Tonys 2017: Will/Should Win

Post your predictions here.

BEST MUSICAL

Will/Should Win: Dear Evan Hansen



BEST PLAY

Will Win: Sweat

Should Win: A Doll’s House, Part 2



BEST BOOK OF A MUSICAL

Will/Should Win: Steven Levenson, Dear Evan Hansen



BEST ORIGINAL SCORE

Will/Should Win: Benj Pasek and Justin Paul, Dear Evan Hansen



BEST REVIVAL OF A PLAY

Will Win: The Little Foxes

Should Win: Jitney



BEST REVIVAL OF A MUSICAL

Will/Should Win: Hello Dolly



BEST LEADING ACTOR IN A PLAY

Will Win: Kevin Kline, Present Laughter

Should Win: Denis Arndt, Heisenberg



BEST LEADING ACTRESS IN A PLAY

Will/Should Win: Laurie Metcalf, A Doll’s House, Part 2



BEST LEADING ACTOR IN A MUSICAL

Will/Should Win: Ben Platt, Dear Evan Hansen



BEST LEADING ACTRESS IN A MUSICAL

Will/Should Win: Bette Midler, Hello Dolly



BEST FEATURED ACTOR IN A PLAY

Will Win: Danny DeVito, The Price

Should Win: Michael Aronov, Oslo



BEST FEATURED ACTRESS IN A PLAY

Will Win: Cynthia Nixon, The Little Foxes

Should Win: Jayne Houdyshell, A Doll’s House, Part 2



BEST FEATURED ACTOR IN A PLAY

Will Win: Gavin Creel, Hello Dolly

Should Win: Lucas Steele, Natasha, Pierre, and the Great Comet of 1812



BEST FEATURED ACTRESS IN A MUSICAL

Will/Should Win: Rachel Bay Jones, Dear Evan Hansen



BEST SCENIC DESIGN OF A PLAY

Will/Should Win: David Gallo, Jitney



BEST SCENIC DESIGN OF A MUSICAL

Will Win: Santo Loquasto, Hello Dolly

Should Win: Mimi Lien, Natasha, Pierre, and the Great Comet of 1812



BEST COSTUME DESIGN OF A PLAY

Will/Should Win: Jane Greenwood, The Little Foxes



BEST COSTUME DESIGN OF A MUSICAL

Will/Should Win: Paloma Young, Natasha, Pierre, and the Great Comet of 1812



BEST LIGHTING DESIGN OF A PLAY

Will/Should Win: Jennifer Tipton, A Doll’s House, Part 2



BEST LIGHTING DESIGN OF A MUSICAL

Will Win: Japhy Weideman, Dear Evan Hansen

Should Win: Bradley King, Natasha, Pierre, and the Great Comet of 1812



BEST DIRECTION OF A PLAY

Will Win: Bartlett Sher, Oslo

Should Win: Sam Gold, A Doll’s House, Part 2



BEST DIRECTION OF A MUSICAL

Will/Should Win: Michael Greif, Dear Evan Hansen



BEST CHOREOGRAPHY

Will Win: Peter Darling and Ellen Kane, Groundhog Day

Should Win: Sam Pinkleton, Natasha, Pierre, and the Great Comet of 1812



BEST ORCHESTRATIONS

Will Win: Larry Hochman, Hello Dolly

Should Win: Alex Lacamoire, Dear Evan Hansen

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DEH didn't win but it should have.

BEST PLAY:

Will/Should Win: Sweat

BEST MUSICAL:

Will Win: Great Comet

Should Win: Great Comet/DEH

BEST REVIVAL OF A PLAY:

Will/Should Win: Six Degrees of Separation

BEST REVIVAL OF A MUSICAL:

Will Win: Hello Dolly

Should Win: Hello Dolly/Miss Saigon

LEADING ACTOR IN A MUSICAL:

Will/Should Win: Ben Platt

LEADING ACTRESS IN A MUSICAL

Will Win: Bette Midler

Should Win: Eva Noblezada/Denee Benton

FEATURED ACTOR IN A MUSICAL:

Will Win: Gavin Creel

Should Win: Brandon Uranowitz/Gavin Creel

FEATURED ACTRESS IN A MUSICAL

Will/Should Win: Rachel Bay Jones/Kate Baldwin

BEST BOOK OF A MUSICAL:

Will/Should Win: DEH

BEST SCORE OF A MUSICAL:

