Tony Nominations 2018

It's that time again, when Tony nominators offer their lists of the best and brightest in Broadway shows.

On the play side, there's new work by Ayad Akhtar and Lucy Kirkwood, revivals of Albee, Kushner, O'Neill and Stoppard, and the hotly anticipated Harry Potter shows, while the musicals range from something sweet and silly--SpongeBob SquarePants--to something deep, meaningful and moving in The Band's Visit.

This year's awards ceremony will be hosted by pop stars with Broadway connections, with Sara Bareilles and Josh Groban doing the honors on June 10. Bareilles wrote the score for Waitress (and popped in to play the lead for a couple of shifts) and contributed some songs to the SpongeBob SquarePants musical, for both of which she's earned Tony nominations, while Josh Groban was nominated for his leading role in Natasha, Pierre & The Great Comet of 1812.

Here's the complete list of nominees:

BEST PLAY
The Children by Lucy Kirkwood
Farinelli and the King by Claire van Kampen
Harry Potter and the Cursed Child, Parts One and Two by Jack Thorne
Junk by Ayad Akhtar
Latin History for Morons by John Leguizamo

BEST REVIVAL OF A PLAY
Angels in America by Tony Kushner
The Iceman Cometh by Eugene O'Neill
Lobby Hero by Kenneth Lonergan
Three Tall Women by Edward Albee
Travesties by Tom Stoppard

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A PLAY
Glenda Jackson, Three Tall Women
Condola Rashad, Saint Joan 
Lauren Ridloff, Children of a Lesser God
Amy Schumer, Meteor Shower

BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A PLAY
Andrew Garfield, Angels in America
Tom Hollander, Travesties
Jamie Parker, Harry Potter and the Cursed Child, Parts One and Two
Mark Rylance, Farinelli and the King
Denzel Washington, The Iceman Cometh

BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A PLAY
Susan Brown, Angels in America
Noma Dumezweni, Harry Potter and the Cursed Child, Parts One and Two
Deborah Findlay, The Children
Denise Gough, Angels in America
Laurie Metcalf, Three Tall Women

BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A PLAY
Anthony Boyle, Harry Potter and the Cursed Child, Parts One and Two
Michael Cera, Lobby Hero
Brian Tyree Henry, Lobby Hero
Nathan Lane, Angels in America
David Morse, The Iceman Cometh

BEST DIRECTION OF A PLAY
Marianne Elliott, Angels in America
Joe Mantello, Three Tall Women
Patrick Marber, Travesties
John Tiffany, Harry Potter and the Cursed Child, Parts One and Two
George C. Wolfe, The Iceman Cometh

BEST SCENIC DESIGN OF A PLAY
Miriam Buether, Three Tall Women
Jonathan Fensom, Farinelli and the King
Christine Jones, Harry Potter and the Cursed Child, Parts One and Two
Santo Loquasto, The Iceman Cometh
Ian MacNeil & Edward Pierce, Angels in America

BEST COSTUME DESIGN OF A PLAY
Jonathan Fensom, Farinelli and the King
Nicky Gillibrand, Angels in America
Katrina Lindsay, Harry Potter and the Cursed Child, Parts One and Two
Ann Roth, Three Tall Women
Ann Roth, The Iceman Cometh

BEST LIGHTING DESIGN OF A PLAY
Neil Austin, Harry Potter and the Cursed Child, Parts One and Two
Paule Constable, Angels in America
Jules Fisher & Peggy Eisenhauer, The Iceman Cometh
Paul Russell, Farinelli and the King
Ben Stanton, Junk

BEST SOUND DESIGN OF A PLAY
Adam Cork, Travesties
Ian Dickinson, Angels in America
Gareth Fry, Harry Potter and the Cursed Child, Parts One and Two
Tom Gibbons, 1984
Dan Moses Schreier, The Iceman Cometh

BEST MUSICAL
The Band's Visit
Frozen
Mean Girls
SpongeBob SquarePants: The Musical

BEST REVIVAL OF A MUSICAL
Carousel
My Fair Lady
Once on This Island

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A MUSICAL
Lauren Ambrose, My Fair Lady
Hailey Kilgore, Once on This Island
LaChanze, Summer: The Donna Summer Musical
Katrina Lenk, The Band’s Visit
Taylor Louderman, Mean Girls
Jessie Mueller, Carousel

BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A MUSICAL
Harry Hadden-Paton, My Fair Lady
Joshua Henry, Carousel
Tony Shalhoub, The Band’s Visit
Ethan Slater, Spongebob Squarepants: The Musical

BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A MUSICAL
Ariana DeBose, Summer: The Donna Summer Musical
Renée Fleming, Carousel
Lindsay Mendez, Carousel 
Ashley Park, Mean Girls
Diana Rigg, My Fair Lady

BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A MUSICAL
Norbert Leo Butz, My Fair Lady
Alexander Gemignani, Carousel 
Grey Henson, Mean Girls
Gavin Lee, Spongebob Squarepants: The Musical
 Ari’el Stachel, The Band’s Visit

BEST DIRECTION OF A MUSICAL
Michael Arden, Once on This Island
David Cromer, The Band’s Visit
Tina Landau, Spongebob Squarepants: The Musical
Casey Nicholaw, Mean Girls
Bartlett Sher, My Fair Lady

BEST BOOK OF A MUSICAL 
Tina Fey, Mean Girls
Kyle Jarrow, Spongebob Squarepants: The Musical 
Jennifer Lee, Frozen
Itamar Moses, The Band’s Visit

BEST ORIGINAL SCORE
Robert Lopez & Kristen Anderson-Lopez, Frozen
Jeff Richmond & Nell Benjamin, Mean Girls
Adrian Sutton, Angels in America
David Yazbek, The Band’s Visit
Yolanda Adams, Steven Tyler & Joe Perry of Aerosmith, Sara Bareilles, Jonathan Coulton, Alex Ebert of Edward Sharpe & The Magnetic Zeros, The Flaming Lips, Lady Antebellum, Cyndi Lauper & Rob Hyman, John Legend, Panic! at the Disco, Plain White T's, They Might Be Giants, T.I., Domani & Lil'C, Spongebob Squarepants: The Musical

BEST CHOREOGRAPHY
Christopher Gattelli, My Fair Lady
Christopher Gattelli, Spongebob Squarepants: The Musical 
Steven Hoggett, Harry Potter and the Cursed Child, Parts One and Two 
Casey Nicholaw, Mean Girls
Justin Peck, Carousel

BEST ORCHESTRATIONS
John Clancy, Mean Girls
Tom Kitt, Spongebob Squarepants: The Musical
AnnMarie Milazzo & Michael Starobin, Once on This Island
Jamshied Sharifi, The Band’s Visit
Jonathan Tunick, Carousel  

BEST SCENIC DESIGN OF A MUSICAL
Dane Laffrey, Once on This Island
Scott Pask, The Band’s Visit 
Scott Pask, Finn Ross & Adam Young, Mean Girls 
Michael Yeargan, My Fair Lady
David Zinn, Spongebob Squarepants: The Musical

BEST COSTUME DESIGN OF A MUSICAL
Gregg Barnes, Mean Girls 
Clint Ramos, Once on This Island 
Ann Roth, Carousel 
David Zinn, Spongebob Squarepants: The Musical
Catherine Zuber, My Fair Lady

BEST LIGHTING DESIGN OF A MUSICAL
Kevin Adams, Spongebob Squarepants: The Musical 
Jules Fisher & Peggy Eisenhauer, Once on This Island 
Donald Holder, My Fair Lady 
Brian MacDevitt, Carousel 
Tyler Micoleau, The Band’s Visit

BEST SOUND DESIGN OF A MUSICAL
Kai Harada, The Band’s Visit 
Peter Hylenski, Once on This Island 
Scott Lehrer, Carousel 
Brian Ronan, Mean Girls 
Walter Trarbach and Mike Dobson, Spongebob Squarepants: The Musical

SPECIAL TONY AWARD FOR LIFETIME ACHIEVEMENT
Chita Rivera
Andrew Lloyd Webber

REGIONAL THEATRE TONY AWARD
La MaMa Experimental Theatre Club

NT Live and PERESTROIKA

Tony Kushner subtitled his Angels in America "a gay fantasia on national themes." The nation he was referring to was, of course, the United States of America, which is referred to constantly throughout both plays and gets that "America" reference in the title, as well. After seeing both parts of Britain's National Theatre Live cinema presentation of Angels in America, I think I've centered on my biggest problem with this particular take on Kushner's masterpiece. It's just not American enough.

