The Tony Awards ceremony is always one of the best of the award shows because there’s actual entertainment in it. Production numbers from the musicals are way more fun to watch than Lady Gaga practically going down on Bradley Cooper during their Oscarcast number. Tony winners tend to be wittier than their film or TV counterparts as well. Some genuine laughs and fewer shout-outs to agents.
So you would think the Tony Awards would get decent numbers. It doesn’t. It gets dreadful numbers. And why? Simple. 99% of the country hasn’t seen one of the nominated shows nor even knows what they are.
The musical that got the highest number of nominations is HADESTOWN. Ever hear of it? If you think the Oscars has a problem…
So there’s no rooting interest. At least on the Oscars or Emmys if something wins you’re not familiar with you can go to your favorite Cineplex or ON DEMAND and catch it the next day. THE FERRYMAN is a great play I’m told. If it wins and you’re in Portland and you don’t happen to have a New York trip scheduled for late June the chances are real good you will never see it. So as a viewer why even take note of it?
It seems silly to really “analyze” the nominations since so few of you know who the nominees are and even fewer of you care. But I do want to highlight a few points.
If ever there was a lock, Elaine May will deservedly win Best Actress for THE WAVERLY GALLERY. She gave one of the most thrilling performances I’ve ever seen in the theatre.
I don’t understand the Tony love for the musical THE PROM. Falling for the hype I saw it and was dumbfounded by how trite and clichéd and on-the-nose obvious it was. Take the worst flaming gay jokes from WILL & GRACE and rejected songs from MEAN GIRLS then add unearned cringeworthy sentimentality and that’s THE PROM.
And finally, I’m surprised by the snubs for TO KILL A MOCKINGBIRD and NETWORK. Both are excellent. And both are popular. Broadway is well aware of the recognition problem they face as evidenced by all the franchises, reboots, jukebox musicals, and known stars they can put up on marquees in a desperate attempt to attract general audiences. So either snub all of them for their gross commercialization or none. Why snub two of the very best written plays this season? The MOCKINGBIRD snub was clearly a dig at Aaron Sorkin. Sour grapes. Yes, he’s a personality who knows how to self-promote, but he also delivers the goods. And he attracts audiences. Isn’t that what you want?
Here’s the typical timeline for Best Play nominees: They’re all excellent, they’re all highly dramatic, they all close due to lack of interest.
So when you get a couple of plays that are highly dramatic and popular, those are the ones you snub? Seems very petty.
Look, there used to be dozens of straight plays mounted every Broadway season. Now there are very few. For the high cost of a ticket many theatergoers would rather see a musical. They opt for the spectacle and songs tossed in. As a playwright, I’m often asked if my ultimate goal is to get a play on Broadway. No. I write comedies instead of message plays about gender identification so that’s two strikes right there, and I know the only way I’ll get something on Broadway is if I attach one or two (or four) big stars. I don’t know Bryan Cranston well enough to pick up the phone. I’ve never been to a Dodger game with Jeff Daniels. But that’s fine. Give me regional and community theatres that will mount decent productions and audiences that laugh and have a good time and I am totally happy. But Broadway needs to keep straight plays as part of their season. TO KILL A MOCKINGBIRD and NETWORK were big steps in the right direction. They both deserved to be celebrated not snubbed.
That said, congratulations to all the shows and artists who were nominated. The Tony Awards air on CBS on June 9. I’ll still be watching, except during THE PROM production number.
from By Ken Levine
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