Favorite 2015 Tony Award Performance — Page 2

The Something Rotten performance confused a few people at my Tony Viewing party - they thought it was an "opening number" like NPH would do since it came so early in the broadcast. They didn't realize it was part of an existing Broadway musical.

I thought Lucas sounded fine on Ring of Keys, but it was hardly a captivating performance for someone who hasn't seen the show/didn't know what it was about.

I haven't seen the show or listened to the score and I have distanced myself from much information on the show because I'm seeing it next month and I want the experience to be fresh. I thought it was absolutely captivating and I knew exactly what was happening in the moment. That and (funnily enough) On the Town were my favorite performances. I've played the dance sequences from On the Town so much, I know them backwards and forwards (yet I've never seen the show), so I knew how truncated the Tony number was, but the choreography and execution had me in goosebumps and I would buy a ticket if I could extend my trip by a day (if it was still running a month, that is).

The King & I was sort of interesting until Shall We Dance. I'm just tired of seeing that number. After having seen the magical 1996 revival, what I saw on the Tonys really didn't do anything for me. The medley approach just didn't allow enough time for me to really connect with the numbers. Shall We Dance is all about the sexual tension, of which there was none on the broadcast, so it just looked like the sort of paint by numbers performance you'd see during the Macy's Thanksgiving Day Parade.

And I wish American in Paris had performed a different ensemble number. It takes a lot of balls to perform "I Got Rhythm" on the Tonys in a version that, while fun, still can't hold a candle to the iconic Stroman choreography seen in Crazy for You. It's all I could think abut while they were singing the song. I longed for that wonderful tap shuffle kick-line backed up by all those frenetic wings.

Is it just me, or does anyone else think that the 20th Century performance was lip synced?

Fun Home hands down.

Faves: Something Rotten, OTTC, Finding Neverland

Bored to death: AAIP (but ballet does nothing for me), Fun Home

Ring of Keys.

.... Were there other performances? :)

Tony Yazbeck racing down the aisles singing in gorgeous voice, then leaping to the stage and immediately segueing into the full "New York, New York" number. Dazzling reminder of how much I loved that show.

I haven't seen FUN HOME and have only a vague idea of its story. Nonetheless, I thought "Ring of Keys" was by far the most memorable sequence of the evening. It is honest and deeply personal and was a lovely change from all the theme park numbers. (It's amazing how all that choreography looks alike when condensed to less than 3 minutes!)

My tear ducts always turn into fire hoses when the king puts his hand on Anna's waist, so there was that.

I love OTTC and Chenowith, and know both very well from the original production and the recording of the revival, but I thought "Babette" was both oddly performed and an odd choice to showcase the musical. "Babette" without the interruptions was just another theme park number to me. I wonder if they were afraid of the numbers where the lyrics repeat in parody of operetta and opera?

I did like the young girl with Tyne Daly, so give that honorable mention. And there were a couple of laughs in SOMETHING ROTTEN.

And BWW.com backlash notwithstanding, Neil Patrick Harris was funnier and more charming in 30 seconds than the co-hosts were all evening.

Worse part of the evening is easy: that horrible number from FINDING NEVERLAND. I don't know whether the problem was sound or lip synching, but it was at least in part the lack of acting. Is Morrison determined to kill his career?

Updated On: 6/8/15 at 10:31 PM

Loved The Visit when I saw it in Va 5 or so years ago. Hated the numbers last night, partially because...Chita Rivera's singing is painful at this point. I don't care what anyone else thinks, I hate her voice.

Loved Finding Neverland, including the close to Act 1, but the truncated number did not catch the stage magic and probably will not help ticket sales. I thought they should have done one of the upbeat numbers with the boys.

Love the song Ring of Keys, but don't get all the love here. It was enjoyable on TV, but not as great as stated by others (IMO)

Enjoyed A Musical, but I think the should have introduced it as a truncated version...it is a lot better than what we saw.

Loved The King and I, OTT, AAIP until I Got Rhythm, which to me was a semi-throw-away on the stage, and looked like nothing special last night (I wonder if all the ballet was a plus or minus from the perspective on enticing ticket sales).

Enjoyed OTTC, but it reminded me that I just don't like OTTC. We're it not for KC, I would have not liked it.

Was disappointed in the Tommy Tune salute...it was just too half-hearted...if they weren't going to do it right, why did they bother? Talk about a missed opportunity.

