The 73rd Annual Tony Awards have just taken place, and there's so much to talk about. First things first, I overall got 20 out of 26 predictions correct. About three of the four play design categories really screwed me this year. Though there were four categories where I went against the choices that were ranked at number one in the odds at Gold Derby, two of them, I got right. While many people were predicting Warren Carlyle to win Best Choreography for Kiss Me, Kate, I instead predicted Sergio Trujillo because I felt that category was going to be Ain’t Too Proud’s best shot at a prize. Best Revival of a Play was such a toss-up this year, that even the New York Times voter poll suggested that. In the end, I predicted The Boys in the Band not only because of how it was leading that close race in the aforementioned survey, but this rooting factor behind it reminded me of the rooting factor behind Once on This Island (which pulled an upset for Best Revival of a Musical) last year.
As for the categories I got wrong, they were…
Best Costume Design of a Play: I predicted Ann Roth to win for Gary: A Sequel to Titus Andronicus given how showy those costumes appeared to be. Though I guess since that play only consists of three performers coupled with Roth’s additional nomination for To Kill a Mockingbird (which has a much larger cast) must’ve prevented Gary from winning here. While The Ferryman does have a large cast as well, it’s also a contemporary period piece, so I thought it seemed too vulnerable to win costume design. Of course, I had to be proven wrong.
Best Scenic Design of a Musical: I predicted David Korins to win for Beetlejuice because given how much that show overperformed in nominations (receiving 8 overall, including Best Musical), I figured this category would’ve been the best place to have awarded it. Especially taking into account that the most scenery usually wins these prizes. Yet, when Rachel Hauck won for Hadestown, that was pretty much the beginning of a sweep for that show. Though in the end, Beetlejuice went home empty-handed.
Best Sound Design of a Play: I actually originally had Fitz Patton winning this for Choir Boy for two reasons. It was a play that utilized a great deal of music, and several of those have done well in this category before such as Peter & the Starcatcher, The Nance, and Lady Day at Emerson’s Bar & Grill. While Choir Boy had already completed its limited run at Manhattan Theatre Club back in March, I figured that since only a peer group can vote for the winners in these sound categories that it would have a chance to prevail here. Yet, I very stupidly switched to Nick Powell for The Ferryman at the last minute just because of how much I was taking into account that play’s potential haul.
Best Lighting Design of a Play: I actually originally had Neil Austin winning this for Ink. From the photos I’ve seen of that production, it looked like a Tony winner to me. Though once again, I very stupidly switched to Peter Mumford for The Ferryman at the last minute just because of how much I was taking into account that play’s potential haul.
Best Featured Actor in a Play: This category was another toss-up this year. I even originally had Bertie Carvel winning this for Ink early on before Roundabout Theatre Company’s revival of All My Sons opened. When it did, I ended up predicting Benjamin Walker to win because since that production appeared to have been a strong contender for Best Revival of a Play, I thought Tony voters would show their support for it here. Yet, All My Sons went home empty-handed while Bertie Carvel won instead. For those who were disappointed that Carvel didn’t win Lead Actor in a Musical for Matilda back in 2013 (even if it was a case of category fraud), they should at least be able to view this as a makeup win.
Best Featured Actress in a Musical: I predicted Amber Gray to win for Hadestown because she was the only nominee in this category who was not up against a co-star coupled with the fact that she was in the eventual Best Musical champion. I knew it was possible that Ali Stroker could win for Oklahoma!, but I wasn’t sure given that her co-star Mary Testa was also in contention, and she's a Broadway veteran taking on the classic supporting role of Aunt Eller. I thought that Testa was going to receive just as many votes, leading to a potential vote-split. Yet, Stroker’s narrative of becoming the first disabled performer to have ever received a Tony nomination must’ve really helped. Though I loved the standing ovation she received after she won.
