What Tony award season.... — Page 3

I believe a lot of what was exciting in Les Miz was the lushness of the score. On the other hand, I found the story of SAIGON to be more compelling. Neither would actually probably make my top 10 list, though.

---

Ragtime should have won hands down. Amazing show, amazing story, score, everything. Although i'm still ticked about Movin Out being nominated this year. I had comps and wanted my money back :P

Gotta disagree with you on Millie's physical production. It has a set, costumes and lighting that seem to be at war with each other. The Millie choreography did nothing for me either.

---

Magruder,

You took the words right outta my mouth.

It musta been when you were kissing me.

---

Don't be ashamed of our love.

---

Don't pin your future on a green glass love. Gimme, Gimme!

---

Hey Balledeer.... who is that fabulous lady in the red as your icon.

It looks like Linda Eder's "Bring on the Men/Good and Evil" outfit from Jekyll and Hyde

First of all, The Producers score is incredible and rightfully won over Full Monte and Jane Eyre. Producers is what brought back the sensation of musical COMEDIES that we now have. Me? I can't stand that sappy sad depressing overdramatic stuff...and I don't like Rock or poppy music that much.

Anyway, Urinetown not getting Best Musical, I don't understand. Best Book, Best Score, and Best Director altogether (which are the 3 most important awards for a production of a musical) add up to Best Musical. The book is incredible...it is, in fact, actor proof. Urinetown, a few years after its Broadway run, will become a high school classic because of this. I don't agree that Hunter Foster should have been nominated; Bobby Strong is an actor-proof role, stick in a good young tenor with some stage presence and you're set. The only two roles in the show which require talent are Lockstock, who's lines need good delivery to be funny (as opposed to most of the other GREAT lines in the show, which are either funny on their own, or who's rythm in a song build in the correct timing), and Cladwell, who has to have a perfect balance of being evil but still "showmanish." That said, John Lithgow had an excellent performance and I'm glad he won. Just because a musical is poorly written and has a week all-around cast doesn't mean that one person couldn't be good.

Meanwhile, I don't think there has been anything major. Sure, I think William Daniels should have won the Tony for Best Actor in 1776; that same year (1969) I think Herschel Bernardi should have also won as Zorba, an incredible role played very well.

WOODS/PHANTOM, FALSETTOS/CRAZY FOR YOU, RAGTIME/LION KING, PARADE/FOSSE, the voters often split the Best Musical and the writing awards. It does make the arguement that it should be called Best Production of a Musical.

I think the scores for both THE PRODUCERS and FULL MONTY are weak and in a few years neither score will be well remembered.

Tpdc wrote:

WOODS/PHANTOM, FALSETTOS/CRAZY FOR YOU, RAGTIME/LION KING, PARADE/FOSSE, the voters often split the Best Musical and the writing awards. It does make the arguement that it should be called Best Production of a Musical.


However, never in the history of the Tony Awards has a show won Best Book, Best Score AND Best Director as Urinetown did, and failed to win Best Musical.

Good as Urinetown's writing is, though, I wouldn't go so far as to say it is actor proof. Not sure that anything really is. I've seen some very fine, nearly indestructible shows almost done in by community theatres.

---