WHO ARE THESE TONY VOTERS!!!!!!!!! — Page 4

I think it's great that people are this passionate about these show. Sure awards show are kind of silly, but it's nice to see something/someone who you admire get honored.

I agree the Kathleen Marshall's choreography was overrated, and the THE WEDDING SINGER should have won for choreography. It was actually my favorite thing about the show.

So, I'm a west coaster, but I was so throughly disgusted ny how this is going that I got online and checked to see if there was any point to me watching....

JERSEY BOYS? JERSEY-M****r-****ing BOYS? WHAT IS THIS??? WHAT THE HELL IS THIS?!?!?!

What about Sweeney, What about Threepenny? What about a musical that isn't just a dressed up tribute concert? AGHHHHHHHHHHHHH!
I have so much more to say, but it may take me awhile until I can say it comprehensively.

Sorry, I realized afterwards I switched my categories up in a fury of posts on multiple sites.

I admit, Threepenny was aimed for a certain audience.

But my hatred for Jersey Boys still stands. I disliked Drowsy but would have rather seen it win...because you know, it was a musical, not a glorified tribute concert.

I nearly lost my dinner in the third mezz tonight after "Sweeney" lost Best Revival, and then it just got increasingly worse with Michael Cerveris losing, and then Patti?!?!

WHY was "Sweeney" treated so unfairly?! It's BRILLIANCE! I just don't understand what the Tony voters were looking at...

Well, I just read this entire thread and really need to burn off some personal steam and respond.

First off, I'll issue a caveat: I am from Wisconsin. I have only been to NYC twice, meaning the total number of bway shows I have seen in my life is 9. I was there last week and saw "Sweeney", "Doubt" and "Spelling Bee". Bway shows are egregiously expensive, and as much as I may have liked to see every single nominated show, that wasn't possible. I don't think, however, that this makes my opinions unwarranted.

I would agree that "Sweeney" was robbed. In my opinion, a revival is to be a reimagining, a recreation. I've seen the taped version of the Prince staging, and while I agree that's it's wonderful and lush, this pared-down version brought out themes that I had never considered. As an usher at the theater told me the night before I saw the show, "This isn't a Broadway show. This is theater." It's about doing something new and inventive. That doesn't mean "PG" wasn't a great revival, but did it stray away from what has been done before in productions of the show? I think that's what determines a great revival.

As for my other big disappointment (I did want all the nominated "Sweeney" stars to win but can't judge them against the victors), yes, I'm sad that a "jukebox musical" took the prize. Not because I think it isn't theater but because of the message it sends to bway producers. "Chaperone" was the only show on bway this season that was not a revival, an import, or derived from a book, film, history etc. Originality is dying on bway. Producers are terrified to take risks because the show might not be a hit, which I feel is leading to pandering and a decrease in quality of theater. And by giving the award to a show for with a pre-written and pre-adored scre adds to that tradition, which I think is a danger. And as individuals who share a love of theater or theatre, I think most of us can agree on that.

"Jersey Boy rocks!!!!!!Sweeny was boring!!"

Oh good LORD. You must be kidding.



Or, of course, you could be a Tony voter. UGH.

First of all, I am so tired of people thinking that if you do a revival of a show with basically no set and the actors in black leather and pasty white makeup it's "revolutionary".(hmmm, "Cabaret"? "Chicago"?) Since when did Sweeney Todd become a neo-Nazi skinhead? That's what he looks like to me in his black leather coat, shaved head and boots. And does Mrs. Lovett come from Jersey, because she has no cockney or any other kind of British accent in this "revolutionary" production. Thank goodness the Tony voters had the brains to see through all the bull****.
I don't see it as a knock on Sondheim (who is a genius as far as I'm concerned!). After all, the ORIGINAL production of Sweeney Todd won the Tony! It was just a knock on this production. As for the comment "the voters must be old folks", well I'm 50 so I guess that makes me old. It seems to me that what you "youngsters" seem to like is nothing but pretentious bull****!

I remember reading many articles very early on (in November or December) about how the concept was GREAT, but the execution was sloppy. However, they have been playing those instruments for 6 months now, so it has probably improved since then. But I know at first the instruments were out of tune and didn't fit together. Sorry I have no specific references, as it was long ago.

OK Drowsy was so robbed of best musical. And I can't believe Patti didn't win. Eh these voters.

CONGRATS JERSEY BOYS!!!!

Updated On: 6/12/06 at 02:49 AM

"That doesn't mean 'PG' wasn't a great revival, but did it stray away from what has been done before in productions of the show? I think that's what determines a great revival."

Why? Pajama Game was not a recreation of the original. There were new sets, costumes, choreography, orchestrations, etc. While some shows are more open to a more highly conceptual stylized production, others are not, but reconceptualizing a show does not automatically make it a better production. How do you think A Chorus Line would work if it was entirely rethought and restaged as a huge spectacle starring television child stars? Would that automatically make it a better production than say, a more conventional revival of a classic musical comedy?

"'Chaperone' was the only show on bway this season that was not a revival, an import, or derived from a book, film, history etc. Originality is dying on bway."

In My Life was completely original as well. Totally original musicals have always been rare. There is no evidence that originality is dying on Broadway, only that is has never been the norm.

"I'm sad that a 'jukebox musical' took the prize. Not because I think it isn't theater but because of the message it sends to bway producers."

Strong book + great music x intelligent direction = successful show

What's wrong with that message?

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