Sound Design Returns to the TONYS
Sound Design Returns to the TONYS
#1Sound Design Returns to the TONYS
Posted: 4/24/17 at 1:06pm
"When the audience comes in, it changes the temperature of what you've written." -Stephen Sondheim
curel1
Featured Actor Joined: 6/15/16
#2Sound Design Returns to the TONYS
Posted: 4/24/17 at 1:08pm
Never understood why it was cut in the first place
#3Sound Design Returns to the TONYS
Posted: 4/24/17 at 1:09pm
Nice to see this error corrected finally!
BroadwayConcierge
Broadway Legend Joined: 7/24/15
GreasedLightning
Broadway Legend Joined: 2/11/14
#5Sound Design Returns to the TONYS
Posted: 4/24/17 at 1:11pm
It's a shame this will begin next year, 2017-2018, but nonetheless an exciting announcement.
#6Sound Design Returns to the TONYS
Posted: 4/24/17 at 1:15pm
Also interesting that now both categories (and Best Orchestrations) will still be selected by the nominating committee as a whole, but then only be voted on by specific subsets of industry professionals. Similar to how the Academy does some of their tech categories, but reversed.
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
#7Sound Design Returns to the TONYS
Posted: 4/24/17 at 1:16pm
It also notes that "voting on the winners of the three categories [Sound Design- Play, Sound Design- Musical, Orchestrations] will now be the responsibility of a subset of the overall voter pool based on their professional affiliation."
So I assume only those voters who have background in sound / music will be eligible to vote for those categories?
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
trpguyy
Broadway Legend Joined: 2/25/05
#8Sound Design Returns to the TONYS
Posted: 4/24/17 at 1:19pm
Kad said: "It also notes that "voting on the winners of the three categories [Sound Design- Play, Sound Design- Musical, Orchestrations] will now be the responsibility of a subset of the overall voter pool based on their professional affiliation."
So I assume only those voters who have background in sound / music will be eligible to vote for those categories?"
That's probably true. One would hope that anybody with the distinction of being a Tony voter would have at least a rudimentary understanding of either sound or music, but sadly that is often not the case.
#10Sound Design Returns to the TONYS
Posted: 4/24/17 at 1:38pm
It really is unfortunate that The Great Comet (and Hamilton) will miss out their shot at this. They both have exemplary sound design.
Caption: Every so often there was a rare moment of perfect balance when I soared above him.
#11Sound Design Returns to the TONYS
Posted: 4/24/17 at 1:42pm
Excellent news! Righting the wrong that should have never happened in the first place.
#12Sound Design Returns to the TONYS
Posted: 4/24/17 at 2:13pm
Yes! This is amazing news! Just for fun, here's my predictions for what would have been nominated in the last three years (for musicals):
2015:
An American in Paris - WIN
Fun Home
The King & I
On the Twentieth Century
2016:
Hamilton - WIN
School of Rock
Shuffle Along, or the Making of the Musical Sensation of 1921 and All that Followed
Spring Awakening
2017:
Dear Evan Hansen
Groundhog Day
Miss Saigon
Natasha, Pierre, and the Great Comet of 1812
MyLife
Broadway Star Joined: 12/2/06
#13Sound Design Returns to the TONYS
Posted: 4/24/17 at 2:16pm
It's too bad they can't somehow go back and retroactively award these to past season's shows.
#14Sound Design Returns to the TONYS
Posted: 4/24/17 at 5:28pm
Dysquith13 said: "Just for fun, here's my predictions for what would have been nominated in the last three years (for musicals):
2015:
An American in Paris - WIN
Fun Home
The King & I
On the Twentieth Century
2016:
Hamilton - WIN
School of Rock
Shuffle Along, or the Making of the Musical Sensation of 1921 and All that Followed
Spring Awakening
2017:
Dear Evan Hansen
Groundhog Day
Miss Saigon
Natasha, Pierre, and the Great Comet of 1812"
Here's my guesses for both plays and musicals...
2015
Best Sound Design of a Musical:
Kai Harada-Fun Home
Kai Harada-On the Town
Scott Lehrer-The King & I
Jon Weston-An American in Paris (Winner)
Best Sound Design of a Play:
Paul Arditti-Skylight
Ian Dickinson-The Curious Incident of the Dog in the Night-Time (Winner)
Nick Powell-Wolf Hall, Parts I & II
Jon Weston-You Can’t Take It With You
2016
Best Sound Design of a Musical:
Steve Canyon Kennedy-On Your Feet!
Scott Lehrer-Shuffle Along…
Dan Moses Schreier-American Psycho
Nevin Steinberg-Hamilton (Winner)*
*Had the sound categories been in existence last year, Hamilton would've tied the all-time record that's still held by The Producers.
Best Sound Design of a Play:
Broken Chord-Eclipsed
Tom Gibbons-Arthur Miller’s A View From the Bridge
Clive Goodwin-Long Day’s Journey Into Night
Fitz Patton-The Humans (Winner)
2017
Best Sound Design of a Musical:
Scott Lehrer-Hello, Dolly!
Nicholas Pope-Natasha, Pierre, & the Great Comet of 1812 (Winner)
Mick Potter-Miss Saigon
Nevin Steinberg-Dear Evan Hansen
Best Sound Design of a Play:
Gareth Fry & Pete Malkin-The Encounter
Matt Hubbs-Indecent (Winner)
Fitz Patton-The Little Foxes
Peter John Still & Marc Salzberg-Oslo
