Tony race for Best New Musical

My apologies if I'm doubling up on a thread. I've seen the subject discussed in various places but didn't see it as a specific topic. If I'm wrong, happy to be redirected there.

All that said, it feels like a tight season for Best New Musical and I'm wondering what people are thinking about the nominees and likely winner.

In that category, so far I've seen Maybe Happy Ending, Operation Mincemeat and Death Becomes Her. Right now my vote goes to MHE. And I predict it will stay that way even after I get to a few of the upcoming shows. But we'll see...

Feels like it'll be a two way race between Mincemeat in MHE to me. I personally think Dead Outlaw is going to have trouble attracting Broadway audiences and it's not gonna stand up to the two big critically loved (assuming here for Mincemeat) crowd pleasers.

With double the number of new musicals opening between now and the Tony cutoff than are currently in the running, it is WAY to soon to even consider this as a serious question.

Will get back to you in late April. :-)

Falsettolands said: "This was surely change, but I'm feeling this:

Best Musical: Maybe Happy Ending
Best Book: Operation Mincemeat
Best Score: Dead Outlaw

And I would even push Maybe Happy Ending for Best Orchestrations, but there's a part of me that feels like that's destined to go to Buena Vista for sheer accomplishment.

Yeah, it's really one of those years. I also feel like it's unfair for me to use last years Dead Outlaw as an indicator for how it will translate on Broadway. I really liked it but I don't know what types of changes they'll make, how it will translate on a larger stage etc. And with "Real Women Have Curves" coming, speaking too soon just feels stupid.

The only thing I feel is a LOCK (will die on this hill) is Jak Malone winning Best Featured Actor in a Musical. That's the juggernaut performance of that show and it rises above what I feel to be a "fine" musical."

I think assuming SMASH and BOOP! are DOA would be unwise....both shows have had revisions since their respective workshops/tryouts and they have some folks in charge who know their craft so I think everything is still up for grabs as far as new musicals are concerned.....

Falsettolands said: "This was surely change, but I'm feeling this:

Best Musical: Maybe Happy Ending
Best Book: Operation Mincemeat
Best Score: Dead Outlaw

And I would even push Maybe Happy Ending for Best Orchestrations, but there's a part of me that feels like that's destined to go to Buena Vista for sheer accomplishment.

Yeah, it's really one of those years. I also feel like it's unfair for me to use last years Dead Outlaw as an indicator for how it will translate on Broadway. I really liked it but I don't know what types of changes they'll make, how it will translate on a larger stage etc. And with "Real Women Have Curves" coming, speaking too soon just feels stupid.

The only thing I feel is a LOCK (will die on this hill) is Jak Malone winning Best Featured Actor in a Musical. That's the juggernaut performance of that show and it rises above what I feel to be a "fine" musical."



I think David Thaxton (SUNSET) is WAY more likely to be remembered in this category and take the prize.

getatme said: "Jak Malone seems the most likely win for Operation Mincemeat, but I'd hardly call it a lock. Burstein is doing really phenomenal work in Gypsy, Sieber is delivering musical comedy gold in Death Becomes Her, and there's still a handful of other shows that could give a featured actor a moment just as wonderful as Malone's."



Christopher Sieber is not winning a Tony for Death Becomes Her.

getatme said: "Jak Malone seems the most likely win for Operation Mincemeat, but I'd hardly call it a lock. Burstein is doing really phenomenal work in Gypsy, Sieber is delivering musical comedy gold in Death Becomes Her, and there's still a handful of other shows that could give a featured actor a moment just as wonderful as Malone's."

This seems to presume Malone only has "a" moment, but there's far more to his performance than the single song that is the show's emotional highpoint. He flawlessly embodies multiple characters, and at one point transitions from one back to his primary character onstage in front of the audience. He's present and has much more stagetime than most of the other contenders (including Sieber, who I dearly love but who has one big number, one short number, but is otherwise easily overlooked in a show that has pushed the emphasis from a three-person story to a two-person one). I really liked, without quite loving, Mincemeat, but if they get any wins, it should be that one. (Thaxton would be #2 of what I've seen, but if Malone rightly beat him at the Oliviers, I don't know why he wouldn't beat him at the Tonys.)

I don't know which way things will go, but I do think it's a very EXCITING year for new musicals. I've seen and adored both Maybe Happy Ending and Operation Mincemeat. I also loved Buena Vista Social club and thought Death Becomes Her was a hoot. That would be a really rich line-up of nominees right there alone.



And that's without factoring in Boop, Smash, Real Women Have Curves, or Dead Outlaw, all of which I'm really excited for--especially Dead Outlaw, which I was so sad to miss downtown.



We've had some duds this season, as in any, but the highs have been really high!

Thinking now that BOOP received positive reviews and it's original it will make the list but not win Best Musical

BOOP

Buena Vista Social Club

Dead Outlaw

Maybe Happy Ending

Operation Mincemeat

***Real Woman Have Curves

***Will it bump one of the above?

Robbie2 said: "Thinking now that BOOP received positive reviews and it's original it will make the list but not win Best Musical

BOOP

Buena Vista Social Club

Dead Outlaw

Maybe Happy Ending

Operation Mincemeat

***Real Woman Have Curves

***Will it bump one of the above?"

How is Boop, based on Betty Boop, the iconic century-old cartoon character, "original"?

Listen, I am not and never have been somebody who thinks the label of "original" automatically makes a new musical worthwhile or superior to one adapted from an existing property, but if we are now labeling a musical based off a century-old piece of intellectual property "original," then the term no longer means anything.

My lineup:

- Boop (or) BVSC

- Dead Outlaw

- Maybe Happy Ending

- Operation Minemeat

- Real Women Have Curves

I think the logical answer for the fifth slot is BVSC ... but I wonder what Boop being a struggling original musical with an original score will play into matters. BVSC doesn't need the nom as much as BOOP.

Then again, will the nomination be enough to save Boop in the long term? Probably not.

It's a toss up for me.

Kad said: "Ensemble1665759202 said: "Kad said: "Listen, I am not and never have been somebody who thinks the label of "original" automatically makes a new musical worthwhile or superior to one adapted from an existing property, but if we are now labeling a musical based off a century-old piece of intellectual property "original," then the term no longer means anything."

Ughh were you one of those people arguing Hamilton wasn't an original musical? lol"

There is literally nothing wrong with a show being an adaptation. It is not a dirty word and it does not make a show inferior. Most musicals are adaptations!"

I think it's two different things - taking a known IP and writing a fully original story around it (like this is) versus an adapting an existing story. Betty Boop has existed as a character, but this musical isn't adapted from any of her cartoons or their plots. It's similar to Annie or the Barbie movie in that way - existing character, putting her into a fully new story. I'd call all three of them original.

I mean in the strictest way I don't disagree with you, but it also depends if we're defining original as "first/origin" vs "innovative/creative" - they're both common definitions of original, but in my mind it's more the latter. If we're discounting all shows that reference an existing character, take reference from a book or movie, any existing music... we're left with verrrrry few shows. Something like Rent, even though it has its La Boheme source material, I'd refer to as an original musical. Something like Hairspray, even with fabulous new music and a new conceit, I wouldn't. But it's all a bit grey.