Will win: Great Comet

Should Win: Great Comet/DEH

BEST SCENIC DESIGN OF A MUSICAL:

Will/Should Win: Great Comet

COSTUME DESIGN OF A MUSICAL:

Will/Should Win: Hello Dolly/Great Comet

LIGHTING DESIGN OF A MUSICAL

Will/Should Win: Great Comet

BEST DIRECTION OF A MUSICAL:

Will/Should Win: DEH

BEST CHOREOGRAPHY:

Will/Should Win: Great Comet

BEST ORCHESTRATIONS:

Will/Should Win: Great Comet

To those of you who think that Comet should triumph over DEH, while recognizing that everyone is entitled to an opinion, I say this: Go back and read the full thread of "Dear Evan Hanson Issue." What it shows is that while many of the people who posted in the thread have problems with the DEH book for personal and legitimate reasons, those people, along with those who LOVED the show took an incredible amount of time to post very detailed, very textured and very personal reactions to the show. It's a show that generates an incredible reaction, mostly highly positive and on occasion critical, but the thought, care and SERIOUSNESS shown in those posts is like nothing I think any of us have ever seen on a theater chat board. And everyone seems to agree that the show has one of the most memorable performances in a least a decade, perhaps longer. Neither Comet nor any other musical has generated a thread here that begins to rival the thread I'm referring to, and I commend every single poster who took the time to articulate what they either did or didn't like about the play. Both sides are legitimate, and one's individual reaction is very much intertwined with their own personal situations and experiences.

So in my view, if DEH does not win the Tony for the best musical it will be a travesty.

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RaisedOnMusicals said: "To those of you who think that Comet should triumph over DEH, while recognizing that everyone is entitled to an opinion, I say this: Go back and read the full thread of "Dear Evan Hanson Issue." What it shows is that while many of the people who posted in the thread have problems with the DEH book for personal and legitimate reasons, those people, along with those who LOVED the show took an incredible amount of time to post very detailed, very textured and very personal reactions to the show. It's a show that generates an incredible reaction, mostly highly positive and on occasion critical, but the thought, care and SERIOUSNESS shown in those posts is like nothing I think any of us have ever seen on a theater chat board. And everyone seems to agree that the show has one of the most memorable performances in a least a decade, perhaps longer. Neither Comet nor any other musical has generated a thread here that begins to rival the thread I'm referring to, and I commend every single poster who took the time to articulate what they either did or didn't like about the play. Both sides are legitimate, and one's individual reaction is very much intertwined with their own personal situations and experiences.

So in my view, if DEH does not win the Tony for the best musical it will be a travesty.



"

First, I think it's important to note that "Best Musical" does not equate to "Most Emotional Musical." If that were the case, then Wicked would've beat Avenue Q, etc. Best Musical means just that – the best overall musical.

In Regards to Best Musical: I love both shows, however, The Great Comet is in my opinion on a whole different level from Dear Evan Hansen, even though I think Dear Evan Hansen is a much more emotional show than The Great Comet. TGC is a piece of artwork; there is and has never been nothing like it on a Broadway stage before, and while it doesn't have a Ben Platt leading it, it is unarguably the most intricate and eclectic show on Broadway this season. Dear Evan Hansen, while an emotional ride/a more "real" show, doesn't really do anything to advance theatre as an art form. Yes, it captures mental illness on stage. So did Next to Normal. Yes, it shows a dysfunctional and realistic family on stage. So does Fun Home. Yes, its star is an impeccable actor and singer, but his elevation of a role (which, in my opinion, is kind of sleazy – I mean, he lied to people about their dead son. Yes, he sings a sad song at the end and his awkwardness makes you like him, but he never really faces consequences for his actions which is kinda gross in my opinion) should not carry the show through for Best Musical. Would I be upset if Dear Evan Hansen won? No, by all means it's a good show, but I think The Great Comet is a much better overall experience.

As for awards such as Best Score/Orchestrations: Dear Evan Hansen's score is great. It's catchy, poppy, and the lyrics are witty. But in no world do I think a score of sixteen enjoyable pop songs should trump the inventiveness, creativity and actual stretching of what music is that appears in the twenty-eight songs featured in The Great Comet. Same goes for Orchestrations – DEH's are nice, but TGC has legitimately some of the most complicated and innovative orchestrations I've ever heard on a stage.

