The Steppenwolf Theater Company ensemble of Balm in Gilead in 1984 at the Minetta Lane Theater.
This was a mind-bending ensemble of amazing actors, directed by . The production was packed with actors and actresses that would become huge stars. In particular, , who had a 22-minute monologue that riveted the audience, and sat at a table and listened for 22 minutes鈥nd you forgot it was a monologue! It felt like a two-person dialogue 鈥� and yet Glenne was only reacting, non-verbally. That scene taught me the art of how to listen on stage.
in .
Just watch the infamous Tony Award performance on YouTube. It blew the roof off of the Imperial Theatre. I鈥檇 never been in a theater where people were standing and screaming back at the stage in the middle of a song. It was a complete 鈥渇orce of nature.鈥� No one had seen anything like it before.
in .
It鈥檚 been a long time since I have seen a Broadway debut so riveting, authentic and raw, yet complex. There were no vocal theatrics, just visceral emotion and inspiration. You can tell she is a trained actress.
in .
His character is surrounded by craziness, and he鈥檚 hit from all sides by tragic events, family upheaval, some brought on because of his own selfish actions as he tries to find himself 鈥� and yet Michael never commented. His performance was always rooted in truth, simplicity and passion 鈥� so beautifully crafted. And that voice! I could listen to him sing the phone book. (I love his recording of Sweet Charity from the revival.)
as Snoopy in You鈥檙e A Good Man, Charlie Brown.
(Full disclosure 鈥� he is one of my best friends.) Roger is meticulous when he crafts a role. He found his inner beagle with Snoopy, joyfully creating brilliant physical bits and vocal tricks all based on dog behavior. To observe Roger fine-tuning a physical bit is a master class in and of itself.
as .
This was my first Broadway show I ever saw when I was 16. Just watch this YouTube video and you鈥檒l experience the magic that made me want to be on Broadway.
in Deaf West鈥檚 .
I saw 鈥檚 production nine times in LA and twice on Broadway. This whole ensemble is such perfection 聽鈥� and Daniel ripped my heart out every time. His conviction, his focus, his joy was so authentic, and I was completely riveted by his performance every time I witnessed it. I believe this production will be talked about for many years to come.
in .
She is a true artist. A versatile actress. And an incredible vocalist. So authentic. So classy. So refined. I love how she can go from bawdy broad to gentle, repressed Southern housewife in the snap of a finger. I have a secret crush on her. Don鈥檛 tell her. On a side note, I think 鈥檚 score is the best musical theater score written this century 鈥� so far.
in .
This was my first Broadway show 鈥� I started off in the chorus. And I would watch the comic artistry of Andrea night after night. I learned so much about timing, about directing yourself, about saving your ass in previews, about seizing the stage and making it your own 鈥� but her comedy was always rooted in reality. She鈥檚 a total pro. And her imitation is impeccable. 鈥nd her "SCTV" work with Catherine O鈥橦ara is a master class in character comedy.
I could list another ten 鈥� but I鈥檝e found myself at the last number in the list. Darn. Okay. and in .
Circus clowns had always scared me 鈥� but these gentlemen took the clown to a subversive level. Their physical comedy is mind boggling in its exactness and pinpoint timing. Their writing will have you laughing one second, and rip your heart out the next. Every student of the theater must see their new production at Signature, Old Hats. There鈥檚 a master class on that stage! Take that class while it鈥檚 here.
