Which Regional Theatres Do You Think are Overdue for a Tony?

I'm very curious to hear your opinions. Since 1976, the American Theatre Wing introduced a special Tony Award presented to Regional Theatres in the United States.
https://en.wikipedia.org/wiki/Regional_Theatre_Tony_Award

As I was going through the list of previous recipients, I was wondering about some regional theatres that have yet to receive the Regional Theatre Award.

Some of the ones I came up with are...
Barrington Stage Company
Ivoryton Playhouse
The Muny
North Carolina Theatre
North Shore Music Theatre
Ogunquit Playhouse
Pittsburgh CLO

So what are some regional theatres you think are overdue for the Regional Theatre Award?

The marriot, Drury Lane and paramount

Many of the NYC companies are overdue.

The Public

Atlantic Theater Company

Vineyard

Second Stage

Lincoln Center

MTC

Roundabout

What are the qualifications? Is deaf west eligible?

It could never happen by the rules but I'd sure like to see Canada's Stratford and Shaw Festivals get some recognition.

Not overdue, necessarily, but worthy: The Jungle in Minneapolis.

I would second The Muny, in a couple years for its 100th anniversary. The history there is pretty special, and they've been with new producers for a few years that are introducing some exciting new programs.

I have found that a majority of productions at the Maltz Jupiter Theater are incredible and think they do amazing work deserving of recognition

Pittsburgh CLO provides me with the opportunity to see some Broadway 'names' I recognize each summer in the principal roles, and I do applaud the very hard-working ensemble members for performing and rehearsing at the same time. That being said, the work being done overall is hardly deserving of a Tony award.

Pittsburgh CLO presents one or two tours a year, disguising and marketing them as Pittsburgh CLO productions. The remaining productions utilize rented sets from other regional companies, or the non-equity versions of touring sets, which are then merely tossed up on stage. There's nothing really new or innovative happening at all.

Next year's season (which is oddly already announced) is ridiculously boring. "The Little Mermaid" was just presented in 2013. Besides "An American In Paris" (Pittsburgh CLO is a producer of the Broadway and touring production), all of the titles they're presenting have toured Pittsburgh within the last 5 years (with the exception of "In The Heights," which toured in 2010, and that's a desperate bid to cash in on Lin's name recognition right now).

http://www.post-gazette.com/ae/theater-dance/2016/08/05/Pittsburgh-CLO-s-2017-season-is-thoroughly-modern-with-In-the-Heights-Newsies-and-more/stories/201608020178

With the rights being released to many newer shows that haven't had tours or played Pittsburgh before, it would be nice to see them take more risks or at least be more creative with staging.

As another poster noted, the prices have been climbing higher and higher and sadly, the houses have been half-empty all summer. I've been sent discount codes via e-mail for most of the productions, and when I purchase tickets I look at every performance available before selecting a seat. Most of the time at least half of the house has been available for sale the same week as the performance in question.

Updated On: 8/15/16 at 01:03 PM

I second the thought re: Philadelphia theatres. There is plenty of quality there.

Under their old management, North Shore Music Theatre should have already had a regional Tony by now. They were one of the best regional houses in the country and had an unparalleled education and pre-professional actor training program. But new owner Bill Hanney also runs Theatre by the Sea in Rhode Island and often presents shows at both venues, which may not wow Tony voters. So they will likely have to wait longer, as they re-cement their reputation over several more years.

Which also brings up a good question. How much can we really fault regional houses for not "trying new things" and doing something revolutionary? Obviously it would be nice, but having worked on the administrative end, its getting harder and harder for these companies to get people in the door and retain subscribers. So they fall back on tried and true classics or name brand recognition (like family shows) to get butts in seats. And maybe one show a season is a riskier one, but that's all they can afford.

Id say my vote then would go to Ogunquit Playhouse. They have become more ambitious recently. Especially by undertaking Hunchback, which is the largest scale production they've ever done. Its Disney sure, but a much darker tone than what that community is used to seeing on its stage, and they got fantastic notices for it.

Before answering the OP question, you need to know how the award is determined. This is from the Tony Awards webpage.

How is the award for regional theatre determined?
Each spring the Tony Awards Administration Committee selects the institution that will receive the Regional Theatre Tony Award based on a recommendation by the American Theatre Critics Association. The Regional Theatre Tony Award is accompanied by a grant of $25,000.

bare_nakedlady said: "In addition, according to the LORT website ONLY Regional theatres that are LORT A+ are eligible... Making it a very small category of theatres that are eligible.



"

That's not possible. The Paper Mill, which won last year, isn't even a LORT member. My vote goes to the American Players Theatre and to the Writers Theatre.

bare_nakedlady said: "In addition, according to the LORT website ONLY Regional theatres that are LORT A+ are eligible... Making it a very small category of theatres that are eligible."

According to this list, the A+ theaters are actually Broadway theaters, so I suspect the note you read is about the fact that those productions are eligible for normal Tony Awards.