie nominations had – mostly because the movies in the best comedy category are never actually comedies. (HELLOOO I mean ‘The Martian’? ‘Ladybird’? Forking ‘GET OUT’???? HFPA YOU F-ING CRAZY? Oh, right, yes.) I have reservations about tonight’s hosts, Andy Samberg and Sandra Oh, because they clearly were chosen after every famous person’s name was put on little slips of paper and then into a hat and then also inside the hat was a drunk rabbit (it was a magician’s hat) and he ate the pieces of paper and then threw it all back up and they chose the names on the first two slips that came back, that’s the only way this pairing makes sense. I mean ostensibly it’s because they were charming when they presented at the Emmys back in September but taking that great little presenting performance and thinking it will translate to great success as hosts of an entire show is what got us ‘Get Him to the Greek’ after people loved Russell Brand’s (incredible) small performance in ‘Forgetting Sarah Marshall’. I also can’t help but think that, even though I do love Andy, it’s like no one in charge would be okay with having a woman of color on that stage without a safe white man to keep viewers from throwing their TVs out the window. The powers that be are like ‘don’t be mad that we’re showing you a lady in charge, or a non-white! There’s a white man, see, everything’s okay!’ I wish them well though, and maybe we can get Tina and Amy back for the Oscars if the heads over there are ever able to look past f-ing Kevin Hart. Like why do they think he is the only option??
So, to recap, no one takes the Globes seriously, but it’s still fun to watch. And none of the celebrities take it seriously either but some of them (especially/only the newcomers) will still cry when they win because, well, winning rocks, like why I care that my team wins Quizzo every week even though the prize is money to the very same bar where the quiz occurs and I don’t drink so like, I don’t actually get anything out of it but I still get to say I FORKING WON, you know, and so the Globes is that, just like that. Anyway it’s really hard to see everything in time since I’m in London so we are going to do our best with these thoughts and predictions. Some of you long-time readers might be like ‘wait where’s you amazing list of reviews for every important movie’ and may I remind you that that comes out before the Oscars, where the movies actually matter/when I have had more time to account for the stupid later UK release dates.
The truest golden years were when Amy Poehler and Tina Fey hosted, providing funnier comedy in their 10-minute opening monologues than any of the Best Comedy movie nominations had – mostly because the movies in the best comedy category are never actually comedies. (HELLOOO I mean ‘The Martian’? ‘Ladybird’? Forking ‘GET OUT’???? HFPA YOU F-ING CRAZY? Oh, right, yes.) I have reservations about tonight’s hosts, Andy Samberg and Sandra Oh, because they clearly were chosen after every famous person’s name was put on little slips of paper and then into a hat and then also inside the hat was a drunk rabbit (it was a magician’s hat) and he ate the pieces of paper and then threw it all back up and they chose the names on the first two slips that came back, that’s the only way this pairing makes sense. I mean ostensibly it’s because they were charming when they presented at the Emmys back in September but taking that great little presenting performance and thinking it will translate to great success as hosts of an entire show is what got us ‘Get Him to the Greek’ after people loved Russell Brand’s (incredible) small performance in ‘Forgetting Sarah Marshall’. I also can’t help but think that, even though I do love Andy, it’s like no one in charge would be okay with having a woman of color on that stage without a safe white man to keep viewers from throwing their TVs out the window. The powers that be are like ‘don’t be mad that we’re showing you a lady in charge, or a non-white! There’s a white man, see, everything’s okay!’ I wish them well though, and maybe we can get Tina and Amy back for the Oscars if the heads over there are ever able to look past f-ing Kevin Hart. Like why do they think he is the only option??
So, to recap, no one takes the Globes seriously, but it’s still fun to watch. And none of the celebrities take it seriously either but some of them (especially/only the newcomers) will still cry when they win because, well, winning rocks, like why I care that my team wins Quizzo every week even though the prize is money to the very same bar where the quiz occurs and I don’t drink so like, I don’t actually get anything out of it but I still get to say I FORKING WON, you know, and so the Globes is that, just like that. Anyway it’s really hard to see everything in time since I’m in London so we are going to do our best with these thoughts and predictions. Some of you long-time readers might be like ‘wait where’s you amazing list of reviews for every important movie’ and may I remind you that that comes out before the Oscars, where the movies actually matter/when I have had more time to account for the stupid later UK release dates.
