Here’s a look at the most memorable moments — for better or for worse — of the 2018 Tony Awards, compiled by our chief theater critics, Ben Brantley and Jesse Green; the editor and reporter Joshua Barone; and the theater editor, Scott Heller. As Mr. Brantley put it on Sunday night, “This is the best advertisement for theater on network television in a long time, if not ever.”
Best: Love for the Losers
Worst: No Love for the Writers
The people who are actually most fundamental to the creation of the works the Tonys honor were the most ruthlessly sidelined on the broadcast itself. That David Yazbek created the best score of the year for “The Band’s Visit” went unnoticed by television audiences. And Jack Thorne, who wrote “Harry Potter and the Cursed Child,” never got to speak from the stage. Even Lin-Manuel Miranda noticed, urging “Justice for @JackThorne” on Twitter. (You can watch Mr. Thorne’s offstage remarks here.)
Best: The Personal as Political
The show rose to a strained moment in American history with warmth, grace and a vindication of theater’s special skill for bringing people together.
Ari’el Stachel, a surprise winner as best supporting actor for his performance in “The Band’s Visit,” spoke movingly about the power of living one’s ethnic identity honestly onstage. His castmate Tony Shalhoub, accepting a Tony as best actor in a musical, spoke of his father’s arrival at Ellis Island (from Lebanon) 100 years ago.
The politics were personal, mediated by a love of theater. There was no greater example than watching the Marjory Stoneman Douglas High School students sing “Seasons of Love” from “Rent.”
Worst? Best? Calling Out the President
The one discordant note was also the note people are still talking about: Robert De Niro’s expletive-dotted castigation of President Trump, delivered before introducing Bruce Springsteen’s performance. Late in the show, it blew the lid off a slowly simmering pot, and brought down the house.
Best: Doing It Her Way (of Course)
Accepting her prize as best actress, the ever-flinty 82-year-old Glenda Jackson referred to her director Joe Mantello as John. She went on to praise him for being a “worthy opponent” in the rehearsal room.
Worst: Doing It His Way (Unapologetically)
The “Cursed Child” director, John Tiffany, asked the whole audience to sing “Happy Birthday” to his boyfriend. Even on television, you could see the birthday boy turn a deep shade of beet. (Mr. Tiffany’s postshow defense: “When else am I going to get the chance to get all of Radio City to sing ‘Happy Birthday’ to my boyfriend? Wouldn’t you do that?”)
It’s good when shows choose to represent themselves for their truest and most important qualities, rather than simply patch together catchy moments. “Carousel” opted not to do a medley or even a well-known song, instead staging the rousing dance number “Blow High, Blow Low.” And “Omar Sharif,” from “The Band’s Visit,” was a gorgeous showing of a gorgeous song, and beautifully shot — with enough close-ups of both performers to get the emotion past the TV screen.
Worst: C’mon, It’s Lifetime Achievement!
When Oprah Winfrey and Meryl Streep received their lifetime achievement awards at the Golden Globes, they gave long, headline-making speeches. At the Tonys, Chita Rivera and Andrew Lloyd Webber got a shared montage with three-second snippets of their greatest hits. They deserved more, and better.
Best: The Last Word
Off camera, Ms. Rivera’s remarks were delicious, and she ended with a promise: “There’s still some salt left in this shaker!”
A conceptual and artistic triumph, NBC’s live telecast of “Jesus Christ Superstar” on Easter Sunday may have finally justified the recent live musical fad on network TV. Some technical flubs and one mixed-bag lead performance aside, the production was genuinely thrilling, taking chances with the staging of a classic but controversial Broadway show, much more daring than previous live musical broadcasts like “The Sound of Music” or “Peter Pan.”
