Is Days of Wine and Roses the early favorite for Best Original Score at the Tonys?

Even if the show is snubbed in the Best Musical category, Adam Guettel could pull a JRB and win for the score, both because it's a comeback for him and because of it's quality although it isn't as accessible as Bridges IMO. Listening to the album right now and it's definitely growing on me with more repeated listenings but voters/audience members might not take the time to do that. Thoughts?

It might even be the favorite for Best Musical based on what I’ve been hearing.

Kad said: "EDSOSLO858 said: "It might even be the favorite for Best Musical based on what I’ve been hearing."

Really? Word of mouth was decidedly mixed when it was off-Broadway."

Having seen it off-Broadway, I *absolutely* could see it getting a best score nod. The score is gorgeous, as to be expected from Guettel. The show overall is just fine. I could see it sneaking into a Best Musical nomination, but I have a hard time seeing it winning.

Other score contenders:

Here Lies Love (longish shot)
Lempicka
Suffs (which, depending on how much work they've done on it since the Public, could be a real contender)
The Notebook (which, I'd actually place as frontrunner at the moment)
The Outsiders
Water for Elephants

So, it's not the strongest original score slate ever -- but WAY stronger than most of our recent seasons.

My guess is that it'll go to Notebook or Lempicka. I think the closed show effect will be even stronger this year with so many new musicals.

It might be less to likely happen in a season with multiple original scores, but I imagine the original songs in the play Stereophonic could also be deemed eligible. If its a prestige hit on Broadway, as it is off Broadway, the Tony nominating committee could suprise by including it.

That's great! That's swell!

The other stuff as well

It isn't every day I hear a score this strong

But fellas, if I may

There's only one thing wrong:



There's not a tune you can hum

There's not a tune you go bum-bum-bum-di-dum—

You need a tune to go bum-bum-bum-di-dum—

Give me a melody!



Why can't you throw 'em a crumb?

What's wrong with letting 'em tap their toes a bit?

I'll let you know when Stravinsky has a hit

Give me some melody!



Oh sure, I know

It's not that kind of show

But can't you have a score

That's sort of in between?

Look, play a little more

I'll show you what I mean!

Did not like the operatic songs in this.......

Yeah, I wish some of it could have been more accessible but frankly my biggest problem is the plot is completely lost on me when listening to just the score. I need some context, lol.

calling it now very early, and it may be foolish but- I see Stereophonic winning.

binau said: "I can't exactly explain it but there is something slightly interesting and haunting about this CD that is making me keep listening to to it over and over again, even if I don't understand everything that is happening. I still maintain this is one of the least accessible scores I've heard - it's almost getting into Michael John L territory for me (that's a line that besides Wild Party I just cannot understand/cross) - it makes PASSION and other Sondheim seem like child's play. It truly epitomises those lyrics from Merrily for me - but I think what I respect about it is I do believe the lack of melody and dissonance is intentional to capture the mood. The style of music feels something like Steve Reich not an amateur's lack of capability to create a tune. The song that particularly haunts me is "Underdeath". "

Haunting is the perfect word to describe this score. In a good way of course.

I understand this it won't be everyone's cup of tea, but I can't stop listening to this. One of the most interesting and memorable scores in recent years, for me.

Stereophonic is a play. Days of Wine is a musical... Not sure if songs from a play are eligible. I think there were only 4 or 5 total songs in Sterephonic??

Is Sterephonic transferring to Broadway or not?

Falsettolands said: "calling it now very early, and it may be foolish but- I see Stereophonic winning."

Updated On: 1/3/24 at 06:57 PM

Adam Guettel himself was nominated for his score for To Kill a Mockingbird five years ago. The recent Angels in America revival was also nominated for Best Original Score. 2012 had two plays with music nominated for their songs: One Man, Two Guvnors and Peter and the Starcatcher (they lost to Newsies). 2010 also saw two plays nominated: Enron and Fences, the latter which would have been a deserved win for Branford Marsalis (they lost to Memphis). This is all to say that plays are indeed eligible for Best Original Score if they have original music and/or lyrics written for the production.