The Tony-nominated production set to Sufjan Stevens’s music will break your heart without a single word spoken.
Hear the words “Broadway musical” and an image of actors stopping, mid-dialogue, to break into spirited song immediately materializes in the mind. It’s a tried-and-true formula responsible for more than a century of classic art—and typically the type of fare that Tony Awards voters love., one of five productions nominated for Best Musical.
It’s unlike anything else currently playing, but this bending of the form is a boon, redefining what a musical canis still grounded in story. This is much to the credit of Stevens, whose music has always had a flair for the dramatic . Paired with the precise choreography of Peck, who has recently branched out from his ballet background to work on films likeThe production makes use of pretty much every song on Stevens’s album, so of course there are numbers that hit harder than others.
But those pieces are just window-dressing for the musical’s main slow-burn throughline, which happens to be one of this Broadway season’s most heartfelt love stories. It begins as a classic triangle, with Henry secretly pining for his best friend Carl , who is straight and in a relationship with Shelby . Ubeda and Cook establish a mesmerizing dynamic of familiar platonic comfort that teeters on the edge of something more. Still, it’s tinged with a sense of looming doom from the get-go.
This has been a solid season for Broadway musicals, and the Tonys have spotlighted some of the best—from the, the buzzy sensation about the infighting of a Fleetwood Mac-like rock band as they try to record their next album, is deservedly nominated for Best Score despite, you know, being a play.)leaving Lincoln Center empty-handed at Sunday’s awards—because of its form, the production is a shoo-in to win Best Choreography.
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