Fiddler on the Roof at the Menier Chocolate Factory: As Moving and Important as Everby Randi / February 28, 2019It’s Theatre Thursday! Today’s show is Waitress, which opens today in London.
I feel like I’ve been bemoaning the sad state of musical theatre on the West End for years now. We’re getting too few new British works and too many lackluster disappointments. And while that’s all still true, Waitress has arrived, so I’m done complaining until the smile leaves my face, if that ever happens. Even though it’s an American transfer, this show is so FORKING wonderful that it is elevating the entirety of the West End. The Sara Bareilles musical, which opens officially today at the Adelphi Theatre, is exactly the show London needs right now: funny, heartbreaking, movingly acted, perfectly sung, and with an incredible score. It’s strange for me to give unqualified raves, but here I go, here I go, here I go again girls what’s my weakness? Um, musicals! pie? Dr. Pomatter?
Waitress, the first Broadway musical with an all-female creative team (it premiered in 2016 and that’s a true thing, so forked), opened the same season as Hamilton (and also the best musical revival season anyone could ever dream of I mean it omg each of the four nominees was the best thing ever le sigh and this year we don’t even have enough for a Tony award??? anyway) and so, while everyone enjoyed it, it didn’t get the acclaim or attention it deserved. Luckily, London’s musical theatre scene is, shall we say, not 2016 Broadway so fingers crossed that it gets the proper amount of love, because it’s a pretty goshdarn flawless show. Based on the 2007 Adrienne Shelly movie starring Keri Russell, Waitress the musical tells that story of how a small-town pie-making waitress in an abusive marriage gets pregnant and falls for her new ob/gyn. I remember the movie being pretty depressing but the show – though still rife with sad moments – is funnier and overall uplifting and heartwarming. With a sensational score from Sara Bareilles in her first musical theatre venture (and hopefully not last) and superb direction from Diane Paulus, the musical takes us intimately into the life of Jenna Hunterson and her friends. Her abusive husband, her inability to leave him, her feeling of not recognizing herself or knowing what to do, it all comes across realistically and believably while maintaining the entertaining, energetic thrill of classic musical theatre.
Even though I trust that you’ll see Waitress as soon as you can – whether on Broadway, in London, or on tour – I’ma tell you a little about it because it’s my new fave thing and I just simply can’t stop won’t stop talking about it (or singing it in the shower). So Jenna, as played by the remarkable Katharine McPhee, sings about her three favorite ingredients for pie baking – “sugar, butter, flour” – and making pies and how that helps her deal with her shirty life, working in a diner and having a shirty slob of a jerk husband who takes all the money she earns and is mean to her friends. And her friends, Dawn (Laura Baldwin, hilarious and adorable) and Becky (Marisha Wallace, the fire emoji), are wonderful so only a real jerk ass jackwagon would be mean to them. Jenna accidentally slept with her husband who she haaaates so Dawn and Becky are like ‘hey Jenna let’s all chill in the bathroom and watch you pee on a stick and we will SING ABOUT IT!!!’ and Jenna is like ‘ughhh I don’t wanna know if I’m pregnant I’d rather just ignore any alien growth and then in 9 months be like those people on the old show ‘I Didn’t Know I Was Pregnant’ and be like ‘maaaa there’s a baby in the terlet!!!!’ so just let me be’ and they’re like ‘no we have fun lyrics about drinking enough to make sure you have to pee’ (and I’m like, do some people really not need to pee all the time?) so Jenna pees on the stick and is like SHIT and then sings the greatest song ever extolling the virtues of what baking can do as she hopes it can save her from her current messy sitch. Then she makes a great pie for her gynecologist who unknowingly retired and you’re like jfc how bad is the American healthcare system if when she called to make an appointment with Dr. Oldlady they didn’t tell her ‘oh she RETIRED’?? what a mess. Anyway her gyno is now this cute adorkable awkward lanky blond guy which is suuuupes awks in a gyno fyi anyway he doesn’t eat sugar and she’s like what kind of dork doesn’t eat sugar?? and he tries her pie (not a euph) and is like ‘OH DIP’ and she’s such a good baker that they fall in love and it’s AMAZING and SAD and she dreams of getting away from the jerky husband but he thwarts her plans and then she sings another BEST SONG EVER about what a mess her life is and McPhee is like ‘do you think you’ve heard anyone with better vocal control, because hear this, mufuckaaa’ and she should have awards thrown at her and you’re like TAYLOR HICKS, REALLY GUYS???
