If my memory serves correctly:
Back then, discussions of Newell's gender identity weren't very widespread or nuanced, nor did Newell necessarily begins publicly using pronouns other than "he/him" at that point. Or maybe they had, but if so, the theatre community didn't seem to have realized it.
All of the discussion I remember seeing around Newell's performance was very much in the vein of "this is a man playing a woman, and an exciting example of gender-flipped casting alongside Merle Dandridge - a cis woman who was playing a role written for a man." As far as I can recall, there was zero discussion around putting them in any other category than Featured Actor. Maybe Newell felt differently privately, behind the scenes, and it's possibly that they did quietly withdraw from consideration to avoid that situation. But unless they state that publicly now or in the future, we have no way of knowing.
But assuming they did compete in the Featured Actor category:
The sense I got was that it really came down to a competitive set of contenders, and yes, a sense that Newell's performance was more of a show-stopping number than it was a compelling display of acting. The 4 gods in that production were all giving impressive performances, with commanding stage-presences, but they aren't really acting-showcase roles. And despite their individual musical numbers and character motivations, they sort of exist as a unit from a broader narrative standpoint.
But Newell's performance definitely had a lot of supporters, and I do remember a lot of people being surprised and upset at the time that they didn't get in.
Updated On: 4/10/23 at 10:09 AM