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Carbonell Cold Shoulder
We're all losers at South Florida's biggest awards show.
By Brandon K. Thorp
Published: April 3, 2008
It's Carbonell time again. The auditorium at the Broward Center has been booked for months, the menu for the sponsors' gala has long been planned and vetted, and South Florida's theaterfolk have already decided what to wear. As I write, the definitive list of winners and losers is sitting in an envelope or a box under the sleepless eye of Leslie J. Feldman or someone equally trustworthy, not to be disturbed until the regional drama awards are handed out April 7. Only one question remains, and it is a question that haunts the minds of dramaphiles from Coral Gables to Jupiter: What the fuck are these people smoking?
The problem is simple: The best production of 2007 received exactly zero nominations. That show was Animals & Plants at Mad Cat Theatre, which was dissed because of an administrative gaffe. The nominators didn't see it soon enough, and by the time they did, it was too late to send in the judges. Whoopsydaisy. Of course, this mishap would be easier to forgive if the single greatest show to appear in SoFla in the months following Animals & Plants — Some Girls, also at Mad Cat — hadn't also been mysteriously snubbed by the Carbonell committee. Once again, next year — when I will join the ranks of Carbonell nominators, for the record — a truly transcendent Mad Cat show will be conspicuously absent from the Carbonell's honor rolls. Even so, the ceremony will take place as planned, as though it all somehow means something.
Well, maybe it does. The Actors' Playhouse production of Mark Hollmann's Urinetown, from 2001, is up for a bunch of musical awards this year — Best Musical; Best Director of a Musical; Best Actor, Actress, Supporting Actor, and Supporting Actress in a Musical; Best Musical Direction;Best Choreography; and Best Costume Design — which is as it should be. Urinetown was a hell of a show. But the competition was not exactly stiff. If Urinetown doesn't sweep the musical categories, we'll know SoFla's arbiters of theatrical taste are even crazier than we suspected.
And we suspect they are crazy indeed. The big winners so far this year are Sandy Wilson's The Boy Friend, with 11 nominations, and Mitch Leigh's Man of La Mancha, with 10. (Urinetown and Martin McDonagh's The Lieutenant of Inishmore are tied for third, with nine apiece.) There's nothing quite like the feeling of hopeless shame that accompanies the realization that your region's finest contribution to American culture in a given year might have been a rehash of a 56-year-old musical that wasn't even deep when it came out.
The Boy Friend is a spectacularly successful musical, a skillful piece of work bordering on delightful. It's also the least challenging thing a person can hope to stick on a stage, and its purpose is purely to entertain. Not that there's anything wrong with that. But the best theater should entertain an audience through ruthlessly questioning, challenging, and surprising them at the same time. This should be obvious, but it apparently needs to be said. If it didn't, those who produced Man of La Mancha for the 10 millionth time would not be looking at 10 possible Carbonell Awards this year — rather, they'd have been disqualified due to excessive conservatism. La Mancha dates from 1965 and has better music than The Boy Friend, but the two are emotionally and intellectually identical: shows that lazily tug your heartstrings while politely asking you to tap your foot.
And so it is that the three bravest and, after Animals & Plants, best shows of the year — 9 Parts of Desire, Thom Paine, and The Faith Healer — are underrepresented or ignored altogether. 9 Parts was a one-woman show in which Pilar Uribe played a slew of mostly tragic Iraqi women from across recent history; Thom Paine was a one-man show in which Todd Allen Durkin played a free-associating neurotic who, at one point, called an audience member a cunt; and The Faith Healer was an ensemble show about the way small compromises and bad faith can lead to the death of love. All three were difficult to watch. All three cost you something. And all three had the power to re-enfranchise their audiences as human beings, to explore the scary recesses of the human experience from which we all shy away in any other context.
These shows were rewarded thusly: Uribe got a nod for Best Actress, while Stephen G. Anthony and Ken Clement both received acting nominations for The Faith Healer. Thom Paine got nothing, even though Durkin's performance easily outstripped his work in Lieutenant. Meanwhile, conventionally dramatic Talk Radio is up for five awards, a good production of the now-overdone Glengarry Glen Ross is up for four, and a superficial dialectic on race relations called A House with No Walls is up for three.
When the region's theater people get together, conversation inevitably turns to questions such as: How to fill the seats? How to bring in new people? Most important, how to let people know that exciting, challenging work is being done right here, in our own back yards? It's complicated, but when it's all figured out, you can bet that few companies will be rewarded for playing it safe. They tried that in Coconut Grove, and now the playhouse there is full of cobwebs. If South Florida theater succeeds and grows, it will be because the establishment finally decided to have faith in its audience, and to embrace its rebels and dissenters. Post-Carbonell ceremony headlines are poised to declare, "La Mancha Wins Big!" Is that really what we want?











