The weather didn’t get the memo that Broadway in Bryant Park still had one more week left in the season. It drizzled on the massive crowd that gathered for the free lunchtime concert’s final show of the summer. But judging from the crowd’s reactions to the buzzy shows that performed, they didn’t seem to mind the rain.
The Cagelles of La Cage aux Folles, this year’s Tony winner for Best Revival of a Musical, took the stage first. I wasn’t surprised that Kelsey Grammer didn’t participate in the event, but Douglass Hodge, the Tony winner for Best Actor, could have showed up to belt out “I Am What I Am.” Instead, their merry mass of transvestites entertained the crowd to exuberant applause. Not donning any feminine garb for “We Are What We Are” did come off a bit strange (“Look under our frocks,” what frocks?!), but their energy was through the roof, especially as they spiked extra large beach balls into the audience. The song began strangely though, as the announcer introduced the song as “What Are We Here For,” and then interrupted the already-in-progress number to give it the correct title. Dale Hensely and Chris Hoch went on as Albin and Georges, respectively, for “With You On My Arm,” which came off dull. The duo then joined the Cagelles for their closing act, “The Best of Times,” in which they paled in comparison to the effusive ensemble.
Video: “We Are What We Are”
What do Spring Awakening, Passing Strange, and Next to Normal all have in common? Lighting designer Kevin Adams. Widely regarded as contributing factors to the evolution of the American musical, these shows all have creative teams that have collaborated on subsequent projects, but Adams is the only one to have worked on all three. The Tony-winning lighting designer brought revolutionary looks to these acclaimed productions with his use of bare light bulbs and fluorescent tubes—what he calls “electric objects.” Now Adams is nominated for his fifth Tony award (he won for Spring Awakening and The 39 Steps) for his work on American Idiot, which blends the creative teams of all three rock musicals.
Yet Adams, just shy of 48, says lighting was never a thought in his mind during his education. With an MFA in set design, Adams began working as a set designer in Los Angeles, when he was asked to do his own lighting. Local artists who had seen his work began asking him to light their pieces in galleries. A self-taught lighting designer, Adams then moved to New York to focus solely on that work. “I can’t believe I’m still doing this,” Adams said. “After I do a Broadway show, I think, ‘This will surely be the last one I ever do. No one’s going to come up with another Broadway show that suits what I do.’ But then American Idiot came along.”
The Tony winner (who keeps his two awards at his parents’ houses, claiming they make him nervous) invited Stage Rush into his Manhattan apartment to discuss Tony nominations, his style departure on American Idiot, and what happened when he first met Green Day in a cramped dressing room at Saturday Night Live.
This is your fifth Tony nomination and you’ve won twice. Is it still exciting to get nominated?
It is very exciting. It was exciting to be nominated twice last year. It’s exciting to be nominated for American Idiot. That first time [being nominated], you’re so excited to win and then once you win, then you feel you have to win again. You feel like, “I want to win!”
So you feel pressure to win?
I don’t feel pressure; it’s just that you become much more grotesquely competitive about it. [laughs] And I know other people who have won that agree and say, “Yeah, I’ve felt that way too!” It’s not that it’s competitive, it’s just that the first time you’re nominated, you’re like, “It would be cool to win,” and then the next time, you’re like, “I’ve got to win!”
- Seeing American Idiot, during Green Day’s surprise appearance
- Interviewing God of Carnage standby Charlotte Maier
- Charlotte gives Stage Rush a video tour of her dressing room at the Bernard Jacobs Theatre
- Broadway grosses