The TonyAwards should add one more prize to tonight's roster — a special award to the stalwart Broadway theatergoer, writes Times theater critic CharlesMcNulty
Broadway producers and artistic directors are angry that they’re not showing up in pre-pandemic numbers. Critics are complaining that their conservative taste is holding the American theater back. Actors, resuming their war on phones and hard candy now that masks are no longer required, are up in arms about bad etiquette. Patti LuPone has loudlythe distracted, “dumbed down” audience for Broadway, which she says is becoming more like “Disneyland, a circus and Las Vegas.
There’s no sound in showbiz quite as crackling as a packed Broadway house. Arenas are certainly louder and stadiums more boisterous, but it’s hard to beat a theater crowd when it comes to ironic alertness and urbane discernment. Virtuosity among this set isn’t merely acknowledged but formally recognized.of Fanny Brice in the revival of “Funny Girl” at the start of the fall season, the electricity in the audience could have powered the entire theater district.
The humor was so fresh and the direction so revitalizing that the revival was able to accommodate a rotating cast. By the time I saw the production around the Christmas holidays, Sara Bareilles, who played the Baker’s Wife, was no longer in the company. But her replacement was none other than Tony winner Stephanie J. Block, one of the most resplendent musical theater talents working today.
Clearly audible at the Bernard B. Jacobs Theatre was the concentration of audience members who were following Alfred Uhry and Jason Robert Brown’s complex musical about the historic tragedy of Leo Frank , a Jewish factory manager in the South who’s found guilty of heinous crimes and ultimately lynched after the case against him reveals enormous cracks.
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