I think the winner of the 1997 Tony for Best Revival of a Musical deserves better.
In terms of eloquence, skill of construction and wit of imagery, the choreography for "9 to 5" (surpassing not just that of "Hair" and "Guys and Dolls" but also that of other new musicals I've seen in the past year, from "Shrek the Musical" to "Fela! A New Musical") deserves recognition.
Sir Andrew might have asked himself: Does this musical deserve to be produced?
If it sounds like a rave review, it's because Legally Blonde: The Musical deserves it.
"Side Show" probably isn't fated to be a blockbuster any more than Daisy and Violet were meant to be mainstream superstars, but the musical deserves a longer life.
Revivals belong in regional theater; new musicals deserve their places on Broadway.
Jack Hofsiss, the director; John McDaniel, the music director; and Joey McKneely, who did the musical staging, deserve applause.
Above all, its musical achievements deserve the most praise: whether during the early years, between 1955 and 1989 under Herbert von Karajan or now, the Berlin Philharmonic was and is above all a superlative orchestra and should be hailed as such.
Perhaps you think Mozart, Mahler or some other musical genius deserves an "awareness month" and our undying devotion.
Surely, Bob Dylan, Nirvana, The Beatles, Jimi Hendrix, Miles Davis, Joni Mitchell, The Rolling Stones, and other musical icons deserve this treatment as well.
So 2008's fortieth anniversary of Creedence Clearwater Revival's post-Golliwogs, musical rebirth deserves much celebration in the land.
