I would say it's going to be a very close race between DEH and CFA. I would love to say it's the favorite but DEH has momentuem that's been building up for months now. I'm excited to see what happens!
I think it's still anyone's guess, as The Great Comet was ineligible this year because it competed in 2013(loosing to Matilda). Dear Evan Hanson would have been eligible for last year's award, but it wasn't nominated, but it doesn't mean it could still be a spoiler since it has momentum this year as a breakout hit (vs Come From Away which seems more like a sleeper hit). I think the only one we can definitely cross off is Groundhog Day. It has its charms, but it's not winning against those other three.
I think it's pretty set for Best Book of a Musical at this point. Although the momentum is now there, I still don't think it has a chance for Best Musical against DEH or Comet.
I really want it to win, it probably needs the award more than the other two. I think it has a lot going for it that would warrant a win.
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I don't think the Drama Desks had anything to do with it, but Come From Away has always felt for me the biggest threat to Dear Evan Hansen for Best Musical. It feels foolish to count it out entirely.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
I would adore Great Comet to be the surprise victor, but believe Come From Away will most likely (deservingly) take it. Unless the Tony Awards completely ride the DEH hype/sensation train, I truly feel there is a strong chance for 2 of the better musicals (or even Groundhog Day which is sensational as well) to take the prize. Even Ben Platt lost at the Drama Desks last year even though you all claim he's giving one of the best performances ever, and I would love to see Andy Karl repeat his win. Sorry to be "that guy", but I just don't believe DEH is the Best Musical of 16/17, and that the hype is completely unjustified.
Is it me or this year is one of the most divisive of the decade? I think several of us could see any of the three (CFA, DEH, Comet) winning and not being surprised.
It IS the most divisive. I feel like I'm one of the few who loved all three, but I'm rooting for DEH. It was the best written show in my opinion and the cast elevated it, too. I loved Come From Away, but it's one fault for me is that it came off as too "and this is what happened then". I'm not sure how to describe that, but it may not be a fault at all, just not my cup of tea. I also loved Comet and it probably needs the award the most out of the three, but still wasn't my favorite. I'm rooting for Dear Evan Hansen, but will be happy with any winner.
I wonder how much the tough competition has to do with shows postponing their openings until after Hamilton. Do you know about the history of the shows, and whether the shows made the conscious decision to move in after, or it is a pure coincidence with their timing?
Pure coincidence, I think. There certainly was no shortage of new musicals last year up against Hamilton. At that time though, Dear Evan Hansen hadn't started its Second Stage run, Come From Away hadn't started all their out of town tryouts, and Comet had to wait for the fall because of Groban's touring schedule. Just timing, really.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
Dear Evan Hansen is going to win the Tony for best musical, best book and best score. CFA and Great Comet don't have a chance. I saw all three this past week for the first time. The electricity in the air at Evan Hansen was comparable to Hamilton. The other two have their supporters but, if we were told the actual voting results, i would bet that DEH would get 60 - 70% of the votes.
I also saw all three over the past week, and whilst the teenagers in DEH's audience are enthusiastic, they have no say on the Tonys and the 'electricity' was in no way comparable to Hamilton, at least not any time I've seen the latter.
If we went off audience reactions, Anastasia would have 10 nominations.
I think another reason I want Dear Evan Hansen to win is so it can limit the amount of people calling it a show for teens when it's really much more than that.
LesWickedly said: "I think another reason I want Dear Evan Hansen to win is so it can limit the amount of people calling it a show for teens when it's really much more than that."
If you're talking about me, I didn't say that. I said it is mainly teenagers that had the enthusiastic response to the show when I saw it.
The show is for teenagers in the sense that that's who it's being marketed towards. That doesn't stop others from seeing it/enjoying it.
Fair enough! For the record, I don't think a show being for teenagers has to be a criticism. Teenagers make up a large percentage of the world and deserve art made for them too, just as all other age groups do. And if these pieces of art impress people from other age groups too, then that's just a bonus.
froote said: "I also saw all three over the past week, and whilst the teenagers in DEH's audience are enthusiastic, they have no say on the Tonys and the 'electricity' was in no way comparable to Hamilton, at least not any time I've seen the latter.
If we went off audience reactions, Anastasia would have 10 nominations.
"
If that's the case, I wish they went off audience reactions.
froote said: "I also saw all three over the past week, and whilst the teenagers in DEH's audience are enthusiastic, they have no say on the Tonys and the 'electricity' was in no way comparable to Hamilton, at least not any time I've seen the latter.
If we went off audience reactions, Anastasia would have 10 nominations.
The audience I attended with was a very traditional one, with very few teenagers. Also, so what!! If they actually get more out of it that traditional audiences, I think that says something for the success of the writing.
It will win. There is nothing particularly strong about its book, score or performances but the themes and overall heartfelt message is too perfect for the current poliical climate to go unnoticed. If Hillary had won the election it wouldn't have won.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
Jarethan, my point is that audiences (whether teenagers or traditional audiences) don't decide what wins Tonys. So stating that DEH is going to win musical, score and book so definitively in such a competitive year - by 60-70% - because of enthusiastic audiences is naive and overly presumptuous. Particularly so when you state two other musicals that have been both critically acclaimed and performed well with other awards have 'no chance'. As I said, Anastasia's audiences are just as enthusiastic and it didn't turn out so well for them on the awards front. Likewise, Wicked would have been an easy winner if this was how the Tonys were judged.
Of course you can believe what you want and maybe you will be right, but I don't think you're using an accurate metric of judgement.