Meanwhile, the girls make our cute little Dawn try online dating because she is a sheltered lil bun who’s never dated and she matches on an app I’m assuming was Christian Mingle with a crazy guy in the form of JACK MCBRAYER, ladies and gentlemen, as Ogie and even though he sings a song that would be a giant red flag in real life about how he is virtually a stalker and even though Jack’s not the greatest singer and even though I wanted a friend of mine to get his part originally, Jack’s Ogie is REDONKULOUS AMAZING. His signature pure hearted dorky schtick is so perfect for Ogie and whoever thought to cast him deserves Olympic medals in casting. I honestly want to bake that person a pie. Jack makes every little movement and line of Ogie’s a laugh riot which is a phrase I don’t think I’ve ever used before but I need to use it now because it’s true and also dorky and pure enough of a phrase to fit this situation. The only thing I don’t get about this show is that Ogie gets the last named-character-bow when for male roles he really is second only to Dr. Pomatter and I don’t understand how he isn’t billed and bowed higher?? He gets more songs than almost anyone! Anyway it’s worth it to see him alone, yet everything else is just as great. Becky’s lil side story is amazingly moving too, as she’s in a difficult marriage for sad reasons and needs to get her groove back and does so with a SURPRISE man and she sings a fire emoji song about how ya know shit just happens sometimes and who are you to judge?? Her big song really was ugh so good. Even the old man diner owner gets amazing material that makes me cry, even though this actor wasn’t a great singer, because he gets my favorite poetic lyric at the end of his big song that just wrecks me and honestly everything in this show wrecks me so just forking see it so we can TALK ABOUT IT, okay?
The writing of this show, with a book from Jessie Nelson, is so strong that the show would be great still with just okay talent, so this stellar cast is lifting it to remarkable heights. Katharine McPhee’s Jenna is thoughtful and purposeful, finding the right line between vulnerability and inner strength. Fresh from the Broadway production, which was her first Broadway role, McPhee reminds you quickly of the douchebag director’s first words about her on “Smash”: “She may be green, but she’s certainly trained.” Her control over her voice is spell-binding, and her “She Used to be Mine” is the best vocal performance happening in London right now. David Hunter’s Pomatter is endearing and goofy yet also a believable leading man and a bit of a heartthrob. The scenes between the two of them feel like the end of the second season of a TV show when the two meant-for-each-other leads finally come to each other, and they accomplish that in less than an hour. It’s so important to get that emotional beat right, along with all the deeply personal revelations on display. Waitress is an unabashedly emotional show, the kind that could easily feel twee or seem amateur, but this show is anything but. The strong writing and the precisely directed performances keep it fresh and real. I fear that the old-white-male reviewers that make up London’s main critic pool will discount the female-centric story and emotional depth as cutesy or girly when really it’s surprisingly profound.
If nothing else, Bareilles has given us an extraordinary original score for the modern age, with nary a weak track in there, a rare accomplishment nowadays. With every other aspect of the show just as strong, with laugh out loud moments and truly wrenching emotion, the whole show is destined to be a favorite of many, if not a genuine classic.
INFORMATION
Waitress is playing at London’s Adelphi Theatre until at least the fall. They sell pie in the lobby and they pipe in freshly baked pie smell, which is lovely. They don’t have vegan pie though, which is b.s. The official merchandise stall in the lobby does not sell programmes – they are available from the podium by the entrance (so crowded, so dumb) and the pie man in the back. It’s a pretty terrible setup. The bathrooms are downstairs house right, so you have to like bolt out of the stalls to get all the way to the lobby and down. The staff left much to be desired. Also, during previews they had not yet set up barricades at stage door and it was a bonafide disaster of a mosh pit. According to my emails with the theatre, they’ve amended this situation, but I bet it is still a disaster. So the theatre staff and setup leaves much to be desired but the show is perfection.
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The 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!
65th Primetime Emmy Award Predictions!
Are you going to win again, Alec?
Tomorrow night, the 65th Primetime Emmy Awards will air and no doubt fill me with rage, incredulity, and of course awe (when watching host Neil Patrick Harris).
