Hello, Dolly!

Watching, I thought about how there isn’t an actor today who has star quality that even approaches Ms. Streisand’s (or Judy Garland’s, or Julie Andrews’s, or Gene Kelly’s). I think it has to do with film being a photographic medium, with an emphasis on naturalism, restraint, and subtlety in performance—and not for no good reason. This emphasis has only increased as the medium has matured and method acting has become de rigeur. But with a musical, the audience is already being asked to suspend their disbelief quite a bit, which liberates the actors to lean into a more theatrical performance. I think musicals give triple threat performers the opportunity to really show off, like a basketball player doing a slam dunk. 

Which brings me to Tommy Tune, the Michael Jordan of Broadway. The way he moves, you can’t take your eyes off of him. Even when you try to take in the dozens of other tremendous talents on screen, you can’t help them from drifting back to Mr. Tune. I mean, come on, those legs—what a snack!