What a season! A superlative blend of four promising new musicals, three dynamite plays (and another really enjoyable one), and a play revival that reinvented what that play was about and another that had only excellent notices. When it comes time to award this season, there simply aren’t enough trophies to go around.
Just a glorious season for Off-Broadway.
Oh, right, the Tony Awards are only for Broadway shows. Yeah, that season was a letdown as a whole. A few inspired performances and pieces, but as a composite, the NY Times’s two critics called it a B- season. To me, its more along the lines of C+. Barely-there books in the Musical category, Plays that sound better on paper than on stage, and revivals of a slate of classics that were generall more about competence than brilliance.
When I made up some thoughts about the nominations, I lamented the lack of good theatrical development. This year’s Off-Broadway slate proved that there is good development going on, but that the shows that have made it to the big houses simply aren’t being picked or developed properly. No new musical had the emotional resonance of Yank!, the elegance of The Scottsboro Boys, the feel-good joy of The Kid, or the grand rock-star quality of Bloody Bloody Andrew Jackson. No new play had the complexity of The Pride, the satire of The Elaborate Entrance of Chad Deity, or the raw emotional evolution of Venus in Fur. Or the historical poignancy of The Temperamentals. And in the revival category, Our Town completely changed my thinking on the play to have an 
entirely newfound respect and love for the work. Horton Foote’s Orphan Cycle was an epically complex set of individual plays that would have killed Broadway audiences, in the best way. (Although there is a question of whether it would be considered a new play given that two of the three plays were produced many moons ago.) Hell, even Encores! hit a half-staged homerun with their take on Anyone Can Whistle, with some of the winningest performances of the entire season.
The two most stellar works, from end to end, were the revivals of Fences and A View 
From The Bridge. Superb, important masterworks of the language given productions worthy of their value and filled with performances of equally dynamic power. All four nominees for Best Musical Revival were delightful experiences, each delivering strong productions and performances. While La Cage is easily the class from a production standpoint, its book is so poor that a lot of folks I know won’t bother to see the show because it has outwardly offensive moments.
And so, here we are with the Tony’s.
BEST MUSICAL
Nominees: American Idiot, Fela!, Memphis, Million Dollar Quartet
Will Win: Memphis is my call, though Fela!’s got a shot. Both are great times, but neither have great books. Memphis’s book damn near collapses in the second act, and Fela!’s book lacks detail. Given the potential for Memphis in perpetuity (touring, revivals, etc.), I’m expecting the academy to pick them.
Should Win: Fela! While I enjoyed Memphis, Fela! was a more complete experience, even if its narrative was very much lacking. It was simply more spectacular.
Should Have Been Nominated: Everyday Rapture was a pure joy to watch, and the best constructed new show this season. Even if it is a tiny step away from being a cabaret act.
BEST PLAY
Nominees: In the Next Room, or the vibrator play, Next Fall, Red, Time Stands Still
Will Win: Red seems to be the consensus. It’s a powerful piece, and has a sense of grandeur. Next Fall is somewhat out of place on Broadway, and feels more Off than On. In the Next Room doesn’t appear to have a ton of support, for mostly financial reasons And I HATED Time Stands Still. Hated.
Should Win: I’m not enamored with this entire group, but I’d cast a vote for In the Next Room simply on the quality of its writing. While there were some shortcomings, it was an overall excellent piece with a handful of strong performances.
Should Have Been Nominated: I guess given the meager quality of this list, Superior Donuts. I didn’t out and out love it, but I certainly found it to be better than Time Stands Still.
BEST REVIVAL OF A MUSICAL
Nominees: Finian’s Rainbow, La Cage aux Folles, A Little Night Music, Ragtime
Will Win: La Cage aux Folles seems to be the favorite, given that the production is truly revelatory. There is way more emotion in the piece than was considered before, all thanks to this iteration of the show.
Should Win: I would be fine with any of these winning, since I very much enjoyed them all. Each has something wrong with it. La Cage’s book is sorely, painfully in need of a refresher that eliminates 1970’s homophobic standards. Night Music is a masterwork, but the production felt too small. Finian’s Rainbow is pure joy on stage, but it is also a cartoon. And Ragtime is epic and grand, but ultimately tries to hard. Since I’m purporting to pick, I’ll go with Finian’s Rainbow.
Should Have Been Nominated: Promises, Promises is the only other realistic option, and I was not enamored with that lazy show. So, not a damn thing.
BEST REVIVAL OF A PLAY
Nominees: Fences, Lend Me a Tenor, The Royal Family, A View From the Bridge
Will Win: A battle of the Cort Theatre. Both Fences and A View From the Bridge were stellar, Fences seems to be the favorite since it’s a bit of a bigger show.
Should Win: A View From the Bridge had more intimacy, but Fences was indeed bigger. I’m quite torn, but I’ll go with a View.