It’s no secret that I believe the Emmys to be the most ludicrously political and meaningless of the major awards. More than the Oscars, the Tonys, the Globes, and the SAGs, the Primetime Emmy award nominations are notoriously nonsensical. They usually correlate more to popular audience opinion (e.g., The Big Bang Theory over Community) and not critical thought. You might be one of the many who believe that popular opinion should drive such awards, but I’m an entertainment snob and I want the critical darlings to win (at least the ones that I like).
Despite the rage, I can’t not watch, I can’t not have opinions and keep fueling my anger about the nominations and, soon, the winners. Here are my thoughts about what should happen tomorrow, and what should have happened months ago.
It’s no secret that I believe the Emmys to be the most ludicrously political and meaningless of the major awards. More than the Oscars, the Tonys, the Globes, and the SAGs, the Primetime Emmy award nominations are notoriously nonsensical. They usually correlate more to popular audience opinion (e.g., The Big Bang Theory over Community) and not critical thought. You might be one of the many who believe that popular opinion should drive such awards, but I’m an entertainment snob and I want the critical darlings to win (at least the ones that I like).
Despite the rage, I can’t not watch, I can’t not have opinions and keep fueling my anger about the nominations and, soon, the winners. Here are my thoughts about what should happen tomorrow, and what should have happened months ago.
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Outstanding Lead Actor In A Drama Series
Bryan Cranston, Breaking Bad Hugh Bonneville, Downton Abbey Damian Lewis, Homeland Kevin Spacey, House of Cards Jon Hamm, Mad Men Jeff Daniels, Newsroom |
FIRST OF ALL, there should be 5 nominees in each category. These expanded acting categories are not doing anyone any favors. It should mean something to be nominated.
I’m usually not a fan of someone winning multiple times; I’m very socialist in my awards desires. But Bryan Cranston is deserving, in this last season of ‘Breaking Bad’. He has made Walter one of the most important characters in dramatic television, and should be rewarded. Possible spoiler: Spacey, because he’s Spacey, and this Netflix revolution in quality programming is something special that they may honor in some way here. |
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Outstanding Lead Actress In A Drama Series
Vera Farmiga, Bates Motel Michelle Dockery, Downton Abbey Claire Danes, Homeland Robin Wright, House of Cards Elisabeth Moss, Mad Men Connie Britton, Nashville Kerry Washington, Scandal |
First, note that there are SEVEN nominees. As stated above, when categories are expanded like this, it means less and less. A nomination should not be a consolation for great work – every employed actor should be doing great work. These slots should reflect more than that, pure excellence. Instead, it’s just a way to get in everyone who is good at their job. Or in the case of Connie Britton, someone who isn’t great in her current role, but whom the voters liked in her last role, and in real life. Obviously, I do not think she belongs here. Same for Michelle Dockery, who, while serviceable, is not deserving of a nod.
My vote is for Kerry Washington, in the most exciting show I’ve seen lately. There’s no season premiere I’m looking forward to more than ‘Scandal’. She carries a strong ensemble and I’m completely on board with her no matter how cray cray it gets. I mean, Olivia motherf-ing Pope, amiright. Spoiler definitely Danes, who is the least spoily spoiler ever and is probably most people’s first choice. Actual spoiler could be Moss, who is always deserving for a show that has never won an acting Emmy. |
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Outstanding Lead Actor In A Comedy Series
Jason Bateman, Arrested Development Jim Parsons, The Big Bang Theory Matt LeBlanc, Episodes Don Cheadle, House of Lies Louis C.K., Louie Alec Baldwin, 30 Rock |
Really, as long as Jim Parsons doesn’t win, I’ll be happy. When he won the first time, it was magical. It was deserved. When he won the second time, over Steve Carell in his last season of ‘The Office’, it was pretty terrible. If he wins a third time?? Nope. Not ok. He is very funny as Sheldon, but not 3 Emmys funny. I would be happy for Alec to win again for the ‘30 Rock’ last season, but Louie will probably win, deservedly, because once the Emmy voters think they are doing something hip, they stick with it. (See, e.g., Parsons.) I’d be happy with Cheadler or Bateman as well.
