2025 Tony Predictions

Although we have not previously shown great acuity in Tony prediction, here we are again. Hope springs eternal!

This year’s list of Tony nominees reveals a healthy, exciting season. Looking at who wasn’t nominated confirms just how rich the season was — for example, big stars like Bernadette Peters, Lea Salonga, Idina Menzel, and Sutton Foster had shows on Broadway this season, and yet not one of them received a nomination.

While the musical season lacked a Caroline or Change or Light in the Piazza or Hamilton, it was strong in creativity and entertainment. And only two nominees are based on existing IP. Two are based on actual incidents. And while Maybe Happy Ending was not created specifically for Broadway, it is nevertheless an original piece.

The best play category is just fabulous: five smart, meaningful, more or less funny, more or less serious, excellent pieces of work.

Of course, these riches make Tony predicting even more difficult than usual. Is it an exaggeration to say that every nominee deserves to win? We don’t think so, but we have considered the nominees, followed the politics, thrown the I Ching, and examined the entrails of a sacrificed pile of Playbills, and here are our predictions.
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Note: Our choices are underlined in our discussions.

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Best New Musical

“Buena Vista Social Club”
“Dead Outlaw”
“Death Becomes Her”
“Maybe Happy Ending”
“Operation Mincemeat”

Liz: Dead Outlaw is such a wonderfully bizarre piece; Death Becomes Her lets three famously scenery-chewing performers chew to their hearts’ content; Buena Vista Social Club is lively and is packing ‘em in; Operation Mincemeat is low-key and droll, imaginative and surprisingly moving. I’ve got no real skin in this game, but my gut tells me Maybe Happy Ending will win.

Sandra: I see this as a battle between the offbeat, quirky Dead Outlaw and the offbeat, quirky Maybe Happy Ending. Both showcase clever storytelling about the value of human (or robot) life and the legacy of that living. I think in the end the emotional resonance of Maybe Happy Ending will edge Dead Outlaw out.

Wendy: I’m going with Maybe Happy Ending. While all of these shows have their adherents, Maybe Happy Ending seems to have touched and delighted audiences in a particularly warm way.

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Best New Play

“English”

“The Hills of California”

“John Proctor Is the Villain”

“Oh, Mary!”

“Purpose”

Liz: Purpose just beat out Oh, Mary! for the Pulitzer, so it’s possible that will happen with the Tony, too. That said, no play this season has resonated quite the way Oh, Mary! has: there’s something to be said about the strangely timely way this quirky, campy show gleefully mangles American history on its own terms, and I’m guessing it’ll win.

Sandra: My gut says Purpose since it won the Pulitzer, but the irreverent Oh, Mary! offers a campy cheek not seen Off-Broadway (where it opened in February 2024) or on Broadway in a long, long time (I’d argue 2011’s The Book of Mormon). Its charm and craftmanship might provide some competition.

Wendy: I believe that the Tony will go to one of the shows still running: John Proctor is the Villain, Oh, Mary!, or Purpose. I think John Proctor is the Villain will take it.

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Best Musical Revival

“Floyd Collins”

“Gypsy

“Pirates! The Penzance Musical”

“Sunset Boulevard”

Liz: I can see Sunset taking this, especially given its stagey departures from the original (including a celebrated segment that doesn’t take place on the stage itself). Gypsy could win, too, very easily. Floyd Collins is the quieter and heavier underdog here, but still, I’d be thrilled if it won. I’ll guess Gypsy because it’s Gypsy.

Sandra: Although Sunset Boulevard never really impressed me, somehow, I’ve seen it four times (Glenn Close in Los Angeles; Glenn Close in New York in 1994, Elaine Paige in 1996, and Nicole Scherzinger in 2024 — all on Broadway). But this recent production stunned me with its staging. Tom Francis’ second act walk backstage, down 44th Street through the theater is simply exhilarating, rich, inventive — and one of the most exciting Broadway moments I’ve experienced this season. So, Sunset Boulevard for the win.

Wendy: Okay, here’s a prediction I’d bet on: Pirates! won’t win. Predicting who will win is a tad more challenging. I’m going to say Sunset Boulevard because it really excited the part of the audience that didn’t hate it.

