CFA now the favorite for Tony? — Page 3

Zuber's work on War Paint is sumptuous- the costumes are the second best thing about the production, after the leading divas. However, I think they're very conventional period designs. Awards bodies tend to like period designs and lots of 'em, though.

Although it wouldn't bother me if DEAR EVAN HANSEN sweeps Best Musical, Best Book, and Best Score, I won't be surprised if it doesn't. This season just "feels" like one that will split those awards, conceivably between 3 of the shows, with GROUNDHOG DAY (which I also loved, BTW) being the only one to come away empty-handed. I would be more than satisfied if COME FROM AWAY wins Best Musical, DEAR EVAN HANSEN wins Best Book, and GREAT COMET wins Best Score. I really enjoyed this season's musicals, and I think all these nominees are deserving of accolades.

I agree, I think Rachel Bay Jones is basically a lock for the Tony (and deservedly so, she's doing extraordinary work in Dear Evan Hansen).

Reading this affirms to me how useless all these awards are. Artist merit seems to be the least important factor. You only need to be the hot thing at that very moment. How else could DEH relatively under perform off broadway in the pre Tony awards to then be front runner on Broadway at the Tonys when hardly anything artistic changed?

CT2NYC said: "Add me to the list of those who think Rachel Bay Jones is the frontrunner in her category. For me, her solo number is the most genuinely moving moment in the show."

I would give it to her for the single line "A real live truck in your driveway." Grabs my heart every time I hear it.

Sunny11 said: "Reading this affirms to me how useless all these awards are. Artist merit seems to be the least important factor. You only need to be the hot thing at that very moment. How else could DEH relatively under perform off broadway in the pre Tony awards to then be front runner on Broadway at the Tonys when hardly anything artistic changed?

"

Your question is a great reflection of this season on Broadway, as well as the previous two seasons.

1. Each of the four contenders for best musical took a unique path to Broadway. CFA from Canada, GHD from England, Comet from a tent in lower manhatten via ARS Nova, and DEH through two non profit runs, one in DC and one Off Broadway. Unique routes and unique timelines.

2. Eligibility for different awards include unique criteria, deadlines and may put off Broadway shows against Broadway - or not.

3. Producers may have made decisions based on the Hamilton Juggernaut - another unique path to Broadway with a fevered frenzy established at The Public, as well as a Fort Knox-sized advanced. Those decisions, combined with the varying deadlines and criteria, and unique roads to Broadway ultimately impact what is competing against what.

4. The demographics of voter blocks for various awards are different - which further complicates direct comparison of award outcomes.

All of this makes it Very hard to establish clear Tony front runners based on Drama Desk, or Drama League, or Outer Critics, Audience Choice - or any other awards.

Sunday night will be fun!

CT2NYC said: "While the score for GREAT COMET is divisive, and is not my personal favorite of the nominees, I think it's the most interesting and innovative, which is why I singled it out for Best Score."

I agree that it's different, but it was also by far the most forgettable of the nominees for me. The only songs I could remember at all after seeing the show were "Charming" (a fantastic track) and "Balaga" (to a somewhat lesser degree).

CT2NYC said: This season, I'm a "spread the wealth" kinda guy, but, unfortunately, I have a feeling that GROUNDHOG DAY will get shut out."

I agree. A sweep would be a shame for the wealth of good stuff out there this season, hence my "spread the wealth" picks as noted in an earlier post.

I've seen Groundhog Day twice and liked it even more the second time, so I'm particularly sad to agree with your prognosis for it. It's a great ensemble show, but Come From Away is a really great ensemble show, and Andy Karl's performance is brilliant but I believe Ben Platt has got that category locked up (and probably deservedly so).

There's just too much competition this year!

Updated On: 6/5/17 at 02:26 PM

"FWIW, every Tony voter I have spoken to has raved about "Come From Away." Mostly artists but also a couple producers. "



Depressing, if so. There's not a good song in it; the writing is amateurish; the characters are stock and clichéd. But worse than all that is the endless self-congratulating. If you do a good deed, that's wonderful. But endlessly blowing your own horn about it is anything but.

I found it unbearable.

Updated On: 6/5/17 at 07:10 PM

There are literally over 900 Tony voters. It's anybody's guess. But I'm suspecting a DEH sweep of Musical, Actor, Featured Actress, Score AND book. Best Director either Rachel or Christopher. Most likely Rachel. And Great Comet will pad its wins in the technical category. I would like CFA to win something, Rachel Bay Jones and Michael Grief might be the sacrificial lambs or just Michael. But Michael has the Gold Watch award in his favor. Lucas Steele might also win. Who knows?! But it's an exciting season!

And I would be thrilled if Zuber won for War Paint.

Updated On: 6/5/17 at 07:22 PM

As of now, I'm thinking it'll be three-way: Musical to Dear Evan Hansen, Score to The Great Comet, and Book to Come from Away.

If DEH wins Book, I'll lose my mind.

After Eight said: ""FWIW, every Tony voter I have spoken to has raved about "Come From Away." Mostly artists but also a couple producers. "

Depressing, if so. There's not a good song in it; the writing is amateurish; the characters are stock and clichéd. But worse than all that is the endless self-congratulating. If you do a good deed, that's wonderful. But endlessly blowing your own horn about it is anything but.

I found it unbearable."

Endlessly blowing your own horn? This happened 16 years ago. There was a little bit of attention paid to it during the Vancouver Olympics, and pretty much nothing else until now. Like the musical or don't like it; art is subjective. But let's not malign the people of Gander, who when first interviewed by Sankoff and Hein, said, "You want to make a musical about people making sandwiches? Good luck with that."

After Eight said: ""FWIW, every Tony voter I have spoken to has raved about "Come From Away." Mostly artists but also a couple producers. "



Depressing, if so. There's not a good song in it; the writing is amateurish; the characters are stock and clichéd. But worse than all that is the endless self-congratulating. If you do a good deed, that's wonderful. But endlessly blowing your own horn about it is anything but.

I found it unbearable.



"

I have to agree with you. I mean, I clearly enjoyed it more than you did (I don't like to waste my time seeing theatre if I don't think I will enjoy it, so I enjoy most things I see). But it actually is incredibly amatuerish at times. And yes, while the themes and message are very positive it does sometimes straddle into self-congratulatory, overly sentimental or unrealistically idealised visions (I've chosen to stay silent on one particular theme because I don't want to infect the main board with my posts/leave them isolated in off-topic. But don't get me started on the way this musical deals with religion).