An Opinion Piece: Tony Predictions 2016

As we say, it’s only one person’s opinion, and a few categories are going to take each other to task, but there are still some things that we can probably say for certain.

Hamilton broke records left and right this season, including the 16 nominations it got from the award committee. I think the show will definitely dominate the majority of categories, but I’m not sure if it will go for a clean sweep like I’ve seen a lot of people say.

As far as shows with multiple nominees in the same categories, I feel Hamilton may surprise us and see Leslie Odom Jr. go home with the Best Leading Actor award, and Best Featured Actor is a toss up.

Noises Off I think will see the Best Featured Actress award go home with Megan Hilty, as Andrea Martin is still a newcomer and Hilty has been a favorite in recent years.

A View From The Bridge might pull off all tech awards it was nominated for, and The Crucible may pull in an acting nod for Sophie Okonedo, but A View will win more out of the two of them.

I predict Eclipsed getting a lot of attention as well, for both technical and acting, although I’m unsure about whether or not Liesl Tommy will come home with the Best Direction award. Both A View From The Bridge and Long Day’s Journey Into Night have been reviewed really favorably in that direction.



I get the feeling that the opening number is going to feature riffs on James Corden shows and will most definitely poke fun at the Into The Woods movie. Host Neil Patrick Harris hadn’t starred in Hedwig by the time that he hosted, and last year saw ribbing of Kristin Chenoweth’s time in Wicked, so I think his roles are also fair game. The ceremony did the same with the Les Miserables movie a few years ago, and as someone who didn’t care for the Into The Woods movie, I’m looking forward to some laughs.

With the American Theatre Wing’s push for the recognition of diversity this season, I think onversations on the red carpet and off are going to focus heavily on diversity across all spectrums, though some conversation about “Tony can you hear me” may come up as another year passes without the sound awards.


Best: Eclipsed
Best Revival: Long Day’s Journey Into Night
Best Actor Leading: Mark Strong (A View From The Bridge)
Best Actor Feature: Reed Birney (The Humans)
Best Actress Leading: Jessica Lange (Long Day’s Journey Into Night)
Best Actress Feature: Pascale Armand (Eclipsed)
Best Direction: Liesl Tommy (Eclipsed)
Best Scenic Design: Jan Versweyveld (A View From The Bridge)
Best Lighting Design: Jan Versweyveld (The Crucible)
Best Costume Design: Clint Ramos (Eclipsed)



Best: Hamilton
Best Revival: The Color Purple
Best Actor Leading: Leslie Odom Jr.
Best Actor Feature: Daveed Diggs (Hamilton)
Best Actress Leading: Jessie Meuller (Waitress)
Best Actress Feature: Danielle Brooks (The Color Purple)
Best Direction: Michael Arden (Spring Awakening)
Best Book: Shuffle Along (George C. Wolfe)
Best Original Score: Hamilton (Lin-Manuel Miranda)
Best Scenic Design: Es Devlin and Finn Ross (American Psycho)
Best Lighting Design: Howell Binkley (Hamilton)
Best Costume Design: Ann Roth (Shuffle Along)
Best Choreography: Savion Glover (Shuffle Along)
Best Orchestrations: Alex Lacamoire (Hamilton)



In the wake of the 2016 Academy Awards and the #OscarsSoWhite debacle, many are looking to the Tonys this season as a potential beacon of light in the way of diversity.

Now, this isn’t to say that this season is the be-all-end-all for diverse stage works, and I know, like most other theatre fans, that the Tonys have had the same discriminatory history as the Academy Awards and the Emmys. But, when all four major acting awards in the musical camp could be won by actors of color, some credit is still due.


Shuffle Along

Out of all of the eligible plays and musicals this season, 9 out of 36 staged central plots involving characters of color as the protagonists, and another 6 featured actors of color in general major and supporting roles. Again, the majority of focus is still spent on white stories and actors, but when I think about what the eligibility list looked like even 10 years ago, this is a step in the right direction.

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The cast of Waitress: The Musical

Though many shows featuring diverse casts were eligible, there were some shocking nominations left by the wayside in favor of less diverse works.

Allegiance, which opened to great critical reviews and starring the likes of Lea Salonga and George Takei, received no nominations from the awards committee. Before the announcement ceremony, I was sure that the musical would at least earn some acting nominations, as well as perhaps a costume nod or best book nomination. What was nominated in it’s place was not just surprising to me, but to a lot of people.

