Profile for JoeW4

ErmengardeStopSniveling said: "Eligibility is for the 2023 calendar year and USUALLY limited to shows that had their world premiere in 2023 but sometimes there's some fungibility there."

 

Yes and no. There's a certain degree of fungibility backward in time, but not forward. Plays that had their world premiere in 2024 (like The Ally) are categorically ineligible for today's prize.

The grey area comes in when you're looki

I'd argue that the lack of credibility people are noticing isn't a result of corruption, bias, or voting practices. It's a natural side-effect of being the only major award body in the entertainment industry to be working with such a small pool of competition for their top award (Best Musical). And while it's obviously subjective, many of us would go further and say that the pool of competition most years is not only small, but also weak. So until the Tonys change their rules

Ah sorry for the duplicate thread. Forgot we were doing a combined eligibility thread. Copy-pasted:

2 notable things right off the bat: 

--William Jackson Harper is considered Lead for Uncle Vanya. And for my money, his just became the best performance in the category.

--Solidified by today's ruling, my earlier speculation about the number of eligible performers in Lead Actress in a Play became confirmed. There are only 8 eligible contenders, meaning ther

It's an interesting question -- I'd be curious to hear from people who have been attending Broadway shows for many decades, to hear theories about what might have caused a change, if there's been one. Because it seems to me that the hardest things about this process -- having to shepherd a large number of people into a confined space with assigned seats, in a short amount of time -- has theoretically stayed the exact same for however long they've been operating as Broadway ven

Jeff Tupolski said: "I put five because I use GoldDerby’s prediction center and although they haven’t yet expanded the field to five nominees,they have nine women listed as leads, withAnika Noni Rose rounding out the actresses you mentioned.I thinkRose and Pill’s roles in Uncle Vanya have historically been nominatedin both lead and supporting categories, so I’m not sure if they’ll besubmittedwhere that site currently has them, but I’ll stick with t

I'm seeing Mother Play in a few weeks, and avoiding the thread until then. Can someone indicate whether Celia Keenan-Bolger is likely to go Lead or Featured?

I ask because there's a very real chance that Lead Actress in a Play doesn't meet the threshold for an automatic 5 nominees. They need 9 eligible performers, right? So right now I count (in no particular order)

1. Sarah Paulson
2. Jessica Lange
3. Rachel McAdams
4. Laura Bell Bundy
5. Amy Rya

Because it's a commercial venue, and the vast majority of OffBway-to-Bway transfers come from non-profits. It's actually quite unusual (at least in the last decade or so) for Broadway productions to originate in the commercial Off-Broadway sphere, without having a Non-Profit run in NYC first. And even when they do, they're usually comedy/concert/entertainment style shows (e.g. My Window, Freestyle Love Supreme, Oh Hello, Just For Us, etc.). In the last decade or so, the only excep

I saw it — it’s a WILD ride. I liked it a lot, but then again it’s right up my alley. It’s satirical, absurd, sometimes hypotonic, and increasingly surreal as it goes. Kind of all over the place too, though I did see the first preview.

The stylistic sensibility reminded me in some ways of Jeremy O. Harris’s “Daddy,” though it’s very much doing its own thing as well.

It’s a hard show to “recommend” without knowing

Count me as another person most excited that Jen Silverman is making their Broadway debut. Curious if the people judging the play have seen it -- I see it's been kicking around for a while, so I guess it's very possible that people in this thread have seen it or read it. I'll admit that I haven't, but what I HAVE seen of their work is the last thing I'd describe as a "snooze." They have a really distinct style, and a fun theatrical flair, from what I've seen.

BMcGregor said: "Other than Prince of Broadway, I can't remember a true musical in there for a long long time..."

But by that same token, this is on-brand in the sense that it's an intuitive follow-up to Prince of Broadway. I'm not sure why MTC would choose "revues based on the works of musical theatre giants of the 2nd half of the 20th century" to be their specific niche when it comes to programming musicals, but at least there's a certain

hearthemsing22 said: "BoringBoredBoard40 said: "this play is so over-produced, I reallywish we had gotten her translation of Three Sisters she was potentially going to do at NYTW instead."

Completely forgot that was a thing. Maybe it'll come up in 25/26?"

 

If Heidi Schreck was ever attached to NYTW's Three Sisters, it was earlier in development. Clare Barron was the playwright attached to adapt it more recently, both

I haven't seen the show since it opened in 2019, so unfortunately I can't name specific examples. But I distinctly remember feeling as though Chavkin made great use of the revolve and the elevator as tools to physically represent character relationships: distance, turbulence, and other dynamics that existed in the plot were heightened by the use of physical space, without feeling excessively literal.

That said, at the end of the day these are directorial choices. Like any direc