"I thought Finding Neverland's number was the worst of the evening. Baffling and terrible."
Didn't do anything for me either. Very disjointed. Is it representative of the show or is the show better than what we saw on stage tonight (and I understand some found the number appealing)?
The context for the NEVERLAND number was thrilling within the whole musical-- something that can't be conveyed in the tiny Tony segment. Barrie is at a stumbling block with his play and that number is where he hatches the idea of using a prime villain (Hook) as an antagonist for Peter. Previous to this number Kelsey Grammer has only appeared as the bumbling lovable producer friend. The storm onstage is only in Barrie's mind, and the plank-walking is all metaphor for him jumping off from his own sense of safe play-making.
Admittedly that's a lot to pack into a 3-minute Tony number. Onstage it was the finale to Act I and sent me out in the intermission grinning from ear to ear.
Yes, the Finding Neverland number is just as laughably bad in the theatre.
That may not have been the best ceremony, and what was left off of the broadcast was just absurd, but it was certainly the best season of my short life and I loved the way the awards were spread around. Kudos to everyone. I'm sad that The Visit will probably post a notice this week, but other than that I'm elated for the future of musical theatre.
I was really disappointed that Hand to God did not get any recognition. Granted, i have not seen "Dog in the Nighttime" yet, but i saw Hand to God on a 5 show weekend, and that was the show I still think about. No flashy musical numbers orlighting, just incredible talent from the entire cast, especially Steven Boyer.
Maybe Turone needs to pay a visit to the Tony voters and have a chat with them.
Well I fell asleep at 6 pm last night, so I woke up to the answers. I have no problems with any of the winners, but none of my first choices won. Alan Cumming and Kristen Chenoweth look like they did a good job hosting. I'll have to watch the awards in full later.
I remain satisfied that Michael Reidel got almost all of his predictions wrong.
It's also another great year for women, as this year the first woman duo won for score.
Went to bed before the show ended, hoping Michael would win. I actually dreamed about him. So happy to see that he did win. Such a talented, nice, classy guy!
I have never been more thrilled with the Tony winners than I was this year. Namely, “Fun Home,” which is deserving of every success it received last night. It truly is an exciting milestone to see a show like “Fun Home” take home the big prize. So happy for everyone involved. I screamed my head off (in joy) when it was announced.
Also thrilled for Kelli and Michael Cerveris’ wins. Both gave heart-warming and genuine speeches and both are well-deserving of the win. Cheers to Alex Sharp, too, whose beautiful performance earned him that award.
I thought Kristin and Alan made for quirky and charming hosts. They were energetic and funny and it really looked like they were having a blast. Sure, maybe they weren’t the most polished, but I found them charming and thought they were refreshing from what usually feels like overly rigid bits that end up coming off awkward on previous award shows.
"Can anyone explain Chita's shaking during her performance?"
I wonder this as well. She had tremors when I met her at the stage door and her signature was shaky as well. She seems in great health. It might just be age related.
"The sexual energy between the mother and son really concerns me!"-random woman behind me at Next to Normal
"I want to meet him after and bang him!"-random woman who exposed her breasts at Rock of Ages, referring to James Carpinello
I watched a bit of the ceremony and I really liked Kristen and Alan as hosts. It was actually funny and they felt natural, as opposed to the plaster of Hugh Jackman or Neil Patrick Harris.
I think its mostly accurate. Obviously ALW has written amazing musicals, and we have some great American playwrights, but i do think Americans are better at musicals, and they are better with plays.
Kudos to whoever's idea it was to do a show about a lesbian, sure. But she was on the production team of "Thoroughly Modern Millie" also--which is not nearly in the same vein. Rather fluffy.
So--curious.
So was Tesori. But why do you think that's relevant? Or how she got her money? Do you investigate the funds and backgrounds of all Broadway producers?
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
I'm not familiar with many shows before any war. I tend to watch modern TV, as that is what is actually on TV, unless it's Lucy. But thanks for being snide, though.