Having listened to the soundtrack and knowing that the story was based on George Takei’s own experiences with the Japanese-American WWII internment camps, Allegiance was a story previously left untold in an industry (and country for that matter) that largely ignores the narratives of Asian-Americans. Besides Philippa Soo in Hamilton, no other Asian-American actor or creative received a nomination. I may risk repeating myself, but there is still clear work to be done when it comes to nominations as well as the stories created on Broadway.


George Takei, Lea Salonga, and Telly Leung in Allegiance

But, one thing I have noticed is the diversity in the creative fields, as well as diversity beyond race. This season saw women of color (Danai Gurira and Liesl Tommy) nominated for directing, and writing (Eclipsed). Clint Ramos’ nomination for costume design, Sergio Trujillo’s nod for choreography, and Lin-Manuel Miranda’s recognition for book and original score shone a well deserved light on the men of the Latino community.

Across the board, women of all races have been nominated in almost every creative category, from Sara Bareilles for original score, to Ann Roth in costume design, to Natasha Katz and Peggy Eisenhauer with their respective nods for lighting design. Michael Arden, a member of the LGBTQ community, garnered a best director nomination, and though his revival of Spring Awakening received no specific acting nods, it was still nominated for best revival. This means that for the first time, an actress in a wheelchair and an ensemble of deaf actors has been recognized by the awards committee.

It’s clear to see that the trend of recognizing and awarding diversity is on the upward climb and has been placed in the spotlight. Even with just the nominations, the course is set in the right direction, and I hope that the award ceremony itself continues on this path. Here’s to hoping that the next few seasons will offer even more.


Jennifer Hudson and Cybthia Erivo in The Color Purple

The Crucible: Re-staging a classic for the 21st century

Arguably the most prolific of Arthur Miller’s works, The Crucible has become and English class staple. I’ve both read it and seen it performed, as has a large majority of high school students across the country.

This Tony season, The Crucible is one of two Arthur Miller works produced and nominated (A View From The Bridge is the other). Both are undertaken by director Ivo Van Hove, a first time Tony nominee. The trend this awards season has seen revivals earning significantly less nominations than the original productions, but The Crucible has proved an exception to this rule. The original production only garnered 2 nominations, but this production has received 4.

With such an iconic story, how did Van Hove bring The Crucible into the 21st century? The simple answer is by keying up the metaphors and scaling down the period accuracy.

As someone who is generally skeptical of “modernized” productions, this revival of The Crucible turned the notion of watered down and palatable modernization on its head. Anyone who is familiar with the recent cinematic release of The Witch knows that the horror isn’t in the thing that jumps out at you from the shadows, it’s the thing that you can’t see at all.

Even from looking at production photos, it’s clear that Van Hove took the historical accuracy of stage and costume design in the opposite direction. The cast is clad in monochrome clothing, suggesting something between a dystopian future and the modern era. The set is much the same, the only clear difference being the wall (and “chalkboard”) used for projections.


What I believe Van Hove aims to do in stripping down the production is to draw attention to the central conflict rather than let the audience be lost in the setting of Salem. The Crucible was built as an allegory for the McCarthyism “red scare” trials, and this production reminds us of the habit of the human mind to mold it’s own with hunts.

By giving this simple lens, I received the message that this conflict could arise anywhere, and it has. From with trials, to the red scare, to the war on terror, a human’s greatest enemy is the unknown. The determination to make an enemy where there is not one is a horror story in itself, one that is reflected in the plight of Abigail Williams and the people of Salem.


Saoirse Ronan makes her Broadway debut as Williams here, and Ben Wishaw stars as John Proctor, the protagonist. At first glance, the softness and gentle acting of Wishaw makes for a curious choice for the strong-willed farmer, but it proves to be a strong choice. Sophie Okenedo (nominated for Best Leading Actress in a Play) stars as Elizabeth Proctor, and the difference between Okenedo’s fierce Elizabeth and Wishaw’s John sheds new light on two characters turned archetypes.

John Proctor has long been played as the steadfast man, absolute in the face on conflict, his affair with Abigail Williams the one blight on his character. I appreciate Wishaw in this role for the simple fact that he plays Proctor as more complex than that. His resolution is quiet, and in this state, we’re able to see how his slip into temptation was possible. In contrast is Elizabeth, who Okenedo allows to be strong-willed without dipping into shrill stereotypes. I find myself understanding the divide between husband and wife with this characterization, and it makes their reconciliation deeper and more believable.


