goodtimes123 said: "OhHiii said: "Cassie Levy can clear space on her mantle today for this award."
She missed out on an OCC nom, which makes me wonder if she will miss out on a drama desk nom due to these genderless categories. Would that hurt her chances at a Tony?"
Not necessarily. There have been several performances that managed to win Tonys without prior nominations from at least one of the precursors. Among those who've man
Kimbo said: "At the end of the day for the most part they vote for which show is better and/or which they enjoy the most. I believe the proof is in the pudding if you look at DidTheyLikeIt and Show-Score where Schmigadoon is well ahead of ALL the competition. On DidTheyLikeIt Schmigadoon has 11 rave reviews, 4 mixed and only 1 negative (2 Strangers to take one example has 6 positives, 5 mixed and 2 negative).
Kimbo said: "This year? I could easily see a situation where (for example)Two Strangers wins Score, Titanique wins Book, Ragtime wins Direction, Cats wins Choreography, The Lost Boys wins several Design awards, and Schmigadoon wins Best Musical (along with orchestration or something else). In a scattered year like this one, all bets are off and results could well be scattered."
I have a feeling Cats will win directing and dominate the design categories.
In a recent interview with Broadway.com, Paul Wontorek asked Caissie Levy if there's any chance she'd do Next to Normal again. She responded with "I will always be open to revisiting it." (18:37)
Then again, we did see The Outsiders overcome a mixed critical reaction to still win Best Musical just two years ago. I think what we should keep an eye out for is what other categories could Schmigadoon! and/or Two Strangers win.
Both will likely be going head-to-head for Best Book. If Schmigadoon! takes Best Musical, then it would have to win there. Although Jim Barne & Kit Buchan could benefit in that category for writing a comp
This is now Schmigadoon’s to lose for two main reasons: its overall the best reviewed new musical of the year, and the voters en masse - not the road block, not the New Yorkers, but a majority of everyone - are generally not going to be keen on giving Best Musical to a chamber piece that’s essentially a two-character show two straight years in a row.
Then again, if Two Strangers does win, it'd be a scenario where voters likely don't care. They're just at the end of the day voting for what they liked most.
It may benefit from being in a slow year, but regardless that’s what will swing the vote in its favor- at a time when musicals are still struggling, a win for a big splashy old-fashioned show (not unlike my Will Rogers example) is good for Broadway, good for the business, and rightly or wrongly will be perceived as essential for the health of the art form."
While plausible, there may still be people within the industry who'd prefer to champion originality more than an IP-driven musical. Shortly after the 2018 Tonys, Michael Riedel wrote in the New York Post: "Broadway thumbed its nose at Tina Fey and touristy musicals Sunday night by showering The Band’s Visit, a lovely, human show, with 10 Tony Awards, including Best Musical.
Its sweep of the Tonys is a sharp rebuke to the family-friendly franchise shows that are gobbling up Broadway.
SkidRow82 said: "They used to always say that shows that would tour well had a bit of an edge in regards to Best Musical. Is that still a thing?"
It was revealed about a decade ago that the "road vote" only makes up about 10% of the voting bloc. Thus, we've lately been seeing scenarios such as...
Once winning over Newsies Gentleman's Guide winning over Aladdin and Beautiful Fun Home
The question here is which Sam Gold will we end up getting? The Sam Gold that gave us Fun Home, A Doll’s House, Part Two, and An Enemy of the People with Jeremy Strong? Or the Sam Gold that gave us The Glass Menagerie with Sally Field, King Lear with Glenda Jackson, and Macbeth with Daniel Craig?
Wayman_Wong said: "Since 2000, there have been shows that have won Best Musical, even though they didn't have Tony-eligible original scores: ''Contact,'' ''Jersey Boys'' and ''Moulin Rouge!''"
Once as well; Since most of the songs were lifted from the original film, it didn’t have enough new material to qualify for Best Score.
The Full Monty has not only been on my wish list of musicals overdue for a Broadway revival, but also for Roundabout to produce. Glad to see that they're reviving it.
Kad said: "It’ll pick up some Tony nods easily but I really don’t see it winning much- book and Best Actress seem like the best bets there but I wouldn’t be putting money on either as of now."
Given that Mean Girls couldn't win Book in a similarly weak season, I have a hard time seeing Titaníque faring better.
TheatreFan4 said: "The idea that the Tonys Host should be someone who has explicitly performed on Broadway before is so silly. They're not the same skill set... like at all..."
It is worth noting that the last time we had a host who never performed on Broadway before was Hugh Jackman when he first did it back in 2003. He's even mentioned in subsequent interviews how surprised he was to even be offered the job at that point. Although granted, he did notab
When Sam Eckmann of Gold Derby guested on this week's episode of the Broadway Breakdown podcast, he mentioned that he's hoping they hold off on an announcement until after this year's Tonys. He feels that if this gets announced before final voting closes, it would hurt Levy's chances of winning for Ragtime, thus they may just save their votes for next year. But then they discussed how that never works.