And, will someone tell me why they needed to have The Jersey Boys close the show. What a waste of stage time at this point.

I totally agree! Lucas was sensational. IMO she should have won the Tony. What amazing presence for such a youngster.

My other favorite was On the Town. In fact, when Tony Yazbeck got up and started singing, my friend (who hasn't seen the show), simply said, "I love him!" I replied with, "I do too!" He does have amazing presence, as well. And what a voice.

Like you, I was underwhelmed by The King and I. IMO it really didn't look any different than any other performance of the show I've seen, both on Broadway, and on tour.

As for "I've Got Rhythm"…..I'm afraid everything will pale in comparison to what we saw in Crazy For You. Was that brilliant or what? Stroman is crazy good!

I don't think The Visit showcased well. OTTC was a very enjoyable show, IMO, but I don't think what they did last night did it justice. Too frenetic. Too much in too short a time span.

"I thought Lucas sounded fine on Ring of Keys, but it was hardly a captivating performance for someone who hasn't seen the show/didn't know what it was about.
I haven't seen the show or listened to the score and I have distanced myself from much information on the show because I'm seeing it next month and I want the experience to be fresh. I thought it was absolutely captivating and I knew exactly what was happening in the moment. That and (funnily enough) On the Town were my favorite performances. I've played the dance sequences from On the Town so much, I know them backwards and forwards (yet I've never seen the show), so I knew how truncated the Tony number was, but the choreography and execution had me in goosebumps and I would buy a ticket if I could extend my trip by a day (if it was still running a month, that is).
The King & I was sort of interesting until Shall We Dance. I'm just tired of seeing that number. After having seen the magical 1996 revival, what I saw on the Tonys really didn't do anything for me. The medley approach just didn't allow enough time for me to really connect with the numbers. Shall We Dance is all about the sexual tension, of which there was none on the broadcast, so it just looked like the sort of paint by numbers performance you'd see during the Macy's Thanksgiving Day Parade.
And I wish American in Paris had performed a different ensemble number. It takes a lot of balls to perform "I Got Rhythm" on the Tonys in a version that, while fun, still can't hold a candle to the iconic Stroman choreography seen in Crazy for You. It's all I could think abut while they were singing the song. I longed for that wonderful tap shuffle kick-line backed up by all those frenetic wings."

For me, it was a tie between:

KELLI's acceptance speech and ON THE TOWN's flawless performance. If I hadn't already seen ON THE TOWN, I would have bought a ticket right then and there.

And, um, I know I'm completely alone on this, but I can't believe "Ring of Keys" was everyone else's highlight. Sydney Lucas seems like a very fine actress - she has such a compelling and mature-beyond-her-years presence. But that song left me cold. I know this isn't opera, but to me, a great book and solid lyrics can't overcome a dull, listless melody. I had a very similar reaction to Violet, though. Caroline or Change and Thoroughly Modern Millie are more my style of Tesori.

My favorite performance of the night was Fun Home, though I wish they had kept the he was gay, and I was gay [clearly not saying the rest of it] rather than switched it to and I didn't know it, but we were both gay, because I prefer the original cadence. Sydney Lucas was great.

I enjoyed TKAI's performance as well. It was wonderful to see all the nominated actors perform.

However, the most successful performance [what will have the best return on investment for air time] was It Shoulda Been You. I think that it got people's attention more than what ever other advertisements they have been running, but we shall see what the grosses say in a week.

The ballet portion of an American in Paris was far too long for my tastes, and I was constantly wondering if we would ever get to see the two leads sing. Also, the musical was introduced but not what was really happening I felt. It was rather unfortunate that the majority of the scenery for which it won was displayed by the electronic board in radio city.

Something Rotten was amusing but I think it could have been introduced better if it were placed later in the broadcast. I do think that having an opening number really helps the show take shape.

Not OT, but to me the elephant in that cavernous room is always The Radio City Music Hall, the least hospitable place to showcase numbers conceived for Broadway. There is no comfortable way to use that arched proscenium opening and it's bright, Art Decco Oz-like finishings without diminishing the performance within. To my eyes, everything gets lost, swallowed up. I'm already biased in favor of "Ring of Keys" for myriad reasons posted elsewhere, but it worked best in no small part because they darkened the entire upstage area, place the actors down front, mostly on the runway, and managed to make Radio City recede. Downstage center in any house is gold; here it is required. Lucas pulled us in, and the house and stage were in shadows, appropriately. Magically.