Tony Award for Best "script" of a play?

I was slightly horrified tonight watching the award for Best Play being presented and accepted tonight firstly by the producer of the play Scott Rudin, who rather hogged the spotlight allowing playwright Stephen Karam only a brief moment to speak. I understand that the producers traditionally collect the Best Play and Musical prize, but where does that leave the playwright? The score and book of a musical get their own honor, so why does the playwright not get his own award?

Technically it's the producer, put usually shared with the writer. T his conversation comes up all time, and I couldn't agree more!

Updated On: 6/13/16 at 05:50 AM

I completely agree with this. I understand that this is why the musical categories have a Best Book and Best Musical award so that both the author and producers can revel in the glory, but when it comes to Best Play, the award should go to the playwright. I remember back when Red won Best Play in 2010, John Logan (the author) accepted the award. That's how it still should be today.

It's certainly a nice idea in theory, but how often (if ever) would the two awards ever differ? Maybe Perhaps in 2011 when a play like War Horse won, where it's clearly more about production than the writing. But it would be so rare that I don't think it makes much. It makes more sense just to award the Best Play Tony to the playwright and producer.

TalkinLoud said: "It's certainly a nice idea in theory, but how often (if ever) would the two awards ever differ? Maybe Perhaps in 2011 when a play like War Horse won, where it's clearly more about production than the writing. But it would be so rare that I don't think it makes much. It makes more sense just to award the Best Play Tony to the playwright and producer."



I'm with you.

Actually, BOTH the playwright and the head producer(s) receive the award. They are co-winners.

I think the reason for doing this differently than musicals is because some might argue that a musical can have a great book and score, but due to direction, choreography, and design still not be as much of a overall theatrical achievement as another (think Ragtime vs. The Lion King). However, plays often fail or succeed on the playwright's script. If it's a well-written script, it's mostly up to the director, designers, and actors to not screw it up. That said, highly theatrical non-realism plays (i.e. Curious Incident), are, I have to admit, exceptions to this.

It's an imperfect way of doing it but hey, arts awards are stupid anyway.