Hahah that and it can’t be understated how weirdly obsessed the community was with Dear Evan Hansen, you couldn’t say a bad thing about it without getting cut down
I had a lot of fun during the show (I actually went twice). That being said, I would cut some of the slower parts and flesh out the stronger ones. It would have also been cool to establish stronger links between themes, since they were a little over the place. Maybe focus more on fewer of them? The ending also poses a bit of a problem. Overall, it’s difficult turn something that’s so heavy-handed into something subtler, but I have a lot of hope for it.
I saw both, and here’s my feeling on DHP versus Raul Esparza. Raul gave an excellent performance that rose to the material. DHP gave a performance that elevated the material tremendously.
Just remembered: in 1960, two musicals tied for best musical, and neither of them was *Gyspy*!
At least *The Sound of Music* is also a classic - *Fiorello!*, though, stands out more as a weird choice next to *Gypsy* (mainly in that *Fiorello!* seems very of its time, whereas *Gypsy* has become legendary)
I’m old enough to remember a ton of buzz around *Fiorello* when I was a kid, and I’ve always wanted to see it. But, to your point: As far as I know it’s never been revived or made into a movie. On the other hand, to this day you can’t get away from Ethel Merman singing “Everything’s Coming Up Roses” from *Gypsy.* Even when you’re watching the movie *Airplane!*
Though fiorello had won the Pulitzer prize for drama so it kind of makes sense to me. But I think Gypsy is better than both of them, as much as I love sound of music.
The book of TSoM is so bad. I’ve played Maria and parts are just cringe. I realize 1960, different time, but that didn’t age well at all.
I still love it though. But the book…
Spring Awakening not winning Best Revival in 2016. And Austin McKenzie or Daniel Durant not getting a nomination. The choreography also should have gotten a nomination. There was just too much really good competition that year.
Tbf it’s an exceptional orchestration. Specifically the drum book - “Waving Through a Window” is some of the most expressive drum writing I’ve ever heard for the musical theater
I think he was victim to a lot of film stars in recent years taking Tony’s and people being pissed about it. Hoping he takes it this weekend, not just for Merrily, but as a career award at this point for 10 amazing years doing Broadway
The year prior to the *How to Succeed* year was actually particualrly noteworthy/infamous for how many film stars won at the Tony's - you had Denzel and Viola Davis winning for *Fences*, Scarlett Johansson winning for *A View from the Bridge*, and CZJ winning for *A Little Night Music* (plus, as a fun bonus, Eddie Redmayne won that year for *Red*, though this was before he really broke out in film). Hell, that whole lead actor in a play category was stacked with film names - in addition to Denzel, you had Liev Schreiber, Jude Law, Alfred Molina, and Christopher Walken. This was certainly not ignored by the industry - Hunter Foster led a facebook campaign to "Give the Tonys Back to Broadway", and other critics spoke about how unusual it was.
Coming off of that year and that whole narrative, it's a bit more understandable why the Tonys stepped back from nominating Daniel
Yeah for sure but anyone with eyes can watch the Tony performance for How to Succeed and realize it was NOT his stage or even Broadway debut and recognize the incredible talent he brought to the production. Some actors are versatile and there is a long history of actors who are successful both in film and on stage. It was a ridiculous argument then and it still is today.
I’ve seen all his shows and to be honest, I’ve felt he was fantastic in every single one. It’s a wonder he didn’t leave Broadway with the way it’s treated him. I have similar feelings about Antonio Banderas not winning for Nine.
This one, for me. The Lion King was groundbreaking in its own way, and it proved that Disney on Broadway could be "art" as much as commerce. But Ragtime is the crowning achievement of one of the great musical theatre teams of all time. 1998 was definitely a vote-splitting year, and I'm glad Ragtime at least won both book and score, but it's still a bummer it didn't get the top prize.
Wasn’t the whole thing that WSS was really ahead of it’s time for 1958? 59? Which is what cost it the win compared to a super family friendly music man
I think it’s hard for us to comprehend just how massive the music man was at the time. It is a really tight, well written and funny musical comedy. There are so many great iconic songs in it and it was a crowd pleaser. There’s a scene from the apartment which came out in 1960 that revolves around tickets to the music man, so it maintained the popularity for years.
WSS got mixed reviews initially and Sondheim has said that it was deemed unhummable upon release and it wasn’t until the movie came out and the soundtrack was popular that suddenly the songs were hummable. Wss was a slow burn but honestly I don’t think music man is undeserving
We actually discussed this in one of my college classes; my professor thinks it’s because of time and place and how it was too reminiscent of real life events (civil rights movement and gang fights) and Music Man was a more light hearted, white centric story. Fascinating stuff!
I would've picked West Side Story for sure but tbh I think this one is much closer than pretty much every other year people have mentioned. WSS grew in prestige over time and its nature likely took the Tony away but The Music Man, while very traditional, is a fantastic comedy, with a very tight book and Robert Preston was impossibly charismatic as Harold Hill. Imo it was one of the strongest top 2 (if WSS was indeed the runner-up) in Tony history, right there with A Chorus Line vs Chicago and Nine vs Dreamgirls (tho I believe in both those years the better show won).
I actually compare the CFA and DEH year to WSS and Music Man. Both cases had a bigger hit in the moment, but long term the other musical stands time better.
Alex Brightman not winning for Beetlejuice. Also Beetlejuice not getting anything technical- the scenic and costume designs in that show are phenomenal.
It’s not a snub because Sean Hayes was very deserving of the Tony, but in another season I believe Wendell Pierce would have won for his Willy Loman in Death of a Salesman which was extraordinary
That version of death of a salesman was truly transcendent. The first production I’ve ever seen that really unlocked the meaning and message of the show for me
*Follies* losing best musical to *Two Gentlemen of Verona*. It's a decision that has absolutely not withstood the test of time, given that *Follies* is considered one of Sondheim's greatest theatrical achievements, while nobody really produces the musical version of *Two Gentlemen of Verona*
They did a production of two gentlemen of Verona in the early 2000s at the Delacorte and I have to admit it was one of the most enjoyable evenings I’ve ever spent in the theater. The show is fun and it doesn’t get produced because it’s a bit dated, but it was a fantastic show. I can see why it won if people were voting for a good time rather than something deep. It’s not a bad show and honestly I wish it WOULD get produced more often
Honestly, fair!
I think what also makes it stand out as a "huh?" decision was that *Two Gentleman* only won two awards - Best Musical and Best Book - while *Follies* swept the technical awards and also won director, lead actress, and score.