|
BEST MOTION PICTURE,
DRAMA A Star is Born Black Panther BlacKkKlansmen Bohemian Rhapsody If Beale Street Could Talk |
BEST MOTION PICTURE,
COMEDY/MUSICAL Crazy Rich Asians The Favourite Green Book Mary Poppins Returns Vice |
Jesus take the damn wheel. The biggest problems of the Globes usually come from them trying desperately to shove enough dramatic movies into the Comedy/Musical category and nothing about it making any sense at all, to the point where it’s almost offensive. AND YET, in a year where there are movies that could easily be argued into the category, they go ‘nah, we cool’ and put them in the Drama category! What the hell, guys? Two of the biggest and best movies of the year, ‘A Star is Born’ and ‘Bohemian Rhapsody’, are about musicians, and they play music like THE WHOLE TIME, yet the HFPA has them in Drama. For a group that just a few years ago was like, “oh Matt Damon is listening to music while trapped on Mars and he makes a funny joke so it’s clearly a comedy and/or a musical”, the HFPA is having all sorts of identity crises. It’s kind of hilarious that the two giant musical biopics aren’t in the musical category. Like you HAVE one; USE it! I’m also semi-shocked they didn’t try to put the big budget superhero movie ‘Black Panther’ in comedy as well, since they usually consider anything that isn’t about war a comedy. ‘BlacKkKlansmen’ was actually the movie that made us laugh the most of any of these, so even though it would be a little whack if someone with any gravitas to their name said it was a comedy, the HFPA absolutely could have put it in C/M and no one would have batted an eye. I am actually 80% certain that they took their overall 10 favorite films (how, though) and put them through the same aforementioned sorting system that they used for choosing the hosts. (*Okay, I know some of you have had it up to here with my railing on the HFPA’s sense of what’s drama and what’s comedy when you know that it’s actually the makers of ‘Bohemian’ and ‘Star’ that petitioned for them to be in Drama. But a) it shouldn’t be up to the filmmakers to say what their thing gets nominated for just because Drama is more prestigious; that’s some bullshit finagling, and b) the HFPA makes crazy decisions every single year so I’m never going to ease up just because someone else is also to blame. Also FUCK the people who wanted them to be in Drama because it’s more prestigious than Comedy. It’s not the MUSICAL COMEDY category; it’s Comedy OR Musical. SLASH MEANS OR. Miss me with the bullshit that dramas are more important than musicals.)
As for the actual Comedy/Musical category, the only great surprise is ‘Crazy Rich Asians’, which deserves the slot and is actually a comedy, so well done to the HFPA. This is the perfect maneuver for the HFPA to get big names of the year, but from non-awardsy movies, to come to their party. ‘The Favourite’ was a great movie and it’s billed as a dark comedy, though to me it was more horrifying and full of nervous laughter, but I concede that it’s the right kind of movie for this category. That Yorgos though! ‘Mary Poppins Returns’ shouldn’t be on this list, not because it wasn’t a musical, which it is, but because it was not good. Most disappointing movie of the year for me. There are 100 movies that should have taken that slot, but none with Emily Blunt and Lin-Manuel Miranda, who the journos wanted to invite, so here we are. Party’s not a party without Lin! As for ‘Green Book’ and ‘Vice’, they should be swapped (with the two musical biopics) to the drama category. I have it on good authority that ‘Green Book’ is clearly a drama. And I guess the foreign reporters find it funny to make fun of America’s downfall so they are calling ‘Vice’ a comedy even though it’s upsetting and depressing? I guess.
Given that these categories are bonkers, it’s hard to pick winners. For ‘Drama’, my vote would be for ‘A Star is Born’, and the Globes seem like the right venue for rewarding that starry successful film. Everyone loves it (I know I know except for two of you reading this, I get it, you hated it) and it was completely wonderful, and it doesn’t hurt that it was a financial hit. For ‘Comedy/Musical’, I think it will be ‘The Favourite’ because it’s actually a dark comedy, it’s a pretty great (though WEIRD AF) movie, and the foreigners voting love them some Yorgos and some Olivia Colman.
As for the actual Comedy/Musical category, the only great surprise is ‘Crazy Rich Asians’, which deserves the slot and is actually a comedy, so well done to the HFPA. This is the perfect maneuver for the HFPA to get big names of the year, but from non-awardsy movies, to come to their party. ‘The Favourite’ was a great movie and it’s billed as a dark comedy, though to me it was more horrifying and full of nervous laughter, but I concede that it’s the right kind of movie for this category. That Yorgos though! ‘Mary Poppins Returns’ shouldn’t be on this list, not because it wasn’t a musical, which it is, but because it was not good. Most disappointing movie of the year for me. There are 100 movies that should have taken that slot, but none with Emily Blunt and Lin-Manuel Miranda, who the journos wanted to invite, so here we are. Party’s not a party without Lin! As for ‘Green Book’ and ‘Vice’, they should be swapped (with the two musical biopics) to the drama category. I have it on good authority that ‘Green Book’ is clearly a drama. And I guess the foreign reporters find it funny to make fun of America’s downfall so they are calling ‘Vice’ a comedy even though it’s upsetting and depressing? I guess.
Given that these categories are bonkers, it’s hard to pick winners. For ‘Drama’, my vote would be for ‘A Star is Born’, and the Globes seem like the right venue for rewarding that starry successful film. Everyone loves it (I know I know except for two of you reading this, I get it, you hated it) and it was completely wonderful, and it doesn’t hurt that it was a financial hit. For ‘Comedy/Musical’, I think it will be ‘The Favourite’ because it’s actually a dark comedy, it’s a pretty great (though WEIRD AF) movie, and the foreigners voting love them some Yorgos and some Olivia Colman.
