NY Times Tony Voter Poll — Page 3

Lot666 said: "Kad said: "I do not think my choice not winning an award is a farce and, conversely, I do not personally share in the victory if it were to win and I lose nothing if it were to lose."

I've been trying to make this point to football (and some other sports) fans all my life. It's perfectly naturally to root for something you feel an affinity for, but it's also important to recognize that the outcome of such competitions (unless you are on/own the team or created/produced the show) are completely irrelevant to your own existence. A win or loss by your favorite will not change your paycheck, so why kick the television, vandalize cars, loot stores, or post nasty stuff on internet discussion boards? You can still love and enjoy your team or your show tomorrow, even if they didn't win.



"

As a Buffalo Bills fan, I fully endorse this message. I have a pretty good life, despite watching my team crash and burn every fall.

Gensho said: "Why is Great Comet groundbreaking?



"The music, the sets,and the concept are unlike anything I've ever known to be on broadway. It's incredibly ingenuitive.

I personally think the Great Comet score stands up entirely on its own; it is a cohesive, complex musical vision, full of rich lyricism, intricate storytelling through music, and savvy adaptation. Malloy completely sidesteps the creaky BMI model of musical theatre and cleanly asserts his own voice as an artist in a way that I don't think the people behind DEH or CFA do.

I think Dear Evan Hansen is a very good example of a model musical. I just don't find it particularly engaging, inventive, or forward-thinking, though I can admire its craftsmanship. I've heard it all before, just with varying quality. I think it has the advantage of creating a character people easily see themselves as, bolstered by songs that speak to more general emotion than a very specific circumstance. People pour themselves into Evan Hansen. Whether or not that is a positive or negative is up to you. I agree that Great Comet does not share that quality.

Kad, I agree. The staging of Great Comet is astounding, but I've had the album on repeat recently and I'm still struck by how much is in that score. There are some moments that aren't my favorite for sure, but the moments of greatness (and for me, there's a lot) are far beyond any piece of writing I've heard this year. No One Else, Dust and Ashes, Charming, Sonya Alone, and the title number all stand up with some of the best musical theatre writing in recent memory. It's not the only show I enjoyed this season at all, but Dave Malloy is working on such a different level than almost anyone else writing contemporary musical theatre.

I think Dear Evan Hansen tapped into the same magic as Rent. It is the right show at the right time with the right cast. The fans of the show are made up of equal parts those who have lived Evan's life in someway and those who fantasize about living his life. They also see the actors as not just the characters, but their friends. There's an added element of, I don't just love the show, I want to be in it, with these specific people.

I'm not sure I'm explaining this clearly, and I do not in anyway mean it as an insult to the show or its fans.

Think of all the Rent fans who were wealthy, suburban teens/young adults that loved pretending to be starving artists battling discrimination and the AIDS epidemic in the slums of NYC. I think the same goes for DEH, in that it's given those are found a chance to pretend not be. Somehow it's become cool to not to be cool.

Add in the allure of internet, viral video notoriety and you have the perfect storm. A show that connects via experience and emotion, as well by capturing the current zeitgeist.

Updated On: 6/9/17 at 01:29 PM