Tony Snubs- Page 5

[nycward]

Posted: 5/2/17 at 6:20pm

To snub is such an aggressive word to use. The dictionary meaning of the word is to "treat with disdain and contempt." I doubt that anyone that is being discussed here can really be treated thusly. More realistically that in a season with such strong talent for each of these categories some of the favorites being discussed here were probably just a vote or two away from being nominated. Its the irrational nature of all award seasons and nothing more. Lets focus on the praise that all of these people are receiving and hope that it leads to more work for them as their careers continue to grow.

Updated On: 5/2/17 at 06:20 PM

[xmaschild]

Posted: 5/2/17 at 6:42pm

The biggest disappointment for me was Sunset Boulevard.  I was very surprised it didn't get a nomination for Best Revival or Best Orchestration.  

[icecreambenjamin]

Posted: 5/2/17 at 6:55pm

Christy is a very sweet person with a beautiful personality, but this wasn't her year.  I'm sure that we'll see more of her in the near future.

I thought that all three of the Comet ladies were snubbed (Gray, Ashford, and Mclean).  Peil's spot (as much as I love her) should have gone to one of those actresses.  I predict that they may have split the vote.

Gideon Glick was definitely snubbed, 100%.

[After Eight]

Posted: 5/2/17 at 10:18pm

"I'm shocked that In Transit was completely looked over."

 

Actually, it was better than all four of the nominees for best musical.

[ljay889]

Posted: 5/3/17 at 12:39pm

Interesting to note that both Brantley and Green seem to think War Paint should've been nominated for score. I agree, I think it's a better score than CFA which sounds like one long unchanging song.

https://mobile.nytimes.com/2017/05/02/theater/nominations-hello-dolly-dear-evan-hansen-tony-awards.html?_r=0&referer=https://www.nytimes.com/section/theater

[Dancingthrulife2]

Posted: 5/3/17 at 12:51pm

ljay889 said: "Interesting to note that both Brantley and Green seem to think War Paint should've been nominated for score. I agree, I think it's a better score than CFA which sounds like one long unchanging song.

https://mobile.nytimes.com/2017/05/02/theater/nominations-hello-dolly-dear-evan-hansen-tony-awards.html?_r=0&referer=https://www.nytimes.com/section/theater

 

"

You need to have your ears checked.

[Valentina3]

Posted: 5/3/17 at 12:52pm

After Eight said: ""I'm shocked that In Transit was completely looked over."

Actually, it was better than all four of the nominees for best musical."

I was genuinely trolling. But I'm sure so are you (since I believe in humanity) so it's all good.

 

[pupscotch]

Posted: 5/3/17 at 1:25pm

I'm shocked that in that New York Times article, neither sees Comet as innovative. They say there is nothing as innovative this season as Hamilton or Fun Home, but I just wonder-did they see the same show I did?

[Steve C.]

Posted: 5/3/17 at 1:35pm

Michael Xavier should have been nominated but it is a tough year.

I'm seeing Comet again on Saturday and have now started to refer to the ladies as the "Great Meteor" performances...I wish Brittain, Amber...just a really tough year. Imagine if they had been up against Hamilton last year? (that would have been plenty of nuttin'... seeing Dave M for first time so I'm excited for that too.

[Valentina3]

Posted: 5/3/17 at 1:37pm

I agree, pupscotch. Kinda surprised that The Great Comet is not viewed at innovative outside of its design elements. I thought that score and structure of the show, even without the design elements, make it a very good fray into a new take on chamber musicals. The last chamber musical on broadway was arguably A Gentlemen's Guide To Love & Murder and that was nowhere near as versatile as NPATGCO1812.

I want to give them benefit of doubt and say that since Great Comet had been around the block (literally) for about 4 years now, they might not be necessarily seeing it as "new" anymore but it's a glaring omission none-the-less.

I'm also surprised they didn't single out Jon Jon as a snub. I genuinely thought he was a lock.

[coreman009]

Posted: 5/3/17 at 1:46pm

Corey Cott and Laura Osnes give career stellar performances. Also BANDSTAND for Best Musical, too bad there were only 4 nominees. 

[Steve C.]

Posted: 5/3/17 at 1:54pm

I'm sure that Laura Osnes is giving a great performance And thank goodness, Laura does have a lot more "name recognition" as a prominent singer/actor/dancer "on Broadway".

If there is any chance of a revival of Crazy For You, (that she did with Tony Yazbeck at LCT), I'm sure they would both get some Tony love. We're trying to see Bandstand soon.