BEST ACTRESS IN A MOTION PICTURE – DRAMA
Glenn Close, “The Wife”
Lady Gaga, “A Star Is Born”
Nicole Kidman, “Destroyer”
Melissa McCarthy, “Can You Ever Forgive Me?”
Rosamund Pike, “A Private War”
Glenn Close, “The Wife”
Lady Gaga, “A Star Is Born”
Nicole Kidman, “Destroyer”
Melissa McCarthy, “Can You Ever Forgive Me?”
Rosamund Pike, “A Private War”
Lady Gaga is almost hundo p going to win her second Golden Globe on her second nomination (that’s a kind of ridiculous track record for someone who isn’t actually a great actress but has been great in specific parts). Her Allie was magnetic, and it helps that it was her singing so incredibly (something that might hurt Rami Malek). I haven’t seen ‘The Wife’ because it looks suuupes boring, but Glenn Close is probably her closest competitor because everyone loves Glenn Close (except Patti LuPone) and I’m sure she was wonderful in the movie and she’s always great so, okay, possible dark horse. No one has seen Nikki K’s movie, which I’m assuming is about Alison Brie’s Zoya character on ‘Glow’?? I would indeed love a big-screen look at that magnificence, although I can’t imagine it being any better than ‘Glow’ episode 2.8 (The Good Twin) (that’s the one where Alison Brie’s Ruth also plays the evil twin of her Russian character and it’s amazing and there’s a goat). Melissa McCarthy is supposed to be amazing in her movie but I wouldn’t know because London doesn’t seem to have heard about it. I just checked the UK release date and it’s forking February 1! What is this NONSENSE. Show me my Sookie in a crime drama! And as for Rosamund, she’s not winning because voters and people the world over are still terrified of her after ‘Gone Girl’. Like really forking terrified. They didn’t even want her to come but they had to invite her because they were scared of what would happen if they didn’t.
BEST ACTOR IN A MOTION PICTURE – DRAMA
Bradley Cooper, “A Star Is Born”
Willem Dafoe, “At Eternity’s Gate”
Lucas Hedges, “Boy Erased”
Rami Malek, “Bohemian Rhapsody”
John David Washington, “BlacKkKlansman”
Bradley Cooper, “A Star Is Born”
Willem Dafoe, “At Eternity’s Gate”
Lucas Hedges, “Boy Erased”
Rami Malek, “Bohemian Rhapsody”
John David Washington, “BlacKkKlansman”
Oh this is not even a question; it’s Bradley’s to lose. The HFPA LOOOOOVES them some Bradley Cooper, possibly even more than Sidra thinks Italian men loooooove them some black women (every piece I write has to have a reference to ‘Love & Basketball’, you know this by now, yes?), and he deserves it too. He dedicated so much time and effort to ‘A Star is Born’, including spending two years working with a vocal coach to safely lower his speaking voice so he could play Jackson, the alcoholic country star. And he can sing (well enough)! And then he directed the whole darn thing flawlessly. This is the way they will reward him for making this great movie. The potential spoiler is Rami Malek, who the HFPA also loves. Malek was superb as Freddie Mercury, but the fact that it wasn’t him singing but it was Bradley could be the tipping point. Willem Dafoe is supposed to be great in ‘At Eternity’s Gate’ and I would love for him to win, now or in the future, because he is such a nice man even though he looks like a mean one, but I can’t say that he should win because I have not seen the film, nor has anyone. Lucas Hedges is too young to be nominated for so many awards already jesus h christ who is this kid in Oscar movies every g-d year! And in Tony-nominated plays too! Take a BREAK, child. No he’s really great but he has decades and probably hundos of awards ahead of him. Washington was great as the understated lead of ‘BlacKkKlansmen’, but he was subtle, which-ah the foreigners hate-ah!