Nathan Lane emerges as a powerhouse in both Millennium Approaches and Perestroika, perhaps because he isn't struggling to find that essential Americanism under Roy Cohn's skin. He's got it. It's to Russell Tovey's and Andrew Garfield's credit that they are better attuned to it, too, and that they both turn in excellent, well thought-out and well executed performances.

As Prior Walter, the man in the center of the action, the prophet, the victim, the one with "gay fantasia" swirling around him, Garfield has the showier role and he makes the most of it. I still think he's channeling Gloria Swanson in Sunset Boulevard too much for his own good, and he looks like he could be Anne Hathaway's twin brother (Anne and Andrew in Twelfth Night, anyone?) but he does jump into Prior's pajamas with both feet, so kudos there.

But I think Russell Tovey is even better as Joe Pitt, the self-loathing gay Mormon lawyer who just can't seem to make his life work. In Part One, Joe is hobnobbing with powerbrokers like Lane's Cohn, imagining himself as a player in Reagan's America. In Part Two, after the explosions of Millennium Approaches, Joe has come hard up against his lies and deception. He's a little panicked and a lot off-balance as he tries to find some sense of who he is. Tovey navigates all that beautifully, with an inner glow that makes it understandable that someone like Roy Cohn would want him on his team, that Louis would be attracted to him, even knowing his politics, that Prior would be devastated to realize THIS is his ex-lover's new beau, that Harper would have married him in the first place. Suddenly the pieces fit.

I can't say that the pieces fit for Susan Brown as Hannah Pitt or Amanda Lawrence as the Angel, however. Brown is better as the World's Oldest Living Bolshevik and her Ethel Rosenberg is good enough in the excellent Kaddish scene, but her Mother Pitt never seems like an American for even a minute. Hannah may be plain-spoken and stiff of spine, but she is also naive in some ways, unknowing instead of uncaring. Brown's Hannah is all rough edges and hard knocks with no layers of humanity underneath. And she can't fully suppress her British enunciation. Lawrence also struggles with the American accents, and she never gets past that problem far enough to sink into her characters. She is undermined by her costumes, as well, which don't take her from the glorious, androgynous white vision carved from Greek marble described in Kushner's Millennium script to the battling black harpy of Perestroika, but leave her as a hard-luck little insect Angel, scraggly and unkempt, throughout. Her version of a Mormon mother who steps out of a diorama is even less successful, blunting the impact of Kushner's "jagged thumbnail" speech and dimming the play's messages about change and suffering.

Those messages are hard to catch throughout Marianne Elliott's production. If this Millennium takes its time to breathe as it sets things up, the companion Perestroika seems to wander and unravel. For a play that debates the wisdom of standing still versus moving ahead, there just isn't enough forward momentum.

Part of that lies in the direction of individual scenes and part of it comes from the murky-after-midnight scenic design, which remains mystifying. Yes, we've lost the revolving set pieces edged in neon (for the most part, anyway) but the new vast and impersonal space with an arching dome -- something like the ceiling inside an old movie palace -- is just as perplexing. I enjoyed the levels and lifts and some of the stage pictures created, like Prior's ladder to heaven, Roy slipping out of his death bed and onto a new plane, and Harper trying to hang on as her scenery is swept away, but in general, the vast expanse swallows up the action. And this stingy version of the Bethesda Fountain, the location for the final scene of the play, is underwhelming at best.

Kushner's play is so beautiful and his characters so strong that it pulls you in even in the places that this particular production falters. There is, after all, some new wisdom to learn from every new Angels in America. This time out, I was struck by a particular speech delivered by Prior:

"Then I'm crazy... The whole world is, why not me?"  As he tells us, every morning he wakes up and it takes him "long minutes to remember...that this is real, it isn't just an impossible, terrible dream."

What could be more timely, more right now than that?

