We all know the producers of Matilda transferred the show to Broadway with the hopes of becoming the next Book of Mormon and sweeping the Tony's, the NYTimes even wrote an article about it.
I feel like that plan and their campaign strategy may backfire with Bertie being pushed from an easy win for Supporting Actor to Leading where there is a high chance we will loose to Porter. Pushing for the four Matilda's to be seen as one in light of the Billy Elliot backlash.
Pippin now looks likely to sweep the technical awards minus Costumes which will go to Cinderella.
Paulus' inventive and daring direction is much more deserving and looks likely to win.
Choreography could easily go to Pippin, Cinderella, Motown, or even Bring It on! (if nominated).
Cyndi Lauper's score for Kinky Boots could conceivably win over Minchin.
Cinderella's orchestrations could easily get the nostalgia vote.
The only real lock the Matilda is is for Best Book and thats not saying much for a show that opened to unanimous raves that we haven't seen in years.
Audiences here certainly don't seem to be loving it to the degree they did in London. It's selling great and families are really enjoying it but reactions with "Theater People" are extremely divided.
Carvel isn't losing to Porter. And Matilda is still going to take most of those categories that you listed.
I wouldn't be so sure about that.
Matilda is going to win Best Musical, and that's the only damn award that matters.
Doesn't every producer hope their show sweeps the Tony Awards?
Matilda is still in contention (and has a terrific shot) in every single category except Best Actress. I wouldn't dream of counting them out. Bertie was probably pushed to Best Actor because he won in the equivalent category in London.
The critics didn't seem to be divided about their opinion of Matilda.
I'd love to see Paulus win, but when was the last time the Best Musical winner didn't take Director? (Not being facetious. It's been a long week and my
little brain is short circuiting.)
2010 Terry Johnson for La Cage
2008 Bartlette Sher for South Pacific
Before that:
2006 John Doyle for Sweeney Todd
2004 Joe Mantello for Assassins
2002 John Rando for Urinetown
2000 Michael Blakemore for Kiss Me, Kate
It seems like John Tiffany for Once broke the pattern in the 21st century.
In the 90s, only The Will Rogers Follies and The Lion King matched Musical/Director.
Paulus will win. Unless Sondheim still holds a grudge. :)
Deciding who should win Best Director, between Paulus and Warchus is like SOPHIE'S CHOICE.
Personally, I am a fan of Matilda. i think that it is is a great show and very well done. However, I do think that it's a little overhyped. But, I do think that it will be the winner for best musical, and I can see it winning some of the technical awards as well. I do think that it is a strong and well done show, and I also feel that this isn't a strong season for musicals either.
Speaking of Paulus, should Pippin win Best Revival, she would have directed three of the past five Best Revival winners. And she only has three Broadway credits.
That's way too much success. The folks on this site better start hating her.
They and Stephen Sondhiem already did...her last revival was "The Girshwin's Porgy and Bess"
Broadway Legend Joined: 12/31/69
Is pippin eligible for choreography?
I assume so, yes. I would have thought Pippin would have wanted to combine Gypsy Snider's circus elements with Chet Walker's choreography as a joint nomination. But that didn't happen.
Broadway Legend Joined: 12/31/69
I didn't know if there was an issue with using some original choreography.
Broadway Legend Joined: 4/8/12
^^Yes, because it is choreographed "in the Fosse style" just like Chicago which won Ann Reinking a Tony. The "Hot Honey Rag" number used Fosse's original choreography for which he received credit. I don't know if they use any of Fosse's original choreography in the Pippin revival.
Updated On: 4/27/13 at 12:41 AM
The Manson Trio is the original choreography, and it's credited in the Playbill.
Everything else is new and therefore, eligible.
And Matilda's producers brought this to B'way TO MAKE MONEY. Awards are nice and help that....but not the most important thing.
Broadway Star Joined: 5/26/07
BDN, where did the Times write that Matilda's producers hoped to sweep the Tonys? And was there really a Billy Elliot backlash after the boys won? I remember most people finding their acceptance speech adorable.
Isn't it the producers' job to want their show to succeed and if getting the most Tonys is a boost, why not want them? But you seem to think they've got some underhanded plan.
Didn't Carvel have a better shot in the featured category? And it's still got a great shot in most categories.
Broadway Legend Joined: 3/18/10
Guys they will want to match Matilda's best musical win with an acting award, and it seems clear that Carvel has the showiest role, and he will undoubtedly win best leading actor for his Trunchbull...
Who is "they"? The Tony voters? Didn't happen with best play last year, with Peter and the Starcatchers? (Peter winning just about everything else BUT Best Play? Claybourne Park didn't get any acting awards...or anything else if memory serves right.)
Memphis didn't have any acting, nor did War Horse.
And of course let's not forget that Leap of Faith was nominated with no acting noms whatsoever.
(These are all to the best of my memory, so I may be mistaken.)
You're correct on all accounts, dramamama.
Peter and the Starcatcher won five Tonys but not Best Play.
Clybourne Park only won Best Play.
Memphis and War Horse didn't have any acting wins. (War Horse wasn't even nominated in any acting categories.)
Leap of Faith got a sole nomination for Best Musical.
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