10 performances I love that weren't nominated for Tonys
Only nine were eligible, but that's neither here nor there.
I don’t know if you’ve noticed, but there were kind of a lot of Broadway shows this past year. Some people—not me, obviously, people who are much ruder—might say it was a season of quantity over quality. Yes, there were a fair number of semi-forgettable plays and musicals that came and went, but there were certainly some standouts. And in the shows that weren’t quite worthy of commendation, there were often performances that elevated the material.
Even in an overstuffed year, many of these actors were nominated for Tonys. But not all! There are seven nominees for Best Featured Actress in a Musical, and I’d argue that still isn’t enough. With that in mind, I’ve decided to take a moment to shout out some of the performances I’m still thinking about that didn’t earn nominations. This isn’t me making a case for swapping out any of the actual nominees—it’s just an excuse to celebrate a handful of actors I want to celebrate.
And yes, one of the actors on my list is Tony nominated for a different performance, and was not eligible for the one I’m singling out, but this is my list and, frankly, I can do what I want.
1. Ricky Ubeda, Illinoise
I’m grateful to be an Outer Critics Circle member for many reasons, including the fact that we nominated Ricky Ubeda for his stunning work in Illinoise. So You Think You Can Dance fans know that his dancing is undeniable, but Ubeda’s performance in Illinoise goes beyond his effortless movements—so much of it is carried in his face, which conveys joy, love, grief, and painful longing without him ever uttering a word.
2. Brent Comer, The Outsiders
The cast recording of The Outsiders has solidified something for me: The Darry songs are the best ones in the show. That’s in large part thanks to Brent Comer, who, yes, sounds incredible, but also beautifully captures his character’s precarious position as a young man suddenly thrust into a parenting role he wasn’t ready for. There’s so much exhaustion and frustration, but also a tenderness that radiates between all three Curtis brothers.
3. and 4. Chris Stack and Andrew R. Butler, Stereophonic
We are so overdue for a Best Ensemble Tony, because as much as I’m delighted that five of the seven actors in Stereophonic got Tony noms, the remaining two should be there, too. (Maybe just a separate category for Best Performance in Stereophonic, not that I could pick.) Chris Stack has a less showy part, but his restraint makes those moments where Simon is pushed past his breaking point resonate harder. And Andrew R. Butler’s comic timing and idiosyncrasies break up the play’s tension for a much-needed release.
5. Arielle Jacobs, Here Lies Love
The trick of Here Lies Love is in the way it lures the audience into compassion for Imelda Marcos before twisting the knife. In the Broadway production, the show’s success in doing so had much to do with the performance of Arielle Jacobs, who finds the humanity in a young Imelda without sacrificing her edge. That makes her transformation into ruthlessness both emotionally affecting and completely inevitable.
6. Krystal Joy Brown, Merrily We Roll Along
There’s been endless (justified!) celebration of the core trio of Merrily We Roll Along—Jonathan Groff, Daniel Radcliffe, and Linsday Mendez, all Tony-nominated—that the production’s other actors haven’t gotten nearly enough attention. Among them, Krystal Joy Brown, who gives Gussie so much nuance beyond diva with a nasty streak. Tracking the way she changes as the show moves backwards in time is one of this Merrily’s subtler pleasures.
7. Corey Cott, The Heart of Rock and Roll
I refuse to apologize for how much I love this very silly Huey Lewis musical, which went completely ignored by the Tonys. I get it, and yet I would have thrown a little love Corey Cott’s way. He really is a powerhouse on that stage: funny, sexy, vocally insane. And yes, it helps that The Heart of Rock and Roll keeps him sleeveless more often than not. (Best Featured Actor in a Musical for Corey Cott’s Arms.)
8. Susan Pourfar, Mary Jane
I saw Mary Jane Off-Broadway years ago, with the always exceptional Carrie Coon in the title role. Rachel McAdams is also excellent and would be my pick for Best Actress this year. But the performance that has stuck with me across both productions is Susan Pourfar’s, who plays two different overwhelmed mothers who connect with Mary Jane. Her two scenes might be my favorites in the play.
9. Justin Guarini, Once Upon a One More Time
How lucky are we that Justin Guarini has taken his considerable talents to theater? His performance of “Circus” in Once Upon a One More Time is something I still think about, maybe more often than is normal. But it was just that good! Guarini is always so funny, so charming, so thoroughly committed that he can sell just about anything. And while I really enjoyed the Britney Spears jukebox musical, that’s the kind of actor you need to make the material work.
10. William Jackson Harper, Primary Trust*
Yes, with an asterisk. I know, I know. Not a play eligible for Tonys, and William Jackson Harper was nominated this year for Uncle Vanya. And yet! I will always take an opportunity to extol the virtues of Primary Trust, a play I have written about before and that has since won a well-deserved Pulitzer. Harper is truly one of my favorite working actors, and his work in Primary Trust was revelatory—complicated, vulnerable, heartbreaking. I’d like to think his Vanya nom is at least a little bit for his performance as Kenneth.
The click track scene alone should have garnered Chris Stack a nom but I hard agree an ensemble Tony is long past due.
Very much agreed on the Stereophonic item; I cannot overemphasize how much Charlie looks and sounds like half the guys my aunt Kathleen knew in the 70s.