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Welcome to Tony Talk, a feature where Gold Derby contributors Sam Eckmann and David Buchanan delve into Tony Awards analysis. Today, we shine a spotlight on the highly anticipated Broadway revival of David Mamet‘s acclaimed play, Glengarry Glen Ross.
David Buchanan: Yesterday, we discussed Sarah Snook‘s Broadway debut in The Picture of Dorian Gray, but we felt compelled to reconvene for the opening of Kieran Culkin in Glengarry Glen Ross. This revival stands out not only because of its star power, featuring an array of celebrated actors such as Oscar winner Culkin, Bill Burr, Bob Odenkirk, and Michael McKean, but also due to its groundbreaking presentation at the Palace Theatre—its first dramatic performance since 1981 in the production of Frankenstein. How well do you think this remarkable cast has filled the grandeur of the Palace Theatre, and what are your thoughts on their potential nominations at the Tonys?
Sam Eckmann: I initially harbored doubts about whether this intense drama could successfully occupy such a vast space, but director Patrick Marber has skillfully crafted a production that not only captivates but also maintains an intimate and dynamic atmosphere. The cast delivers uniformly strong performances, raising an intriguing question: how many nominations can a single play achieve in the Featured Actor category? Kieran Culkin is certainly a frontrunner. His recent accolades, including an Emmy and an Oscar, create a strong buzz, and a Tony win would further solidify his status as a triple crown winner. His role as Richard Roma has proven to be a magnet for awards in the past, having previously helped actors like Joe Mantegna and Liev Schreiber snag Tonys. The energy Culkin brings to this ambitious character had the audience enthralled from start to finish. However, based on the critical acclaim and my observations, he may not be the only standout in the featured actor race. How many nominations do you foresee for this ensemble?
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Buchanan: Surprisingly, I’m predicting three performers from Glengarry for nominations. While some might argue that three nods are excessive, history supports this possibility; the 2005 revival, for instance, secured nominations for Alan Alda, Schreiber, and Gordon Clapp. I believe Bob Odenkirk, Kieran Culkin, and Bill Burr are prime candidates. Early on, I placed a bet on Burr after hearing Nathan Lane lauding his fit for the role, and the critics echoed that sentiment. Theater writer Sara Holdren lauded Burr for his rhythmic delivery and comedic timing that enhances the performance. Odenkirk, playing a role that resonates with audiences akin to Arthur Miller‘s Willy Loman, carries significant emotional weight. Despite receiving mixed reviews, how do you think this production’s reception will affect its standing in the Best Play Revival category? Could there be potential snubs in other award categories?
Eckmann: Burr surprised me with his performance. Although we are familiar with his comedic work, I had reservations about how he would adapt to a dramatic stage role. Nevertheless, his delivery of Mamet’s dialogue was razor-sharp, showcasing a masterful command of the language. I’m tempted to include him in my predictions, but I am also considering Michael McKean for a surprise nomination. He and Burr create memorable moments in their scenes, and while McKean’s stage time is limited, he effectively punctuates Burr’s dynamic interactions with subtle gestures that amplify the comedy. Though Burr and McKean might fall behind Culkin in the nomination race, I believe Odenkirk has a strong chance to win. His portrayal of Shelley Levene captures the highs and lows of the character, and it felt like he genuinely connected with the audience. During my visit, his Breaking Bad costar Bryan Cranston was visibly proud and engaged throughout the performance. This synergy between actor and role creates a strong case for Odenkirk being the first to win while portraying Shelley. Although Glengarry’s mixed reviews don’t place it as a definitive frontrunner, its reception is still more favorable compared to other productions like Othello. With stiff competition from critically-acclaimed plays like Eureka Day and Yellow Face, how do you visualize the outcome of this race?
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Buchanan: Just as you’ve articulated, I had previously positioned Othello at the top of my predictions but have since reassessed and placed it lower on my list. Given its critical reception, it may even be edged out by shows like Our Town, which had notably better reviews. Spring productions typically have an advantage in winning potential, but historical examples showcase that closed plays can still clinch the revival trophy, as seen with titles like Topdog/Underdog and A View From the Bridge. The mixed feedback for Glengarry could hinder its chances against well-received competitors like Eureka Day and Yellow Face. The nominations announcement on May 1 will provide further insights into the competition, especially if these plays receive multiple nominations. With Glengarry being the last major revival to debut this season, it certainly concludes the Broadway season on a star-studded note.
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