[Lot666]

Posted: 5/3/17 at 2:01pm

QueenAlice said: "I finally caught ANASTASIA over the weekend and while Altomare is good in it, I can't really say that I thought her performance was better or more deserving than the women who were nominated. The committee obviously didn't think much of the show as a whole. I personally thought it a bit Disney lite, but that's just me.I did think Mary Beth Piel was wonderful though and am very happy she showed up this morning."

Your response to the show so closely parallels mine that I have to wonder if we were at the same performance (I saw it on Sunday afternoon). I think "Disney lite" is an apt description and Ms. Piel was the only real standout to me. Mr. Karimloo looked sheepish during the curtain call, suggesting that this is primarily a paycheck gig for him. The projections of the ghost dancers were enthralling and there were two or three standout songs, but the rest - despite the creative team's claims that they were going for more historical/political drama than fairy tale - felt like saccharine fluff to me.

[Lot666]

Posted: 5/3/17 at 2:01pm

10086sunset said: "There's also no way I'll be convinced Miss Saigon deserved that revival nod over Sunset Boulevard."

I liked Miss Saigon, but I have to agree with this.

[broadwayboy223]

Posted: 5/3/17 at 2:09pm

War Paint definitely deserved a best score nomination. 

[theater_tech]

Posted: 5/3/17 at 2:14pm

Does anyone else feel the biggest disappointment in the musical category to be the lack of nomination for one of the Comet ladies for Featured Actress? I was absolutely CRUSHED when I saw none of them got nominated. I would've been fine with either Amber Gray/Brittain Ashford getting it, although I was largely rooting for Brittain. 

She has an unconventional voice for Broadway that perfectly fits her character and the song (Sonya Alone) which was a highlight of the show. A performance that could be described as "time stood still". Despite no acting experience, Brittain manages to play Natasha's moral compass beautifully. She was just so different than usual Broadway but it works, and it is a huge shame she did not get recognized. 

Mary Beth Peil was great in Anastasia, and I very much enjoyed her performance; however, I felt her spot should have gone to one of the Comet women. Great Comet is great (excuse the pun) not because of the two faces on its poster, but because of its supporting cast. The ensemble carries the show, and ESPECIALLY the ladies in it (Ashford, Gray, McLean, Bell). 

This argument is the opposite for Anastasia, where Christy Altomare carries the show. Granted, Anastasia is not a great musical (nor is it a negative one, despite critics), but Altomare is easily the best part of it. Her commanding stage presence is evident when Anastasia undergoes character progression (especially in act 2 when she accepts herself to be the princess). "Journey to the Past" is excellently sung with innocence yet hopefulness. She is truly magnificent and deserves a spot in Leading Actress in a Musical. (And yes, Altomare is a genuine sweetheart as testified through my stage door experience. I think the producers might have hired a real princess.)

Updated On: 5/3/17 at 02:14 PM

[Steve C.]

Posted: 5/3/17 at 2:21pm

yes, TT, Brittain and Amber provide "Comet" with some of its' most poignant and moving moments...

It will definitely be a moment to shine in their bios. I guess being Broadway debuts in such a tough tough year didn't. I'm thrilled Lucas Steele did get a nom. But, I agree totally. 

[froote]

Posted: 5/3/17 at 2:22pm

I think people thinking Karimloo looked sheepish are probably projecting their own opinions of the show onto the actors. It's not like he has a history of being in extremely critically acclaimed shows and I'm sure he's happy to be in a box office hit.

[Lot666]

Posted: 5/3/17 at 2:27pm

Wick3 said: "I was also hoping Fred Johanson from Sunset Blvd would get a nomination too. His portrayal of Mayerling is the best I've ever seen of any Sunset Blvd productions."

I did not see the original production (although Mr. Hearn is excellent on the cast recording), but I also thought Mr. Johanson was a standout as Max. His performance of "The Greatest Star of All" was very powerful.

[Lot666]

Posted: 5/3/17 at 2:29pm

BroadwayMan5 said: "It's a small category but honestly, the biggest surprise for me was Sunset Boulevard not getting nominated for Orchestrations."

Absolutely. I thought this one would be perfectly obvious.

 

Updated On: 5/4/17 at 02:29 PM

[blaxx]

Posted: 5/3/17 at 2:46pm

theater_tech said: "Does anyone else feel the biggest disappointment in the musical category to be the lack of nomination for one of the Comet ladies for Featured Actress?

If you bothered to read the thread...

[Babe_Williams]

Posted: 5/3/17 at 3:11pm

Lot666 said: "QueenAlice said: "I finally caught ANASTASIA over the weekend and while Altomare is good in it, I can't really say that I thought her performance was better or more deserving than the women who were nominated. The committee obviously didn't think much of the show as a whole. I personally thought it a bit Disney lite, but that's just me.I did think Mary Beth Piel was wonderful though and am very happy she showed up this morning."