Mr. Brandon Thorpe:
Let me start by saying it's always a cerebral treat to read your columns. Thank you for being the only journalist and art activist/lover/supporter in Florida to have the loins to speak truthfully and passionately about the South Florida theatre community. You're right? The materials presented in this community are antiquated and slighted. MadCat, Ground Up and Rising (truly under recognized), Gable Stage (You gotta love that Joe Fella), and The Alliance (another truly under recognized group) are the ONLY companies who produce works that truly delve into the gut and soul of the human experience.
I have been so bored and uninterested by the lame and shallow works that have been celebrated in this city. My husband and I are very generous supporters of the arts and since implanting into South Florida seven years ago we have purposely avoided seeing theatre in this town up until mid-year of 2007.
The most recent shows we had the pleasure of experiencing was MadCat's “Animals and Plants” and Ground Up and Rising "The Basic Training of Pavlo Hummel". Simply fascinating and brilliant work! Why aren't these companies celebrated by the esteemed and faux authority Carbonell organization?
I apologize if I sound disgruntle, but it is truly irritated to see how lop side the performing art scene truly is. I hope that others will be as bold as you. If the theatre scene is to survive in this town, change has to be in the horizon and it’s my belief that those smashing theatre companies I mentioned above are the true voices and pioneers for this community.
Comment by Donna — April 4, 2008 @ 12:07PM
The Alliance productions of Burn This and Danny and The Deep Blue Sea were the best productions in South Florida this year or last, period. Still the night I saw Danny the audience consisted of about ten people. The problem with South Florida theatre is greater than who is left out come Carbonell time. Small theatre companies like The Alliance or Ground Up need to be supported or we are going to lose them. I go to theatre all over the United State and I have never seen a community so unappreciated. I don't know how small theatres survive when audiences can't recognize the good work they do. Ground Up had a wonderful production An Indian Wants the Bronx last year and again the audience at their MDCC location consisted of six to seven people. Please keep being a champion for these small companies. If theatre is a reflection of the communities in which it exists then we can look forward to more productions of the Boyfriend or dare I say CYRANO.
Comment by Gert — April 7, 2008 @ 10:12AM
I think you people need to lighten up. These theatres produce shows that the masses (meaning retired seniors!?!?) will come to see. Get with it. This ain't NY and some artsy fartsy new age experimental theatre market.
Get off your high horse!
Comment by Creed — April 7, 2008 @ 01:52PM
Creed you obviously have never been to a theater in South Florida or anywhere els for that matter. The theater that is being done down here rivals anything that is being done in NY or Chicago. You just need to know where to go. None of the theaters mentioned by Brandon, Donna or Gert can be called experimental or mainstream. (I wonder if you truly know what an experimental theater is.) They are simply great story tellers. As for you comment about the age of theatergoers it must be noted that, theater audiences are not gray haired old ladies anymore. There are tons of young people who recognize that theater is an exciting and vital art form. Just go to Madcat sometime. Some theaters do have a tough time attracting an audience. But with time and education maybe they can start cultivating a theater going public here in South Florida. (You Creed, may be a lost cause.) The fact that people in South Florida are not going to these smaller theaters is a crime and the reality that the Carbonells do not award the theaters who put on the best work can be debated. Sometimes they get it right and sometimes they leave out great shows that deserve to be acknowledged. (Burn This was a truly great piece of theater). These artist are producing real soulful art that needs to be at least, seen if not rewarded. So Creed, go out and see some of these theatres' work; it is always a good idea to know what your talking about before you submit a comment.
Comment by John — April 7, 2008 @ 02:45PM
I am very familiar with South Florida theatre. I am from New York and have been to many avante garde shows in the city. I have had the privilege of being in the audience for Unrinetown, Man of La Mancha AND The Boyfriend and all were superbly done and sold out because they APPEALED to the masses.
Comment by Creed — April 7, 2008 @ 03:00PM
CREED why not sign your real name? If you really have the theatre experience you say you have you don't need to hide behind some fake name. Man your ego must really be out of control. Most people just comment and move on or don't comment at all. You give yourself away by checking back to see if anyone has commented on what you have to say.
Comment by Nancy Howard — April 7, 2008 @ 03:29PM
Can it be that once again I have had cause to chuckle and to ponder after reading one of Brandon Thorp's columns. Love this guy! I was fortunate enough to see Animals and Plants and found it to be absolutly top notch! Months later I still recall scenes from that wonderful play. That does not often happen weeks after seeing a play never mind months. While I enjoy a musical, a comedy, all sorts of theater, I do believe that theater that forces you to think outside of your comfortable box seat is the best.
And Creed, what is your story, how old are you, why do you think that young folk aren't interested in theater and what's your real name......silly bastard!
Comment by Charlie — April 8, 2008 @ 04:51AM