Just noticed the lack of love for Sondheim on Sondheim.
Yeah, really sad. What about Scenic Design, Direction, Orchestrations, Musical, Book, Actor, Score... haha can you imagine if Stephen Sondheim were nominated for Best Book, Score, and Actor for this show? I'd vote for him to win at least one of those categories.
I would argue that FELA and AMERICAN IDIOT are far more original than MEMPHIS.
Hear, hear. Memphis was the end result of throwing Dreamgirls and Hairspray into a pot and overcooking it. Just because a show uses previously written music doesn't mean it's not inventive, innovative, exciting, and infinitely better than the mediocrity that clogs up the rest of this year's nominations.
NO SERGIO TRUJILLO FOR MEMPHIS??? I didn't even like Memphis, but his choreography was by far the best thing about it. This is like the 15th time he's been snubbed by the Tony committee. Does someone have it out for him?
Some observations, courtesy of Patrick Healy at the NY Times:
In the Department of Notable Switcheroos: Viola Davis was nominated for leading actress in a play for “Fences” and Jessica Hecht was nominated for featured actress in a play for “A View from the Bridge” – different categories than the nominations for predecessors in their roles. In 1987, Mary Alice was nominated and won in the featured actress category for “Fences,” and in 1998 Allison Janney was nominated in the best actress category for “A View from the Bridge.”
...and this note about musical scores:
The last year a play was nominated for best score? 1999, a revival of “Twelfth Night” with music by Jeanine Tesori (“Parade” won that year). What are the chances this year that a play will come away with the best score award?
2016 These Paper Bullets (1/02) Our Mother's Brief Affair (1/06), Dragon Boat Racing (1/08), Howard - reading (1/28), Shear Madness (2/10), Fun Home (2/17), Women Without Men (2/18), Trip Of Love (2/21), The First Gentleman -reading (2/22), Southern Comfort (2/23), The Robber Bridegroom (2/24), She Loves Me (3/11), Shuffle Along (4/12), Shear Madness (4/14), Dear Evan Hansen (4/16), American Psycho (4/23), Tuck Everlasting (5/10), Indian Summer (5/15), Peer Gynt (5/18), Broadway's Rising Stars (7/11), Trip of Love (7/27), CATS (7/31), The Layover (8/17), An Act Of God (8/31), The Curious Incident of the Dog in the Night-Time (8/24), Heisenberg (10/12), Fiddler On The Roof (11/02), Othello (11/23), Dear Evan Hansen (11/26), Les Liaisons Dangereuses (12/21) 2017 In Transit (2/01), Groundhog Day (4/04), Ring Twice For Miranda (4/07), Church And State (4/10), The Lucky One (4/19), Ernest Shackleton Loves Me (5/16), Building The Wall (5/19), Indecent (6/01), Six Degrees of Separation (6/09), Marvin's Room (6/28), A Doll's House Pt 2 (7/25) Curvy Widow (8/01)
Surprised by the the size of the Addams Family and American Idiot shutout, but thrilled to see nominators didn't forget about Ragtime. Surprised by the amount that the nominators were resisting the bigger, flashier shows, too.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Next to Normal would have been a juggernaut this year. All races look so anemic it would have been like running uncontested.
I was really hoping Everyday Rapture would sneak in for Best Musical. Best Orchestrations. Best Sound Design. Something! O well, I guess I'll have to settle with two very possible wins out of two very deserved nominations.
I just can't believe Million Dollar Quartet got a best musical nod. Even in a season of slim pickings, there were better choices: I would have been happier to see it go to Come Fly Away, and that's saying A LOT. But I really thought Sondheim or Everyday Rapture would take it.
That said, I'm loving Fela and La Cage at the top of the nominations pack as well as all of the support for Ragtime.
I am also surprised not to see Tom Kitt nominated for orchestrations. And the choreography in Memphis is fantastic! They really missed the mark in leaving out those two, in my opinion.
"I'll cut you, Tracee Beazer!!!!
...Just kidding. I'd never cut anyone." -Tina Maddigan, 9/30/06, WS stage door
Avatar: JULIE "EFFING" WHITE, 2007 TONY WINNER. Thank God.
I'm thinking about legally changing my name to Lizzie Curry...
I am actually happier seeing Million Dollar Quartet over Come Fly Away. It's not high art, but it's executed better. Honestly, Rapture should have taken its spot or Memphis' spot.
Fela and American Idiot both use scores that were not originally performed on stage (notice how I did not say written to satisfy the American Idiot fans).
American Idiot's story is not original, as it was originally told on the original album.
These show that they are not original musicals. Are they original as in unique? One could argue that, but that is not what any of us mean when we say original.
As much as I agree that Memphis is weak, I still appreciate it for what it is, an original musical. I also appreciate The Addams Family for having an original score and not just taking already known songs from one artist (or more). I can appreciate catalog musicals (where the already known music is actually being performed in the story (Million Dollar Quartet, Jersey Boys)), album musicals (American Idiot, Jesus Christ Superstar). I do not appreciate Jukebox musicals, (where the songs are just randomly inserted into a story, such as Mamma Mia). Luckily we have not had many of these lately, and sadly the term is now used to describe catalog and album shows, when they do not deserve that classification at all.
David walked into the valley
With a stone clutched in his hand
He was only a boy
But he knew someone must take a stand
There will always be a valley
Always mountains one must scale
There will always be perilous waters
Which someone must sail
-Into the Fire
Scarlet Pimpernel
Best Musical (nominee) Best Book of a Musical (Brian Yorkey, nominee) Best Original Score (Tom Kitt and Brian Yorkey, WINNERS) Best Performance by a Leading Actor in a Musical (J. Robert Spencer, nominee) Best Performance by a Leading Actress in a Musical (Alice Ripley, WINNER) Best Performance by a Featured Actress in a Musical (Jennifer Damiano, nominee) Best Scenic Design of a Musical (Mark Wendland, nominee) Best Lighting Design of a Musical (Kevin Adams, nominee) Best Sound Design of a Musical (Brian Ronan, nominee) Best Direction of a Musical (Michael Greif, nominee) Best Orchestrations (Michael Starobin and Tom Kitt, WINNERS; tie with Martin Koch for Billy Elliot the Musical) --- how many do you guys think N2n wins?
Please. If SHREK would have waited to open this year it would have won EVERYTHING.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
Most of these nominations are so dismal. I could care less about Best Musical...such a pathetic group of nominations.
If next to normal opened this year it would have swept the awards, picking up wins for Best Musical, Actress, Book, Score, Orchestrations, and Lighting.
N2N would probably have swept, but not picked up Featured Actress in a Musical (Jenn is good, but no chance of her beating Cook, Lansbury, or Finneran). Most of the others it would have won.
I'm pretty content with the nominations! Sad about the lack of COME FLY AWAY/EVERYDAY RAPTURE love and irked by the fact that Chad Kimball is nominated for his awful performance. And so happy about RAGTIME! I'm on my iPhone going to class so I'll post some more when I'm home. But overall, I'm okay with the noms. Granted I have yet to see MDQ.