Call_me_jorge said: "Considering how panned the the funny girl Revival was, I highly doubt Lea Michele would have even been nominated had she opened the production."
Are you saying this to get a rise out of people, because I think that may be the stupidest thing posted on this board in at least a year. IMO she would have won by a landslide, though neither of us could prove our position.
ChorusKitty said: "Will this be one of those seasons where a play (thinking "Life of Pi" might sneak in a Best Score nomination?
"
Yes, I think that's a definite possibility. Three slots are taken by Kimberly, SLIH & Shucked. Has there been a ruling on if NYNY is eligible? Otherwise, the last two slots seem like they'll be some combination of Life of Pi, Bad Cinderella, Almost Famous, and KPop. When I look at that list, I'd feel pretty good about of Life of Pi's chances.
Mr. Wormwood said: "ChorusKitty said: "Will this be one of those seasons where a play (thinking "Life of Pi" might sneak in a Best Score nomination?
"
Yes, I think that's a definite possibility. Three slots are taken by Kimberly, SLIH & Shucked. Has there been a ruling on if NYNY is eligible? Otherwise, the last two slots seem like they'll be some combination of Life of Pi, Bad Cinderella, Almost Famous, and KPop. When I look at that list, I'd feel pretty good about of Life of Pi's chances."
In the eligibilty rules there are two criteria for score it looks like:
Has the script or in the case of a musical the score, been previously produced in any manner that would suggest that it has become a “classic” or has entered into the historical or popular repertoire, regardless of whether it has previously played in what was then an “eligible Broadway theatre” as defined in the Tony Rules for the applicable season?
Does the score for the Production contain only original music and lyrics written for this Production? If not, please approximate the percentage of material that is newly written for this Production and the percentage drawn from other sources:
Newly Written ______% Drawn from other Sources _______% N/A (No Score)_______
I've personally been under the assumption it qualifies, given only 4 of the songs are from the movie and trunk music hasn't necessarily been performed on a Broadway stage/"other sources" before, i.e. Kander & Ebb wrote the music and applied it for the first time on a Broadways stage in this instance, even if the song had been heard before. Besides that, w/ LMM doing 7 of the songs + influencing quite a bit more, that seems to be enough to say "no" for question 1 and a high %age for question 2.
EAPEAPMO said: "Mr. Wormwood said: "ChorusKitty said: "Will this be one of those seasons where a play (thinking "Life of Pi" might sneak in a Best Score nomination?
"
Yes, I think that's a definite possibility. Three slots are taken by Kimberly, SLIH & Shucked. Has there been a ruling on if NYNY is eligible? Otherwise, the last two slots seem like they'll be some combination of Life of Pi, Bad Cinderella, Almost Famous, and KPop. When I look at that list, I'd feel pretty good about of Life of Pi's chances."
In the eligibilty rules there are two criteria for score it looks like:
Has the script or in the case of a musical the score, been previously produced in any manner that would suggest that it has become a “classic” or has entered into the historical or popular repertoire, regardless of whether it has previously played in what was then an “eligible Broadway theatre” as defined in the Tony Rules for the applicable season?
Does the score for the Production contain only original music and lyrics written for this Production? If not, please approximate the percentage of material that is newly written for this Production and the percentage drawn from other sources:
Newly Written ______% Drawn from other Sources _______% N/A (No Score)_______
I've personally been under the assumption it qualifies, given only 4 of the songs are from the movie and trunk music hasn't necessarily been performed on a Broadway stage/"other sources" before, i.e. Kander & Ebb wrote the music and applied it for the first time on a Broadways stage in this instance, even if the song had been heard before. Besides that, w/ LMM doing 7 of the songs + influencing quite a bit more, that seems to be enough to say "no" for question 1 and a high %age for question 2.
"
The counter to this is, Fred Ebb died 19 years ago...can they prove the trunk songs were written for a stage adaptation of NY NY? In my opinion if NY NY were to get a best score nomination, only Kander and Miranda should be eligible, then again Howard Ashman's nominations for Aladdin and The Little Mermaid seem to indicate otherwise.
But also several of the trunk songs would likely fall under the "classics" rule as they are standards. If I had to assume they are going to try and pull a Newsies has state that precisely 50.1% of the score is new, as I have been told they are going to submit for Original Score. Its in the committee's hands.
If NY, NY does get a nomination I wonder if it actually has a good chance at winning......will voters really be able to judge the score based on the new content only/ignore the title song? Plus Kander is reaching end of life and could very well be his last project on Broadway...so I wonder if some halo/nostalgia/emotion will go into this. In comparison, Kimberly Akimbo has a few great songs, a few good songs and a lot of serviceable songs - I don't think people perceive it to be breaking ground as a score.......And Some Like It Hot. I must admit does sound at times a lot like Smash to me - voters will not be naive to this as I'm guessing they will know the body of work of these artists.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
Mr. Wormwood said: "ChorusKitty said: "Will this be one of those seasons where a play (thinking "Life of Pi" might sneak in a Best Score nomination?
