The 2013 Tony Awards: Highs and Lows
Did you catch the Kinky Boots Awards last night? Uh, I mean the Tony Awards?
Yes, it seemed like Cyndi Lauper's high-spirited, be-spangled musical took home just about every prize there was, including Best Musical. But at the risk of sounding totally cheesy, I'd say we, the audience, were the real winners last night—because hey, it was a darn great show! Here are the evening's many high and few low points.
-Neil Patrick Harris. Can NPH host everything, ever? He was particularly awesome in the...
-...kick-butt opening number (written by Lin-Manuel Miranda and Tom Kitt). After getting shoehorned into the smaller Beacon Theater for a couple of years, the Tonys were back in Radio City Music Hall this time around—and boy, did they ever "go bigger." GO NEIL GO!
-By the way, did you catch Mike Tyson in there? Apparently he had a one-man show this year, which meant we got to see him do "choreography" and try to bite off NPH's ear. It was pretty spectacular.
Dance, Mike, dance!
-The Matilda performance. Super-clean choreography and fabulously clever lyrics performed by some of the most talented little kids ever? Plus scooters? And Ryan Steele? It doesn't get better than that.
-Actually, here's a shout-out to all the incredible kids who performed last night. From the Annie's orphans to A Christmas Story's hooligans (Luke Spring!), they showed a level of professionalism most Broadway grown-ups never achieve. And they were cuter to boot. As NPH put it, “They’re the reason this whole season seems to look like Chuck E. Cheese’s.”
-The mid-show musical tribute to Broadway actors and their canceled TV shows, starring Andrew Rannells, Megan Hilty, Laura Benanti and brilliantly rejiggered versions of classic songs. Just watch it again (and suck it, Will Chase!):
-Cyndi Lauper's acceptance speech, because she seemed so genuinely thrilled by the awesomeness of it all. She also happens to be the first woman to win the Best Score Tony solo, which is pretty cool. (Honorable mention goes to presenter Jesse Tyler Ferguson for screaming "Girl, you're gonna have fun tonight!" upon opening the envelope. And to Lauper's hair, last night and always.)
-Audra McDonald dropping the mic. (After helping NPH nail Lin-Manuel Miranda's awesome show-roundup rap, that is.) BOOM. What a boss.
-The introductions by other Broadway characters. Fine, the Newsies boys were adorable. But the pairings of old shows with new seemed totally rando (the Rock of Ages guys introducing...Cinderella??), making the gimmick disorienting more than anything else.
-Mike Tyson's reactions to the Tyson zingers NPH sprinkled throughout the show. Mike was not amused, Neil. And he's probably not the kind of guy you want on your bad side. Just sayin'.
-Patti LuPone's dress. No. I love you, but no.
I'm sorry I couldn't find a full-length pic, because the bottom only gets crazier. (photo Evan Agostini/Invision/AP)
-Matilda not winning, like, anything. What? I mean, WHAT? OK, yes, it got Best Book and Best Featured Actor and a couple of those smaller ones they do during the commercials, but it was up for 12 nominations. Four out of 12? Did you see that performance earlier, voters??
By the way: Last week, we asked you who you thought would win the award for Best Choreography. While the actual Tony went to Jerry Mitchell for Kinky Boots, you guys were bigger fans of Andy Blankenbuehler's high-flying Bring It On choreo. Here are your results:
Andy Blankenbuehler for Bring It On: The Musical: 50.49%
Peter Darling for Matilda The Musical: 24.27%
Chet Walker for Pippin: 18.45
Jerry Mitchell for Kinky Boots: 7%
P!nk, known for her high-flying, acrobatic awards show sets, has literally raised the bar for pop stars everywhere. For her performance at last night's American Music Awards, P!nk decided to break out some flips and tricks ON THE SIDE OF A BUILDING. WHILE FLAWLESSLY SINGING HER FACE OFF. You know, just casually, like you do when you're a full-on goddess.
When you think of a dancer, a double leg amputee may not be the first thing that comes to mind. But Eric Graise, who's one of the stars of the upcoming "Step Up: High Water" YouTube Red series, hopes to change that. Graise, whose legs were amputated as a child due to missing fibula bones, will play a character named King in the new dance series, set to debut early next year.
We all suffer from Nutcracker fatigue sometimes. After a zillion performances, it's hard not to. But there's nothing to restore your little-kid sense of Nutcracker wonder like a look at the sheer scale of a world-class Nut.
New York City Ballet's iconic production of George Balanchine's The Nutcracker opens on Friday, and for the past week, the company has been Tweeting out some seriously eye-popping #NutcrackerNumbers. The stats cover everything from the number of jingle bells used on each Candy Cane costume (that'd be 144) to the watts of light used in the show's grand finale (ONE. MILLION. WATTS.).
One of the most beautiful things social media has brought us is the ability to feel like we're up close and personal behind-the-scenes with all our favorite dancers. And one of our favorite stars to Insta-stalk are actually two casts of 36 scintillatingly synchronized precision dancers. I'm talking, of course, about my mild obsession with the legendary Radio City Rockettes.
Consistent turns are a must for aspiring professional dancers, but pretty much everyone struggles with pirouettes at some point. Luckily, since we're all beholden to the same rules of physics, there are concrete steps every dancer can take to reach his or her top turning potential. “Three is the new two when it comes to pirouettes, but the secret to turning is technique, not magic," says Bojan Spassoff, president and director of The Rock School for Dance Education in Philadelphia.
Falling out of your doubles? Aspiring to go revolution for revolution with your class's star turner? No matter where you lie on the turning spectrum, our 360-degree guide to pirouettes will help you improve.
You rehearse your group routine to perfection, but when the big performance rolls around, everyone turns into speed demons. It's the runaway-train effect—and it only takes one loud tapper, or zippy turner, to throw the whole group off the music.
While nerves and excitement are partly to blame, the ability to keep to tempo begins in the studio. A well-developed sense of musicality is your best defense against the dreaded speed trap. "When you understand how the steps fit with the music, going too fast won't just feel like rushing," says Jeremy Arnold, lecturer of tap at the University of Texas at Austin. "It'll feel wrong." How can dancers develop that musicality? It all starts with learning to listen.
Have we mentioned lately how much we love dance dads? Especially ones who show up to their daughter's ballet class sporting a tutu, like Thanh Tran.
You've seen it a million times: A glamorous, toned dancer posts a perfectly styled shot of her colorful smoothie bowl. The caption gushes about how great you'll feel if you eat "clean"—but what does that actually mean? DS asked registered dietitian/nutritionist Rachel Fine and holistic health coach (and founder of The Whole Dancer) Jess Spinner for all of the dirt.
In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email email@example.com a chance to be featured!
I'm being bullied by one of the girls at my studio, and it's awful. I've talked to my dance teacher and confronted the bully directly, but it hasn't made a difference. What should I do?
Bunheads, this one's for you. They say you can tell a Nutcracker by its "Snow" scene—and we fully believe it. There are so many versions with extra goodies—olive branches! Fake snow! Sleds! Choirs! Snow queens!—and each brings a special something to the holiday favorite. But do you know which ballet has what?