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Best Play Revival

“Eureka Day”

“Our Town”

“Romeo + Juliet”

“Yellow Face”

Liz: I suspect Eureka Day won’t take this: as delightful and timely and hilarious as it was, it was also pretty light (and undersold). The turbo-charged Our Town was so poorly conceived that if it wins, I’ll be very grumpy. The award could certainly go to Romeo + Juliet, which ran well and had solid word of mouth, but if I had my druthers, Yellow Face would win.

Sandra: Romeo + Juliet successfully made Shakespeare accessible to the Tik Tok crowd. My 17-year-old daughter and 15-year-old son BEGGED me to take them. The music from Jack Antonoff and an immersive set design, where actors performed from the aisles, stage rafters, and seating gave this classic a powerful accessibility — and Kit Connor’s balcony pull-up scene created a viral moment … and engaging theater.

Wendy: Our Town is the rare nominee this year that I think didn’t deserve its nomination. It just kinda wasn’t Our Town. A friend said that she always sobbed by the end of Our Town, and this time she was only teary-eyed. I’m predicting Eureka Day at least as much because I loved it as I believe it will win.

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Best Leading Actress in a Play

Laura Donnelly, “The Hills of California”
Mia Farrow, “The Roommate”
LaTanya Richardson Jackson, “Purpose”
Sadie Sink, “John Proctor Is the Villain”
Sarah Snook, “The Picture of Dorian Gray”

Liz: I appreciate that Farrow, at 80, got her first Tony nod, and Laura Donnelly’s performance as both mother and daughter was superb. But one-person shows involving lots of costume changes and shape shifting and sweat are shoo-ins, so early congratulations to Sarah Snook.

Sandra: Like Liz and Wendy, I pay homage to Farrow and her acting legacy. How wonderful it would be to see her on stage Tony night. But I take comfort in the fact that all of these performances are as solid as they come, and when Sarah Snook takes the award, I won’t cry.

Wendy: I suspect that LIz might be right that Snook will win due to sheer showy effort, and she also has a pre-existing fan base from Succession. Laura Donnelly was extraordinary, Sadie Sink was dynamic and moving, and Mia Farrow is Mia Farrow. But LaTanya Richardson Jackson provided a vibrant center for Purpose and brilliantly showed the price of committing your life to living a lie.

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Best Leading Actor in a Play

George Clooney, “Good Night, and Good Luck”

Cole Escola, “Oh, Mary!”

Jon Michael Hill, “Purpose”

Daniel Dae Kim, “Yellow Face”

Harry Lennix, “Purpose”

Louis McCartney, “Stranger Things: The First Shadow”

Liz: This is a tossup between Clooney and Escola. Clooney’s first time on Broadway is a big deal making big money, but I’m gonna go with Escola.

Sandra: I so want Cole Escola to win this. Their performance shows boldness and imagination as they create a distinctive Mary Todd Lincoln that’s both hilarious and memorable.

Wendy: I don’t think Cole Escola will win Best Play and Best Actor. This is the one I’m predicting them to win.

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Best Leading Actress in a Musical

Jasmine Amy Rogers, “Boop!”

Megan Hilty, “Death Becomes Her”

Audra McDonald, “Gypsy”

Nicole Scherzinger, “Sunset Boulevard”

Jennifer Simard, “Death Becomes Her”

Liz: Hilty is phenomenal; Simard is a longtime favorite who never fails to send me into paroxysms of laughter. Rogers is an exciting new talent with a big future ahead of her. McDonald is adored. But unless Scherzinger so alienated voters over her evasive political posts, I suspect she’ll win.

Sandra: Does Audra really need a seventh tony? Yes, she’s a phenomenal talent who puts her own spin on this classic role but let’s share the wealth already. I think Nicole Scherzinger is the top pick here. She already won the Olivier Award, and her presence onstage is both vulnerable and commanding. And she’s got the pipes.

Wendy: I think the big question here is, do the Tony voters think that Audra has enough Tonys? And, as Liz pointed out, there’s a chance Scherzinger has alienated enough people to cost her this award. I’m going to predict Audra for this somewhat bizarre reason: Some years ago, at a Tonys party, I ended up tying for most correct predictions. I would have won solo had I predicted McDonald in Supporting Actress. So I’ve learned not to mess with Audra.

