Aside from the acting and composing categories — where the most-likely EGOT winners tend to pop up — the biggest category of the year is best musical. The first nominee, Come From Away , tells the inspiring story of some of the 6, passengers and airline crew members across 38 planes who were deterred on September 11, , to the a small Canadian town of Gander, Newfoundland, where they formed a bond and worked together to process the greatest American tragedy in modern history. Conceived and written by the husband and wife composing team of Irene Sankoff and David Hein, the musical — filled with a score of folk, bluegrass and rock tunes — plays like a celebration of life and community than it does a tale of sorrow and woe.
8 and 9. Sunday in the Park With George and Sweeney Todd: The Demon Barber of Fleet Street
In , Broadway saw a convergence of new and old, with classics returning in surprisingly innovative ways. Comedy and drama collided as the political became very personal. In short, it was a great year for theater, but a handful of productions stand out. Here is our list of the five best Broadway shows of The Band's Visit We're used to movies turning into Broadway musicals. The typical adaptation slaps an exclamation point at the end of the title and makes everything bigger, louder, and brighter — but this show is far from typical. With understated power and unfailing grace, The Band's Visit is a screen-to-stage adaptation that manages to maintain the intimacy of an independent film, a major achievement for director David Cromer. Book writer Itamar Moses has lovingly adapted the script from Eran Kolirin's movie, which tells the story of an Egyptian police band lost in Israel and forced to depend on the kindness of strangers. David Yazbek's score offers a sophisticated fusion of traditional Middle Eastern music and jazz, while Katrina Lenk and Tony Shalhoub enact the most realistic fleeting romance ever portrayed on a Broadway stage. This is simply a great adult musical and a clear front-runner for the Tony Awards.
T he stupefying boredom of forgotten hamlet in the Israeli desert, where the residents are jolted out of their trance-like existence by a visiting band of Egyptian musicians. A working class bar in a failing factory town is the backdrop for a shocking act of violence and an equally dramatic reconciliation. Did the world need another revival of Hello, Dolly?
My love for this stunning, deceptively profound piece of theater has only grown since I first saw it. The show documents the unexpected collision between the residents of a small Israeli town and the members of an Egyptian band who find themselves stranded there overnight. It was hard not to think about the end of the world in Audience members largely stood on the dance floor, moving around the characters as they performed synth-pop bangers and pondered an uncertain future. There was a sense of dread that underscored the proceedings, with vague doom lurking on the horizon, but the show was firmly committed to a good time.