Should Have Been Nominated: Not a damn thing, again.
BEST BOOK OF A MUSICAL
Nominees: Everyday Rapture, Dick Scanlan and Sherie Rene Scott; Fela!, Jim Lewis and Bill T. Jones; Memphis, Joe DiPietro; Million Dollar Quartet, Colin Escott and Floyd Mutrux
Will Win: Memphis has a lot of steam, picking up a host of awards. It has a truly excellent first act. But that second act is such a letdown.
Should Win: Everyday Rapture was the only new musical that had a complete book. And quotable lines.
Should Have Been Nominated: Not a damn thing, yet again.
BEST ORIGINAL SCORE (MUSIC AND/OR LYRICS) WRITTEN FOR THE THEATER
Nominees: The Addams Family, Music and Lyrics: Andrew Lippa; Enron, Music: Adam Cork, Lyrics: Lucy Prebble; Fences, Music: Branford Marsalis; Memphis, Music: David Bryan, Lyrics: Joe DiPietro and David Bryan
Will Win: Memphis is on a role as the only truly traditional book musical that has weight. And there are two play nominees. Uck. Talk about a bad state.
Should Win: Memphis, I guess. Process of elimination and all that.
Should Have Been Nominated: There were rulings against Fela!, American Idiot and Million Dollar Quartet being in this category (that whole “written for the theatre” thing). I tried to find out about Everyday Rapture, but since that uses recycled material as well, I’m guessing it was ruled ineligible too. By process of elimination, nothing gets in.
BEST PERFORMANCE BY A LEADING ACTOR IN A PLAY
Nominees: Jude Law, Hamlet; Alfred Molina, Red; Liev Schreiber, A View From the Bridge; Christopher Walken, A Behanding in Spokane; Denzel Washington, Fences
Will Win: Denzel Washington will likely eke out a win over Live Schreiber and Alfred Molina. Each carried his show, but there’s a current of appropriate love for Fences, so I’m expecting Denzel to bring home the trophy.
Should Win: I’m torn about the big three. Each actor distinguished himself with honor, but I’m going with Schreiber here. His was the least showy role, and he carried so much in that show.
Should Have Been Nominated: There were some decent other performances, but none worth talking about. Yet again. Sorry, Michael Cervaris.
BEST PERFORMANCE BY A LEADING ACTRESS IN A PLAY
Nominees: Viola Davis, Fences; Valerie Harper, Looped; Linda Lavin, Collected Stories; Laura Linney, Time Stands Still; Jan Maxwell, The Royal Family
Will Win: Viola Davis’s role was elevated in the consideration process, which is both appropriate. It’s one of the best written roles and Davis is absolutely breathtaking with it. None of the other performances come even close.
Should Win: Ditto.
Should Have Been Nominated: As with the actors, nothing worth talking about. I’m feeling a theme. Apologies to Laura Benanti, but there just wasn’t enough there for her.
BEST PERFORMANCE BY A LEADING ACTOR IN A MUSICAL
Nominees: Kelsey Grammer, La Cage aux Folles; Sean Hayes, Promises, Promises; Douglas Hodge, La Cage aux Folles; Chad Kimball, Memphis; Sahr Ngaujah, Fela!
Will Win: Douglas Hodge was such a sensation as Albin/Zaza in London that the American producers went above & beyond to bring home with the production. I could see some love for Grammer, since he was surprisingly good as a gay man (being a staunch conservative and all), but Hodge is towering here.
Should Win: Ditto
Should Have Been Nominated: Again, other good performances, but none really rise above what’s here. Though I’d love to have seen Kevin Mambo co-nominated with Sahr Ngaujah.
BEST PERFORMANCE BY A LEADING ACTRESS IN A MUSICAL
Nominees: Kate Baldwin, Finian’s Rainbow; Sherie Rene Scott, Everyday Rapture; Montego Glover, Memphis; Christiane Noll, Ragtime; Catherine Zeta-Jones, A Little Night Music
Will Win: Montego Glover has racked up the hardware this season, both for a dynamic performance and for helping foster this show over seven years onto Broadway. Zeta-Jones might out-star her, but it’s not likely.
Should Win: Sherie Rene Scott also fostered her show, and co-wrote the most cohesive book. But her knockout performance as, well, herself is stunning, delightful, and joyously lovely. I can’t deny it, casting aside playing second fiddle, a semi-star really defines herself as an actual star.
Should Have Been Nominated: See the last three categories. Theme indeed. Oh, Bebe Neuwirth & Kristin Chenoweth, may you soon find real material to work with.