"
Yes, I think that's a definite possibility. Three slots are taken by Kimberly, SLIH & Shucked. Has there been a ruling on if NYNY is eligible? Otherwise, the last two slots seem like they'll be some combination of Life of Pi, Bad Cinderella, Almost Famous, and KPop. When I look at that list, I'd feel pretty good about of Life of Pi's chances."
I think PRIMA FACIE has a slightly better chance than PI for getting a best original score nom.
Jarethan said: "Call_me_jorge said: "Considering how panned the the funny girl Revival was, I highly doubt Lea Michele would have even been nominated had she opened the production."
Are you saying this to get a rise out of people, because I think that may be the stupidest thing posted on this board in at least a year. IMO she would have won by a landslide, though neither of us could prove our position."
I agree that she would have been nominated, but I seriously wonder if the adoration would have been this over the top without the narrative of "shes coming in to save the show after NOT getting the role initially" and in THAT context, its hard to see her (at that point more fresh off her "cancellation" beating Joaquina in a show about racial issues. Woulda been a different universe and we'll never really know.
Still think the Parade v Sweeney (and maybe ITW) contest is going to be the most intense, as the number of nominations/buzz will likely clue us into the rest.
bdn223 said: "But also several of the trunk songs would likely fall under the "classics" rule as they are standards. If I had to assume they are going to try and pull aNewsieshas state that precisely 50.1% of the score is new, as I have been told they are going to submit for Original Score. Its in the committee's hands."
I doubt KA's director will win. She was overlooked for several of the other awards--not even nominated for some. And her reviews were decidedly mixed.
Looking at the 2022 awards, Kimberly Akimbo director Jessica Stone actually did quite well when the show was off-Broadway. She won the 2022 Outer Circle Critics Award and was nominated for the 2022 Drama Desk Award (yes, she lost to Marianne Elliott for Company).
She wasn't nominated for the 2022 Lucille Lortel Award, but that award lumps the plays and musicals into one Directing category, but yes, I do see that 2 directors of musicals were nominated that year over her. However, the show itself won 3 awards, and it hardly directed itself. : )
In other words, I see your point, but it isn't like she has gone home totally empty-handed.
I think Fat Ham is a given nom in basically any circumstance just due to having most recently won the Pulitzer. I, for one, would absolutely love to see Cost of Living represented as well though
binau said: "If NY, NY does get a nomination I wonder if it actually has a good chance at winning......will voters really be able to judge the score based on the new content only/ignore the title song? Plus Kander is reaching end of life and could very well be his last project on Broadway...so I wonder if some halo/nostalgia/emotion will go into this. In comparison, Kimberly Akimbo has a few great songs, a few good songs and a lot of serviceable songs - I don't think people perceive it to be breaking ground as a score.......And Some Like It Hot. I must admit does sound at times a lot like Smash to me - voters will not be naive to this as I'm guessing they will know the body of work of these artists."
I think you're being kind to KA score. But overall, it's not a strong category this year. I think KA takes it, but this year, it's not the best effort of any of these writers.
Made a playlist of some of the currently available (and adjacent) cast recordings and play scores from this season if anyone wants to take a listen before next Tuesday's nominations!
TikTok seems to have gone all in for Shucked (including for score) and kinda dropped Kimberly Akimbo.
Very fascinating to see some of that show's biggest (former) evangelists now going all-in on a new show that has not been received nearly as positively everywhere besides TikTok (it seems to have received generally positive reviews across the internet, but not in the way that some TikTokers ADORE it).
I'll be seeing the show between noms and awards and I'm very curious to see how I like it.
TikTok really doesn't matter much though. It certainly has zero bearing on this state of the race. At this point, the producers need to get the attention of just 40 or so people deciding nominations. (And when you've spent the year seeing EVERY piece of theater on Broadway, a Tiktok star isn't going to sway you). Instead, producers and press agents hit up the major industry outlets that they know nominators subscribe to: Broadway.com, Theatermania, Gold Derby, Deadline, Playbill, etc. These are peppered with interviews and feature stories that they hope make nominators sympathetic to their show, and the various contenders. In-person campaigning is fairly minimal at the moment, but will pick up after nominations, with talk backs, luncheons, private events etc. Just as so-called "Film Twitter" tries and fails to exert some will over the Oscar race, theater fans on social media really have no effect on what a nominator is going to decide. The past month will have been wall to wall shows for these people, and when you see that much theater without a break, the good stands out from the bad pretty clearly.
And maybe some hope for my one possibly long shot wish that Dancin gets a Best Revival nom. (Seeing Camelot on Saturday so holding my thoughts for now on whether it should be in place of that or some miraculous tie in voting that gives us 5 noms)