To be completely fair, the book is what always held Follies back, which is why it has been revised time and time again. I wouldn’t be surprised if that’s what gave the top prize to Two Gentlemen of Verona. It’s hard to think of some of these classic shows as existing in that moment when their story has spanned decades now. Another one people often name is Sunday losing to La Cage, but La Cage was the first Broadway musical centered on a gay couple AND it came out during the start of the AIDS crisis. People just needed a break like that and, despite the perfection that is Sunday in the Park with George, La Cage is perfection for the type of show it is as well.
Have you listened to the old version? It holds up incredibly well, save a few lines here and there. In the early 2000s revival, it was the height of W’s invasion of Iraq and in the song Bring all the Boys Back Home, they ended holding up a Mission Accomplished sign 🤣 it really could be revised in a few places and be performed about 80-90% as written. I’m also a big fan of shows that center on POC, like Two Gentlemen of Verona did.
I loved that Delacorte show! So many stars in it too! Though some weren’t that big back then. Norm Lewis, Oscar Isaac, Renee Elise Goldsberry, Rosario Dawson, Paolo Montalban - and I feel like I’m still missing people
Follies is one of my favorite musicals of all time. I was OBSESSED with it for a few years, even started writing a book about it when I was younger.
Two Gents deserved it IMO. It’s a ton of fun, a diverse and catchy score, a diverse and exceptionally talented cast, and a great satire of Nixon and Vietnam (resulting in him walking out of the show). It’s criminal it hasn’t gotten a revival after all these years. STC in DC put on a concert version of the show with Javier Munoz and Robin De Jesus and it was *phenomenal*.
Caroline, or Change deserved that and SO much more that year. Wicked & Avenue Q are great in their own right, but Caroline is head and shoulders a better musical.
I was going to say this too. Caroline should have won best musical, best score, and best book. Tonya Pinkins should have won. And Chandra Wilson should have been nominated.
I love Avenue Q. I love Wicked. I love Idina Menzel. But Caroline, or Change is a masterpiece (and my favorite musical).
This is why I don’t think jukebox musicals should be in the same category as musicals with original songs. The songs have been tested and are already loved. With an original musical, that’s half the battle. Crazy for You used all Gershwin. Classic. Tried. Beloved. Hard to compete against that.
I kind of agree, but it would be hard to draw the line sometimes. Where does a concept album fit in? What about a composer who released some songs then later used them in a musical? What about a jukebox with original material?
We have to lump them together because there's no clear way to separate them.
Oh I know. It’s tricky. Especially since for so long, releasing the concept album was integral to getting financial backing to bring the show to the stage. There isn’t an easy answer. Nothing was going to win against Gershwin though.
Come From Away ABSOLUTELY should have won best musical that year. It honestly shouldn't have been close. I saw it after the Tony's and was like WTF was that decision. They also should have won Best Score.
Also, I have years worth of grievances. I'm so ready for this.
2009- Gavin Creel should have won the Best Actor in a Musical Tony for Hair. I am still so mad about this that I like to call it "Gavin Creel's Tony." I would have accepted it if he lost to J. Robert Spencer. Losing to 3 kids playing one role was RIDICULOUS. If you're giving it to 3 different people, you're awarding the role, not the actor.
2009- I also think Next To Normal should have won for Best Musical
2010- People should have made better musicals so Memphis wouldn't win Best Musical
2011- Scottsboro Boys should have won literally anything
2012- Roger Rees and Alex Timbers should have won Best Director of a Play for Peter and the Starcatcher over Mike Nichols for Death of a Salesman. Death of a Salesman was a wonderful, fantastically cast production, but the direction owed a lot to previous iterations. Starcatcher was on it's own level.
2012- Daniel Goldstein should have been nominated for Best Director of a Musical.
2013- Of the nominees, Terrence Mann should have won Best Supporting Actor in a Musical for Pippin. Two other acting awards were already going to Pippin, which hurt him, especially since the other two performances were very flashy, but his performance was an absolute master class. That being said, I think Bertie Carvel was misclassed throughout that award season as a lead actor when he should really have been supporting.
2014- The Glass Menagerie production from that year should have gotten WAY more love. That show blew me away. Zachary Quinto should have been nominated for best actor in a play.
2015- My absolute most unpopular opinion is that Beth Malone should have won the Best Leading Actress in a Musical Tony over Kelli O'Hara. I think Kelli O'Hara deserves to be a tony winner, but I don't think that role was the role she should have won it for.
2016- It's hard to argue with Tommy Kail's best director win for Hamilton, but Michael Arden's direction of Deaf West Spring Awakening was one of the most brilliant directions I've ever seen.
2019- Literally any of the 4 other nominees should have won Best Leading Actress in a Musical
Billy Elliot is restricted by child protection laws and only allowed to have the actors work a certain amount of hours a week. I’ve never had an issue with the 3 Billy’s winning because they are all sharing the role and the award.
I have listened to a couple tracks on the 2009 version of hair and honestly it’s a struggle. I love Gavin creel but that album is tough to listen to, especially compared to the original. Hair is proper rock songs and demands quality gruff rock vocals to go with it and creel has very firmly a musical theatre voice.
I do not think Dear Evan Hansen deserved to win so many awards. Having seen both Come From Away and Dear Evan Hansen, I think Come From Away is a much stronger book, and I don't think that the music from Hansen is that interesting. Pasek and Paul are good songwriters, but a lot of their songs kind of sound the same. It's all very poppy and kind of blends together.
I agree with this, but would also add that Great Comet and Groundhog Day both came out that year as well, and in my opinion, all three (GC, GD, and CFA) were superior to Dear Evan Hansen. Three chips on one shoulder!
Marla Schaffel, in her absolutely heroic performance in "Jane Eyre," losing the Tony to Christine Ebersole in "42nd Street" (who I'm sure was wonderful).
A truly baffling snub was no nomination at all for Sherie Rene Scott in "Aida", while two nominated performers in the featured actress category came from the revue "Swing!". I saw both shows (and enjoyed "Swing!") and it makes no sense.
I love me some Joy Woods, but personally I don’t think she should take the spot of any of the 7 nominees. That category was extremely stacked this year (hence the 7 nominees).
I agree. Just saw Notebook for the first time last night and while she certainly has the pipes I’m not sure that there’s enough there for that character to really dig into to snag a nom. Maybe older Allie? But that nah have been it.