NT Live and MILLENNIUM APPROACHES

The first half of Britain's National Theatre's take on Tony Kushner's blistering and beautiful Angels in America arrived in cinemas last week, looking and sounding just as timely and affecting as ever. The depth of Kushner's language may be what hits you first, but it's the humanity of his complex, imperfect characters that keeps the Angels fire burning throughout Part One: Millennium Approaches.

This production, directed by Marianne Elliott, has been much buzzed about, partly because of its casting. With Nathan Lane playing Kushner's version of closeted gay powerbroker/Joe McCarthy acolyte/friend of Trump/poisonous toad Roy Cohn and Andrew Garfield as Prior Walter, a sweet gay man with AIDS at the beginning of the epidemic, there was bound to be notice taken. Both Lane and Garfield are turning in terrific performances, making it clear they were cast for more than just their star-power.

Lane is not the cuddly musical-comedy star you may expect from The Producers or La Cage aux Folles, although the jokes about the latter show at the beginning of Millennium Approaches do take on added amusement coming from him. But as the play proceeds, he starts biting off chunks of Roy Cohn and spitting them out, not afraid to go dark and disturbing when he needs to. He also works beautifully with Russell Tovey, who is really stellar as Joe Pitt, the resolute, married Mormon lawyer who is fighting his attraction to men and unsure about almost everything in his life. Joe can be a difficult character to communicate, given all that repression. But Tovey takes him to a much more vital place. He may be tortured and wrong-headed, but this Joe is alive and searching. He may also be the best Joe I've seen, and with Lane half of the best Roy/Joe combination.

Garfield's Prior is (and should be) the opposite of Joe's turned-in persona. At the outset, Garfield seems to be going for drama queen gusto with his Norma Desmond take on Prior, but his scenes with James McArdle as Louis, Prior's boyfriend who can't handle illness or death, put him in the proper context to break your heart. Garfield has some really fine moments when life (and the fantasia part of Kushner's "gay fantasia on national themes") hit him where it hurts, creating some of Millennium's most powerful scenes.

I also enjoyed Denise Gough, whose Harper Pitt is fragile and strange, but also intelligent, as she negotiates her messed-up marriage and the "threshold of revelation" that connects her to Prior as it gives her some unpleasant truths about her husband. And Nathan Stewart-Jarrett is on target as Prior's ex-drag-queen friend Belize, although I'm hoping he is a little more memorable in Part Two when Belize's role grows.

I was less fond of McArdle's portrayal of Louis, which was interesting if not fully satisfying. He sounds as if he's channeling Gene Wilder to get an American Jewish mood, but... This Louis is really not Jewish at all. He even mispronounces "anti-Semitic." And that's a problem, given that Kushner opens the play with a rabbi who is telling us that Louis's Judaism is bred in the bone. Still, McArdle's killer speech about politics and race shows he can handle the density of the language and still make it seem spontaneous, which is key.

The final two actors in the ensemble -- Susan Brown and Amanda Lawrence, who both play multiple roles -- are less than impressive. Brown is fine as the rabbi, but I didn't care for her stiff and chilly take on Hannah Pitt or the ghost of Ethel Rosenberg, and Lawrence struggles to sound American throughout, especially when playing a homeless woman slurping soup in the Bronx. Her entrance as the Angel, which is supposed to be "very Steven Spielberg" and knock-your-socks-off theatrical, is definitely underwhelming, although that seems mostly due to director Elliott's choice to go with hoisting her Angel on the backs of black-clad crew members instead of flying her in through the ceiling and smashing some plaster. This is a bit too minimal and pedestrian.

Ian MacNeil's scenic design and Paule Constable's lighting are also minimalist, focusing on three separate spaces where industrial gray flats edged in neon revolve to carry actors in and out. It's got the look of an Edward Hopper painting now and again, but it's awfully murky, at least on screen, and neither Hopper nor a dystopic Big Brother wasteland suits the material all that well. It's not clear whether the cinematic work needed to transport the action from the National's Lyttleton space to movie theaters is at fault or whether it looked this vast and gray on stage, too, but it's distancing. I have hopes that will improve for Perestroika, too.

In any event, Tony Kushner's masterpiece is strong enough to overcome a few missteps. Or an army of missteps, for that matter. Angels in America, Part Two: Perestroika can't come soon enough. It will be here -- in cinemas nationwide -- Thursday, July 27 at 7 pm.

