Sunday, November 01, 2009
A+E, Theater, Reviews

What’s wrong with this picture?

The Suzi Awards honor the best in local theater—but our theater critic has some

BY BERT OSBORNE
 
I couldn’t care less about the Tony Awards, mainly because I don’t cover theater in New York, and rarely even see a Broadway show. It doesn’t matter to me what wins or loses, who gets nominated or who gets overlooked. I wouldn’t know the difference anyway.
 
Understandably—if treating such things so seriously is understandable at all—I take Atlanta’s Suzi Awards more to heart. (And more to task.) Like it or not, with nearly 100 shows under my belt from the ’08-’09 season, I’ve paid ample dues to be entitled to my opinions about this year’s nominations.
 
I thought I’d seen just about everything, so I’m a little bummed to hear of a few nominees that I didn’t: I missed True Colors’ "Black Nativity" (up for four musical awards) and Legacy’s "Jon & Jen" and "High School Musical 2" (up for one apiece); I can’t really say I missed the Shakespeare Tavern’s "Doctor Faustus" (cited in one of the play categories), but I didn’t see it, either.
 
I’m mostly bummed in a larger sense. What’s wrong with this picture? A couple of months ago, I compiled my own Top 10 list of the season’s finest productions, not one of which is anywhere to be found among the 10 Suzi nominees for best play and best musical. I say "Gem of the Ocean," you say "Big River." Let’s call the whole thing off?
 
Among 15 participating theaters around town, Atlanta Lyric leads the Suzi pack with a mind-boggling 19 nominations. That’s ridiculous enough, given the general mediocrity of the company’s work, but it’s downright laughable considering that Georgia Shakespeare only scored 15, or the Alliance 12. (It also partly reflects the fundamental problem of having to pad so many separate musical categories with not-always-qualified candidates.) Questionable, too: Among the members who serve on the various Suzi judging panels are a couple of Lyric employees.
 
Individual shows at the forefront include the Alliance’s "Jesus Christ Superstar GOSPEL" (with eight mentions) and Georgia Shakespeare’s "Cat on a Hot Tin Roof" (with seven). Actor’s Express earned all six of its bids for "Mauritius"—never mind the remarkable work of Kate Donadio and Shannon Eubanks in "Suddenly Last Summer," or Shelly McCook in "The New Century." And all five of Georgia Ensemble’s nominations came for "Buddy: The Buddy Holly Story"—despite Agnes Harty and Jonathan MacQueen deserving a shot for "I Do! I Do!"
 
Three of my favorites of the year ("MoJo," "Peer Gynt," "The Wild Party") were deemed ineligible, because the groups that produced them (Dad’s Garage, Theater Emory, Onstage Atlanta) aren’t among the Suzis’ "participating theaters." Two others ("The New Century," Synchronicity’s "The Snow Queen") were eligible, presumably, but still got snubbed. Both Georgia Shakespeare’s "Antigone" and the Alliance/True Colors co-production of "Gem of the Ocean" were limited to a couple of acting nominations. Horizon’s "End Days" and Theatrical Outfit/True Colors’ "Blood Knot" were both limited to single nominations.
 
Kenny Leon was tapped with a Best Actor-Play nomination for the latter, while co-star Tom Key inexplicably wasn’t. Other notable omissions who should’ve been contenders: Jill Jane Clements and Rob Cleveland ("Driving Miss Daisy"); Tom Thon and Googie Uterhardt ("Tuesdays With Morrie"); Courtney Patterson ("Cat on a Hot Tin Roof"); Glenn Rainey ("Tent Meeting"); Crystal Fox ("For Colored Girls ... "); and Nick Arapoglou ("End Days"). As consolations of sorts, at least Fox and Arapoglou are nominated along with the rest of their casts in the best ensemble category, and Clements is in the running for best director ("A Lesson Before Dying").
 
By virtue of singling them out for The Sunday Paper’s fifth annual Spotlight Awards back in August, I have something of a vested interest in keeping my fingers crossed for worthy nominees Rob Lawhon (Lead Actor-Musical for "Buddy"), Eric Little (Featured Actor-Play for "Miss Evers’ Boys") and Megan McFarland (Featured Actress-Play for "Cat on a Hot Tin Roof").
 
I’m guessing that the name recognition of Leon and Jasmine Guy (a Lead Actress-Play nominee for "Miss Evers’ Boys") will be hard to beat. The same goes for the star-studded ensemble of "For Colored Girls ... " (Robin Givens, Nicole Ari Parker, et al.).
 
In the other musical categories, I’d love for husband and wife Eugene and Naima Carter Russell to win (as featured actor and lead actress for "Antigone"), which is not to suggest I’m counting on it. Marcie Millard is another personal favorite (as featured actress in "The It Girl"). "Smokey Joe’s Café" was the only nominated ensemble I saw—but who cares, when it’s so hard to imagine any of these nominees being as deserving as the slighted cast of "Tent Meeting"?
 
In the design fields, if she doesn’t split her own vote—she’s also nominated for two of her other sets this season—Kat Conley ought to prevail for "Cat on a Hot Tin Roof." Brian Patterson’s sound design for "Tradin’ Paint" seems like a shoo-in. And I’m expecting the flashy "Superstar" to win for costumes (Paul Tazewell) and lighting (Robert Wierzel).
 
With the most nominations, "Superstar" and "Cat" are likely front-runners for best musical and play. Susan Booth will probably win for directing the first. "Cat" director Jasson Minadakis faces some stiffer competition from Leon for "Miss Evers’ Boys" (see "name recognition," above).
 
That it’s anybody’s guess, of course, is part of what promises to make the upcoming Suzi ceremony so much fun. Sure, it would be regrettable if Atlanta Lyric swept in any more than a couple of minor categories (I’ll give them music direction, choreography and maybe Millard), but look on the bright side. Nineteen nominations may sound like a lot, but the most awards they can possibly win is eight. That’s only half as dubious, right? SP