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The votes are in and it’s time to pop the champagne. After a fantastic year of theatre here in New York, it's time to award the best and celebrate all those who work tirelessly here in the Broadway community. The winners will be announced tonight at the 79th Annual Tony Awards at Radio City in a ceremony hosted by Pink.
*Winners will be bolded in real time.
Best Musical
The Lost Boys
Schmigadoon!
Titaníque
Two Strangers (Carry A Cake Across New York)
Best Play
The Balusters
Giant
Liberation
Little Bear Ridge Road
Best Revival of a Musical
Ragtime
Cats: The Jellicle Ball
The Rocky Horror Show
Best Revival of a Play
Becky Shaw
Arthur Miller's Death of a Salesman
Every Brilliant Thing
Fallen Angels
Oedipus
Best Book of a Musical
The Lost Boys
David Hornsby and Chris Hoch
Schmigadoon!
Cinco Paul
Titaníque
Marla Mindelle, Constantine Rousouli and Tye Blue
Two Strangers (Carry a Cake Across New York)
Jim Barne and Kit Buchan
Best Original Score (Music and/or Lyrics) Written for the Theatre
Arthur Miller’s Death of a Salesman
Music: Caroline Shaw
August Wilson’s Joe Turner’s Come and Gone
Music: Steve Bargonetti
The Lost Boys
Music & Lyrics: The Rescues
Schmigadoon!
Music & Lyrics: Cinco Paul
Two Strangers (Carry a Cake Across New York)
Music & Lyrics: Jim Barne and Kit Buchan
Best Performance by an Actor in a Leading Role in a Play
Will Harrison, Punch
Nathan Lane, Arthur Miller’s Death of a Salesman
John Lithgow, Giant
Daniel Radcliffe, Every Brilliant Thing
Mark Strong, Oedipus
Best Performance by an Actress in a Leading Role in a Play
Rose Byrne, Fallen Angels
Carrie Coon, Bug
Susannah Flood, Liberation
Lesley Manville, Oedipus
Kelli O’Hara, Fallen Angels
Best Performance by an Actor in a Leading Role in a Musical
Nicholas Christopher, Chess
Luke Evans, Richard O’Brien’s The Rocky Horror Show
Joshua Henry, Ragtime
Sam Tutty, Two Strangers (Carry a Cake Across New York)
Brandon Uranowitz, Ragtime
Best Performance by an Actress in a Leading Role in a Musical
Sara Chase, Schmigadoon!
Stephanie Hsu, Richard O’Brien’s The Rocky Horror Show
Caissie Levy, Ragtime
Marla Mindelle, Titaníque
Christiani Pitts, Two Strangers (Carry a Cake Across New York)
Best Performance by an Actor in a Featured Role in a Play
Christopher Abbott, Arthur Miller’s Death of a Salesman
Danny Burstein, Marjorie Prime
Brandon J. Dirden, Waiting for Godot
Alden Ehrenreich, Becky Shaw
Ruben Santiago-Hudson, August Wilson’s Joe Turner’s Come and Gone
Richard Thomas, The Balusters
Best Performance by an Actress in a Featured Role in a Play
Betsy Aidem, Liberation
Marylouise Burke, The Balusters
Aya Cash, Giant
Laurie Metcalf, Arthur Miller’s Death of a Salesman
June Squibb, Marjorie Prime
Best Performance by an Actor in a Featured Role in a Musical
Ali Louis Bourzgui, The Lost Boys
André De Shields, Cats: The Jellicle Ball
Bryce Pinkham, Chess
Ben Levi Ross, Ragtime
Layton Williams, Titaníque
Best Performance by an Actress in a Featured Role in a Musical
Shoshana Bean, The Lost Boys
Hannah Cruz, Chess
Rachel Dratch, Richard O’Brien’s The Rocky Horror Show
Ana Gasteyer, Schmigadoon!
Nichelle Lewis, Ragtime
Best Scenic Design of a Play
Hildegard Bechtler, Oedipus
Takeshi Kata, Bug
Chloe Lamford, Arthur Miller's Death of a Salesman
David Korins, Dog Day Afternoon
David Rockwell, Fallen Angels
Best Scenic Design of a Musical
dots, Richard O’Brien’s The Rocky Horror Show
Soutra Gilmour, Two Strangers (Carry a Cake Across New York)
Rachel Hauck, Cats: The Jellicle Ball
Dane Laffrey, The Lost Boys
Scott Pask, Schmigadoon!
Best Costume Design of a Play
Brenda Abbandandolo, Dog Day Afternoon
Qween Jean, Liberation
Jeff Mahshie, Fallen Angels
Emilio Sosa, The Balusters
Paul Tazewell, August Wilson’s Joe Turner’s Come and Gone
Best Costume Design of a Musical
Linda Cho, Ragtime
Linda Cho, Schmigadoon!
