The delicate dance ahead
Amid the ‘Hamilton’ hype is a show that’s still aiming to keep an air of suspense.
NEW YORK — During rehearsal for the Tony Awards, theater seats are adorned with cardboard images of nominees. Broadway’s biggest night, Sunday at the Beacon Theatre, is an elaborate choreography, and directors want to know where everyone is seated to ensure maximum fluidity.
On Thursday, it was impossible to walk the Beacon’s aisles and not bump into a name from “Hamilton.” The heads of 18 people (representing the musical’s record-setting 16 nominations) popped up everywhere. A reporter, seeking a less daunting spot to watch the proceedings, finally gave up and sat next to the visage of George Washington, played by nominee Christopher Jackson.
“Isn’t that bad luck for him if you sit there?” inquired Ricky Kirshner, one of the telecast’s directors. “Or maybe it’s good luck for you.”
Certainly Kirshner is hoping “Hamilton” delivers a rabbit’s foot. After the 2015 telecast averaged a measly 6.4 million viewers and a historic low in the 18-49 demographic, “Hamilton” may answer their prayers.
The Lin-Manuel Miranda
show is a phenomenon that could greatly expand the Tonys audience. Helped by the CBS late-night personality (and Tony winner) James Corden as host, a perpetually niche show could turn into a national event.
But the near-certain dominance of “Hamilton” — the hip-hop history piece is expected to win top prize of best musical, as well as honors in direction, score and acting categories, among others — could drain a typically suspenseful ceremony of its drama.
Directors and writers for the Tonys (8 p.m. on CBS, tape-delayed for the West Coast but covered live by The Times) have been puzzling over how to speak to the influx of newbie viewers unfamiliar with Broadway without alienating its dedicated base.
“It is all,” said Jack Sussman, CBS’ executive vice president for specials, music and live events, “a very delicate balance.”
While head writer Dave Boone has said he has tried to bear in mind the “‘Hamilton’ fine line” in planning meetings, escape is futile. As a best musical nominee, the production will get that number. Miranda will almost certainly come to the stage multiple times to accept prizes.
But the Tonys also must try to make sure other productions in a rich and varied season get their due. Energetic new musicals derived from films (“Waitress,” “School of Rock”) sit alongside re-invigorated revivals (“Fiddler on the Roof,” “Spring Awakening).” Bold new dramatic work (“Eclipsed,” “The Humans”) share attention with original interpretations of classic pieces (director Ivo van Hove’s takes on “The Crucible” and “A View From the Bridge”).
And after a season when the Oscars were maligned for a lack of diversity, the Tonys will serve up not only “Hamilton” but racethemed shows such as “The Color Purple” and “Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed.”
“It’s an interesting alignment. ‘Hamilton’ is a great show, and it comes at a time when word can spread virtually, which is something past phenomena like ‘Chorus Line’ or ‘The Producers’ or ‘Rent’ didn’t have,” said Glenn Weiss, the veteran live-television director who is helming the Tonys with Kirshner. “But I don’t know if it’s a motif that runs through the show. We want to take its great material and bring thunder to the rest of the community.”
As he sat on the steps in the balcony taking in the moment, Corden said he had been thinking about the issue and, with the enthusiastic directness that is fast becoming his trademark, he had reached a conclusion.
“I mean, come on, you have to hit it head on,” he said.
Corden had already done his trademark “Carpool Karaoke” with a “Hamilton” spin as he and Miranda rapped in the front seat. They were eventually joined by stars from this Broadway season — Audra McDonald (“Shuffle Along”), Jesse Tyler Ferguson (“Fully Committed”) and Jane Krakowski (“She Loves Me”) — to sing from the likes of “Rent.” By Friday morning, just days after it went online, the clip had surpassed 6 million views on YouTube.
The 37-year-old said he had thought the Tonys had the potential to rival the Oscars, at least culturally.
“Hamilton” is a phenomenon, Corden said, adding that he doesn’t subscribe to the notion that people won’t tune in because they don’t know the nominees. Look at the “Carpool Karaoke” clip, he said. “People didn’t know who everyone was but they watched it because it was joyful. That’s all we’re trying to do. Make it joyful and they’ll watch.”
The “Hamilton” historic moment could help too. The record for most Tony wins is 12, held by “The Producers” in 2001. “Hamilton” could break that, but it would have to win each of the 13 categories in which it’s nominated.
The host, of course, is another weapon.
“If Hugh brought song and dance and Neil was the P.T. Barnum showman” Boone said, referring to past hosts Hugh Jackman and Neil Patrick Harris, “then what James brings is joy. He ... just has this working man’s love of theater, and I think that translates to people at home.”
“Fiddler” star Danny Burstein has garnered his sixth Tony nom without a win. He could be among those most hit by the “Hamilton” juggernaut. Despite talk of vote-splitting, the lead actor in a musical prize is likely to go to “Hamilton’s” Leslie Odom Jr. as Aaron Burr or Miranda.
“It’s new blood and I love it,” Burstein said as he took a seat in the Beacon during a rehearsal break. “All the guys in my category are an honor to call friends. And there are all these great shows,” Burstein added, noting that because of his work schedule he hasn’t yet had a chance to see “Hamilton.”
The year’s largest shadow couldn’t entirely be avoided, however. As Burstein stood up he revealed what cardboard face he’d been sitting next to: Andy Blankenbuehler, the Tony-nominated choreographer of “Hamilton.”