BEST ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY
Emily Blunt, “Mary Poppins Returns”
Olivia Colman, “The Favourite”
Elsie Fisher, “Eighth Grade”
Charlize Theron, “Tully”
Constance Wu, “Crazy Rich Asians”
Emily Blunt, “Mary Poppins Returns”
Olivia Colman, “The Favourite”
Elsie Fisher, “Eighth Grade”
Charlize Theron, “Tully”
Constance Wu, “Crazy Rich Asians”
I think Olivia Colman’s Globe win might be the surest bet of all, after Gaga’s win for Best Song (I’M IN THE DEEEEP EEEEEEEND WATCH AS I DIIIIIIIIIIIVE IIIIIIIIIIIN you’re welcome best song ever). Everyone is loving ‘The Favourite’ (WEIRD AF) and Colman has been diligently producing great but under-noticed work for decades. Most importantly, her excellent performance as Queen Anne is the only one on the list with any serious credibility or weight to it, in the only movie on the list that will be nominated for Best Picture at the Oscars. Fork she was creepy and super disturbing (and did I say WEIRD AF) and great in ‘The Favourite’. Emily Blunt was one of the few things I enjoyed about Mary Poppins, though she wasn’t award-worthy, just like, not bad enough to yell at the screen like I did for Meryl Streep’s scene. Is ‘Tully’ the movie Charlize did like 10 years ago when she ghost-writes teen novels? I’m going to assume that’s what it is so why is it nominated now? It was a bad movie back then. Constance Wu was charming and wonderful but she will have to be content with all the crazy money the movie made (though not as much money as her character was marrying into apparently (billionaires are immoral by definition btw, I hope the sequel comes to terms with that)). ‘Eighth Grade’ is the movie I actually most wanted to see this year but I completely missed its run in the UK (if it had one). I heard such great things and would have liked to see more recognition of it, mostly because Bo Burnham actually seems like a fantastic person (all of this is taken from his one appearance on the Anna Faris podcast, but he did say a lot of great things on it). So yeah, Olivia Colman gets my vote for sure. Although, interestingly, I don’t think it is an Oscar-worthy performance. We’ll talk about that in a month I guess.
BEST ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
Christian Bale, “Vice”
Lin-Manuel Miranda, “Mary Poppins Returns”
Viggo Mortensen, “Green Book”
Robert Redford, “The Old Man & the Gun”
John C. Reilly, “Stan & Ollie”
Christian Bale, “Vice”
Lin-Manuel Miranda, “Mary Poppins Returns”
Viggo Mortensen, “Green Book”
Robert Redford, “The Old Man & the Gun”
John C. Reilly, “Stan & Ollie”
This is the funniest category. It is exactly what one of those bots fed 1000 hours of x kind of information would create if asked to create a sample Globes category. A few relevant movies plus big name movie stars plus people they just really like plus roles you would never have dreamed of getting award recognition. I just love it. Viggo should be in the Drama category, Christian Bale arguably too, but one of them will be the winner. I’m not sure about the Old Robert Gun movie because I haven’t seen it yet, but everyone loves Redford. Everyone also loves Lin and so I can’t fault his inclusion in this category, except I can because hahaha for Mary Poppinses?? Oh dear. Love John C. Reilly as well but if he didn’t win for ‘Chicago’ he shouldn’t win for ‘Stan & Ollie’, which I think is about those muppet hecklers? This is almost a definite win for Christian Bale, though I honestly wouldn’t be surprised if they gave it to Lin just because the Globes be crazy.
BEST ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE
Amy Adams, ‘Vice’
Claire Foy, ‘First Man’
Regina King, ‘If Beale Street Could Talk’
Emma Stone, ‘The Favourite’
Rachel Weisz, ‘The Favourite’
Amy Adams, ‘Vice’
Claire Foy, ‘First Man’
Regina King, ‘If Beale Street Could Talk’
Emma Stone, ‘The Favourite’
Rachel Weisz, ‘The Favourite’
WILL AMY ADAMS EVER WIN AN AWARD? Okay she has won two Globes but she is one of the best actresses to still not have won an Oscar. Maybe this will start her season off right! Although who wants her first Oscar to be for the monster Lynne Cheney YEESH. This is a great category overall though. I do have a sneaking sense that one of ‘The Favourite’ girls will sneak in to upset the Adams train. The HFPA loves Emma and Rachel and they were great in it, so maybe one of them will dark horse this up. But I think it’s Amy’s. She will be so happy!
BEST ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
Mahershala Ali, ‘Green Book’
Timothee Chalamet, ‘Beautiful Boy’
Adam Driver, ‘BlacKkKlansmen’
Richard E. Grant, “Can You Ever Forgive Me?’
Sam Rockwell, ‘Vice’
Mahershala Ali, ‘Green Book’
Timothee Chalamet, ‘Beautiful Boy’
Adam Driver, ‘BlacKkKlansmen’
Richard E. Grant, “Can You Ever Forgive Me?’
Sam Rockwell, ‘Vice’
I can’t believe I already used my ‘WHO IS THIS CHILD IN THE BIG MOVIES EVERY YEAR EVEN THOUGH HE’S NOT OLD ENOUGH TO SEE THEM YET’ diatribe on Lucas Hedges when we have Chalamet in the mix! god what is UP with these little boys being such damn good actors? I love Chalamet (not as much as John Mulaney’s wife does but enough) but BB is too depressing for anyone to still think about. He has a long illustrious career ahead of him, I am sure. Adam Driver’s career is like nothing anyone could have predicted, I guess I’m happy for him, but he will have to be satisfied with Star Wars money. I’ve heard great things about Grant and I could see this being the category the voters throw a curveball into, but the race is mainly between Mahershala and Sam. Both are the big recent Supporting Actor winners of the last two seasons, which will make some voters want to spread the wealth, but Mahershala actually didn’t win the Globe for ‘Moonlight’ (the Globes like to throw curveballs like I said! (of course their curveball that year in his category was to my most hated movie ever made so that’s fun) (we shall not be naming it)) so this is most likely his.
