The Tony voters didn’t split Matthew Warchus’ chances two years ago when, nommed for “The Norman Conquests” and “God of Carnage,” he took home the helmer prize for the latter. Warchus has just one entry this season, “La Bete.” If any director is to repeat Warchus’ double-nom success in 2011, it’s probably Daniel Sullivan, who directed “Good People” and “The Merchant of Venice.”
And there are other overachievers.
Alex Timbers made his Broadway helmer and book-writer debut in October with “Bloody Bloody Andrew Jackson,” and followed it one month later with his sophomore effort, “The Pee-wee Herman Show.”
Brian Bedford pulled off an Ellis Rabb, directing and starring in “The Importance of Being Earnest.”
Multi-credits for designers, of course, are much more the norm. But at least two creatives worked round the clock: Set designer Scott Pask got in four shows, including “The Book of Mormon,” and Catherine Zuber did the costumes for five, including the “Born Yesterday” revival.
Producer Scott Rudin, despite his four shows, is in competish with himself only in the new play slot, thanks to “Jerusalem” and “The Motherfucker With the Hat.” Otherwise, he has spread it around, opening a new musical, “The Book of Mormon,” as well as a play revival, “The House of Blue Leaves.”
Sonia Friedman wears her producer hat for five shows, joining Rudin on “Jerusalem,” “House” and “Mormon” — plus two revivals, “La Bete” and “Arcadia.”
Too bad there aren’t separate thesp categories for comedy and drama. Since there aren’t, Mark Rylance could very well hog two slots for male lead in a play, wowing auds and crix in “La Bete” and “Jerusalem.”