froote said: "I could see a world in which CFA and DEH split the votes for the emotional, pulling on your heartstrings shows and Comet came through the middle for being the innovative, landmark artistic achievement.
Precisely, and that's why I strongly believe Great Comet deserves Best Musical.
Dear Evan Hansen and Come from Away are, of course, wonderful shows. But in my eyes, Great Comet represents the future of what musical theatre can achieve. It's dynamic, innovative, new. It isn't avant-garde for the simple sake of being avant-garde. It's ambitious and is tremendously successful in what it accomplishes. That, to me, makes it this season's "Best Musical."
I finally got around to seeing Sunset Blvd and I was blown away! I think this is the sleeper pick for Best Revival of a Musical - especially since Glen won't be up for Best Actress.
Daddy Warbucks said: "I finally got around to seeing Sunset Blvd and I was blown away! I think this is the sleeper pick for Best Revival of a Musical - especially since Glen won't be up for Best Actress.
"
I've wondered if Tony voters might feel similarly and pass on giving it to Hello Dolly as best revival giving Bette that award, but giving it to Sunset since this one has been billed as GLENN CLOSE IN SUNSET BOULEVARD (rather than Andrew Lloyd Webber's Sunset Boulevard as it was in the original)
I thought Sunset Blvd and Great Comet were the two most insufferable things I have sat through this year. The thought of them winning their respective Tony categories gives me palpitations.
Great Comet should (and will) win set, and I would be happy if it won lighting. The performances (outside of Groban) were dreadful. The music was forgettable. The plot was unintelligible. (Why would you champion a plot that needs program notes and charts to be understood?) I get that it was a new way to produce theatre, but, goodness...
As for Sunset, I may be in the minority but I kept wondering if I should laugh at every scene. I kept wondering if Kate Mackinnon should replace Glenn Close when she left the production.
I mean, for whatever it's worth, Les Mis has always had a plot synopsis in the playbill, and this season alone Oslo has a long list of the characters and where they're from along with a more detailed explainer in the program. Comet is far from the first show with any of that (and personally I really don't think it's that hard to follow).
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
BobbyD3 said: "I thought Sunset Blvd and Great Comet were the two most insufferable things I have sat through this year. The thought of them winning their respective Tony categories gives me palpitations.
Great Comet should (and will) win set, and I would be happy if it won lighting. The performances (outside of Groban) were dreadful. The music was forgettable. The plot was unintelligible. (Why would you champion a plot that needs program notes and charts to be understood?) I get that it was a new way to produce theatre, but, goodness...
As for Sunset, I may be in the minority but I kept wondering if I should laugh at every scene. I kept wondering if Kate Mackinnon should replace Glenn Close when she left the production.
"
Well I suppose different strokes... I can't listen to more than 30 seconds of anything from Hello Dolly without being bored so...
It wasn't a curse. I saw all three revivals and enjoyed all three, but...
The Channing revivals were essentially the same as the original Broadway version (if the sets were slightly more austere, I don't remember), but truthfully had the feeling of the last stop on a bus-and-truck tour. They were entertaining, but lacked energy. There was no reason to nominate anyone in the case, which were all that would have been eligible (or should have been eligible). If Eddie Bracken was nominated, I will venture to guess that it was a loss season for musicals and that they were stretching. He was fine, but nothing special.
I remember the Pearl Bailey version being more energetic, but it was still not a new production...just the same old same old.
I don't see Dolly for another month, but am already delighted to see that the sets are different (of what I have seen, the Harmonia Gardens stairs look much 'richer' than the original production, which projected no 'elegance'. (Despite that, I still think that was probably the best single production number that I have ever seen).
BroadwayConcierge said: "I'm hoping both Saigon and Sunset somehow get in with nominations for Revival. They're both deserving in their own rights, IMO.
"I think Saigon should be a close second to Dolly. I thought Sunset would have been horrible without Glenn Close.
BroadwayConcierge said: "Precisely, and that's why I strongly believe Great Comet deserves Best Musical.
Dear Evan Hansen and Come from Away are, of course, wonderful shows. But in my eyes, Great Comet represents the future of what musical theatre can achieve. It's dynamic, innovative, new. It isn't avant-garde for the simple sake of being avant-garde. It's ambitious and is tremendously successful in what it accomplishes. That, to me, makes it this season's "Best Musical."
I hope the Tony voters will recognize this.
"
YES TO ALL OF THIS. I agree it will be a tough draw between Comet, DEH, and Come from Away, but I firmly believe Comet deserves the win. It's ambitious but doesn't throw everything else out the window. I do not understand the backlash saying the storyline is nothing. The plot is beautiful and is a story that has been loved since the 19th century in arguably one of the most classical books in all of literature. It is a story that defies time, and I think Comet proves that point by their contemporary take. I think the wins will go as follows
Best Musical: Great Comet
Best Revival of a Musical: Hello, Dolly!
Best Leading Actor in a Musical: Ben Platt
Best Leading Actress in a Musical: Bette Midler
Best Featured Actor in a Musical: Lucas Steele
Best Featured Actress in a Musical: Rachel Bay Jones
I would love to see the Great Comet win, but if I had to put my money where my mouth is, I would bet on Come From Away. It is a really great and timely ensemble piece that did really cool things with its book.
Another Winter said: "Does anyone think War Paint has a chance at a scenic design nom?"
Well theoretically it has a chance at a nomination in every category for which it is eligible.
When I see the phrase "the ____ estate", I imagine a vast mansion in the country full of monocled men and high-collared women receiving letters about productions across the country and doing spit-takes at whatever they contain.
-Kad
curel1 said: "Outer Critics noms are out. Will these have an impact on what gets Tony nominated?"
Unlikely- the OCC has a different nominating pool and can also nominate off-Broadway. Dear Evan Hansen and The Great Comet were also ineligible (except for a few of Comet's tech elements because of the new theatre) and that isn't the case for the Tonys.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
The Tonys can't really be predicted by the behavior of the other theatre awards. Unlike the Academy Awards' precursors, the other theatre awards aren't generally made up of blocs of Tony nominators or voters and also have wildly divergent rules. Also, productions that are contenders for major Tonys are often transfers of earlier off-Broadway productions, meaning they are ineligible for reconsideration by the OCC or Drama Desks or whatever.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."