Every season needs a come-from-behind success, and this year’s crown goes to “Bridge and Tunnel.” Although writer-performer Sarah Jones lacks star power and tackles heavy topics like race relations, her one-woman show has enjoyed a fast recoup and a six-month extension, to July 9.
This year, the Tony administration committee nixed its theatrical-event category and voted “Bridge and Tunnel” a special Tony.
Better than an award, producer Michael Alden loves the tourists at the ticket counter. “We knew we would be a word of mouth show in New York, but we didn’t realize that everyone was talking that loudly,” he says.
No doubt the folks at “Well” wanted some of that talk for themselves. Like “B&T,” Lisa Kron’s metatheatrical drama transferred from a sold-out downtown run and was slathered with critical praise. But small auds kept it a dark horse, and the play closed after 53 perfs and 23 previews.
Which brings us to “The Drowsy Chaperone.” Created by Canadians as a bachelor-party skit, this self-referential tuner got glowing notices after doing so-so box office in previews. The show is unlikely to falter now, but if it should, the producers can always draft Sarah Jones to play five or six roles after July 9.