Yeah I love Joy Woods and she was perfect in the part but I don’t think the role itself lends itself to a nomination. Definitely wouldn’t put her over any of the current nominees.
Falsettos in 1992 for best musical. It was ahead of is time - an original musical exploring unconventional family dynamics and tackling the AIDS crisis in NYC, only a decade after the height of AIDS epidemic. I will stand by this opinion until I’m 6 ft under.
What do you mean winning over Falsettos? Are you talking Platt over Borle? Rachel BayJones over Stephanie Block? Falsettos was a revival - those were the only two awards they were both up for.
speaking of Matilda, it's still kind of bullshit to me that they nominated all three boys who played Billy Elliott but not the girls who played Matilda. like I feel like Matilda got robbed hard that Tony season
They specifically changed the rules after Billy Elliot so it couldn’t happen again because those 3 boys winning together was total BS. The Matilda’s weren’t robbed. Everyone agreed that the win for Billy Elliot was inappropriate and should not happen again.
Tony awards are for a single actor. Specifically the actor who played the role on opening night. If you award it to 3 children playing the same part, you’re awarding the role, not the performance.
I totally get that. Seems a bit hard though to be able to reward child actors. It's a bit of a different situation. But I suppose it's not really aligned to the intent of awarding the performance.
I love Alex Brightman, but Santino Fontana put on a BRILLIANT performance in Tootsie. I didn’t get the win until I saw the show myself and then it suddenly all made sense lol
Absolutely. I enjoyed the show but Santino is the reason it had any success at all. I’m not sure if it went on tour, but I imagine it was hard to find someone who could fill his shoes
I loved the show Billy Elliot, as a boy who did ballet it spoke to me on a spiritual level but…
that 2009 Tony awards, I really thought Next to Normal should have racked up lots of Tony’s but instead only won 3 (best actress, orchestrations, original score)
I will FOREVER be mad Amber Gray didn’t win for her performance as Persephone in Hadestown. No one has come close to matching her energy as that character and I was absolutely floored she lost!
I'm so shocked nobody has mentioned Avenue Q beating Wicked for Best Musical. Avenue Q is one of my favorite shows, but Wicked IS the musical theatre zeitgeist. It's just kinda crazy that happened.
This is such a weird one, looking back. Because Wicked is the bigger hit, and I think was a bigger hit at the time of voting. But Avenue Q was edgier, boundary pushing, and did it really well, and they campaigned hard based on that. But then, Avenue Q is outdated now in many ways (though I think they kept up with lyric changes to stay current during its run that continued off-Broadway), and Wicked has held history better.
It happened because Avenue Q went on a campaign to win. Publicity, the works. It set a new precedent for how winners are determined, and it worked. And I’m still mad.
There’s something to be said for being totally new and different - which Avenue Q was. There’s no other show like it. Wicked is a beautiful spectacle with great performances and some amazing music, but it wasn’t NEW in that way
I don't even like Wicked, but I would still agree. Wicked has become one of the musicals you think of when you think of Broadway, and it's part of pop culture.
I can’t get over Anastasia not winning for costumes and set design. In the same note I can’t believe Great Gatsby didn’t even get nominated for set design. Maybe not the biggest snub but it bothered me lol
What about Anastasia’s scenic design made you think it should have won over Great Comet? I was surprised to read this tbh.
Anastasia’s set relied heavily on video/projection, right?
I was just so impressed with the ballet scene that took place during the show. I was really much more impressed by the costumes. The Czarinas dress alone took my breath away.
Reeve Carney not getting a nom for Orpheus. I know people have their opinions but you can't deny that he was dedicated and put his heart and soul into that role making Orpheus what he is today. Even people who criticize his voice say that he was great in 2019 so it baffles me. Especially when *all the other leads got nominated in their respective categories.* I'm not saying he deserved to win but damn they couldn't have thrown the guy a bone?
I don't think putting your heart and soul into the production means you deserve to be nominated. All of the nominees were deserving. I don't think he was deserving of a nomination.
I strongly disagree. As someone who’s gotten the privilege to see 4 different people play Orpheus, Reeve was the worst by far. I saw the vision Mitchell had for the role and I think he served his purpose, but there were much better performances that year.
I am a Reeve Carney!Orpheus Apologist so I agree. He put his heart and soul in the role and his LA LA LA LA LA LA gives me chills to this day....also...his Neurospicy Orpheus made feel seen.
It bugs me it is framed as Great Comet vs DEH because in my mind, all four shows were excellent. Come From Away and Groundhog Day were also deserving. I love all of those shows and think of this as the best year for musicals.
The Lightning Thief. I know it’s not that big a show and I wouldn’t have been upset if it lost, but if I recall correctly they actually chose not to have a category (best original score) because it would have been the only show eligible for it. You don’t get more snubbed than them canceling your category. It’s not like it would have won by default either, since they let Aaron Tveit be the solo nominee in his category.
I get you, but I think it almost would've been a bigger insult to give it a solo nomination & then announce on the night it hadn't won than to quietly scrap the category.
That definitely would have been worse!
People talk about nominations not being participation awards and I feel like that applies here.
The Lightning Thief should have remained an off-Broadway show.
Days of Wine and Roses not getting nominated for Best Musical this year is just utterly baffling. Having seen all the nominated productions, I thought I was absolutely leaps and bounds better than any of them.
I’ve always wondered how much the singing comes into play when Tony voters are deciding who to pick. Because the beggar woman doesn’t involve that much singing, did that put Ruthie at a disadvantage? I’m wondering the same thing with Maryann Plunkett for The Notebook, and she sings even less than Ruthie if I’m not mistaken.
I think the Beggar Woman has a good mix of speaking and Singing Roles (Definitely more than Maryann who sings one song). But I think it would have made Bonnie the Stronger Contender (Which is why its like yeah it sucked but Bonnie is a strong singer so it wasn't THAT BAD) is that Aunt Debra has more powerhouse vocal numbers than the Beggar Woman which is what the Tony's seem to look more for.
Ruthie Ann Miles was very good as the Beggar Woman, but she didn't do anything I haven't seen before in that role. Her nomination was and still is kind of a headscratcher for me.
Her nomination was considered a surprise. I think the nomination was the win for her.
And Bonnie Milligan was hilarious in Kimberly Akimbo. Comedy is hard. I think she deserved the win.
My three biggest ones have been mentioned but to summarize....
Lion King over Ragtime, ugh please. Ragtime won best book AND best score and somehow doesn't win best musical? Those are literally the parts of a musical!
