Could Aida have won Best Musical... — Page 2

I really liked Aida and if I had to choose if it was nominated it would come down to Aida or The Wild Party.

---

So, after that season (according to Tony Standards), CONTACT would not be eligible in the Best Musical category.

Actually, I think the Tonys would have still had to rule on how the show would be categorized before the nominations. I don't think the rules were altered for Best Play or Best Musical nominations and in 1999 and 2000, the Special Tony Award For a Live Theatrical Presentation was given out and then added as a category. Contact was not considered for "Live Theatrical Presentation" for the 2000 Tony awards and I seriously doubt it would have been considered for Special Theatrical Event, either. It was three short ballets that were presented in a way that blurred the "Broadway" perception of the play, the musical, and the ballet that was artistic, yet commercially successful. I think a lot of people got their panties in twist because it used pre-recorded music and had little spoken dialogue and they want "musicals" to fit a very traditional definition that never changes or evolves and when any show comes along that challenges the perception of the musical without their approval, then it is deemed unacceptable. Movin' Out was a ballet, but the music was performed live (but not by any of the cast). Bookless revues have gone unscathed for decades with Ain't Misbehavin' winning the Tony. Jukebox musicals existed long before the term was coined and Jersey Boys won as well. Contact was an anomaly and was successful. It didn't create a crazy new trend or anything. It was simply something different that worked. I loved it, but I didn't see The Wild Party or Swing, so I really can't say whether it was my favorite of the nominees or not. But it was WAY better than Aida.

---

I agree that Aida could have won. I also think that if Patrick Page had a vagina he could have won this season's tony as best featured actress in a musical.

Re: CONTACT -

First, let me say that I WORSHIP Karen Ziemba. She's an acquaintance - I wouldn't presume to call her a friend, though she herself has introduced me to others as "my friend Jon". I've had a huge crush on her since "And the World Goes Round" in 1992.

She was perfect in CONTACT. The choreography was perfect, the entire cast was perfect, the sets, lighting, costumes, all perfect. There was nothing I would have changed...

Yet still...

There was something ultimately unsatisfying about the show. It was so perfectly executed, yet something was missing...

Maybe these's just a resentment for such slick professionalism - it's easier to have soft spot in your hea4rt fo The Little Show That Could.

Wolfe's staging was brilliant, and most of the cast was perfect (I didn't care for Ynacey Arias as Black). Unfortunately, the material was just SO dark. Like "Passion", it's one of those shows that was smart to go with no intermission, because there would have been lots of walk-outs (there were, anyway).

Okay, so AIDA was probably the Disney show I am least familiar with, but I bought the cast recording yesterday and WTF TONY COMMITTEE?!! How was this NOT AT LEAST nominated for Best Musical?

Seeing the full show might clarify it for you. The cast recording doesn't fully represent the schizophrenia of the concept and production. Every time I think of that "prison" backdrop, I just feel embarrassed that it was allowed on stage. I thought the show was one of the biggest messes I've ever seen on Broadway. Fun score, but only if you listen to the CD and don't have to see everything else going on.

---

the strange thing aida was for kids and the nyt and tonys hate disney.

I think wild party had tony collette.