I feel that what Van Hove has managed to do with The Crucible is to breathe life into an old classic, but without all of the tradition that may have weighed it down. Arthur Miller ensured his work would be timeless simply through the power of his writing, but this production of The Crucible has taken the plot out of time to remind the audience of the limits of human rationality and the honors of conviction.


The Crucible is also nominated for Best Lighting Design of a Play (Jan Versweyveld) and Best Featured Actor in a Play (Bill Camp).


MITM Musings: If you’re familiar with The Crucible, how would you take to a non-traditional production like this one? For better or worse, the modernization of works has become a massive trend in recent years- would you rather see more of this or just stick to the way the classics were produced?

Why Eclipsed is making Tony history and breaking glass ceilings

Nominated for 6 Tony Awards this season, Eclipsed truly is one of a kind. Penned by Danai Gurira of The Walking Dead fame and starring Lupita Nyong’o, Eclipsed offers something completely unique to both the Tonys and current stage politics: and all female cast and female lead creatives.

Last year the team behind Fun Home made history as the first female writing team to win for Best Original Score. That revelation took a lot of people off-guard, including myself. However, it came as no surprise to me that Eclipsed premiered at The Public Theater, where Fun Home and Hamilton also launched. The Public, along with a good portion of Off-Broadway theatres have become hubs for diverse stage work, and have slowly been pushing that trend towards larger Broadway stages.


In recent years, the move and trend towards diversity in stage work  has been bumpy to say the least, but Eclipsed offers yet another milestone- not only are the cast all women, but they are all women of color. This extends to the creative team too, where all members are either a person of color or female, something almost completely unheard of on Broadway either historically or currently.

The show itself is based in Liberia during the country’s still ongoing civil war. Four of the women featured are all wives of a rebel general who’s lives are turned upside down when a new wife is brought to the compound.


Rather than focus on the war at large, Gurira chose to focus on those it still affects most: the women captives, the wives of war, and female soldiers. I discovered that Gurira wrote the script after research and a trip to Liberia, where she interviewed women who would become the basis for her characters. These women have been captured by Liberian rebel forces and forced to become soldier wives to strengthen the rebel cause. Many are raped and assaulted, all are held hostage.

Read about Danai Gurira’s trip: here

This tie to reality allowed me to become completely engrossed in the script, as the women struggle to live, hope for peace, and find comfort in each other. Often times, scripts fall prey to the “strong woman” stereotype, but the way that Gurira writes these characters and Liesl Tommy directs them never feels contrived. The conflict that the protagonists face feels real because it is literally rooted in reality.

Many critics have pointed to Eclipsed as revolutionary because the voice it gives to the unheard, and I have to agree. All female casts are rare enough, but combined with this subject matter puts the play in another league. Both Gurira and Tommy are African born, and their passion for African women and their voices is clear. They say, and I agree, that shining a light on the Liberian struggle through performance allows audiences to access the hardships in a more meaningful way.

Having only read the script and not seen a full performance, I can only comment about the writing of Danai Gurira and direction of Liesl Tommy, but the acting nominations point to a strong cast as well.


Lupita Nyong’o already has an Academy Award for her work in 12 Years A Slave, so her nomination for Leading Actress here seems to reflect her ability. Also nominated in the acting categories are Pascale Armand and Saycon Sengbloh for Featured Actress. Clint Ramos is also nominated for Costume Design.

Out of all Tony eligible new plays, Eclipsed has the most nominations (tied with The Humans at 6 each). Movie, television, and theatre critics alike have historically pointed to the lack of female driven performances and reasoned that the gap exists because these pieces aren’t engaging or entertaining. Eclipsed has provided the next brick in the wall of female driven performances, and with 6 nominations and critical acclaim, it is a strong brick indeed.

“But Where Is The Award For Best Sound Design?” And Other Award Vacancies

In recent years, the debate for against including sound in the Tony technical awards has looked like a tug of war.

Only created in 2008, sound design was the youngest Tony Award until 2014, when the organization decided to pull the plug- quite literally. Unless reinstated, sound design will remain the shortest lived award in Tony history. But many sound designers and members of the technical theatre community continue to put up a fight.


Brian Ronan accepting the 2014 Best Sound Design of a Musical Award. Received for “Beautiful: The Carole King Musical”

Every other major award show includes a category for excellence in sound design (this includes the Oscars, Grammy, etc.) but the Tony Awards were last on this train. The reason given? The same as why the committee decided to retract the award: the voters and committee don’t understand the craft, and when the award was still included, most voting members chose to forgo voting in the sound design category anyway.