As for the telecast itself, after having triumphantly hosted in 2016, James Corden returned for another round as emcee. I was a bit surprised by the mixed reviews he received this time around, because I thought he did much better than that. While I wouldn’t go as far to say that his stint this year lived up to the job he did in 2016, I still find him to be a very enjoyable awards host. His opening number definitely had a nice message about what makes live theater so special unlike movies, TV, and streaming (with no disrespect towards any of those mediums). I also thought James had a lot of fun bits with some of the nominees and presenters in the audience during the telecast. Oh, and his parody of the number, ‘Michael in the Bathroom’, from Be More Chill, PRICELESS!
Two years ago, the producers of the telecast seemed to have found a way to highlight the Best Play nominees by having each of the nominated playwrights appear on stage individually throughout the night to talk about their work. Though last year, it was thrown completely out the window. I was very happy to see that format return this year because I know how hard it can be to showcase the plays given how difficult it is to present scenes from them out-of-context. It’s obviously much easier to do that with musicals because then all you’re pretty much showcasing are the songs.
I don’t know if the producers of the telecast actually tried, but what a missed opportunity it was that the real Cher wasn’t a part of the performance from The Cher Show. While that probably would’ve made for a ratings ploy, it still would’ve been exciting to see. Carole King performed with the cast of Beautiful in 2014 and Gloria Estefan performed with the cast of On Your Feet! in 2016. They definitely could’ve had Cher herself introduce the performance, and then join the cast midway through. Given how low the ratings were for this year’s telecast, it seems clear that it probably would’ve benefitted from her presence.
As one Broadway season ends, another has already begun. So far on the musical side, there doesn’t appear to be that much excitement given that the three new musicals that have already been announced (Moulin Rouge!, Tina: The Tina Turner Musical, and Jagged Little Pill) are all jukebox shows. While I’m sure they should all start their Broadway runs doing pretty well at the box office, I’m not sure how those snobby Tony voters are going to respond to them. Though there is at least a revival of West Side Story (which will be directed by Ivo van Hove) in the works. Hopefully, more musical productions will be announced in the coming months. As for the plays, there does appear to be a couple of exciting performances coming in the fall, such as Marisa Tomei in The Rose Tattoo and Mary-Louise Parker in The Sound Inside. Though I’m already expecting Matthew Lopez’s recent Olivier Award-winning play, The Inheritance, to be the frontrunner for next year’s Tonys. Be sure to keep on following me throughout the 2019-20 season.
As for the categories I got wrong, they were…
Best Costume Design of a Play: I predicted Ann Roth to win for Gary: A Sequel to Titus Andronicus given how showy those costumes appeared to be. Though I guess since that play only consists of three performers coupled with Roth’s additional nomination for To Kill a Mockingbird (which has a much larger cast) must’ve prevented Gary from winning here. While The Ferryman does have a large cast as well, it’s also a contemporary period piece, so I thought it seemed too vulnerable to win costume design. Of course, I had to be proven wrong.
Best Scenic Design of a Musical: I predicted David Korins to win for Beetlejuice because given how much that show overperformed in nominations (receiving 8 overall, including Best Musical), I figured this category would’ve been the best place to have awarded it. Especially taking into account that the most scenery usually wins these prizes. Yet, when Rachel Hauck won for Hadestown, that was pretty much the beginning of a sweep for that show. Though in the end, Beetlejuice went home empty-handed.
Best Sound Design of a Play: I actually originally had Fitz Patton winning this for Choir Boy for two reasons. It was a play that utilized a great deal of music, and several of those have done well in this category before such as Peter & the Starcatcher, The Nance, and Lady Day at Emerson’s Bar & Grill. While Choir Boy had already completed its limited run at Manhattan Theatre Club back in March, I figured that since only a peer group can vote for the winners in these sound categories that it would have a chance to prevail here. Yet, I very stupidly switched to Nick Powell for The Ferryman at the last minute just because of how much I was taking into account that play’s potential haul.