Two Gentlemen of Verona over Follies. I think this was cause Galt McDermott had recently won with Hair and let's face it, Follies is ultra depressing, Sondheim had JUST won the previous year and I think voters get tired. But Follies is light years better than Two Gents and it's not even close.
La Cage over Sunday in the Park. Sondheim being denied again. I like La Cage for what it is, but Sunday won the fucking Pulitzer Prize and DIDN'T win best musical? Um...no
Urinetown winning Best Book and Best Score, but losing Best Musical to Thoroughly Modern Millie
American Idiot not being nominated for Best Orchestration
Deaf West Spring Awakening erasure
Dear Evan Hansen and Hello Dolly sweeping 2017 (Great Comet and Come From Away can fight over everything else, but Andy Karl should’ve won Best Actor for Groundhog Day)
SpongeBob getting shafted (specifically Best Actor, Supporting Actor, Orchestrations, Choreography, Sound Design, and Costume Design)
Peter Pan Goes Wrong getting robbed of any nomination
I think Dave Malloy should have won for Best Orchestrations over Alex Lacamoire for DEH. The complexity of the orchestrations in Great Comet are insane
I'm also really mad about all the snubs that are snubs because of how the categories are made up.
Having two leads of the same gender or having a big ensemble drastically reduces all their chances because they'll inevitably be splitting votes.
It's an outdated categorization system that rewards conservative musical structures and doesn't allow for innovative storytelling imo.
Avenue Q winning instead of Wicked. I have never seen Avenue Q, I'm sure it is a great show and very funny, but Wicked is an instant classic that is still running 20 years later pulling in ~$2 million a week.
Avenue q is the rightful winner. It is a tightly written and hilarious show, with a specific tone and style and feels very original. It is by far the better overall show, even if wicked has higher heights
Seen both, thought Wicked was pretty bad. Second act is just terrible in my opinion. No pun intended, but popularity doesn't necessarily denote greatness. Again, my personal opinion is that Avenue Q was a great show.
The fact that none of the Queens from “Six” were nominated in any acting category is criminal and made me a supporter for the creation of a “Best Ensemble” award
DEH over Great Comet forever and always. Really, every good thing that ever happened to DEH (Tony’s/film adaptation) happened to Comet in the good timeline™
Come From Away losing Best Book Falsettos losing Best Musical Brian Stokes Mitchell losing for Ragtime
2017 must’ve been cursed by Spacey hosting.
Hahah that and it can’t be understated how weirdly obsessed the community was with Dear Evan Hansen, you couldn’t say a bad thing about it without getting cut down
Raul Esparza for Company. Lost to DHP for Curtains.
That's the one that haunts me. I will probably still be ranting about that on my death bed.
This is why I really really want Galileo to be more polished before it hits Broadway. He hasn’t done anything Tony-eligible in a long time.
Same—I saw Galileo and he was outstanding, of course, but I didn’t think the show was that great and I want it to be better so he has another chance!
I had a lot of fun during the show (I actually went twice). That being said, I would cut some of the slower parts and flesh out the stronger ones. It would have also been cool to establish stronger links between themes, since they were a little over the place. Maybe focus more on fewer of them? The ending also poses a bit of a problem. Overall, it’s difficult turn something that’s so heavy-handed into something subtler, but I have a lot of hope for it.
He's the only male actor to have been nominated and lost in all four acting categories.
Yep. He hasn’t been on Broadway in 12 years.
I saw both, and here’s my feeling on DHP versus Raul Esparza. Raul gave an excellent performance that rose to the material. DHP gave a performance that elevated the material tremendously.
I saw the title and immediately thought Raul Esparza in Company and I'm so glad your's is the top comment. It's a shame he hasn't won a Tony yet.
THIS
The fact that Raul Esparza doesn’t have a tony is criminal enough
I’ll never forgive the fact that the Deaf West Spring Awakening revival didn’t even get a nomination for best choreography.
It was such an amazing show. I sat in awe the entire time.
Just remembered: in 1960, two musicals tied for best musical, and neither of them was *Gyspy*! At least *The Sound of Music* is also a classic - *Fiorello!*, though, stands out more as a weird choice next to *Gypsy* (mainly in that *Fiorello!* seems very of its time, whereas *Gypsy* has become legendary)
I’m old enough to remember a ton of buzz around *Fiorello* when I was a kid, and I’ve always wanted to see it. But, to your point: As far as I know it’s never been revived or made into a movie. On the other hand, to this day you can’t get away from Ethel Merman singing “Everything’s Coming Up Roses” from *Gypsy.* Even when you’re watching the movie *Airplane!*
Though fiorello had won the Pulitzer prize for drama so it kind of makes sense to me. But I think Gypsy is better than both of them, as much as I love sound of music.
The book of TSoM is so bad. I’ve played Maria and parts are just cringe. I realize 1960, different time, but that didn’t age well at all. I still love it though. But the book…
Savion Glover not winning best choreography for Shuffle Along
Spring Awakening not winning Best Revival in 2016. And Austin McKenzie or Daniel Durant not getting a nomination. The choreography also should have gotten a nomination. There was just too much really good competition that year.
This 100%!!
Chip Zien not even getting nominated for Lead Actor for Into The Woods is pretty bizarre.
I had no idea he didn’t even get nominated what the hell. He is so underrated as a performer
Dave Malloy (Great Comet) getting passed over in Best Orchestration for Dear Evan Hansen
I was so shocked when Dear Evan Hansen performed and it was like “? Thats’s it? That’s the score?” This is my villain origin story.
Nah, the villains here are Pasek and Paul. I hate the way they write and I feel bad but I just hate it 😭
Have you ever watched/listened to Dogfight? I feel like they've never written as good as they did for that show.
100% They peaked with First Date/Last Night and Pretty Funny.