Qween Jean, Cats: The Jellicle Ball
Ryan Park, The Lost Boys
David I. Reynoso, Richard O’Brien’s The Rocky Horror Show
Best Lighting Design of a Play
Isabella Byrd, Dog Day Afternoon
Natasha Chivers, Oedipus
Stacey Derosier, August Wilson’s Joe Turner’s Come and Gone
Heather Gilbert, Bug
Heather Gilbert, The Fear of 13
Jack Knowles, Arthur Miller’s Death of a Salesman
Best Lighting Design of a Musical
Kevin Adams, Chess
Jane Cox, Richard O’Brien’s The Rocky Horror Show
Donald Holder, Schmigadoon!
Adam Honoré, Cats: The Jellicle Ball
Adam Honoré and Donald Holder (Lighting Design) and 59 Studio (Projection Design), Ragtime
Jen Schriever and Michael Arden, The Lost Boys
Best Sound Design of a Play
Justin Ellington, August Wilson’s Joe Turner’s Come and Gone
Tom Gibbons, Oedipus
Lee Kinney, The Fear of 13
Josh Schmidt, Bug
Mikaal Sulaiman, Arthur Miller’s Death of a Salesman
Best Sound Design of a Musical
Kai Harada, Cats: The Jellicle Ball
Kai Harada, Ragtime
Adam Fisher, The Lost Boys
Brian Ronan, Richard O’Brien’s The Rocky Horror Show
Walter Trarbach, Schmigadoon!
Best Direction of a Play
Nicholas Hytner, Giant
Robert Icke, Oedipus
Kenny Leon, The Balusters
Joe Mantello, Arthur Miller’s Death of a Salesman
Whitney White, Liberation
Best Direction of a Musical
Michael Arden, The Lost Boys
Lear deBessonet, Ragtime
Christopher Gattelli, Schmigadoon!
Tim Jackson, Two Strangers (Carry a Cake Across New York)
Zhailon Levingston and Bill Rauch, Cats: The Jellicle Ball
Best Choreography
Christopher Gattelli, Schmigadoon!
Ellenore Scott, Ragtime
Ani Taj, Richard O’Brien’s The Rocky Horror Show
Omari Wiles and Arturo Lyons, Cats: The Jellicle Ball
Lauren Yalango-Grant and Christopher Cree Grant, The Lost Boys
Best Orchestrations
Doug Besterman and Mike Morris, Schmigadoon!
Ethan Popp, Kyler England, Adrianne “AG” Gonzalez and Gabriel Mann, The Lost Boys
Lux Pyramid, Two Strangers (Carry a Cake Across New York)
Brian Usifer, Chess
Andrew Lloyd Webber, David Wilson, Trevor Holder and Doug Schadt, Cats: The Jellicle Ball
Tony Wins By Production
Arthur Miller’s Death of a Salesman - 6
The Lost Boys - 4
Ragtime - 4
Schmigadoon! - 4
Cats: The Jellicle Ball - 3
Fallen Angels - 1
Giant - 1
Liberation - 1
Oedipus - 1
Becky Shaw - 1
Richard O’Brien’s The Rocky Horror Show
Two Strangers (Carry a Cake Across New York)
August Wilson’s Joe Turner’s Come and Gone
The Balusters
Chess
Bug
Titaníque
Dog Day Afternoon
Every Brilliant Thing
The Fear of 13
Marjorie Prime
Little Bear Ridge Road
Punch
Waiting for Godot
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Senior Critic Joey Sims has been busy around town catching the latest of what Off-Broadway has to offer. His thoughts below:
INDIAN PRINCESSES
In a forthright letter slipped inside the playbill for Indian Princesses, playwright Eliana Theologides Rodriguez acknowledges the harmful and offensive origins of her new play’s title—while also contextualizing that title within her own history with the unfortunate YMCA program.
“Though the mission of the program is wholesome––helping fathers and children bond through earthy adventures and community-building––its reality is a complete bastardization of Native American culture,” Rodriguez writes. While she does not identify as Native, Rodriguez notes that her own tribal heritage was lost in past generations due to forced assimilation.
“I do not know a word of my ancestors’ languages,” the playwright adds. “But I remember every word of our 2008 [camp] tribal chant.”
Rodriguez’s thorny choice of setting—one that raises questions around identity, colonialism and inherited trauma—offers more than enough material for one play. But in this messy and overstuffed new work, now at Atlantic Theater Company through June 7, the legacy of that now-renamed program is just one of many overlapping concerns.
This ambitious work follows five girls of color taking the “Indian Princesses” program with their hapless white fathers, all of whom struggle to communicate around race with their daughters. Some supernatural themes slip in along the way, along with thoughtful reflections on grief, toxic masculinity and the messy bonds formed between young girls.
Juggling an array of locations and thematic concerns, director Miranda Cornell can’t find a center. Honoring each girl’s distinct questions around race and inherited culture makes for an ungainly if occasionally moving work. Native culture is ultimately an afterthought, which leaves the play’s premise feeling awkwardly opportunistic.