BEST DIRECTOR
Bradley Cooper, ‘A Star is Born’
Alfonso Cuaron, ‘Roma’
Peter Farrelly, ‘Green Book’
Spike Lee, ‘BlacKkKlansmen’
Adam McKay, ‘Vice’
Bradley Cooper, ‘A Star is Born’
Alfonso Cuaron, ‘Roma’
Peter Farrelly, ‘Green Book’
Spike Lee, ‘BlacKkKlansmen’
Adam McKay, ‘Vice’
The best director race is mainly between Bradley and Cuaron, two men the voters adore for very different reasons. If Bradley is awarded for Best Actor, then this one will go to Cuaron. It is most likely Cuaron’s anyway as a way to compensate ‘Roma’, one of the most beloved movies of the year, for being shut out of the Best Movie categories because it’s not in English (thems the rules), which is some real bullshit considering these are the awards from the Hollywood FOREIGN Press, the awarding organization most likely to recognize that things in languages other than English have merit considering I would bet money that every single member speaks at least one non-English language. Way to buck the stereotype (of being learned), guys. But either/any/all would be deserving winners. I’d love if Spike Lee won just for having the balls to end his film as he did, which was the most moving and upsetting part.
Okay I was so proud of myself for finishing that I completely forgot I have to write about television too! Goddammit the Globes are like this website, trying to cover way too much! You’d think that my being in the UK would make it even harder for me to see all the American-focused television nominated at the Globes than it is for me to see all the movies, but you would be wrong. I watch a lot of TV.
BEST DRAMA SERIES
The Americans
Bodyguard
Homecoming
Killing Eve
Pose
The Americans
Bodyguard
Homecoming
Killing Eve
Pose
This is a really interesting group of shows, all at least decent. The Americans is one of the best dramas in history, and it should be awarded for its final, impeccable season. I still cry sometimes thinking about the garage scene and poor Stanny Beems. But it won’t win, because the damn foreign press loves Killing Eve and loooves Sandra Oh – and she is HOSTING. She is going to win (see below) and this show is going to win, even though (my mom is going to be mad) it was JUST OKAY. I think the premise of Killing Eve had a shittonne of potential, but they didn’t actually fulfill it. The writing and the storyline got kind of out of whack halfway through, and though it was always entertaining, it wasn’t great, and it definitely wasn’t ‘best’. Be best! Bodyguard gets a similar review. It was one of the most riveting shows I’ve ever watched – I was on edge the entire time, heart racing. They achieved levels of suspense that are usually reserved for movie-making. But while it was super successful in that regard, it was overall a B level series, with some groan-worthy turns and some just-okay writing. The Americans is the best show on this list by a mile, but it won’t beat the British shows. The Globes never actually reward the best of TV though, just the people and properties they like talking about, so it’s fine, I’m fine, we’re all fiiiine.
BEST TV DRAMA ACTOR
Jason Bateman, Ozark
Stephan James, Homecoming
Richard Madden, Bodyguard
Billy Porter, Pose
Matthew Rhys, The Americans
Jason Bateman, Ozark
Stephan James, Homecoming
Richard Madden, Bodyguard
Billy Porter, Pose
Matthew Rhys, The Americans
YAS BILLY PORTER COME THROUGH!!! I mean not actually ‘through’ like ‘to the winner’s podium’, just like hooray for the nom, I adore you you Tony winner! But not as much as Matthew Rhys with his WELSH ACCENT that NO VIEWERS of The Americans would EVER have guessed he had. Loves it! There are great performers on this list but no one touches Matthew’s performance, especially in the last episode of The Americans. Dammit that show was incredible, and he was the best part, other than my aforementioned main man Stanny Beems. I hope he wins, and he might ride his Emmy-award momentum to a win here. But I wouldn’t be surprised if Richard Madden pulled ahead, because he was on yet another acclaimed show but this time it’s British and they love that.
BEST TV DRAMA ACTRESS
Caitriona Balfe, Outlander
Elisabeth Moss, The Handmaid’s Tale
Sandra Oh, Killing Eve
Julia Roberts, Homecoming
Keri Russell, The Americans
Caitriona Balfe, Outlander
Elisabeth Moss, The Handmaid’s Tale
Sandra Oh, Killing Eve
Julia Roberts, Homecoming
Keri Russell, The Americans
Can’t believe The Handmaid’s Tale is still on; it feels like it’s been on for ten seasons already, or maybe that’s just because real life in America feels like that now. Regardless, this is Oh’s. Oh, no. Keri Russell gets all the same praise I gave Matthew Rhys, supra, because they were two halves of a whole that built a gripping, poignant, masterpiece of a show. This should be hers (just like the Emmy should have been) but this is Sandra’s. I mean she’s the g-d host, for crying out loud. Ain’t no way they’re gonna get her to host and then not give her a trophy for it. The only way I can see Sandra losing is if the voters decide to give it to Julia Roberts, because she’s forking Julia Roberts and they are probably peeing in their pants excited to see her tonight. I mean she’s also great, yes, but the HFPA only cares that she is Julia mufuhing Roberts.
