Best Script of a Play.
Seems unfair that 1) musicals get Best Musical, Best Book of a Musical, and Best Score while plays just get Best Play, and 2) that a brilliant script may be wholly overlooked for awards if given a terrible production.
The "Best Play" award is presented to the playwright, so it is essentially an award for the script.
I thought Best Play was presented to the producers like Best Musical is. I guess I'm wrong. But it would be nice to split up the play into "Best Play" (or Best Script of a Play) and "Best Production of a Play." Sort of the equivalent of musicals having "Best Score" and "Best Book" as well as "Best Musical."
<"Perhaps separate best original book of a musical from best adapted book? Like the Oscars do for scripts?"
I don't think the number of new productions each season could really support or justify splitting that category. Take this season, there's 11(?) new musicals, and maybe four that would qualify as an original book? That really doesn't create any sort of sense of competition.
I get that, but best revival will have 2 nominees, so a small number of eligible candidates doesn't mean one is not deserving.
Regarding Best Song, perhaps the producers of the shows would be able to submit up to a certain amount of songs for consideration to the committee?
Understudy Joined: 11/29/10
As for a "Best Replacement" category and saying that it would mean that the "role" would be Tony worthy and not necessarily the portrayal of it - i've said that about revivals for years. People get nominated as Best Actor/Actress in a play or musical in a show that is a revival against someone that is in a new work. The challenges are NOT the same. Most of the time, voters ARE reacting to the role NOT necessarily the portrayal of the role. Thus, Willie Loman will always be nominated, Shylock will always be nominated, Mamma Rose will always be nominated. Those ROLES will than be up against someone that had to create from scratch, work with a director to originate a character, work with an author to shape a role, work with a composer to find the notes for a character to sing.
I say, if you're not going to let replacement casts be nominated then you shouldn't let revival roles be nominated. You know enough to not let a revival show compete against a new show, so WHY do actors in NEW compete against Revival?
Broadway Star Joined: 5/12/03
what about best child actor in these categories best child actor 6-12 best teenager actor 13-19.
i like that idea!
maybe not a tony, but there should be an award for best playbill cover, or best advertising.
I'd love to see some more attention to the people who make it happen backstage! I think it would be really neat to include more of those awards.
I'd love to see some more attention to the people who make it happen backstage! I think it would be really neat to include more of those awards.
How are Tony voters supposed to judge that? Tony for fastest scene changes? Smoothest curtain drop to end an act?
I agree with the best musical director. I also think that there should be some sort of award for the technicians
and the Longest Running Musical to be in Previews Award goes to... SPIDER MAN: TURN OFF THE DARK! lol what a shock!
There would seldom be enough kids to fill either of those categories. Even if it were ONE kids category.
There actually used to be awards for Best Author (or, if you will, Best Script of a Play) and for Best Stage Technician.
Best Author was presented in 1947, 1948, 1949 and 1965. The first year it went to Arthur Miller for All My Sons, and there was no award for Best Play. The next two years Mister Roberts and then Death of a Salesman took home both Best Play and Best Author. And in 1965 Neil Simon won Best Author for The Odd Couple while The Subject Was Roses won Best Play.
Best Stage Technician was presented from 1948 to 1963. I have no idea how they determined that the carpenter for one show was better than the electrician for another show.
As far as re-instating a Best Author award, I don't think there are many instances of something winning Best Play based more on its production than its writing (the way that several musicals have). Looking back at the last 20-ish years, it seems to me that almost every Best Play winner would also win Best Author (some possible exceptions being 2002 with Metamorphoses and The Goat, and 1998 with Art and The Beauty Queen of Leenane).
Videos