It seemed like the voters just loved it so much they voted for it in every category. Did it really have the best design, music, book, leading actress, etc? Having not seen it, I'm curious. The performace tonight didn't seem to do it for me. Am I the only one?
Nope. I had just read alot about the musical adaptation. I grew up with the original movie. It was one of my mother's favorite films and I love the film also. I was skeptical at first. Not anymore. That short performance did it for me. It's at the top of my must see list. Updated On: 6/5/05 at 11:12 PM
You may not be the ONLY one, but many of us saw PIAZZA as far and away the finest entry in the musical field. Frankly, it should have taken Best Musical and Director as well.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
Piazza is one, fine show. It deserved every award it got. Plus the award for Best Musical which it didn't get. It's such a beautiful production. It will be talked about for years and decades to come.
I didn't find Piazza to be the intellectual theater event that everyone else did. I found it enjoyable but thought the book and lyrics were both very flawed. I do think, however, that it was the most beautifully designed show on broadway this season, and the design team deserves all of the recognition it received. Unfortunately I don't think the story or, really, the music, was as intellectually satisfying as it was just pretty.
I'm so happy about all of Piazza's wins. It deserved all of them plus best musical and Kelli deserved it as well. I haven't seen Bee but Matt is incredible. This is by far the best musical of the season and I know that it is the true winner but nasty politics gave the big prize to Spam. That opening comment by the Spam producer said it all. Extension please!
"I'm the STAR!"--Daniel Reichard during Glory Daze sound check
Unfortunately, I think they picked the least interesting number in the musical in order to highlight both Victoria and Kelli, when offering the title song of Victoria's "Fable" would have served the piece better. It was MOST deserving of the awards it received tonight plus possibly a few others.
Margo just summed it up. At least for me. It's 'fine' Not fine as in okay, but fine as in refined, polish, and whatever else you can think of. Sitting in the theatre it wa sa lot to digest, but the second I got up from my seat afterward, it al settled in, and I loved it.
No, it's not really that good. I found the score and book continuously at odds. Though the score was melodic, I felt it should have been sung completely through (with some freaking subtitles) or worked tighter as a straight play. Please give me something to hold my interest.
But Clark deserves every accolade. That cast was strong with some members very under used.
But often here I wonder if I've seen the same show as others.
They did Statues and Stories because it featured both of their actress nominees and the majority of the ensemble. To have Vicki sing one of her solo numbers would have been a huge slap in the face to Kelli, not to mention the ensemble. By performing Statues and Stories and La Passegiata in the opening, all bases were covered.
Soooo happy that it won all the awards it deserved. I wish Kelli and Matt would have won as well, and I was hoping all the way until Hugh Jackman's mouth formed the word "Monty" that the Tony committee might have voted with their intellect rather than their commercial instincts and given the award to Piazza. Either way, it's the big winner. Hopefully Lincoln Center will take the hint and extend the show through the end of the year.
Yes it is that good. It has the best score out of all the 39 eligible Tony shows (yes, I am including Sweet Charity, La Cage, and the two Sondheim's), it created the most magnificent character on Broadway in 2 years in Victoria Clark's character, and the show contains real melodies and real music. If you are looking for funny, go see Spamalot; if you're looking for offensive, go see Avenue Q; if you're looking for pop on broadway, visit Brooklyn...but for the only new musical with real, theatre music, you need must turn on The Light In The Piazza.
p.s. Bill Irwin?...wow, I thought Brian had it locked up unless James Earl Jones was able to sneak in there.
Thank God next season we have some promising shows...and some revivals that revive a show, rather than driving a stake through it.
It was that beautiful, definitely- the set design, lighting, and costumes were remarkably lovely. And Victoria Clark was maginificent. I'm still mixed about the overall show, but the Tony-worthiness of those aspects can't be denied in my mind.
One reviewer (I forget who it was) stated that "Those who were still awake for act 2 really thought it was beautifully done". I haven't seen it either, but that's the impression I get from what I've heard so far, and frankly, I'm not too interested.
I think there are some dramatic points in the book that the music cuts into and ruins the moment (though the music is so beautiful, it didn't matter)...and vice versa.
Nevertheless, even with all of its flaws, it was better than Spamalot.