BEST COMEDY SERIES
Barry
The Good Place
Kidding
The Kominsky Method
The Marvelous Mrs. Maisel
Barry
The Good Place
Kidding
The Kominsky Method
The Marvelous Mrs. Maisel
Are they just kidding about Kidding, and Komisky? Don’t get me wrong, I love The Kominsky Method because I enjoy many properties that are intended for elderly Jews (am one at heart!), but while it’s entertaining, it’s not like, great. But happily, three of these noms are indeed three of the best comedies on right now: Maisel, Barry, and The Good Place. I’m going to take a minute to talk about the best of those three, which means it’s the best show out right now ever in the whole entire world and guess what also in the entire history of television: The Good Place. TGP has created a unique sitcom, which seems like an impossible thing to do. Not just in terms of the subject matter, but in terms of structure. With almost every single episode, it turns the show’s universe on its head with twists and surprises that are usually reserved for season finales. And it doesn’t just do that for the sake of doing something different or unexpected: it actually best serves the show. It teaches viewers about philosophy and all the important thinkers of history while simultaneously having some of the dumbest humor (in the best way) ever. Every performance is pitch perfect, and trying to pick a favorite or a best is like trying to pick the cutest doggo. Which is probably why only one of the very deserving performers is nominated for a Globe; they just couldn’t deal with how great everyone is and giving the others Globes is like kind of a slap in the face for how good they are and how many better things they deserve for being amazing. If Mike Schur’s humor is on the same wavelength as yours, you feel like he created this show exactly tuned to your preferences, and it’s THE GREATEST feeling to have that in existence. But it’s not going to win because WE’RE IN THE BAD PLACE, but also because no one can stop the Maisel train. I do truly love Maisel, and I wish the costumer would just give me all the forking clothes on that show, god damn they’re amazing, and it is a deserving winner. Barry is also great, even though I am super stressed out while watching it because ahhh, assassins and what not. I expect the HFPA to give it to Maisel, though I wouldn’t be surprised if Barry won, or honestly Kominsky because they love doing crazy shit and they love the old cockers on that show.
BEST TV COMEDY ACTOR
Michael Douglas, The Kominsky Method
Sacha Baron Cohen, Who is America
Jim Carrey, Kidding
Donald Glover, Atlanta
Bill Hader, Barry
Michael Douglas, The Kominsky Method
Sacha Baron Cohen, Who is America
Jim Carrey, Kidding
Donald Glover, Atlanta
Bill Hader, Barry
Take what I was just saying about The Kominsky Method and use that to explain why Michael Douglas is going to win this award. He’s old-time Hollywood, the biggest star on the list, and that’s exactly who the HFPA loves to get to come to their party. The voters are super stoked that Douglas is doing a TV show (even though it’s on Netflix, which is like, the dream job for every actor) and one that’s funny at that. Also, the Globes often love to award the new kid on the block, more than any other awards do. So I’m fully expecting Douglas to win tonight and thank CZJ. My vote would be for Sacha exposing how disgusting American politics is, but his show is likely too controversial. I think the biggest competitor for Douglas is Hader, who is simply sensational in Barry, like you have never seen him and would never expect. It’s ridiculous how good he is. But the real winner in my book is Ted Danson, who is not nominated in the biggest shanda of the entire award season. No matter who is snubbed even for the Oscars, it won’t compare to not recognizing that Danson’s performance as Michael on The Good Place is the pinnacle of perfection in sitcom acting. It seems like it’s just him doing what comes natural to him, and that’s a testament to how much thought he actually puts into every intonation and every little hand gesture to make Michael so fully fleshed out (even though his flesh doesn’t contain human juice OR goo) and so hilarious. Too good for the Globes, I say!
BEST TV COMEDY ACTRESS
Kristen Bell, The Good Place
Candice Bergen, Murphy Brown
Alison Brie, GLOW
Rachel Brosnahan, The Marvelous Mrs. Maisel
Debra Messing, Will & Grace
Kristen Bell, The Good Place
Candice Bergen, Murphy Brown
Alison Brie, GLOW
Rachel Brosnahan, The Marvelous Mrs. Maisel
Debra Messing, Will & Grace
FORK this was a hard one to alphabetize! So many damn B’s! (bees?) I’d say the voters just started at the top of the list of eligible performers and ticked off the first ones they saw, but they are actually all pretty great. This is hundo p Brosnahan’s, as she is simply marvelous as Maisel. And I’m great with that, because I adore her. I’d be happy though with any of three B ladies winning: Brosnahan, Bell, or Brie. Bell is entirely wonderful in The Good Place – no one else could turn what seem like basic (YA BASIC) lines into absolute hilarity (“sounds like your friend is one pickle short of…a pickle party”) and be a terrible person and yet so likable. And Alison Brie should be a household name for how good an actor she is, it’s almost sick how good she is. Her performance as Zoya the Destroya’s twin sister is reason enough to vote for her. I realize that saying Candice Bergen and Debra Messing have already had their time and their chance (and their awards) sounds mean and ageist, but they have LITERALLY already had their time and chance FOR THESE EXACT SAME SHOWS. Don’t get me wrong, the shows are two of my all-times, but this whole revival thing is getting old. Can the people who are so dead-set on reviving old classic TV shows instead focus the revival effort on Broadway so we can get a gottamn third musical revival this season???