ANGELS IN AMERICA, From National Theatre Live in London to Movie Screens

When you see a play or musical you really love, your reaction may be that you never want to see another production of it, that that one was perfect and you don't want to impose any new production over your memories of the perfect one. Or you may want to see as many different productions of that show as possible. Follies? Arcadia? I'll go see either of them anywhere I can manage. Good, bad or indifferent, there is no production of those shows I will not try.

Angels in America, Tony Kushner's two-part "gay fantasia on national themes" that sweeps together Mormons, Jews, Reagan Republicans and the AIDS crisis in the 1980s, falls into that category. I saw both parts -- Millennium Approaches and Perestroika -- on stage in New York and in Chicago in the early 90s. The Broadway and touring productions were very different, but each was deeply personal, deeply political, heartbreaking and fabulous in its own way. I also loved the small-but-mighty Angels directed by Steven M. Keen for Urbana's tiny Station Theater. And the all-star version version on HBO. Yes, I've struggled through several college productions that didn't send me and found myself unable to get to farther-flung Angels that were very warmly received.

This month, we all have the chance to meet another Angels when Fathom Events and National Theatre Live bring the current London production from the National's Lyttelton Theatre, directed by Marianne Elliott, with Nathan Lane as Roy Cohn and Andrew Garfield as Prior Walter, to movie theater screens all over Great Britain and the United States. Part One: Millennium Approaches, airs this Thursday, July 20, with Part Two: Perestroika the following Thursday.

You can find a theater near you at this link. There's nothing in Bloomington-Normal, but in the just-about-50-mile range, you can find the Willow Knolls 14 in Peoria or the Savoy 16 outside Champaign-Urbana. Both theaters are showing both parts of Angels in America at 7 pm on their respective Thursdays and you can purchase tickets now.

If you'd like to read more about Angels in America at the National or see videos, interviews and photos, check out this page at the National Theatre website.

Theatre Hall of Fame Announces 2015 Honorees

Every year, a few new honorees are inducted into the Theater Hall of Fame, reflecting lifetime achievement in the American theater as voted upon by . This year's inductees are:

Lynn Ahrens and Stephen Flaherty, the songwriting duo behind musicals like Ragtime, Lucky Stiff, Once on This Island and Seussical as well as the movie Anastasia.

Ken Billington, principal lighting designer for Radio City Music Hall from 1979 to 2004, as well as the lighting designer for almost a hundred Broadway shows.

Merle Debuskey, press rep for Broadway shows from The Rose Tattoo in 1952 through Racing Demon in 1995.

Robert Falls, an Illinois native (and U of I grad) who has been closely identified with Chicago theatre; he's served as artistic director of both Wisdom Bridge and the Goodman Theatre.

Stacy Keach, the powerhouse actor who has played everything from Buffalo Bill in Arthur Kopit's Indians to P. T. Barnum, Lear and Richard Nixon.

Tony Kushner, Pulitzer Prize winning playwright behind Angels in America.

Roger Rees, the late Welsh actor and director who rose to prominence in the U.S. (and won a Tony) when he played the title role in the Royal Shakespeare Company's epic production of The Life and Adventures of Nicholas Nickleby.

Julie Taymor, the director and creative visionary who put The Lion King on Broadway (as well as Spider Man: Turn Off the Dark).

Roger Rees (center L) in Nicholas Nickleby

The Theater Hall of Fame was founded in 1971 by James M. Nederlander, Earl Blackwell, Gerard Oestreicher and L. Arnold Weissberger, with the 90 first inductees honored in October, 1972.

Here's how the process is described in an American Theater Critics Association press release:

"This year's ballot was mailed in July to 275 members of the Theater Hall of Fame and American Theater Critics Association. Fifty nominees are listed each year on the ballot. To be nominated, a theatre professional must have 25 years in the Broadway/American theatre and five major credits."

The 2015 Theater Hall of Fame Ceremony and Dinner will take place on November 16 at 7:30 pm (Eastern) at the Gershwin Theatre, followed by a supper at The Palm.