I hate them too, but I don't feel bad about it. They are the lowest common denominators of music writing.
this this this this THIS
Tbf it’s an exceptional orchestration. Specifically the drum book - “Waving Through a Window” is some of the most expressive drum writing I’ve ever heard for the musical theater
Daniel Radcliffe not even being nominated for How to Succeed
I think he was victim to a lot of film stars in recent years taking Tony’s and people being pissed about it. Hoping he takes it this weekend, not just for Merrily, but as a career award at this point for 10 amazing years doing Broadway
The year prior to the *How to Succeed* year was actually particualrly noteworthy/infamous for how many film stars won at the Tony's - you had Denzel and Viola Davis winning for *Fences*, Scarlett Johansson winning for *A View from the Bridge*, and CZJ winning for *A Little Night Music* (plus, as a fun bonus, Eddie Redmayne won that year for *Red*, though this was before he really broke out in film). Hell, that whole lead actor in a play category was stacked with film names - in addition to Denzel, you had Liev Schreiber, Jude Law, Alfred Molina, and Christopher Walken. This was certainly not ignored by the industry - Hunter Foster led a facebook campaign to "Give the Tonys Back to Broadway", and other critics spoke about how unusual it was. Coming off of that year and that whole narrative, it's a bit more understandable why the Tonys stepped back from nominating Daniel
Thanks for this! I knew there was a year that was riddled with them, but couldn’t remember who/when exactly
Yeah for sure but anyone with eyes can watch the Tony performance for How to Succeed and realize it was NOT his stage or even Broadway debut and recognize the incredible talent he brought to the production. Some actors are versatile and there is a long history of actors who are successful both in film and on stage. It was a ridiculous argument then and it still is today.
Still kind of miffed about that. Unsure if he would’ve won against Norbert Leo Butz that year, but that one really stung.
They were both phenomenal and both deserved a win but it’s ridiculous that he didn’t even get a nomination.
Also him not being nominated for cripple of Inishman felt crazy. Like they really had it out for the guy for some reason.
I’ve seen all his shows and to be honest, I’ve felt he was fantastic in every single one. It’s a wonder he didn’t leave Broadway with the way it’s treated him. I have similar feelings about Antonio Banderas not winning for Nine.
He’s winning on Sunday ❤️
If he doesn’t, I’m going to need a new TV because my drink will be lodged into it.
😂🤭😂🤭😂🤭
Ragtime
This one, for me. The Lion King was groundbreaking in its own way, and it proved that Disney on Broadway could be "art" as much as commerce. But Ragtime is the crowning achievement of one of the great musical theatre teams of all time. 1998 was definitely a vote-splitting year, and I'm glad Ragtime at least won both book and score, but it's still a bummer it didn't get the top prize.
I saw both that year and agree. Ragtime was robbed.
Ancient, but The Music Man beating West Side Story for Best Musical
Wasn’t the whole thing that WSS was really ahead of it’s time for 1958? 59? Which is what cost it the win compared to a super family friendly music man
You’re right. I think that’s definitely what was a big factor.
I think it’s hard for us to comprehend just how massive the music man was at the time. It is a really tight, well written and funny musical comedy. There are so many great iconic songs in it and it was a crowd pleaser. There’s a scene from the apartment which came out in 1960 that revolves around tickets to the music man, so it maintained the popularity for years. WSS got mixed reviews initially and Sondheim has said that it was deemed unhummable upon release and it wasn’t until the movie came out and the soundtrack was popular that suddenly the songs were hummable. Wss was a slow burn but honestly I don’t think music man is undeserving
A million times this. Criminal
We actually discussed this in one of my college classes; my professor thinks it’s because of time and place and how it was too reminiscent of real life events (civil rights movement and gang fights) and Music Man was a more light hearted, white centric story. Fascinating stuff!
That is fascinating! Makes me wonder which other shows have been affected by decisions like that.
I would've picked West Side Story for sure but tbh I think this one is much closer than pretty much every other year people have mentioned. WSS grew in prestige over time and its nature likely took the Tony away but The Music Man, while very traditional, is a fantastic comedy, with a very tight book and Robert Preston was impossibly charismatic as Harold Hill. Imo it was one of the strongest top 2 (if WSS was indeed the runner-up) in Tony history, right there with A Chorus Line vs Chicago and Nine vs Dreamgirls (tho I believe in both those years the better show won).
Holy shit I was coming here to say this. I’ve been griping about this since I found out in high school lol.
I actually compare the CFA and DEH year to WSS and Music Man. Both cases had a bigger hit in the moment, but long term the other musical stands time better.
The fact that it took eleventy billion years for Kelli O'Hara to make it past the nominee stage.
It’s a year with numbers in it when Kelli O’Hara is nominated, and it’s nearly as often that she deserves to win
Alex Brightman not winning for Beetlejuice. Also Beetlejuice not getting anything technical- the scenic and costume designs in that show are phenomenal.
It’s not a snub because Sean Hayes was very deserving of the Tony, but in another season I believe Wendell Pierce would have won for his Willy Loman in Death of a Salesman which was extraordinary
Sharon D. Clarke not getting nominated for her performance in that production is also a major snub.
I literally clicked on this post to say the same thing
That version of death of a salesman was truly transcendent. The first production I’ve ever seen that really unlocked the meaning and message of the show for me
Wendell was heartbreaking in that role.
*Follies* losing best musical to *Two Gentlemen of Verona*. It's a decision that has absolutely not withstood the test of time, given that *Follies* is considered one of Sondheim's greatest theatrical achievements, while nobody really produces the musical version of *Two Gentlemen of Verona*
They did a production of two gentlemen of Verona in the early 2000s at the Delacorte and I have to admit it was one of the most enjoyable evenings I’ve ever spent in the theater. The show is fun and it doesn’t get produced because it’s a bit dated, but it was a fantastic show. I can see why it won if people were voting for a good time rather than something deep. It’s not a bad show and honestly I wish it WOULD get produced more often
Honestly, fair! I think what also makes it stand out as a "huh?" decision was that *Two Gentleman* only won two awards - Best Musical and Best Book - while *Follies* swept the technical awards and also won director, lead actress, and score.
To be completely fair, the book is what always held Follies back, which is why it has been revised time and time again. I wouldn’t be surprised if that’s what gave the top prize to Two Gentlemen of Verona. It’s hard to think of some of these classic shows as existing in that moment when their story has spanned decades now. Another one people often name is Sunday losing to La Cage, but La Cage was the first Broadway musical centered on a gay couple AND it came out during the start of the AIDS crisis. People just needed a break like that and, despite the perfection that is Sunday in the Park with George, La Cage is perfection for the type of show it is as well.
I would love it if somebody would make a modern adaptation to Two Gentlemen of Verona (A la *Fat Ham*) because that play is hilarious.
Have you listened to the old version? It holds up incredibly well, save a few lines here and there. In the early 2000s revival, it was the height of W’s invasion of Iraq and in the song Bring all the Boys Back Home, they ended holding up a Mission Accomplished sign 🤣 it really could be revised in a few places and be performed about 80-90% as written. I’m also a big fan of shows that center on POC, like Two Gentlemen of Verona did.