With the R&B hitmaker John Legend playing Jesus Christ, Sara Bareilles as Mary Magdalene and Brandon Victor Dixon as Judas Iscariot, NBC’s “Superstar” didn’t lack for talent or star power, drawn as it was from the worlds of pop and theater. The real masterstroke, though, was the decision to perform live before a large audience at the Marcy Avenue Armory in Brooklyn. The energy of the crowd clearly goosed the cast, counteracting the over-prepared stodginess that hampers so many of these specials. And the crowd’s passionate whooping underscored one of the musical’s central themes: the dangers of uncritical celebrity worship.
Written by Andrew Lloyd Webber and Tim Rice, “Jesus Christ Superstar” has long held something of a surprise place in the modern theatrical canon. Debuting in 1970 as a rock opera album, it made the leap to Broadway in 1971 and was nominated for five Tonys — winning none. The 1973 movie adaptation by the director Norman Jewison was a box-office hit, but it is rarely touted as one of its era’s great films.
[John Legend, Sara Bareilles and their co-stars on “Superstar.”]
Told largely from Judas’s point-of-view, the story closely follows biblical accounts of Christ’s arrest and crucifixion in Jerusalem, while adding substantial criticism of Jesus’s followers; his communion with disreputable people; and his open, dangerous antagonism of both the Jewish and the Roman authorities. The musical then pushes back against its own skepticism, depicting the powers-that-be as corrupt, cynical and manipulative, exploiting the anxieties of Judas and the other apostles.
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In the years immediately after its premiere, the musical raised eyebrows and ire with its decidedly nontraditional spin on Christ’s last days. By considering Jesus more as a cultural phenomenon than as a divine figure, and by exhibiting as much sympathy for Judas as for the man he betrayed, Mr. Webber and Mr. Rice delivered an interpretation of the Passion Play as radical in its way as director Martin Scorsese’s much-protested film “The Last Temptation of Christ” did in 1988.
NBC’s version showed reverence primarily toward the original musical, which for decades has told an ancient story in a way that pushes the audience to reconsider its relevance to the world today. Directed by David Leveaux and Alex Rudzinski, it respected the source material’s sublime ambiguities, which many nonreligious fans have interpreted as subversive — just as some pop-culture-savvy Christians have clung to it as a refreshingly tuneful, exultant expression of how faith can triumph over doubt.
On religion I grew up in a Pentecostal Christian family, pretty fundamentalist. My grandfather was my pastor growing up. My dad is a pastor himself and played drums in the church choir, my mother was a choir director, and my grandmother was the church organist. My dad would even play Jesus in some of our passion plays in church. I’m not religious now, I would say, but there’s no way that you are raised in that environment, and also grow up singing that music, without it having an impact on your life.
On musicals My first contact with Andrew Lloyd Webber was in a show choir, “Glee”-style, where we would sing show tunes. And I was in a few actual theater productions — “Big River,” “Fiddler on the Roof,” and “You’re a Good Man, Charlie Brown” — when I was in high school. The hardest part now was just learning all the material — I’m so used to performing songs that I wrote for myself.
On Jesus Preparing for this particular role is not just about understanding historical Jesus. A lot of it goes back to thinking about love, and what that means — love for the people who are close to you, but also for mankind, and what that means when it comes to thinking about the sacrifice that he was willing to make.
On ‘Superstar’ The show is an interesting conceit — the idea of thinking about the real human emotions that someone that a lot of people see as a deity may have felt; the idea that he might have felt doubt and fear and resentment toward his father; the idea that he was betrayed by his friends. And, in this show, Andrew and Tim suggest that Judas may have had a point — Judas may have had really good reasons for questioning Jesus’s m.o.
Brandon Victor Dixon (Judas)
On religion I grew up in the Episcopal Church, went to private school in that church, went to chapel every day. It was a constant through my adolescence. Then we started to shift, to the Unitarian church. Now, spirituality plays a role in my life, but not religion. For me religion is a political construct, and spirituality is a community construct, and there’s a real difference.
On musicals I work in musical theater because people keep writing quality stories in the genre, and I’m really all about investing in a piece that says something about our current time, that is a reflection on who we are today.