Best Lighting Design of a Play: I actually originally had Neil Austin winning this for Ink. From the photos I’ve seen of that production, it looked like a Tony winner to me. Though once again, I very stupidly switched to Peter Mumford for The Ferryman at the last minute just because of how much I was taking into account that play’s potential haul.
Best Featured Actor in a Play: This category was another toss-up this year. I even originally had Bertie Carvel winning this for Ink early on before Roundabout Theatre Company’s revival of All My Sons opened. When it did, I ended up predicting Benjamin Walker to win because since that production appeared to have been a strong contender for Best Revival of a Play, I thought Tony voters would show their support for it here. Yet, All My Sons went home empty-handed while Bertie Carvel won instead. For those who were disappointed that Carvel didn’t win Lead Actor in a Musical for Matilda back in 2013 (even if it was a case of category fraud), they should at least be able to view this as a makeup win.
Best Featured Actress in a Musical: I predicted Amber Gray to win for Hadestown because she was the only nominee in this category who was not up against a co-star coupled with the fact that she was in the eventual Best Musical champion. I knew it was possible that Ali Stroker could win for Oklahoma!, but I wasn’t sure given that her co-star Mary Testa was also in contention, and she's a Broadway veteran taking on the classic supporting role of Aunt Eller. I thought that Testa was going to receive just as many votes, leading to a potential vote-split. Yet, Stroker’s narrative of becoming the first disabled performer to have ever received a Tony nomination must’ve really helped. Though I loved the standing ovation she received after she won.
As for the telecast itself, after having triumphantly hosted in 2016, James Corden returned for another round as emcee. I was a bit surprised by the mixed reviews he received this time around, because I thought he did much better than that. While I wouldn’t go as far to say that his stint this year lived up to the job he did in 2016, I still find him to be a very enjoyable awards host. His opening number definitely had a nice message about what makes live theater so special unlike movies, TV, and streaming (with no disrespect towards any of those mediums). I also thought James had a lot of fun bits with some of the nominees and presenters in the audience during the telecast. Oh, and his parody of the number, ‘Michael in the Bathroom’, from Be More Chill, PRICELESS!
Two years ago, the producers of the telecast seemed to have found a way to highlight the Best Play nominees by having each of the nominated playwrights appear on stage individually throughout the night to talk about their work. Though last year, it was thrown completely out the window. I was very happy to see that format return this year because I know how hard it can be to showcase the plays given how difficult it is to present scenes from them out-of-context. It’s obviously much easier to do that with musicals because then all you’re pretty much showcasing are the songs.
I don’t know if the producers of the telecast actually tried, but what a missed opportunity it was that the real Cher wasn’t a part of the performance from The Cher Show. While that probably would’ve made for a ratings ploy, it still would’ve been exciting to see. Carole King performed with the cast of Beautiful in 2014 and Gloria Estefan performed with the cast of On Your Feet! in 2016. They definitely could’ve had Cher herself introduce the performance, and then join the cast midway through. Given how low the ratings were for this year’s telecast, it seems clear that it probably would’ve benefitted from her presence.
As one Broadway season ends, another has already begun. So far on the musical side, there doesn’t appear to be that much excitement given that the three new musicals that have already been announced (Moulin Rouge!, Tina: The Tina Turner Musical, and Jagged Little Pill) are all jukebox shows. While I’m sure they should all start their Broadway runs doing pretty well at the box office, I’m not sure how those snobby Tony voters are going to respond to them. Though there is at least a revival of West Side Story (which will be directed by Ivo van Hove) in the works. Hopefully, more musical productions will be announced in the coming months. As for the plays, there does appear to be a couple of exciting performances coming in the fall, such as Marisa Tomei in The Rose Tattoo and Mary-Louise Parker in The Sound Inside. Though I’m already expecting Matthew Lopez’s recent Olivier Award-winning play, The Inheritance, to be the frontrunner for next year’s Tonys. Be sure to keep on following me throughout the 2019-20 season.