Well, that’s all I have to say about that because like you I’m getting exhausted with myself. As for the limited series categories, Darren Criss and the Gianni Versace movie will win everything it can. People love that shit. The supporting actor and actress in a TV show categories are utter bollocks so it’s best we remain civil and just skip them. (Although I’ll be happy for Henry Winkler (loves him) and Alex Borstein winning.) If you made it this far, congratulations, you probably have the stamina to actually watch the Golden Globes! Enjoy!
“Bring It On” in London: Can’t Go Wrong with This Much Fun
It’s Theatre Thursday! Today we are talking about “Bring it On: The Musical”, currently at London’s Southwark Playhouse until September 1.
As if anyone would be surprised that yet another Lin-Manuel Miranda musical is brightening up London, his collaborative 2011 musical “Bring it On” provides a much-needed jolt of silly fun to this theatre scene. Inspired by that beloved Kirsten Dunst movie with that incredible performance-based ending topped only by that of “Center Stage” in all of cinematic history, “Bring it On” looks into the world of competitive high school cheerleading while trying to tackle racism, bullies, friendship, teenage romance, accepting yourself, growing up, and fitting in. Does it succeed in doing all that? God no! Is this show insanely enjoyable and entertaining and will you have a huge smile on your face (most of the time) even though it’s overreaching with the sentimentality? Hell yes!
As if anyone would be surprised that yet another Lin-Manuel Miranda musical is brightening up London, his collaborative 2011 musical “Bring it On” provides a much-needed jolt of silly fun to this theatre scene. Inspired by that beloved Kirsten Dunst movie with that incredible performance-based ending topped only by that of “Center Stage” in all of cinematic history, “Bring it On” looks into the world of competitive high school cheerleading while trying to tackle racism, bullies, friendship, teenage romance, accepting yourself, growing up, and fitting in. Does it succeed in doing all that? God no! Is this show insanely enjoyable and entertaining and will you have a huge smile on your face (most of the time) even though it’s overreaching with the sentimentality? Hell yes!
If you follow this site, you know that 60% of the time, the Southwark Playhouse’s productions are the best every time (you get that reference). The Southwark usually puts on a better show than most of the West End proper. This production is different from usual, however, because the production of “Bring it On” is a ‘youth production’ brought in by the British Theatre Academy, a training school and program for people under 23. While many in the cast have some theatrical experience (I googled them because the programme doesn’t list any of their experience. It lists their f-ing TWITTER handles, but no, seeing what work they’ve done is too much to ask from a programme you have to pay for) (and YES I realize how creepy it sounds that I googled children but I had to I am a PROFESSIONAL), they’re all relatively (or very) green, and so I won’t judge them as harshly as I would full-blown professionals who can legally drink alcohol (also Husbo P said not to be mean to children or that will make me the villain in fairytales and I am a nice witch). But despite their experience or lack thereof, there’s lots of potential on that stage, and lots of talent. Many of these young performers are doing strong work here and I think can be great.
So “Bring it On” has quite the creative team behind it – Lin-Manuel, Tom Kitt (‘Next to Normal’), Amanda Green (‘Hands on a Hardbody’ (shoutout to my bff Keala)) all worked on the score, while Jeff Whitty (‘Avenue Q’) wrote the book. Surprisingly, because it happens so rarely, I was delighted by Whitty’s book. My delight was mainly because I didn’t know how different it would be from the movie (the original movie, obviously; it’s apparently similar to one of the sequels but I don’t mess with no direct-to-video nonsense). Diverging from the familiar plot was a really smart move, leaving less to directly compare with the movie. Instead of Eliza Dushku taking a vampire-slaying break to rag on Kirsten Dunst about how bad her breath is while Gabrielle Union just like…is perfect, we have Campbell (Robyn McIntyre (lots of y’s you go girl)), the Dunst-like character – the white, rich, preppy head cheerleader – transferred from white, rich, preppy Truman High to the inner city school like the one repped by Union in the movie. At Jackson High, Campbell sticks out and has trouble finding her groove (probably because she’s white), especially since there is no cheerleading squad! Egads and oh no! The cool af black girl in the stage version is named Danielle (Chisara Agor), and instead of leading a rival, incredible cheerleading squad backed up by literally the three members of R&B girl group Blaque (true story), Danielle leads the school’s dance crew, which, by the looks of it, is just her and her two friends. Those friends are pretty cool though – one is named Nautica and is confident and badass, and the other is La Cienaga, which was Broadway’s first trans character (played by Gregory Haney in the og, and here by Matthew Brazier, and it’s awesome to have this, but I can’t wait for when trans characters are actually played by trans people).