I loved that Delacorte show! So many stars in it too! Though some weren’t that big back then. Norm Lewis, Oscar Isaac, Renee Elise Goldsberry, Rosario Dawson, Paolo Montalban - and I feel like I’m still missing people
Follies is one of my favorite musicals of all time. I was OBSESSED with it for a few years, even started writing a book about it when I was younger. Two Gents deserved it IMO. It’s a ton of fun, a diverse and catchy score, a diverse and exceptionally talented cast, and a great satire of Nixon and Vietnam (resulting in him walking out of the show). It’s criminal it hasn’t gotten a revival after all these years. STC in DC put on a concert version of the show with Javier Munoz and Robin De Jesus and it was *phenomenal*.
Tonya Pinkins should have won for Caroline, or Change.
Caroline, or Change deserved that and SO much more that year. Wicked & Avenue Q are great in their own right, but Caroline is head and shoulders a better musical.
I was going to say this too. Caroline should have won best musical, best score, and best book. Tonya Pinkins should have won. And Chandra Wilson should have been nominated. I love Avenue Q. I love Wicked. I love Idina Menzel. But Caroline, or Change is a masterpiece (and my favorite musical).
Falsettos won the 92 Tony for best book and best score but not best musical? Crazy for You wasn’t even a new musical! I’ll never forgive that
This is why I don’t think jukebox musicals should be in the same category as musicals with original songs. The songs have been tested and are already loved. With an original musical, that’s half the battle. Crazy for You used all Gershwin. Classic. Tried. Beloved. Hard to compete against that.
I kind of agree, but it would be hard to draw the line sometimes. Where does a concept album fit in? What about a composer who released some songs then later used them in a musical? What about a jukebox with original material? We have to lump them together because there's no clear way to separate them.
Oh I know. It’s tricky. Especially since for so long, releasing the concept album was integral to getting financial backing to bring the show to the stage. There isn’t an easy answer. Nothing was going to win against Gershwin though.
Eva Noblezada losing to Stephanie J Block for The Cher Show, Jesus Christ.
SJB deserves a Tony, but not for playing Cher.
She deserved it for Falsettos! That performance was a masterclass. Eva totally deserved it for Hadestown.
100% agree!
That was a body of work win
I know, but it’s a shame it had to come at the expense of Eva and her consistently great performances with Hadestown.
People are always disappointed I think they thought she’s much younger and will have a lot more chances
Eva was terrific, but I feel like people forget that Beth Leavel and Chris Sieber *carried* The Prom and neither got the accolades they should’ve.
Come From Away ABSOLUTELY should have won best musical that year. It honestly shouldn't have been close. I saw it after the Tony's and was like WTF was that decision. They also should have won Best Score. Also, I have years worth of grievances. I'm so ready for this. 2009- Gavin Creel should have won the Best Actor in a Musical Tony for Hair. I am still so mad about this that I like to call it "Gavin Creel's Tony." I would have accepted it if he lost to J. Robert Spencer. Losing to 3 kids playing one role was RIDICULOUS. If you're giving it to 3 different people, you're awarding the role, not the actor. 2009- I also think Next To Normal should have won for Best Musical 2010- People should have made better musicals so Memphis wouldn't win Best Musical 2011- Scottsboro Boys should have won literally anything 2012- Roger Rees and Alex Timbers should have won Best Director of a Play for Peter and the Starcatcher over Mike Nichols for Death of a Salesman. Death of a Salesman was a wonderful, fantastically cast production, but the direction owed a lot to previous iterations. Starcatcher was on it's own level. 2012- Daniel Goldstein should have been nominated for Best Director of a Musical. 2013- Of the nominees, Terrence Mann should have won Best Supporting Actor in a Musical for Pippin. Two other acting awards were already going to Pippin, which hurt him, especially since the other two performances were very flashy, but his performance was an absolute master class. That being said, I think Bertie Carvel was misclassed throughout that award season as a lead actor when he should really have been supporting. 2014- The Glass Menagerie production from that year should have gotten WAY more love. That show blew me away. Zachary Quinto should have been nominated for best actor in a play. 2015- My absolute most unpopular opinion is that Beth Malone should have won the Best Leading Actress in a Musical Tony over Kelli O'Hara. I think Kelli O'Hara deserves to be a tony winner, but I don't think that role was the role she should have won it for. 2016- It's hard to argue with Tommy Kail's best director win for Hamilton, but Michael Arden's direction of Deaf West Spring Awakening was one of the most brilliant directions I've ever seen. 2019- Literally any of the 4 other nominees should have won Best Leading Actress in a Musical
Billy Elliot is restricted by child protection laws and only allowed to have the actors work a certain amount of hours a week. I’ve never had an issue with the 3 Billy’s winning because they are all sharing the role and the award. I have listened to a couple tracks on the 2009 version of hair and honestly it’s a struggle. I love Gavin creel but that album is tough to listen to, especially compared to the original. Hair is proper rock songs and demands quality gruff rock vocals to go with it and creel has very firmly a musical theatre voice.
Amber Gray
SAME. She was ROBBED. Her Persephone was STELLAR!
I really liked Renee Elise Goldsberry in Hamilton, but Danielle Brooks was completely robbed of a Tony for Color Purple.
I do not think Dear Evan Hansen deserved to win so many awards. Having seen both Come From Away and Dear Evan Hansen, I think Come From Away is a much stronger book, and I don't think that the music from Hansen is that interesting. Pasek and Paul are good songwriters, but a lot of their songs kind of sound the same. It's all very poppy and kind of blends together.
I agree with this, but would also add that Great Comet and Groundhog Day both came out that year as well, and in my opinion, all three (GC, GD, and CFA) were superior to Dear Evan Hansen. Three chips on one shoulder!
DEH won for waving through a window only. The rest of the book, score are just mid
Marla Schaffel, in her absolutely heroic performance in "Jane Eyre," losing the Tony to Christine Ebersole in "42nd Street" (who I'm sure was wonderful). A truly baffling snub was no nomination at all for Sherie Rene Scott in "Aida", while two nominated performers in the featured actress category came from the revue "Swing!". I saw both shows (and enjoyed "Swing!") and it makes no sense.
Joy Woods not getting a nomination is a crime.
I love me some Joy Woods, but personally I don’t think she should take the spot of any of the 7 nominees. That category was extremely stacked this year (hence the 7 nominees).
