I've been on cloud nine all day. I really don't know what his chances are for winning but I'm so happy.
"Noah, someday we'll talk again. But there's things we'll never say. That sorrow deep inside you. It inside me, too. And it never go away. You be okay. You'll learn how to lose things..."
Mister Matt, the whole different shows winning book, score and show also occurred in 2000. Aida won best score, Contact won best musical...and I don't remember what won book, but it was neither of those two.
"If there was a Mount Rushmore for Broadway scores, "West Side Story" would be front and center. It snaps, it crackles it pops! It surges with a roar, its energy and sheer life undiminished by the years" - NYPost reviewer Elisabeth Vincentelli
"Noah, someday we'll talk again. But there's things we'll never say. That sorrow deep inside you. It inside me, too. And it never go away. You be okay. You'll learn how to lose things..."
I'm trying to understand something. Do the producers of a show have to submit an actor's name to the nominating committee in order for that actor to be considered? Or are nominations completely independent of the production?
Salmon leap from the womb of the white sea you look on; they are calves, they are lambs of good color, in peace without slaughter.
Basically, the categories that any given actor will be placed in is based on billing in the opening night program -- those billed above the title are automatically considered Lead and those below are Featured. However, a show's producers have the right to petition the Tony nominating committee if they would like certain actors to be considered for different categories than their billing would indicate. Producers must make a formal request in writing within two weeks of opening night in order for the committee to consider a change. The comittee takes all such requests under advisement and a couple of times during the season will announce any rulings on category changes.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
"Noah, someday we'll talk again. But there's things we'll never say. That sorrow deep inside you. It inside me, too. And it never go away. You be okay. You'll learn how to lose things..."
"I thought Lithgow was good...but Norbert was easily the star of that show. Now if Norbert leaves and Lithgow stays...then you might see the replacement be unable to outshine Lithgow.."
I know the vast majority of the people posting here agree with that sentiment, but I don't. Without taking a thing away from Norbert's fabulous performance, I think Lithgow, in a quieter way, was wonderful as well. When Freddy Benson is played properly, he'll always steal the focus - it's the nature of the character. Lithgow's performance was, in my opinion, the ideal counterpoint to Norbert's - without Lithgow's refined yet slightly smarmy presence, Norbert's performance could have crossed the line from humorously boorish to completely obnoxious. They are a team, in the best sense of the word. Lithgow allowed Norbert to shine.
I really think he'll take home score and for some reason I just have this feeling PIAZZA will also be taking home Musical.
"Noah, someday we'll talk again. But there's things we'll never say. That sorrow deep inside you. It inside me, too. And it never go away. You be okay. You'll learn how to lose things..."
If anyone got robbed, it's Gregg Barnes for costumes in DRS. His outfits for Freddy Benson did allmost as much to define the character as the talents of Norbert Leo Butz. And I loved those blue outfits in "What's A Woman To Do?". I only wish that scene with the towels was a bit longer, I was sitting right up front and kept hoping for a wardrode malfunction.
Kenneth Posner-lights: briliant!
I loved Spamalot, but put me in the "but DRS was better" camp.
Also, Christian Borle was terrific, and I'm glad to see so many others before me say so.
YES to DRS (I want it to win Best Musical so badly!!!!) and "Virginia Woolf"!!! I thought Kathleen was wonderful - I went back after a month and the entire cast has grown. Happy for Bill Irwin also!!!
How I feel about Christian Borle. (Ignore the fact that this pic is not from Spamalot. Couldn't find one of him, haha.)
Other than that, I'm deeply saddened that Raul was shafted. I'm pretty happy with the rest, though. YAY for Ramirez and Stuhlberg.
"Oh, good. After all, I can rub my stomach and pat my head at the same time, and I can do it with my eyes closed while whistling 'The Entertainer.' That's rhythm for you."
~ Snaps, proving that White Boys CAN have rhythm
The brightest reviews La Cage got were because of the Cagelles and Daniel Davis. Their performances stood out. Beach got reviews that almost made me feel sorry for the guy. I have to assume Davis contributed to La Cage's Tony nom, whereas if it had been left to Beach - who is still, by some accounts, "getting comfortable" with role - La Cage might not have gotten a nod. If neither of them had been nominated - fine. But this? What a sick joke.
Salmon leap from the womb of the white sea you look on; they are calves, they are lambs of good color, in peace without slaughter.
I'm upset about certain things, but not surprised. A few things I would have done differently:
-STREETCAR instead of ON GOLDEN POND for revival -Natasha Richardson, hello! -Gary Beach - what is THAT about? -ALL SHOOK UP for best orchestrations - come on!
Others, but I'm tired.
"If you are going to do something, do it well. And leave something witchy."-Charlie Manson
I know it was a while back but I totally agree with Lady of the Lake about Litgow. The way Norbert and he (and Sherie) all play off of each other makes each interaction shine even more. They all push each other and make the performances even better, I also think Jbara does this in his very under rated performance. The whole show is a fabulous and delicate mixture, the wrong ingredients would have destroyed it, but it is fabulous.
As for the choreograpy category...very suprised at Cilento's nomination. I thought better choreography was seen in CHITTY or ASU. And, although the choreography was minimal, I though the choreography in SPELLING BEE was funny, witty and well integrated into the story. I appreciate that more than a re-hash job of some of Fosse's greatest work.
I was very surprised at the omissions of Maureen McGovern, Natasha Richardson, and the Spamalot guys. I don't think any of the lead guys in Spamalot are giving Tony-worthy performances, particularly Tim Curry, who gave the impression that he was walking through the show, but David Hyde Pierce and Christian Borle certainly deserved recognition. I was particularly surprised at Azaria over Pierce. I'm upset basically at the amount of Spamalot nominations. I don't think the show is that great, and I resent Eric Idle for constantly ripping off Monty Python and then trying to excuse his greediness by professing that he is a "greedy bastard who is ripping off Monty Python." Eric, move on.