The Tony Administration Committee has since said that they feel sound design is more of a technical award than a theatrical award. To many, this appears more of a lack of understanding than a shift in definitions.


Hashtag started by the technical theatre community in 2014 after the announcement the Sound Design awards would be discontinued.

It’s been suggested by current West End and Broadway sound designers that Tony Award voters be educated on what to listen and look for with sound design, the same as they would listen to the original music in a play, or score of a musical. The committee has stated their hope to create a Special Tony Award for sound designers- but this would make sound the only “technical” category not included in the main award set.

Read about the committee’s announcement: click here

This has raised the question about what other awards the theatre community feel the Tony Awards have overlooked, and once they’re put in to a list, it may come as a surprise that these categories have never been historically considered.

  • Best Ensemble
  • Best Makeup and Hair Design
  • Best Original Score (Play)


MITM Musings: Have you ever thought about any other “missing” awards that could be added to this list?
Do you agree with those who want to add back the award or those who want to create the Special Tony Award?


Meet The Staff Behind The Tony Broadcast

Everyone’s familiar with the face of the Tony Awards: the performers, the hosts, and the presenters. But what about the brains behind the operation? While the technical crew makes sure that the awards ceremony stays on track, runs smoothly, and gets broadcast to the world, what about those who get it up and running?



The Tony Awards Management Committee is the governing body behind the Tony Awards-the head of the table. Made up of representatives of the Broadway League and the American Theatre Wing, the committee oversees the Tonys and the broadcast.


The Management Committee:

Mark Abrahams                    Kristin Caskey                   Dale Cendali                    Ted Chapin

Sondra Gilman                      Heather Hitchens            William Ivey Long          Jordan Roth
Charlotte St. Martin            Scott Sanders                    Nick Scandalios              Howard Stringer
Tom Viertel                            Bob Wankel                        Barry Weissler                Pamela Zilly


The Tony Awards Administration Committee is made up of 24 members: 10 picked by “the Wing”, 10 by “the League”, and one each from the Dramatists Guild, the Actors’ Equity Association, United Scenic Artists, and the Society Directors and Choreographers.

This committee determines eligibility for nominations in all awards categories and reviews the rules governing the awards (which will be the subject of MITM’s next post). They also hold the authority to designate the non-competitive Tony Awards. These non-competitive awards are considered the Special Tony Awards. Currently there are three Special Tony Awards: the Regional Theatre Tony Award, the Isabelle Stevenson Award, and the Tony Honors for Excellence in the Theatre.

The Administration Committee:


Emanuel Azenberg                    Ted Chapin                    Michael David
Cecilia Friederichs                     Sue Frost                        Heather Hitchens
David Henry Hwang                  Natasha Katz                Paul Libin
William Ivey Long                      John Lyons                   Mary McColl
Kevin McCollum                         James Nederlander    Enid Nemy
Laura Penn                                  Michael Price                Judith O. Rubin
Charlotte St. Martin                 Peter Schneider           Thomas Schumacher
Ralph Sevush                              Philip Smith                 David Stone



Douglas Aibel: Artistic Director, The Vineyard Theatre

Adrian Bailey: Actor

Victoria Bailey: Executive Director, Theatre Development Fund

Ira Bernstein: Former producer/general manager/stage manager/casting director

Hope Clarke: Choreographer

Veronica Claypool: Arts Management Consultant, Full Circle Management Group/former GM

Paul Cremo: Dramaturg/Director of Opera Commissioning Program, The Metropolitan Opera

Trip Cullman: Director

Harvey Evans: Actor

Sean Patrick Flahaven: Writer/composer/orchestrator/conductor/producer

Paul Gallo: Lighting designer

Kent Gash: Director/Founding Director, NYU Tisch School of the Arts’ New Studio on Broadway

Jenny Gersten: Former Executive Director, Friends of the High Line

Daniel Goldfarb: Playwright/bookwriter

Sam Gonzalez: Director of Operations, Pfizer Medical/Board of Trustees, Playwrights Horizons

Adam Gwon: Composer/lyricist

Roy Harris: Production stage manager

Jack Hofsiss: Theatre/film/television director

Julie Hughes: Former casting director

Lou Jacob: Director/Chair of the MFA Directing Program, New School for Drama

Tom Kitt: Composer

Corby Kummer: Senior Editor, The Atlantic Magazine

Fran Kumin: Consultant – performing arts organizations/foundations/university theatre programs