Campbell tries to convince Danielle’s crew to become a cheerleading squad so they can beat her old school at Nationals. There was so much mention of Nationals and Regionals that sometimes it was like watching an episode of “Glee” (which was in the height(s) of its popularity when this was written, to be fair, and probably was a cheeky reference to it). The only other person transferred along with Campbell from Truman is Bridget, her Quirky Fat Friend™ who was Truman High’s poor pathetic mascot but who is suddenly considered cool at Jackson. Bridget might be written as that typical QFF™ whose main characteristics are Q and F, but as played by Kristine Kruse she is a hoot and gets some of the best material in the show. Campbell’s old friends at Truman fare well too, as the white rich Mean Girls-like trio of Skylar, Kylar (it’s explained), and Eva are all given a good chunk of material and humor to work with, and they’re super entertaining, although I wish we saw more of Eva’s future when she becomes Betsy Devos. As is common, the main characters are written generically in order to further the story, while the side characters get to have more personality.
As for the score, I’d be lying if I said I haven’t been listening to it during all of my runs this week. It is FIRE. Well, it is FIRE SOMETIMES. The big ensemble numbers, the up-tempo ones, are clearly the work of Lin-Manuel Miranda, whose signature Latin influenced urban flavor shines through, and at certain points I could hear suggestions of “It Won’t Be Long Now” and “Blackout” from “In the Heights”. However, it takes a bit for the score to hit its stride, mainly because there are too many ballads and none of them are memorable or really anything special. Things only really get moving when the action moves over to Jackson High with Campbell’s transfer, when Lin’s signature rhythm and hip-hop sensibilities could let loose. The introductory Jackson song, “Do Your Own Thing”, is the best song in the score and I challenge you to listen to it without getting severely pumped up. I cracked up in this song when Campbell is introduced and a boy goes, “Campbell like the soup? You lookin’ hot cream of mushroom!’ And I adore Bridget’s track in this number, when she counters the chorus of “Don’t follow me/do your own thing” with a super optimistic “Don’t follow anybody! Everyone here does their own thing”. I love it. Of course, my favorite sung lyric was clearly the work of Lin in “It’s All Happening”, when a boy says to his friends, “What, you think cheering is feminine? Then I’m a feminist swimming in women, gentlemen.” There’s so much humor in the score and book, and the cast hit all the comic points well.
I feel the need to temper all my excitement about this show, though, because, like, it’s not exactly a great show. It’s so much fun and has such good energy, but the bones of it have some osteo probs. Along with the mostly clichéd attempts to be introspective in the ballads (ugh so many), there were a few weak spots in the plot too, like how on earth a teenage girl could blackmail her mother but not elicit suspicion from the rest of the school board? And I hate to say it, but a school like this considering La Cienaga one of the most popular people in school? I wish that were realistic (and because of that I see the need to present it as such; it’s just not believable). The spirit stick/cheer camp bit in the beginning whooshed past us, and if I didn’t remember that they did such a thing in the movie I would have been as confused as Husbo at what exactly was happening. I didn’t buy the relationship between Campbell and her new boyf, Randall, at all, but that could be because their duet made me saaaad. And not because it tugged at my heartstrings or anything like that, but because it was baaaad. Not their singing, just the actual song is quite hackneyed, about how you have to enjoy high school for what it is because it goes by so fast. Guhhhh. If you cut that and a few other reprises of Campbell’s “I Want” song, it would be a much tighter show. (Not that Robyn doesn’t do a superb job essentially carrying this show on her tiny child shoulders; all these slow songs just don’t serve her character or the story.) But the biggest thing that needs work is why on earth Danielle et al. would forgive Campbell for lying to her. Their friendship before the rift is not solidified enough to explain why she would bother helping out this new girl again.
I hope they do get to make those changes, upon a transfer to the West End. With more work, a whole lot more money, and more exciting cheer routines, this could be phenomenal as a big production. I had to temper my expectations and hopes and dreams about their final cheer routines, considering this was not a huge-budget Broadway musical with professional gymnasts and acrobats in the cast (although there were clearly a few ringers in there doing most of the tumbling, which I appreciated). (And yes, I did watch the Broadway cast’s performance afterwards to scratch that itch) But even so, this small youth production is more entertaining that it should be, and is a must-see right now in London.
INFORMATION
Okay so the Southwark Playhouse is not air-conditioned, and you probably know that London has had a serious heat wave all summer. Everyone was literally dripping in sweat in that small black box theatre (including the cast), and so the fact that I still loved it and recommend it says a lot about how fun it is.
The ushers at my performance need some more training though. They were more distracting that any audience members (hey good job audience though). It was weird.
1 Comment
Well done!!