On Judas What I’ve learned is that Judas is far less culpable of the things that he is accused of than people assume. Judas feels acutely a perversion of the message, and he also feels the danger of the message getting out of control — of dedication and love and unity and community turning into fanaticism and zealotry.
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On ‘Superstar’ I had never seen the show, had never heard the soundtrack — I really had no clue until I got this job. I watched the movie up until Judas was dead — that probably says something about my own personal character — and then we were in rehearsal and I overheard the musical director saying something about ‘You know, after Judas comes back’ — and I was like, ‘What? Judas comes back?’ And I went home and I finished the movie and found out Judas comes back and sings the best song in the entire show. I was floored.
Sara Bareilles (Mary Magdalene)
On religion I’m definitely someone who has faith and a belief in God and the workings of the universe at large, but I don’t subscribe to a particular doctrine. I grew up Catholic, and I went to Catholic school, so the story of Jesus and the crucifixion are very near and dear to my heart. I still go to Catholic Mass with my parents when I go home. The ritual and the familiarity and the comfort of our church community growing up is something I look back on really fondly now, even though I don’t go to church any more.
On musicals It’s this medium that exists somewhere between feet-on-the-ground and lifting off. It’s sort of elevated reality, where you get to tell really beautiful stories, but everything is slightly surreal, and I really love what unlocks emotionally for people.
On Mary Magdalene She’s actually a very powerful figure, and she is really motivated by her love for Jesus and his message. Historically, she was definitely a disciple and a believer and a champion of his message. She’s got laser focus on her support of Jesus, in my interpretation, and that’s how I’m coming to it, with a pure sense of the ultimate kind of love for someone.
On ‘Superstar’ I rented the film — I was probably 12 or 13 and I was really into a lot of Andrew Lloyd Webber’s musicals at the time, and I was listening to everything I could get my hands on. I remember just being really emotional about the music. What was so avant-garde and so revolutionary about Tim and Andrew’s approach was that they really emphasized the humanity of these figures that have become so mythologized for us over the years. For someone who grew up in the church, as intimate as your relationship to Jesus can be, it’s really interesting and nuanced to look at him as a human and to look at Mary as a human and Judas as a human.
Alice Cooper (King Herod)
On religion My dad was a pastor. My grandfather was an evangelist. And my wife’s father is a Baptist pastor. I was basically the prodigal child — I grew up in the church, went as far away as you could possibly go, and then came back. When I got sober, I started understanding — I had all the fame and the money and everything that went with it, but I started realizing what was important to me was my relationship with Jesus Christ, who I just absolutely torture in this show.
I study the Bible every morning. When I’m at home I have a Wednesday morning men’s Bible study. I pray before every show. I go to church every Sunday with my wife and kids. I don’t think I’ve ever been more happy in my life. People say, ‘Think of all you gave up to be a Christian.’ What did I give up? Dying of alcoholism? I’m not giving anything up. I’m giving it back, to him.
On musicals I am just fascinated by the musical. One of my Sirius stations is always Broadway. ‘A Chorus Line’ was one of the greatest ones. And ‘Guys and Dolls’ — my dad was a big fan of Damon Runyon.
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When I was 16, we had a band called The Spiders, in Phoenix, and we got a call for a production of ‘Bye Bye Birdie’ — ‘Would you guys be the Birdies?’ So we got to be in this run, in real theater. That may have been where the whole Alice Cooper theatrics came from.
On Herod I think he’s going to be sort of an Elvis impersonator — I’m all in gold, and I’ve got a gold suit on that fits really good. The director wants this guy to be half rock star, half king. That’s how I want to play this. This Herod is a swirling mass of paranoia and ego. He starts out being very egocentric, but he’s getting angrier and angrier as it goes along, and pretty soon at the very end he’s right in Jesus’s face — he’s so tired of this guy.
On ‘Superstar’ There has never been a character in history that has ever had more written about him than Jesus Christ. There’s an underlying thing that everybody still wants to know who this guy was.