The 71st Annual Tony Awards were just held, and there's so much to talk about. First things first, I overall got 17 out of 24 predictions correct. The ones I got wrong were…
Best Scenic Design of a Play: While almost everyone was predicting The Play That Goes Wrong, I had my doubts about it because this was the only nomination it received. I guess there must've been some weak competition because for the first time since 2003, a sole nominee ended up winning (the last was Michele Pawk winning Featured Actress in a Play for Hollywood Arms).
Best Featured Actor in a Play: While many people predicted Danny DeVito to win for The Price, I personally didn't due to the fact that he was the only nomination that play received. I actually had Michael Aronov predicted to win for Oslo all season long, but ended up switching to John Douglas Thompson at the last minute because if Jitney was winning Best Revival of a Play (which it did), I figured it would have a chance of winning more awards than that. Then I was very mad at myself when Scarlett Johansson announced Aronov as the winner.
Best Book of a Musical: I really thought this was going to be the best place to award Come From Away because of all the research Irene Sankoff & David Hein had to do, then condense it all into a 100-minute one act musical. I guess Steven Levenson's visibility factor from this past season must've really helped him a lot with not only Dear Evan Hansen, but also his new play, If I Forget recently staged off-Broadway.
Best Orchestrations: I thought this race was between Larry Hochman for Hello, Dolly! and Dave Malloy for The Great Comet. I ended up predicting Malloy to win not only because it would've been the best place to award him, but also because nearly every performer on stage in that show plays their own instruments to augment the orchestra. As of now, Alex Lacamoire (In the Heights, Hamilton, Dear Evan Hansen) has never lost a Tony race. It should be interesting to see what the results will look like in the future because only a peer group of Tony voters who are more familiar with orchestrations will be voting in this category starting next year.
Best Direction of a Play: With Oslo and Jitney being the frontrunners in their respective categories, I figured either Bartlett Sher or Ruben Santiago-Hudson would go along for the ride. It was because of the very little love Indecent received in nominations, I had Rebecca Taichman all the way down in fifth place. After she won, I started to wonder if Indecent was going to win Best Play (which it didn't).
Best Direction of a Musical: I really thought Rachel Chavkin had a great shot of winning here for The Great Comet. Though I assumed her alternative would be Michael Greif, who has now helmed two Best Musical winners (Rent and Dear Evan Hansen) without even winning Best Direction of a Musical. Christopher Ashley earning the only win for Come From Away was not only the biggest surprise of the night to me, but I also wondered if it still had a chance of prevailing for Best Musical in the end (which it didn't). It also means that Jimmy Buffett's upcoming jukebox musical, Escape to Margaritaville is going to have a little more cachet coming into next season as it's now helmed by a Tony-winning director.
Best Choreography: I was under the notion that since Come From Away, Groundhog Day, and The Great Comet were Best Musical nominees, they would be more out front to win in this category. Not only have I underestimated Andy Blankenbuehler (In the Heights, Hamilton) for the second year in a row, but he even managed to win for another show (Bandstand) that received very little love in nominations.
As for the ceremony itself, I thought Kevin Spacey did a very good job as host. I liked how his opening number was making fun of the fact that the producers of the telecast were struggling to find a host as well as his impersonations of Johnny Carson and Bill Clinton. I also thought the bit at the end with Lin-Manuel Miranda receiving the (right) Best Musical envelope from Frank Underwood was very clever. While I'm already excited to see Stephen Colbert host this year's Emmys, his presentation of Best Musical Revival had me thinking one thing: He should host next year's Tonys! Not only does he have a hit late night show on CBS where he champions Broadway, but he also works about 8 minutes from Radio City Music Hall.
I also thought this year was the best way the producers were able to highlight the Best Play nominees. Since musicals are usually the ones that perform, plays haven't really performed in recent years given how difficult it is to present a scene out-of-context. I think for now on, the nominated playwrights should be introduced with a clip reel about their writing process, then come out on stage to discuss their nominated work.
While this year's ratings were 31% down from last year, it really is no surprise since there was no Hamilton-esque juggernaut. Though I kind of thought there would be more interest than that not only because of Spacey, but also because of A-List nominees like Josh Groban and Bette Midler (though I guess the more people tuning in for her, the more disappointed they'd be that she didn't perform). It just goes to show how much the Tonys can be hit-or-miss when it comes to the ratings.
