Tony nominee Santino Fontana delivers "one of the best musical performances ever seen on a musical stage" (Rolling Stone) in the show critics are calling "Broadway's funniest new musical!" (New York Post). This New York Times Critic's Pick tells the story of Michael Dorsey, an out-of-work actor willing to do anything for a job -- even if it means playing way against type. When he disguises himself as an outspoken actress named Dorothy Michaels, he defies all odds to become a Broadway sensation. But as audiences fall for Dorothy and Michael starts to fall for the woman of his dreams, he's learning that the hardest part of show business isn't getting to the top... it's keeping up the act.
Winner of the New York Drama Critics’ Circle Award for Best Musical, Tootsie has received 11 Tony Award nominations including Best Score (David Yazbek), Best Book (Robert Horn), Best Choreography (Denis Jones), Best Direction (Scott Ellis) and Best Musical. It's "a fresh, funny, madly entertaining riot" (The Hollywood Reporter) loaded with "bushels of exceptional talent" (New York Magazine). Don't miss "the winner Broadway has been waiting for!" (The Washington Post).
Is this a potential addition to the list of classic Broadway musicals? No; but Tootsie is fast and funny. Very funny, with a rapid stream of jokes and gags and some of the most mirthful choreography since those Mormon boys went to Uganda. Plus, it's got no fewer than five skillful comedy performances. After months in the mirthless Broadway musical desert, let's be appreciative of the evening's accomplishments.
Robert Horn (book) and Tony-winner David Yazbek (score) have a high old time poking fun at theatrical rituals - the mortifying auditions, the grueling rehearsals, the agonizing openings, the backstage heartbreak - in this affectionate sendup of a Broadway musical (replacing the movie's soap opera setting) and its uniquely unlikely star. Director Scott Ellis leaves nothing and no one unscathed in staging this satire of a Broadway-bound musical called 'Juliet's Nurse.' From the gaudy Renaissance costumes (by William Ivey Long) to the over-the-top choreography (from Denis Jones), the creatives nail it.
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