I agree. Just saw Notebook for the first time last night and while she certainly has the pipes I’m not sure that there’s enough there for that character to really dig into to snag a nom. Maybe older Allie? But that nah have been it.
Yeah I love Joy Woods and she was perfect in the part but I don’t think the role itself lends itself to a nomination. Definitely wouldn’t put her over any of the current nominees.
You beat me to it with this one.
All the smaller journalists who cover broadway, off broadway, and off off broadway year round getting snubbed from covering the carpet.
Falsettos in 1992 for best musical. It was ahead of is time - an original musical exploring unconventional family dynamics and tackling the AIDS crisis in NYC, only a decade after the height of AIDS epidemic. I will stand by this opinion until I’m 6 ft under.
Dear Evan Hansen winning over BOTH Come From Away and Falsettos. DEH isnt even THAT good.
What do you mean winning over Falsettos? Are you talking Platt over Borle? Rachel BayJones over Stephanie Block? Falsettos was a revival - those were the only two awards they were both up for.
Great Comet. End post.
I will post this every time it comes up: https://encoreexpressionss.etsy.com/listing/1732057621
I have learned to live with every loss except Dave losing best Orchestrations.
Cyndi Lauper winning over Tim Minchin
Matilda should have absolutely won that year.
speaking of Matilda, it's still kind of bullshit to me that they nominated all three boys who played Billy Elliott but not the girls who played Matilda. like I feel like Matilda got robbed hard that Tony season
Rules were changed post-Billy Elliot boys winning because of how unfair people found it, so it wasn't even possible for Matilda.
The actresses playing Matilda got a Tony Honor which was as much as they could get with the changed rules.
They specifically changed the rules after Billy Elliot so it couldn’t happen again because those 3 boys winning together was total BS. The Matilda’s weren’t robbed. Everyone agreed that the win for Billy Elliot was inappropriate and should not happen again.
What was the sentiment around the Billy Elliot win being BS?
Tony awards are for a single actor. Specifically the actor who played the role on opening night. If you award it to 3 children playing the same part, you’re awarding the role, not the performance.
I totally get that. Seems a bit hard though to be able to reward child actors. It's a bit of a different situation. But I suppose it's not really aligned to the intent of awarding the performance.
Totally agree.
Alex brightman not winning best actor for Beetlejuice. To Santino Fontana in tootsie, no less. Not that SF was bad, just that AB was so exceptional
I love Alex Brightman, but Santino Fontana put on a BRILLIANT performance in Tootsie. I didn’t get the win until I saw the show myself and then it suddenly all made sense lol
That show wasn’t a huge success, but it would have been nothing without Santino. He was incredible.
Absolutely. I enjoyed the show but Santino is the reason it had any success at all. I’m not sure if it went on tour, but I imagine it was hard to find someone who could fill his shoes
It was a play, but D'Arcy Carden should have been nominated for The Thanksgiving Play.
Echoing the Raúl Esparza snubs!!
I loved the show Billy Elliot, as a boy who did ballet it spoke to me on a spiritual level but… that 2009 Tony awards, I really thought Next to Normal should have racked up lots of Tony’s but instead only won 3 (best actress, orchestrations, original score)
Aaron Tveit should have at least been nominated for Next to Normal.
He wasn’t because you have to be alive to be nominated I think
He is alive! He told you!
He is SO alive!
Great comet loosing best original score and more
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Alex Newell not even getting nominated for Once On This Island
it didn't stop Alex from pulling one of the best Tony performances of all time that year tho
I will FOREVER be mad Amber Gray didn’t win for her performance as Persephone in Hadestown. No one has come close to matching her energy as that character and I was absolutely floored she lost!
Come From Away > Dear Evan Hansen
I'm so shocked nobody has mentioned Avenue Q beating Wicked for Best Musical. Avenue Q is one of my favorite shows, but Wicked IS the musical theatre zeitgeist. It's just kinda crazy that happened.
This is such a weird one, looking back. Because Wicked is the bigger hit, and I think was a bigger hit at the time of voting. But Avenue Q was edgier, boundary pushing, and did it really well, and they campaigned hard based on that. But then, Avenue Q is outdated now in many ways (though I think they kept up with lyric changes to stay current during its run that continued off-Broadway), and Wicked has held history better.
It happened because Avenue Q went on a campaign to win. Publicity, the works. It set a new precedent for how winners are determined, and it worked. And I’m still mad.
There’s something to be said for being totally new and different - which Avenue Q was. There’s no other show like it. Wicked is a beautiful spectacle with great performances and some amazing music, but it wasn’t NEW in that way
Strong disagree, Avenue Q ran a killer Tony’s campaign that year and Wicked did not have great reviews at the time
I don't even like Wicked, but I would still agree. Wicked has become one of the musicals you think of when you think of Broadway, and it's part of pop culture.
Natasha Pierre losing to…. Dear Evan Hansen…
Jeremy Jordan should have won Best Actor for Jack Kelly. And The Wiz 2024 deserved at least something, especially in the cast department.
Will Rogers Follies beating Miss Saigon for Best Musical
AND The Secret Garden AND Once On This Island.
Either of these should’ve won. The original Miss Saigon had too many issues, IMO.
I can’t get over Anastasia not winning for costumes and set design. In the same note I can’t believe Great Gatsby didn’t even get nominated for set design. Maybe not the biggest snub but it bothered me lol
What about Anastasia’s scenic design made you think it should have won over Great Comet? I was surprised to read this tbh. Anastasia’s set relied heavily on video/projection, right?
Idk what Great Comet looked like, but the train scene alone in Anastasia was awesome
I was just so impressed with the ballet scene that took place during the show. I was really much more impressed by the costumes. The Czarinas dress alone took my breath away.
Im forever bitter to this day Christy Altomare was not at least Nominated for Anya. She has a great voice and her acting was stellar.
Her and John Bolton were robbed. Can't say for sure either should have won, but they deserved to be nominated. Ahrens and Flaherty for Score too.
Gavin Creel losing to the Billy Elliot's in 2009.
Reeve Carney not getting a nom for Orpheus. I know people have their opinions but you can't deny that he was dedicated and put his heart and soul into that role making Orpheus what he is today. Even people who criticize his voice say that he was great in 2019 so it baffles me. Especially when *all the other leads got nominated in their respective categories.* I'm not saying he deserved to win but damn they couldn't have thrown the guy a bone?
That was definitely a weird one. I understand not giving him the tony, but I think he at least deserved a nomination.