As one Broadway season ends, another has already begun. Be sure to keep on following me throughout the 2017-18 season.
Best Scenic Design of a Play: While almost everyone was predicting The Play That Goes Wrong, I had my doubts about it because this was the only nomination it received. I guess there must've been some weak competition because for the first time since 2003, a sole nominee ended up winning (the last was Michele Pawk winning Featured Actress in a Play for Hollywood Arms).
Best Featured Actor in a Play: While many people predicted Danny DeVito to win for The Price, I personally didn't due to the fact that he was the only nomination that play received. I actually had Michael Aronov predicted to win for Oslo all season long, but ended up switching to John Douglas Thompson at the last minute because if Jitney was winning Best Revival of a Play (which it did), I figured it would have a chance of winning more awards than that. Then I was very mad at myself when Scarlett Johansson announced Aronov as the winner.
Best Book of a Musical: I really thought this was going to be the best place to award Come From Away because of all the research Irene Sankoff & David Hein had to do, then condense it all into a 100-minute one act musical. I guess Steven Levenson's visibility factor from this past season must've really helped him a lot with not only Dear Evan Hansen, but also his new play, If I Forget recently staged off-Broadway.
Best Orchestrations: I thought this race was between Larry Hochman for Hello, Dolly! and Dave Malloy for The Great Comet. I ended up predicting Malloy to win not only because it would've been the best place to award him, but also because nearly every performer on stage in that show plays their own instruments to augment the orchestra. As of now, Alex Lacamoire (In the Heights, Hamilton, Dear Evan Hansen) has never lost a Tony race. It should be interesting to see what the results will look like in the future because only a peer group of Tony voters who are more familiar with orchestrations will be voting in this category starting next year.
Best Direction of a Play: With Oslo and Jitney being the frontrunners in their respective categories, I figured either Bartlett Sher or Ruben Santiago-Hudson would go along for the ride. It was because of the very little love Indecent received in nominations, I had Rebecca Taichman all the way down in fifth place. After she won, I started to wonder if Indecent was going to win Best Play (which it didn't).
Best Direction of a Musical: I really thought Rachel Chavkin had a great shot of winning here for The Great Comet. Though I assumed her alternative would be Michael Greif, who has now helmed two Best Musical winners (Rent and Dear Evan Hansen) without even winning Best Direction of a Musical. Christopher Ashley earning the only win for Come From Away was not only the biggest surprise of the night to me, but I also wondered if it still had a chance of prevailing for Best Musical in the end (which it didn't). It also means that Jimmy Buffett's upcoming jukebox musical, Escape to Margaritaville is going to have a little more cachet coming into next season as it's now helmed by a Tony-winning director.
Best Choreography: I was under the notion that since Come From Away, Groundhog Day, and The Great Comet were Best Musical nominees, they would be more out front to win in this category. Not only have I underestimated Andy Blankenbuehler (In the Heights, Hamilton) for the second year in a row, but he even managed to win for another show (Bandstand) that received very little love in nominations.
As for the ceremony itself, I thought Kevin Spacey did a very good job as host. I liked how his opening number was making fun of the fact that the producers of the telecast were struggling to find a host as well as his impersonations of Johnny Carson and Bill Clinton. I also thought the bit at the end with Lin-Manuel Miranda receiving the (right) Best Musical envelope from Frank Underwood was very clever. While I'm already excited to see Stephen Colbert host this year's Emmys, his presentation of Best Musical Revival had me thinking one thing: He should host next year's Tonys! Not only does he have a hit late night show on CBS where he champions Broadway, but he also works about 8 minutes from Radio City Music Hall.
I also thought this year was the best way the producers were able to highlight the Best Play nominees. Since musicals are usually the ones that perform, plays haven't really performed in recent years given how difficult it is to present a scene out-of-context. I think for now on, the nominated playwrights should be introduced with a clip reel about their writing process, then come out on stage to discuss their nominated work.
While this year's ratings were 31% down from last year, it really is no surprise since there was no Hamilton-esque juggernaut. Though I kind of thought there would be more interest than that not only because of Spacey, but also because of A-List nominees like Josh Groban and Bette Midler (though I guess the more people tuning in for her, the more disappointed they'd be that she didn't perform). It just goes to show how much the Tonys can be hit-or-miss when it comes to the ratings.
As one Broadway season ends, another has already begun. Be sure to keep on following me throughout the 2017-18 season.