Also (this isn't regarding you, but a criticism many people try to push on the show), I may add that I am tired of people saying that The Great Comet doesn't invoke an emotional response from the audience. Sure, a lot of people don't openly sob in the theater (though the two times I went I definitely saw people wiping away tears), but it makes you think. And it's not like the lyrics are empty, I mean:

But then why am I screaming?
Why am I shaking?
Oh God, was there something that I missed?
Did I squander my divinity?
Was happiness within me the whole time?

They say we are asleep
Until we fall in love
We are children of dust and ashes
But when we fall in love we wake up
And we are a God
And angels weep
But if I die here tonight
I die in my sleep

Please, someone explain to me how a show with lyrics like those can be considered superficial and trite. Please. I'm genuinely confused.

In short, I like both shows, but nothing about Dear Evan Hansen is risky. It's an enjoyable, thought-provoking, and oftentimes highly personal show, but The Great Comet breaks a hundred "rules" of theatre, all while having an amazing score, ingenious lyrics, and some of the best performances on Broadway this season.

Updated On: 5/2/17 at 03:00 PM

I can speak only for myself, obviously. But as a participant on that thread who has also commented elsewhere on Dear Evan Hansen, I must respectfully disagree with RaisedOnMusicals.

It's a positive thing that any work of art, especially a musical, is being taken seriously and discussed thoughtfully. That is to the show's credit, that it generates such discussion, even if my own feelings are mixed. But that certainly doesn't mean it should win Best Musical. Shoot, a lot of the people on that thread strongly dislike Dear Evan Hansen.

I only saw two new musicals on my recent trip, Dear Evan Hansen and Great Comet. I might have liked Come From Away better, or Groundhog Day, or a show that wasn't nominated. So I can't say what I think should win.

But if my only two choices were Great Comet and Dear Evan Hansen, I would choose the unique, fascinating, fun, and surprisingly moving Great Comet. And I agree that the show has gotten a bad rap. Pierre is depressed, basically suicidal, and he's only tentatively (but touchingly) better by the end of the show. I loved the conclusion, and it left me with a much more honest feeling of hope than DEH. But I will address that on another thread so I don't hijack this one.

Updated On: 5/2/17 at 03:11 PM

BEST MUSICAL:
Will Win: Dear Evan Hansen
Should Win: The Great Comet

BEST REVIVAL OF A MUSICAL:
Will Win: Hello, Dolly!
Should Win: Falsettos

LEADING ACTOR IN A MUSICAL:
Will Win: Ben Platt (Dear Evan Hansen)

Should Win: I'm still living in a world where JonJon Briones was nominated and SHOULD win.

LEADING ACTRESS IN A MUSICAL:
Will Win: Bette Midler (Hello, Dolly!)
Should Win: Denee Benton (The Great Comet)

FEATURED ACTOR IN A MUSICAL:
Will Win: Gavin Creel (Hello, Dolly!)
Should Win: Lucas Steele (The Great Comet)

FEATURED ACTRESS IN A MUSICAL:
Will Win: Rachel Bay Jones (Dear Evan Hansen)
Should Win: Jenn Colella (Come From Away)

BEST BOOK OF A MUSICAL:
Will Win: Dear Evan Hansen
Should Win: Come From Away

BEST SCORE OF A MUSICAL:
Will Win: ?
Should Win: The Great Comet

BEST SCENIC DESIGN OF A MUSICAL:
Will/Should Win: The Great Comet

COSTUME DESIGN OF A MUSICAL:
Will Win: Hello, Dolly!
Should Win: The Great Comet

LIGHTING DESIGN OF A MUSICAL:
Will/Should Win: The Great Comet

BEST DIRECTION OF A MUSICAL:
Will Win: Dear Evan Hansen
Should Win: The Great Comet

BEST CHOREOGRAPHY:

Will Win: Bandstand
Should Win: The Great Comet

BEST ORCHESTRATIONS:
Will/Should Win: The Great Comet

I guess a lot of people have no opinion on the non-musical side of Broadway.

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"I can't believe that an argument is being made that Dear Evan Hansen has faced more critique on the boards therefore it should win Best Musical. What kind of illogical statement?"

OK, I accept some of the criticism that my earlier post has provoked, but there's also been some amount of misinterpretation of what I said (or meant to say.) It's not that there's been MORE criticism of DEH than other shows (criticism here meaning both positive and negative), it's the NATURE of the criticism which to me demonstrates that DEH has accomplished what a great piece of art is intended to accomplish, significant, sustained and serious thought and discussion. It's very difficult to read through the entire thread of Dear Evan Hanson Issue without recognizing that it's had a profound and lasting impact on so many that have seen it, an impact (good or bad) that has moved so many to write such long and personal reactions (me not being one of them.) In no way has anything I've said been a commentary on any other show.