But in quiet moments between fathers and daughters, Rodriguez does hit on occasional flashes of transcendence, suggesting an exciting new voice ready to tackle big ideas.
———
GIRL, INTERRUPTED
The gentleness of new musical Girl, Interrupted comes as a welcome surprise. Susanna Kaysen’s 1993 memoir, recounting her time in a psychiatric hospital, was previously spiced-up for its 1999 film adaptation with a number of dramatic embellishments. It’s a gripping film, but not the most sensitive exploration of mental health.
For this gorgeously conceived stage adaptation scored by singer-songwriter Aimee Mann, book writer Martyna Majok has taken quite the opposite tack. Her text keeps us firmly grounded in Susanna’s perspective, as a tremendous Julianna Canfield narrates directly to the audience with a haunted detachment. In director Jo Bonney’s tender production, Susanna’s time at McLean Hospital is given a dreamlike quality, while the psychological struggles of Susanna and other girls are treated with careful nuance.
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Certainly, this approach runs a risk of sucking the emotional intensity out of the proceedings. But a soft touch is not the same as looking away. Majok’s adaptation confronts the systemic failures of the system in which these women are trapped with clear-eyed forthrightness, while Bonney ensures their depths of despair are always simmering under the surface—and, very occasionally, boil up without warning. But overall, this creative team is extending a moving sort of kindness to its audience. The pain can be understood without being inflicted again.
Still, I did long for a bit more emotional variance in Mann’s score. The composer sticks almost entirely to her signature melancholy style, providing serene tunes with an aching soul. The music is beautiful, and blends seamlessly with Majok’s book. But in Susanna’s darkest moments, a harsher sound perhaps is called for, yet never arrives.
.png)
Senior Critic Joey Sims has been busy around town catching the latest of what Off-Broadway has to offer. His thoughts below:
INDIAN PRINCESSES
In a forthright letter slipped inside the playbill for Indian Princesses, playwright Eliana Theologides Rodriguez acknowledges the harmful and offensive origins of her new play’s title—while also contextualizing that title within her own history with the unfortunate YMCA program.
“Though the mission of the program is wholesome––helping fathers and children bond through earthy adventures and community-building––its reality is a complete bastardization of Native American culture,” Rodriguez writes. While she does not identify as Native, Rodriguez notes that her own tribal heritage was lost in past generations due to forced assimilation.
“I do not know a word of my ancestors’ languages,” the playwright adds. “But I remember every word of our 2008 [camp] tribal chant.”
Rodriguez’s thorny choice of setting—one that raises questions around identity, colonialism and inherited trauma—offers more than enough material for one play. But in this messy and overstuffed new work, now at Atlantic Theater Company through June 7, the legacy of that now-renamed program is just one of many overlapping concerns.
This ambitious work follows five girls of color taking the “Indian Princesses” program with their hapless white fathers, all of whom struggle to communicate around race with their daughters. Some supernatural themes slip in along the way, along with thoughtful reflections on grief, toxic masculinity and the messy bonds formed between young girls.
Juggling an array of locations and thematic concerns, director Miranda Cornell can’t find a center. Honoring each girl’s distinct questions around race and inherited culture makes for an ungainly if occasionally moving work. Native culture is ultimately an afterthought, which leaves the play’s premise feeling awkwardly opportunistic.
But in quiet moments between fathers and daughters, Rodriguez does hit on occasional flashes of transcendence, suggesting an exciting new voice ready to tackle big ideas.
———
GIRL, INTERRUPTED
The gentleness of new musical Girl, Interrupted comes as a welcome surprise. Susanna Kaysen’s 1993 memoir, recounting her time in a psychiatric hospital, was previously spiced-up for its 1999 film adaptation with a number of dramatic embellishments. It’s a gripping film, but not the most sensitive exploration of mental health.
For this gorgeously conceived stage adaptation scored by singer-songwriter Aimee Mann, book writer Martyna Majok has taken quite the opposite tack. Her text keeps us firmly grounded in Susanna’s perspective, as a tremendous Julianna Canfield narrates directly to the audience with a haunted detachment. In director Jo Bonney’s tender production, Susanna’s time at McLean Hospital is given a dreamlike quality, while the psychological struggles of Susanna and other girls are treated with careful nuance.
Certainly, this approach runs a risk of sucking the emotional intensity out of the proceedings. But a soft touch is not the same as looking away. Majok’s adaptation confronts the systemic failures of the system in which these women are trapped with clear-eyed forthrightness, while Bonney ensures their depths of despair are always simmering under the surface—and, very occasionally, boil up without warning. But overall, this creative team is extending a moving sort of kindness to its audience. The pain can be understood without being inflicted again.
Still, I did long for a bit more emotional variance in Mann’s score. The composer sticks almost entirely to her signature melancholy style, providing serene tunes with an aching soul. The music is beautiful, and blends seamlessly with Majok’s book. But in Susanna’s darkest moments, a harsher sound perhaps is called for, yet never arrives.