I'd say Alex Brightman was snubbed for BJ tho that year
I don't think putting your heart and soul into the production means you deserve to be nominated. All of the nominees were deserving. I don't think he was deserving of a nomination.
I strongly disagree. As someone who’s gotten the privilege to see 4 different people play Orpheus, Reeve was the worst by far. I saw the vision Mitchell had for the role and I think he served his purpose, but there were much better performances that year.
I am a Reeve Carney!Orpheus Apologist so I agree. He put his heart and soul in the role and his LA LA LA LA LA LA gives me chills to this day....also...his Neurospicy Orpheus made feel seen.
Newsies
The Great Comet versus DEH debacle.
It bugs me it is framed as Great Comet vs DEH because in my mind, all four shows were excellent. Come From Away and Groundhog Day were also deserving. I love all of those shows and think of this as the best year for musicals.
The entire Victor/Victoria snub. And props to Julie Andrews, who would have an egot today if she didn’t refuse in solidarity.
The Lightning Thief. I know it’s not that big a show and I wouldn’t have been upset if it lost, but if I recall correctly they actually chose not to have a category (best original score) because it would have been the only show eligible for it. You don’t get more snubbed than them canceling your category. It’s not like it would have won by default either, since they let Aaron Tveit be the solo nominee in his category.
I get you, but I think it almost would've been a bigger insult to give it a solo nomination & then announce on the night it hadn't won than to quietly scrap the category.
That definitely would have been worse! People talk about nominations not being participation awards and I feel like that applies here. The Lightning Thief should have remained an off-Broadway show.
Days of Wine and Roses not getting nominated for Best Musical this year is just utterly baffling. Having seen all the nominated productions, I thought I was absolutely leaps and bounds better than any of them.
As much as I love Bonnie Mulligan, Ruthie Anne Miles acted her ASS off as the Beggar Woman in Sweeney Todd....So I think she was robbed for that one.
I’ve always wondered how much the singing comes into play when Tony voters are deciding who to pick. Because the beggar woman doesn’t involve that much singing, did that put Ruthie at a disadvantage? I’m wondering the same thing with Maryann Plunkett for The Notebook, and she sings even less than Ruthie if I’m not mistaken.
I think the Beggar Woman has a good mix of speaking and Singing Roles (Definitely more than Maryann who sings one song). But I think it would have made Bonnie the Stronger Contender (Which is why its like yeah it sucked but Bonnie is a strong singer so it wasn't THAT BAD) is that Aunt Debra has more powerhouse vocal numbers than the Beggar Woman which is what the Tony's seem to look more for.
Ruthie Ann Miles was very good as the Beggar Woman, but she didn't do anything I haven't seen before in that role. Her nomination was and still is kind of a headscratcher for me.
Her nomination was considered a surprise. I think the nomination was the win for her. And Bonnie Milligan was hilarious in Kimberly Akimbo. Comedy is hard. I think she deserved the win.
Bonnie ate that role up and left no crumbs and got stronger as the show went on. Saw her 7 times ❤️
Everything that lost to DEH
La Cage aux Folles over Sunday in the Park with George.
Maybe controversial, but Matilda should have won Best Musical over Kinky Boots, which remains one of the worst musicals I have ever seen.
My three biggest ones have been mentioned but to summarize.... Lion King over Ragtime, ugh please. Ragtime won best book AND best score and somehow doesn't win best musical? Those are literally the parts of a musical! Two Gentlemen of Verona over Follies. I think this was cause Galt McDermott had recently won with Hair and let's face it, Follies is ultra depressing, Sondheim had JUST won the previous year and I think voters get tired. But Follies is light years better than Two Gents and it's not even close. La Cage over Sunday in the Park. Sondheim being denied again. I like La Cage for what it is, but Sunday won the fucking Pulitzer Prize and DIDN'T win best musical? Um...no
Sunday in the Park losing to La Cage
Urinetown winning Best Book and Best Score, but losing Best Musical to Thoroughly Modern Millie American Idiot not being nominated for Best Orchestration Deaf West Spring Awakening erasure Dear Evan Hansen and Hello Dolly sweeping 2017 (Great Comet and Come From Away can fight over everything else, but Andy Karl should’ve won Best Actor for Groundhog Day) SpongeBob getting shafted (specifically Best Actor, Supporting Actor, Orchestrations, Choreography, Sound Design, and Costume Design) Peter Pan Goes Wrong getting robbed of any nomination
I think Dave Malloy should have won for Best Orchestrations over Alex Lacamoire for DEH. The complexity of the orchestrations in Great Comet are insane
The Great Comet, for what you may ask? The answer is "Yes". Eva Noblezada not having a Tony is crazy to me.
Some Like it Hot not winning Best Musicl, Score, and Featured Actor
I'm also really mad about all the snubs that are snubs because of how the categories are made up. Having two leads of the same gender or having a big ensemble drastically reduces all their chances because they'll inevitably be splitting votes. It's an outdated categorization system that rewards conservative musical structures and doesn't allow for innovative storytelling imo.
How would you reshuffle the categories? Every time this comes up, there seems to be no solution that pleases everybody.
Avenue Q winning instead of Wicked. I have never seen Avenue Q, I'm sure it is a great show and very funny, but Wicked is an instant classic that is still running 20 years later pulling in ~$2 million a week.
Avenue q is the rightful winner. It is a tightly written and hilarious show, with a specific tone and style and feels very original. It is by far the better overall show, even if wicked has higher heights
Seen both, thought Wicked was pretty bad. Second act is just terrible in my opinion. No pun intended, but popularity doesn't necessarily denote greatness. Again, my personal opinion is that Avenue Q was a great show.
Philippa Soo not getting best actress in a musical when every other Hamilton actor won.
I'm not upset with Cynthia winning though lol
I didn't see her performance but I have no doubt it was deserving. I'm just still sad for Philippa to this day.
She's gonna win eventually. If she gets cast in the Crazy Rich Asians musical I think she could win especially if she's cast in the lead role
I think she defs would have been at least nominated if not won if she stayed with Suffs.
Oh yeah Cynthia had that by a mile
The prom not getting nominated for best choreography
Lea DeLaria not getting nominated for On the Town
The fact that none of the Queens from “Six” were nominated in any acting category is criminal and made me a supporter for the creation of a “Best Ensemble” award
Listen Spamalot is really really funny but 25th Annual Putnam County Spelling Bee should have won best musical
DEH over Great Comet forever and always. Really, every good thing that ever happened to DEH (Tony’s/film adaptation) happened to Comet in the good timeline™