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Yeah I still don't get it. Just because people spend five minutes writing a post about what they liked/disliked about Dear Evan Hansen doesn't all of a sudden mean it's clearly having a major impact on everyone. We're all here to share our opinions on theatre, positive and negative. I would wager the reason why Hansen has received such thoughtful posts on that thread is because a lot of people have an issue with the way the show portrays mental illness, which is something that can effect people very personally and very deeply. Just look at all the criticism towards 13 Reasons Why. Much stuff has been said about that show - positive and negative - but I don't think many people are saying it should win Emmys because of that.

Updated On: 5/2/17 at 05:13 PM

At least I post about other shows instead of only turning up to be rude to people that dislike DEH and/or Pasek and Paul.

Your profile is private so I can't research your posts unfortunately and am only able to go off what I see.

Telling someone to move on from sharing their opinions is mildly inconsiderate but stuff you have said to others that dislike the show is downright rude yes.

BEST MUSICAL

Will Win: Dear Evan Hansen (though I wouldn't be surprised if Come From Away took it)

Should Win: Natasha, Pierre & The Great Comet of 1812

BEST PLAY

Will Win: Oslo

Should Win: A Doll’s House, Part 2

BEST BOOK OF A MUSICAL

Will Win: Steven Levenson, Dear Evan Hansen

Should Win: Dave Hein and Irene Sankoff, Come From Away

BEST ORIGINAL SCORE

Will Win: Benj Pasek and Justin Paul, Dear Evan Hansen

Should Win: Dave Malloy, The Great Comet

BEST REVIVAL OF A PLAY

Will Win: The Little Foxes

Should Win: Jitney

BEST REVIVAL OF A MUSICAL

Will/Should Win: Hello Dolly

BEST LEADING ACTOR IN A PLAY

Will Win: Kevin Kline, Present Laughter

Should Win: Chris Cooper, A Doll's House, Part 2

BEST LEADING ACTRESS IN A PLAY

Will/Should Win: Laurie Metcalf, A Doll’s House, Part 2

BEST LEADING ACTOR IN A MUSICAL

Will/Should Win: Ben Platt, Dear Evan Hansen

BEST LEADING ACTRESS IN A MUSICAL

Will/Should Win: Bette Midler, Hello Dolly

BEST FEATURED ACTOR IN A PLAY

Will Win: Michael Aronov, Oslo

Should Win: John Douglas Thompson, Jitney

BEST FEATURED ACTRESS IN A PLAY

Will Win: Cynthia Nixon, The Little Foxes

Should Win: Jayne Houdyshell or Condola Rashad, A Doll’s House, Part 2

BEST FEATURED ACTOR IN A MUSICAL

Will Win: Gavin Creel, Hello Dolly

Should Win: Lucas Steele, The Great Comet

BEST FEATURED ACTRESS IN A MUSICAL

Will/Should Win: Rachel Bay Jones, Dear Evan Hansen

BEST SCENIC DESIGN OF A PLAY

Will/Should Win: Nigel Hook, The Play That Goes Wrong

BEST SCENIC DESIGN OF A MUSICAL

Will Win/Should Win: Mimi Lien, The Great Comet

BEST COSTUME DESIGN OF A PLAY

Will/Should Win: Jane Greenwood, The Little Foxes

BEST COSTUME DESIGN OF A MUSICAL

Will/Should Win: Paloma Young, Natasha, Pierre, and the Great Comet of 1812

BEST LIGHTING DESIGN OF A PLAY

Will Win: Donald Holder, Oslo

Should Win: Christopher Akerlind, Indecent

BEST LIGHTING DESIGN OF A MUSICAL

Will/Should Win: Bradley King, The Great Comet

BEST DIRECTION OF A PLAY

Will Win: Bartlett Sher, Oslo

Should Win: Sam Gold, A Doll's House, Part 2

BEST DIRECTION OF A MUSICAL

Will/Should Win: Rachel Chavkin, The Great Comet

BEST CHOREOGRAPHY

Will/Should Win: Sam Pinkelton, The Great Comet

BEST ORCHESTRATIONS

Will/Should Win: Dave Malloy, The Great Comet

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