Dick Latessa: Actor

Kate Levin: Cultural Assets Management Principal, Bloomberg Associates

Reynold Levy: Former President of Lincoln Center for the Performing Arts

Sara Lukinson: Documentary film producer/television writer

Patricia Marx: American humorist and writer/former television writer

Marsha Mason: Actor/director

Jim McLaughlin: Former producer, CBS News/TV feature and documentary producer

Debra Monk: Actor

Roger Morgan: Lighting designer/theatre designer

Laurence O’Keefe: Composer/lyricist/bookwriter

Katherine Oliver: Media and Technology Principal, Bloomberg Associates

Christian Parker: Chair, Graduate Theatre Program, Columbia University

Paige Price: Actor/1st Vice President of AEA/Executive Artistic Director, Theatre Aspen

Ravi S. Rajan: Dean, School of the Arts, SUNY Purchase

Nigel Redden: General Director, Spoleto Festival USA/Director, Lincoln Center Festival

Susan H. Schulman: Director/President, Stage Directors and Choreographers

Scott Schwartz: Director

Linda Shelton: Executive Director, Joyce Theater Foundation

Warner Shook: Director

Arlene Shuler: President & CEO, New York City Center

Edward Strong: Producer

Wynn Thomas: Production designer

Jennifer von Mayrhauser: Costume designer

Robin Wagner: Scenic designer

Tom Watson: Retired television advertising executive

Preston Whiteway: Executive Director, The Eugene O’Neill Theater Center

For more information on the Broadway League: “About the Broadway League”
For more information on the Tony Awards Staff: “Administration”

Meet the Eligible Shows (Part 4)

The final category in our eligible shows round-up are the shows potentially up for Best Revival of a Musical. These shows have graced the Broadway stage in previous years, but have been given a new lease on life for the 2015-2016 season.

Able to be entered for Best Revival of a Musical

The Color Purple colorpurple240

Based on the Pulitzer Prize-winning novel by Alice Walker, The Color Purple was originally produced in 2005. Following the life of Celie as she struggles living as a black woman in the 1930’s South, the musical showcases the bonds of sisterhood, hope, and how having strength in the face of adversity is one of the most powerful weapons one can wield.

Where: Bernard B. Jacobs Theatre
Run: December 10 2015-



Dames at Sea dames-at-sea-logo

While the show originally debuted Off-Broadway in 1968, the 2016 production of Dames at Sea is the first to make it to Broadway. Set in the style of the large and flashy movie-musicals of the 1930’s, the plot parodies the genre as a “tap happy gem”, which centers on a play within a play: the titular Dames at Sea.

Where: Helen Hayes Theatre
Run: October 22 2015- January 3 2016



Fiddler on the Roof 13908_show_portrait_large

Originally produced in 1964 and following a movie-musical of great success, Fiddler on the Roof follows the little town of Anatevka in 1905 Imperial Russia. The protagonist, Tevye deals with marrying off his daughters on the eve of the Russian pogroms against the country’s Jewish population.

Where: Broadway Theatre
Run: December 20 2015-



She Loves Me she_loves_me_key_art_with_billing

Produced on Broadway in 1963, She Loves me goes in line with this season’s 1960’s revival trend. Inspired by Miklos Laszlo’s play Parfumerie, the show revolves around two shop employees in Budapest, who in spite of constantly butting heads, are unaware that each is the other’s secret pen pal who they’ve met through “lonely heart ads”.

Where: Studio 54
Run: March 17 2016-



Spring Awakening spring-awakening-large-643x441

Though the original Broadway production of Spring Awakening only opened in 2006, the 2016 revival has brought a Broadway first to the stage: a company full of deaf and hearing-impaired actors. Produced by California theatre company Deaf West, Spring Awakening takes the trials of 19th century German teens with the music of Duncan Sheik and translates it for a whole new audience.

Where: Brooks Atkinson Theatre
Run: September 27 2015- January 24 2016



MITM Musing: Are you familiar with any of the musical and play revivals this season? With so many already earning critical acclaim, what’s your personal favorite?

“Let’s start at the very beginning!”: A History of the Tony Awards

After all, the beginning is a very good place to start! Maybe you’re new to the Tony Awards this year, or maybe you’ve never had the time to research before, but either way, we’ve got a brief history of the Tony’s for you today.