BEST PERFORMANCE BY A FEATURED ACTOR IN A PLAY
Nominees: David Alan Grier, Race; Stephen McKinley Henderson, Fences; Jon Michael Hill, Superior Donuts; Stephen Kunken, Enron; Eddie Redmayne, Red
Will Win: Jon Michael Hill was a revelation in a less-than-spectacular Superior Donuts. Eddie Redmayne might slip in given some serious love for Red, but I found that the role wasn’t all that interesting. A wall-flower getting some stones is old hat, and I wasn’t all that impressed.
Should Win: A very weak group, but I’m on Team Hill. I really enjoyed the careful performance by Stephen McKinley Henderson, but I didn’t find it to be award-worthy.
Should Have Been Nominated: I would have included Mykelti Williamson for his Fences performance and Morgan Spector for A View.
BEST PERFORMANCE BY A FEATURED ACTRESS IN A PLAY
Nominees: Maria Dizzia, In the Next Room, or the vibrator play; Rosemary Harris, The Royal Family; Jessica Hecht, A View From the Bridge; Scarlett Johansson, A View From the Bridge; Jan Maxwell, Lend Me a Tenor
Will Win: Jan Maxwell in a squeaker over Scarlett Johansson. Jan owns her show very thoroughly, and Johansson was a revelation on stage. I’m betting on the theatre vet to pull this one out over the Hollywood girl.
Should Win: I’m very torn between Jan Maxwell, ScarJo, and Jessice Hecht. All three were excellent. Maxwell was truly hilarious in a poorly written part. Johansson was luminous and powerful despite being a bit old for the part. Hecht was heartbreaking even if I wasn’t enamored with her accent. I guess I’m going with Hecht simply because I still feel something when I think about her performance.
Should Have Been Nominated: I might throw Zoe Kazan’s comedic performance in A Behanding in Spokane in here, but her work isn’t up to the quality of the others. That will change soon enough.
BEST PERFORMANCE BY A FEATURED ACTOR IN A MUSICAL
Nominees: Kevin Chamberlin, The Addams Family; Robin De Jesús, La Cage aux Folles; Christopher Fitzgerald, Finian’s Rainbow; Levi Kreis, Million Dollar Quartet; Bobby Steggert, Ragtime
Will Win: Bobby Steggert is the consensus. He gave a tremendous performance of the best written character in Ragtim. De Jesús was hilarious and scene stealing, but doesn’t have the depth of Steggert’s performance. Chamberlin is a sentimental favorite, but the animus towards The Addams Family can’t be undervalued.
Should Win: Steggert.
Should Have Been Nominated: In a year of weak categories, this might be the second weakest. At no fault to the performers, the quality of roles just apparently aren’t there. But, again, change is on the horizon.
BEST PERFORMANCE BY A FEATURED ACTRESS IN A MUSICAL
Nominees: Barbara Cook, Sondheim on Sondheim; Katie Finneran, Promises, Promises; Angela Lansbury, A Little Night Music; Karine Plantadit, Come Fly Away; Lillias White, Fela!
Will Win: Katie Finneran seems to be the choice. She’s hilarious, and completely outshines her more famous cast-mates. I could see the troika of theatre legends (Barbara Cook, Angela Lansbury, and Lillias White) pulling this out, but I’m not counting on it.
Should Win: Finneran, I guess. I could put any of the legends here. Each of them and Finneran made me say “Can we get more of her?”, but I’m going with the general choice. Her shot of adrenaline into that show was so incredible, I still chuckle.
Should Have Been Nominated: Who wouldn’t like to see Jackie Hoffman get a Tony nomination?
BEST DIRECTION OF A PLAY
Nominees: Michael Grandage, Red; Sheryl Kaller, Next Fall; Kenny Leon, Fences; Gregory Mosher, A View From the Bridge
Will Win: Kenny Leon for Fences. That phenomenon thing.
Should Win: Gregory Mosher for A View. He had less guaranteed talent, and pulled it off brilliantly.
Should Have Been Nominated: I’m a little surprised Stanley Tucci didn’t make it in here. Direction generally makes farce work moreso than individual performance, and he pulled it off better than expected. Plus, he’s a star. While I don’t believe the production was a “wow”, I did enjoy myself given that the show isn’t all that great on paper.
BEST DIRECTION OF A MUSICAL
Nominees: Christopher Ashley, Memphis; Marcia Milgrom Dodge, Ragtime; Terry Johnson, La Cage aux Folles; Bill T. Jones, Fela!
Will Win: Terry Johnson’s production of La Cage stripped down a previously lavish show, leaving an emotional resonance that was generally unexpected. Bill T. Jones might slip in here, but I just don’t see it happening given the love for La Cage’s production.
Should Win: Each of these directors made the show on paper better than they are, but I’ll go with Johnson given that the book he had to deal with is so terribly dated.
Should Have Been Nominated: Michael Mayer’s work on both American Idiot and Everyday Rapture, stewarding both shows through their development cycles and simultaneous Broadway debut should have been acknowledged, particularly with Idiot.