Your response to the show so closely parallels mine that I have to wonder if we were at the same performance (I saw it on Sunday afternoon). I think "Disney lite" is an apt description and Ms. Piel was the only real standout to me. Mr. Karimloo looked sheepish during the curtain call, suggesting that this is primarily a paycheck gig for him. The projections of the ghost dancers were enthralling and there were two or three standout songs, but the rest - despite the creative team's claims that they were going for more historical/political drama than fairy tale - felt like saccharine fluff to me.

 

"

I get that feeling that most of his musical theater projects are paycheck gigs.

[froote]

Posted: 5/3/17 at 3:15pm

A few months ago Karimloo was in a lukewarmly received production of Murder Ballad where they often failed to sell out 350 seats. He's doing fine in Anastasia.

[Dollypop]

Posted: 5/3/17 at 4:59pm

RE: Warren Carlyle's snub

Does anyone know if Marge Champion is still part of the Toby Awards nominating committee?  She might be the reason why Warren was deemed ineligible.

[Robbie2]

Posted: 5/3/17 at 11:01pm

Dollypop said: "RE: Warren Carlyle's snub

Does anyone know if Marge Champion is still part of the Toby Awards nominating committee?  She might be the reason why Warren was deemed ineligible.

 

"

The 2016-17 Nominating Committee includes:

• Adrian Bailey – Actor
• Victoria Bailey – Executive Director, Theatre Development Fund
• Luis Castro – Media and Entertainment Executive/Producer*
• Hope Clarke – Choreographer
• Paul Cremo – Dramaturg/Director of Opera Commissioning Program, The Metropolitan Opera
• Patricia Cruz – Executive Director, Harlem Stage/Aaron Davis Hall, Inc.*
• Trip Cullman – Director
• Edgar Dobie – Executive Producer, Arena Stage – Washington, DC*
• Scott Elliott – Director/Artistic Director, The New Group**
• Harvey Evans – Actor
• Sean Patrick Flahaven – Writer/ Composer/Orchestrator/ Conductor/Producer
• Paul Gallo – Lighting Designer
• Jenny Gersten – Former Executive Director, Friends of the High Line
• Daniel Goldfarb – Playwright, Bookwriter
• Sam Gonzalez – Dir. of Operations, Pfizer Medical/Board of Trustees, Playwrights Horizons
• Adam Gwon – Composer/Lyricist
• Roy Harris – Production Stage Manager
• Peter Hedges – Writer*
• Jack Hofsiss – Theatre, Film, Television Director
• Mara Isaacs – Founder and Director, Octopus Theatricals, LLC*
• Lou Jacob – Director at the New School for Drama
• Anne Keefe – Associate Artist, Westport Country Playhouse*
• Tom Kitt – Composer, Lyricist, Bookwriter
• Fran Kumin – Consultant, Perf. Arts Organizations/Foundations/University Theatre Programs
• Michael John LaChiusa – Composer, Lyricist, Librettist*
• Kate Levin – Cultural Assets Management Principal, Bloomberg Associates
• Reynold Levy – Former President of Lincoln Center for the Performing Arts
• Patricia Marx – American Humorist and Writer, Former Television Writer
• Jim McLaughlin – Former Producer, CBS News/TV Feature and Documentary Producer
• Tony Meola – Sound Designer*
• Jessica Molaskey - Actor*
• Debra Monk - Actor
• Roger Morgan – Lighting Designer, Theatre Designer
• Laurence O’Keefe – Composer
• Katherine Oliver – Media and Technology Principal, Bloomberg Associates
• Christian Parker – Chair, Graduate Theatre Program, Columbia University
• Paige Price – Actor/1st Vice President of AEA/Executive Artistic Director, Theatre Aspen
• Ravi S. Rajan – Dean, School of the Arts – SUNY Purchase
• Paul Rudnick – Playwright, Novelist, Screenwriter, Essayist*
• Susan H. Schulman – Director/President, Stage Directors and Choreographers
• Mikki Shepard – Executive Producer, The Apollo Theatre*
• Warner Shook – Director
• Ellen Sorrin – Director, The George Balanchine Trust*
• Jessica Stone – Actor/ Director*
• Edward Strong – Producer
• Wynn Thomas – Production Designer
• Jose Antonio Vargas – Journalist/Filmmaker/Founder of Define American *
• Jennifer von Mayrhauser – Costume Designer
• Tom Watson – Retired Executive, Television Advertising
• Preston Whiteway – Executive Director, The Eugene O’Neill Theater Center
• Evan Yionoulis - Director*

*Denotes new Nominating Committee member