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Outstanding Lead Actress In A Comedy Series
Laura Dern, Enlightened Lena Dunham, Girls Edie Falco, Nurse Jackie Amy Poehler, Parks & Recreation Tina Fey, 30 Rock Julia Louis-Dreyfus, Veep |
She’s not going to win, but she should. Poehler’s Leslie Knope is one of the most lovable characters in television, leading an excellent ensemble and ensuring that each episode is funny, ridiculous, and heartwarming all at once. I’d be voting for her. Since the first three nominees should be in drama categories, watch for yet another win for Fey or Julia L-D, for their great work. |
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Outstanding Comedy Series
The Big Bang Theory Girls Louie Modern Family 30 Rock Veep |
Veep’s second season was even stronger than its first, and out of these nominees it should be honored. I would have loved for 30 Rock to win in its final season, but the past year was badly tarnished by the awful character of Hazel. It really ruined things. Modern Family and BBT are funny but stale and unexciting, and Girls is a drama.
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Outstanding Drama Series
Breaking Bad Downton Abbey Game Of Thrones Homeland House Of Cards Mad Men |
Homeland is sick levels of awesome. It really is, and should be honored. But it’s Breaking Bad’s final season, and it’s also a sickly awesome show that will probably get the win. Aside from Downton, which is getting increasingly boring, and Mad Men, which had a very weak season, all of the other nominees would be quality winners.
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Outstanding Supporting Actor In A Drama Series
Bobby Cannavale, Boardwalk Empire Jonathan Banks, Breaking Bad Aaron Paul, Breaking Bad Jim Carter, Downton Abbey Peter Dinklage, Game Of Thrones Mandy Patinkin, Homeland |
Ohhh how I want Mandy to win! His Saul is fantastic, as is everything he does. But Paul will win again for his final season, not undeservedly. I love that my boy Bobby Cannavale is nominated, too. Dinklage won before and his accent is getting worse. Oh I want Mandy to win!
 Win, Mandy! |
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Outstanding Supporting Actress In A Drama Series
Anna Gunn, Breaking Bad Maggie Smith, Downton Abbey Emilia Clarke, Game Of Thrones Christine Baranski, The Good Wife Morena Baccarin, Homeland Christina Hendricks, Mad Men |
How random is this category? Jessica Brody? Daenarys? The most hated character in cable TV, Anna Gunn? If I were voting, I’d actually vote for Emilia, but only because I feel bad that her Broadway debut was an utter failure and I want to make her happier. I think Anna Gunn would be the most deserving winner. If Maggie Smith wins, it would be the epitome of the Emmys – voting for someone they like with absolutely no thought given to the actual role. She has one line per episode! Yes, it’s usually the best part, but c’mon. C’MON!
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Outstanding Supporting Actor In A Comedy Series
Adam Driver, Girls Jesse Tyler Ferguson, Modern Family Ed O’Neill, Modern Family Ty Burrell, Modern Family Bill Hader, SNL Tony Hale, Veep |
Honestly, I’d be happy with anyone but the Modern Family guys. I’m so sick of this being the Modern Family category. I’m hoping they will cancel each other out and let the wildly deserving Hader sneak in. He won’t, I’m not saying that will happen, but I’d love it. I’d actually love if Hale or Driver won as well. Aside from the Modern Family monotony, this is actually a really fun bunch of nominations.
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Outstanding Supporting Actress In A Comedy Series
Jane Krakowski, 30 Rock Mayim Bialik, The Big Bang Theory Jane Lynch, Glee Anna Chlumsky, Veep Merritt Wever, Nurse Jackie Sofia Vergara, Modern Family Julie Bowen, Modern Family |
Actually, if I could make one award happen tomorrow, it would be for Jane to win. As Jenna Maroney, she has concocted one of the most insane, amazing characters ever. It’s a crime that she has not won already. I’d be happy with Chlumsky, because she is the best (she’s ‘My Girl’!) and is great on Veep. But Jane must win!!
If Bowen, Lynch, or Vergara win, I mean…no, please. |
Lastly, I must say that it is a crime that Shaiman & Wittman didn’t win at the Creatives for their work writing the music on ‘Smash’. ‘Smash’ was vilified as a show, but the music was superb. SUPERB. It could have won a Tony for Best Score in any season, and it should have won here. Ironic that it lost to the opening number from the Tonys, which was funny but nowhere near as fantastic as the ‘Smash’ songs. The loss might have been guaranteed when the two songs nominated, ‘Hang the Moon’ and ‘I Heard Your Voice In A Dream’, were announced, because they weren’t the strongest. But still, I’m pissed that Shaiman & Wittman didn’t add an Emmy to their award collection. They are too good for the Emmys.
Who do you guys want to win?
Who do you guys want to win?