BEST CHOREOGRAPHY
Nominees: Rob Ashford, Promises, Promises; Bill T. Jones, Fela!; Lynne Page, La Cage aux Folles; Twyla Tharp, Come Fly Away
Will Win: Twyla Tharp. Come Fly Away is a dance show, getting great reviews for culling out emotions with dance alone.
Should Win: I guess Bill T. Jones for Fela! Though its really about the dancers more than the motions, the show is far more dynamic than fly, and dance really does move the (weak) narrative along.
Should Have Been Nominated: No one really stands out, though you could make an argument for Steven Hoggett for American Idiot.
BEST ORCHESTRATIONS
Nominees: Jason Carr, La Cage aux Folles; Aaron Johnson, Fela!; Jonathan Tunick, Promises, Promises; Daryl Waters & David Bryan, Memphis
Will Win: The Memphis boys. The music worked well, and there’s this whole expectation of the show winning thing.
Should Win: I’m not really that partial to any of these, but I’m going with Fela! more for the spectacle of the music.
Should Have Been Nominated: Ragtime felt epic, and the orchestrations were a big reason why.
BEST SCENIC DESIGN OF A PLAY
Nominees: John Lee Beatty, The Royal Family; Alexander Dodge, Present Laughter; Santo Loquasto, Fences; Christopher Oram, Red
Will Win: Fences. There was a realness to the set.
Should Win: Ditto.
Should Have Been Nominated: Probably A View From the Bridge. It felt very real and moved quite well.
BEST SCENIC DESIGN OF A MUSICAL
Nominees: Marina Draghici, Fela!; Christine Jones, American Idiot; Derek McLane, Ragtime; Tim Shortall, La Cage aux Folles
Will Win: La Cage. That production sure is beloved.
Should Win: I liked all of these, but that epic feel of Ragtime pulls at me. Or Fela’s nightclub vibe. No, I’ll go with Ragtime.
Should Have Been Nominated: There wasn’t much people liked about The Addams Family, but the set was universally loved and it deserved some Tony love too.
BEST COSTUME DESIGN OF A PLAY
Nominees: Martin Pakledinaz, Lend Me a Tenor; Constanza Romero, Fences; David Zinn, In the Next Room, or the vibrator play; Catherine Zuber, The Royal Family
Will Win: In the Next Room. As with the Oscars, go with period.
Should Win: Ditto.
Should Have Been Nominated: Nothing really stands out.
BEST COSTUME DESIGN OF A MUSICAL
Nominees: Marina Draghici, Fela!; Paul Tazewell, Memphis; Matthew Wright, La Cage aux Folles
Will Win: La Cage. Drag queens, people.
Should Win: Ditto.
Should Have Been Nominated: Ragtime was here, but was dropped since those costumes were basically copies of the original versions. I’d go with Finian’s Rainbow. Well done dated attire that helped the cartoon vibe come off delightfully.
BEST LIGHTING DESIGN OF A PLAY
Nominees: Neil Austin, Hamlet; Neil Austin, Red; Mark Henderson, Enron; Brian MacDevitt, Fences
Will Win: Fences & that phenomenon thing.
Should Win: Red’s lighting brought serious dramatic development.
Should Have Been Nominated: Not a damn thing comes to mind.
BEST LIGHTING DESIGN OF A MUSICAL
Nominees: Kevin Adams, American Idiot; Donald Holder, Ragtime; Nick Richings, La Cage aux Folles; Robert Wierzel, Fela!
Will Win: La Cage. Coat-tails.
Should Win: Fela!’s lighting felt organic and was used as a dramatic tool without feeling “look at this”.
Should Have Been Nominated: Memphis has some lovingly lit moments and that finale was eye-popping.
BEST SOUND DESIGN OF A PLAY
Nominees: Acme Sound Partners, Fences; Adam Cork, Enron; Adam Cork, Red; Scott Lehrer, A View From the Bridge
Will Win: Fences. There was music, interspersed with un-mic’ed voices.
Should Win: I love all of these, but I’ll go with A View. More voices carried well.
Should Have Been Nominated: Nothing’s coming to mind.
BEST SOUND DESIGN OF A MUSICAL
Nominees: Jonathan Deans, La Cage aux Folles; Robert Kaplowitz, Fela!; Dan Moses Schreier and Gareth Owen, A Little Night Music; Dan Moses Schreier, Sondheim on Sondheim
Will Win: La Cage sounded great.
Should Win: I would through in with Fela!, but there were moments when the sound mixing was too muddled. La Cage it is, then. Night Music didn’t have enough sound. And Sondheim’s history is in Studio 54, so it has no chance of excellent sound no matter how excellent Schreier is.
Should Have Been Nominated: Come Fly Away sounded great. And The Addams Family was easy to hear.
So there you have it. Thoughts out of my head. What are yours?
