“I’m always pleasantly surprised when anybody wants to see a production that I’ve directed,” said John Tiffany over the phone from Glasgow two days after the Tony Awards, erasing all traces of false modesty with child-like wonder. “I kinda go, ‘Oh, wow!’ I feel humbled and privileged that people are actually interested. I’ve a strong philosophical belief that works should be accessible and popular—there shouldn’t be obstacles to anybody being able to connect with what you do—but I wouldn’t say I have a mainstream commercial gene in my body at all. All I know how to do is tell the stories in the most accessible way possible.”
That, apparently, is enough: His Once was Tony king at the recent ceremonies, raking in eight awards in all—among them those for Best Musical and Best Director.
Music has always been a key component in Mr. Tiffany’s theatrical pieces, but never before had he attempted a musical per se
The Tony nominations were released this morning, and the musical film adaptation Once leads the field with 11 nominations; it’s nominated for Best Musical alongside Newsies, Nice Work If You Can Get It, and Leap of Faith. The nominees for Best Play include Clybourne Park (a Pultizer-winning play), Other Desert Cities, Peter and the Starcatcher, Read More
Before reckoning with the new, exceedingly lovely, and disappointingly thin Broadway musical Once, which opened Sunday night at the Bernard B. Jacobs Theatre, let us first discuss what might be called the War Horse Insufficiency.
The symptoms of this malady are stunning stagecraft and a lack of compelling story or emotional richness, a visual display so creative and impressive that the theatergoer wants to believe the play or musical he’s seeing to be great, but with a book insufficient to live up to the production. War Horse, the British story of a boy and his beloved horse at the Vivian Beaumont, is its most prominent current example: gorgeous design, breathtaking puppetry, insipid story.
It’s 2 a.m. and you awake with a jerk, alone in your fully lit apartment and still on the couch. On TV, the credits of some movie you’ve already seen a billion times are scrolling by. It feels like rock bottom. And we know, because we’re just like you: single.
Need a Read More
Normally, the Best Original Song category at the Academy Awards is the bane of our existence: an overloaded mess of badness that extends an already unending night into ass numbing proportions. No matter how the producers try to gussy up the presentation–"let’s have Beyonce sing all the songs!"–the performances invariably stink. Of course the exception Read More
The fact that Glen Hansard and Markéta Irglová managed to perform Once’s winning tune “Falling Slowly” at the Oscars earlier this year was a total coup—akin to seeing Elliott Smith finger-pick his way through “Miss Misery” at the same event ten years ago. Still, we’ve never thought the pair’s music worked quite as Read More
Gossip Girl is a rerun tonight, so you really have no excuse to let Chuck slip by your DVR. This episode should be especially good, as the intimidating Melinda Clarke (better known as The O.C.‘s Julie Cooper), stops into the Buy More. Ms. Clarke plays a nefarious spy known as The Black Widow Read More