If You Could Guarantee One Win... — Page 3

cknick said: "I think Ben Platt is already a guarantee? I'd love to see Andy win because the Ben Platt nonsense is wearing thin. Great performance, yes. But Broadway has seen and will see performances that are just as good if not better. But I do agree he's great and deserves the Tony.

I NEED to see Comet/Malloy take score and orchestrations. I feel it deserves best musical too but that might be a stretch.



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What ben platt nonsense??

Dave Malloy for Score.

Also, this is kinda cheating, but in my dream world, I'd see a tie between Catherine Zuber and Linda Cho for Costumes. They both did such exquisite work that would win a less competitive year, and I wish both War Paint and Anastasia could walk away with something. Too many good shows/performances/creations and not enough awards to go around this year!

Lucas Steele for best featured actor in a musical... 100%.

Another vote for Comet winning score.

Though to be honest, I'd be satisfied if Comet won EITHER Best Score or Best Musical. I'd prefer both, and I feel more strongly that it should win best score, but I'll take either. I just really don't want DEH to take both musical and score away from Comet.

If you're asking what I think is a guaranteed win, it's Ben Platt for best actor



if you're asking me to decide a category and whatever I pick wins, thar would be Great Comet for best musical

If she was nominated, like she should've been, Christy Altomare, Anastasia

It's not surprising to me. Great Comet is not for everyone. The show has been attacked mercilessly on these boards for being shallow, confusing, an empty spectacle, and worse. The reviews have been largely positive, but some have been surprisingly harsh. Others would know better than me, but I assume Tony voters are an older group, less inclined to give an avant garde musical the top prize. And who knows if it will tour at all (a consideration for some voters)? I think my wife and teenage daughter probably liked Dear Evan Hansen more. (We didn't see Come From Away.)

I read a comment on another thread recently (can't find it right now) saying Great Comet is a great experience, but that Dear Evan Hansen and Come From Away are superior musicals. This is not an uncommon view, although of course some people didn't care for one or more of the Best Musical contenders.

The Best Musical race has settled into a two-horse race, because these competitions almost always narrow. My hope, which may be in vain, is that Great Comet gets honored in other categories where it really does seem extraordinary and unique: Best Director, Malloy at least for orchestrations (even if I assume Dear Evan Hansen will win score), and obviously things like set design.

Great Comet started as a cult musical playing to audiences of dozens. It's gone further than most people probably expected, and it was my favorite musical of the 15 or so I've seen in the past year with the exception of Hamilton. I hope it does well on Sunday, but I tend to assume that most things I really like aren't the type of musicals, plays, movies, or TV shows that win mainstream awards or mass audiences. When that happens, I assume it's a bit of a fluke.

RaisedOnMusicals said: "If I could guarantee one Tony it would be DEH for Best Musical because I truly think it was the best musical of the season and thus truly deserves the award but I fear that CFA has all of the late momentum and will snatch it away. While I enjoyed CFA, I think it's vastly inferior in many respects to DEH when you consider all of the elements that go into judging what makes a great musical.



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