The Beginning of A Name

In 1947, the American Theatre Wing had recently lost one of it’s co-founders, Antionette Perry. Perry, who’s nickname was indeed Tony, had been both an actress and a director in early 20th century America, as well as helping found the American Theatre Wing. PBDANPE CS001

Perry’s dedication to high standards of theatre sparked an idea from the members of the American Theatre Wing committee. An award in Perry’s honor for distinguished stage acting and technical achievement in theatre. At the time, no such award existed for the theatre community, though the Academy Awards had already been in operation since 1929.


The official first awards ceremony was held on April 6, 1947, at the Waldorf Astoria hotel in New York City, though through the years the ceremony would move both its date and location to be featured at Radio City Music Hall and the Beacon Theatre in June. The first “Tony Awards” were not Tony Awards in the sense that we know them. The prizes awarded were things such as “a scroll, cigarette lighter and articles of jewelry such as 14-carat gold compacts and bracelets for the women, and money clips for the men.” It was not until the third awards ceremony in 1949 that the first Tony medallion (pictured below) was handed out to award winners. Picturing the “comedy/tragedy” masks of Greek theatre tradition, all winners receive the same style of award.



The Public Broadcast

It wasn’t until 1967 that the Tony Awards started their television broadcasts. Before then, the ceremony was considered a closed event for those in the theatre community, however, with the growing mainstream popularity of both the stage and television, the American Theatre Wing decided to bring the ceremony to the American people as well.



Presenter Barbara Streisand with the winners of the 1967 Best Musical award, Cabaret. Librettist Joe Masteroff, composer John Kander, lyricist Fred Ebb, and producer Hal Prince.


The broadcast has remained much as we know it today, with from the nominated musicals, clips and presentations for the nominated plays, as well as celebrity announcers and skits.

Currently, The American Theatre Wing and The Broadway League administer the awards jointly as Tony Award Productions, but the ceremony is still billed as belonging to the American Theatre Wing.

In recent years, the viewing audience size for the broadcast is far below that of the Academy Awards broadcast, landing between six and eight million viewers on average.

To put the audience number in perspective, the 2009 Oscar broadcast netted 36.3 million viewers. However, if you’ve ever watched the broadcast before, you are aware of the dedication of those six to eight million viewers. Critics and professionals have likened the Tony Awards as being the “Oscar’s for the stage”, and the broadcast has come to be one of the theatre community’s biggest nights.


This Year’s Broadcast

In case you’ve missed it, the 2016 Tony’s are going to be broadcast on June 12 at 8 EST. Are you going to be joining the crowd of eight million watching the Sunday night broadcast? Or are you going to pick up the highlights following instead?



Quotes regarding original Tony Award ceremony:

Tony statistics:
Guess This Year’s ‘Tony Awards’ Viewership (Poll) + Ratings History

Oscar statistics:


A basic guide to the 2016 Tony Awards or “What was the name of that one guy hosting who was in that movie with Meryl Streep?”

When: June 12 at 8 EST

How To Watch: CBS Broadcast

Pre-Show: Red Carpet at 6 EST

Your Host: James Corden

Categories for awards:

The Big Four-

Best Play                                                           Best Musical

Best Book of a Musical                                 Best Original Score

Technical Awards-

Best Choreography                                        Best Orchestrations

Best Scenic Design of a Play                       Best Scenic Design of a Musical

Best Costume Design of a Play                  Best Costume Design of a Musical

Best Lighting Design of a Play                   Best Lighting Design of a Musical

Best Director of a Play                                  Best Director of a Musical

The Cast-

Best Performance by a Leading Actor in a Play

Best Performance by a Leading Actress in a Play

Best Performance by a Featured Actor in a Play

Best Performance by a Featured Actress in a Play

Best Performance by a Leading Actor in a Musical

Best Performance by a Leading Actress in a Musical

Best Performance by a Featured Actor in a Musical

Best Performance by a Features Actress in a Musical

Revivals Category-

Best Revival of a Play                                          Best Revival of a Musical

Special Awards-

Special Tony Award                                             Tony Honors for Excellence in Theatre

Regional Theatre Tony Award                          Isabelle Stevenson Award


What: Nomination Announcement Broadcast

When: May 3 at 8:30AM EST

How To Watch: CBS This Morning or

Your Hosts: Nikki M James and Andrew Rannells

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