The Theater Hall of Fame is the only nationally trademarked non-profit organization that honors the professionals of the American theatre. This annual celebration supports these on-going programs: the Video Collection at the New York Public Library for the Performing Arts/Lincoln Center, the THF Dorothy Strelsin Memorabilia Collection at the Gershwin Theatre and the THF Fellowship Grants for Emerging Theater Artists.

Angels in America: PERESTROIKA at ISU Starting Thursday

When the first half of Tony Kushner's Angels in America opus, the Millennium Approaches half, was unveiled to audiences in 1992 (in Los Angeles) and 1993 (on Broadway), audiences were stunned. The sweeping nature of the play, covering the past, the present, the future, the nature of change and staying the same, as well as all kinds of issues related to AIDS, homosexuality, Mormons, Jews, Marxism, Ronald Reagan Republicans, Roy Cohn and Joe McCarthy, Ethel Rosenberg, and of course, angels, kept people on the edge of their seats for the entire three hours it took to tell the first half of Kushner's story.

At the end of Millennium Approaches, by the time the character of Prior Walter utters the memorable line, "Very Stephen Spielberg" when an angel crashes through his ceiling, audiences were also desperate to find out what happened to WASPy Prior, who had been diagnosed with AIDS; Louis, the conflicted Jewish boyfriend who had deserted Prior when he became ill; Belize, a friend of Prior's who had been a drag queen but was now a nurse; a closeted Mormon Republican named Joe Pitt who was having trouble suppressing the fact that he was gay; Joe's unhappy wife, pill-popping Harper; Joe's hard-edged mother, Hannah, who came from Salt Lake City to find him; and Roy Cohn, the epitome of evil, a character based on the real-life lawyer and Washington power broker who'd sent the Rosenbergs to the chair and sat at the right hand of Senator Joe McCarthy.

Kushner's vision was huge, funny, fantastic, sad and true, all at once, what with that Angel crashing through the ceiling, a "threshold of revelation" where two strangers' reality overlapped in their dreams; a flaming Hebrew letter that appeared out of nowhere in a hospital room, and an imaginary travel agent named Mr. Lies who took one of the characters to Antarctica.

Angels in America Part II: Perestroika appeared on Broadway about six months after Millennium Approaches, and Kushner was still writing it, trimming it, polishing it till the last minute. This one was even bigger, coming in at four hours. Yes, that's right -- if you wanted the whole Angels story, back-to-back, it was going to take you seven hours. And the scope got even bigger, with Heaven and Hell and a whole phalanx of Angels now in the mix.

It's Perestroika that David Ian Lee is directing for Illinois State University in the intimate space at Centennial West 207, with performances scheduled for November 7, 8, 12, 13, 14, 15, and 16. Will it run four hours? Will we see Roy Cohn in Hell? Will Prior visit Heaven and see Louis's grandmother? Those are some of the variables involved in Tony Kushner's different revisions, along with whether Joe Pitt will go FFN when he strips off his Mormon temple garments, whether there will be projections to tell us the titles of the individual sections of the play, what kind of music or underscoring will be used, and how this production envisions the Perestroika landscape. Will it be a police-taped post-Apocalyptic mess? Look like the basement of the Smithsonian? Or like a giant shipwreck? I've seen all three, as well as one with a big ol' Bethesda Fountain front and center throughout the play and one that sent us to a giant disco inferno.

I have to think Lee's Perestroika will be simply staged, just given the venue. There's no room for rafters full of abandoned furniture or a giant ship's mast and sails crashed on the stage. But that is the beauty of Angels in America. It can be reshaped and reimagined and still come off just as stunning. It's an amazing piece of work.

For ISU, Nick Spindler will play Prior Walter, with Ross Kugman as Louis Ironson, Bryson Thomas as Belize, David Fisch as Joe Pitt, Cydney Moody as Harper Pitt, Kelsey Bunner as Hannah Pitt, Joe Faifer as Roy Cohn, and Emma Dreher as the Angel. Most of them will play other roles, as well, to fill in a character roster that includes the World's Oldest Living Bolshevik, mannequins in a tableau at the Mormon Visitors Center, and the ghost of Ethel Rosenberg. This is complex, difficult work for college-age actors, but also the kind of material they won't get a chance to work with very often.

If you're an actor and you get a chance to take a waltz with Angels in America, no matter when or where, I'm thinking you take it.