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Best Leading Actor in a Musical

Darren Criss, “Maybe Happy Ending”

Andrew Durand, “Dead Outlaw”

Tom Francis, “Sunset Boulevard”

Jonathan Groff, “Just in Time”

Jeremy Jordan, “Floyd Collins”

James Monroe Iglehart, “A Wonderful World: The Louis Armstrong Musical”

Liz: Jordan does what he can from his lounge chair, but it’s not his time. Iglehart won’t win, nor will Groff (who took this award last year). Francis was excellent, but not so distinctive in the role as Scherzinger is in hers. Durand is weird and wonderful in Outlaw. But I think Criss will win.

Sandra: I’ll be honest here. I’m a Gleek. I watched all six seasons through the good, the bad and the ugly (I’m looking at you Season 5). I vote for Blaine Anderson, um, I mean, Darren Criss.

Wendy: Criss or Groff, Groff or Criss? I’m going with Criss.

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Best Direction of a Musical

Saheem Ali, “Buena Vista Social Club”

Michael Arden, “Maybe Happy Ending”

David Cromer, “Dead Outlaw”

Christopher Gattelli, “Death Becomes Her”

Jamie Lloyd, “Sunset Boulevard”

Liz: OMG please don’t make me guess this one. I’ll go with a pathetic attempt at wordplay, even if it evokes illicit massage parlors: Perhaps this will be Michael Arden’s happy ending?

Sandra: Jamie Lloyd, for sure. He’s the director/producer du jour this season — and, honestly, I think he’s earned the title. His stripped-down, stunning version of Sunset Boulevard made my own viewing pleasure of a show I never liked four-times the charm.

Wendy: I would predict Jamie Lloyd for Sunset Boulevard because tearing apart–uh, reimagining–existing pieces is often popular. But a lot of people hated what he did. So I’m going with Michael Arden for Maybe Happy Ending.

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Best Direction of a Play

Knud Adams, “English”

Sam Mendes, “The Hills of California”

Sam Pinkleton, “Oh, Mary!”

Danya Taymor, “John Proctor Is the Villain”

Kip Williams, “The Picture of Dorian Gray”

Liz: Hills was beautifully directed, but I suspect it’ll go to Pinkleton or Williams — with a slight edge for Williams.

Sandra: I echo my colleagues. I think Sam Pinkleton for Oh, Mary!

Wendy: Sam Pinkleton seems likely, for Oh, Mary!

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Featured Actress in a Play

Tala Ashe, “English”

Jessica Hecht, “Eureka Day”

Marjan Neshat, “English”

Fina Strazza, “John Proctor Is the Villain”

Kara Young, “Purpose”

Liz: I missed a number of these, so I’m throwing darts, here. Hecht and Young are always phenomenal. I can’t speak to Ashe or Strazza. I’ve seen Neshat in other shows, am always impressed with her, so I will root for her to get the honor, even as everyone’s deserving.

Sandra: I first noticed Hecht when she played Susan in “Friends,” and since then I’ve seen her several times on Broadway in The Last Night of Ballyhoo (1997), A View from the Bridge (2010) and Fiddler on the Roof (2015) — all showed her ability to infuse her characters with compassion, depth and nuance. After 12 shows on Broadway, it’s Tony time for her.

Wendy: Jessica Hecht doesn’t have a Tony. I think she should. Perhaps the Tony voters will agree.

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Best Featured Actor in a Play

Glenn Davis, “Purpose”

Gabriel Ebert, “John Proctor Is the Villain”

Francis Jue, “Yellow Face”

Bob Odenkirk, “Glengarry Glen Ross”

Conrad Ricamora, “Oh, Mary!”

Liz: Enormously worthy contenders to a one. But Conrad Ricamora was perfect as totally-ahistorical-Abe-Lincoln, and I’d be thrilled to see him win.

Sandra: I think the revival of Yellow Face deserves an award and this is the category, where a win is most likely. I’m with Wendy on this one (Francis Jue).

Wendy: I feel like Francis Jue’s name has already been engraved on this Tony, for Yellow Face and his entire body of work.

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Best Featured Actress in a Musical

Natalie Venetia Belcon, “Buena Vista Social Club”

Julia Knitel, “Dead Outlaw”

Gracie Lawrence, “Just in Time”

Justina Machado, “Real Women Have Curves”

Joy Woods, “Gypsy”

Liz: Not a freaking clue. Time to throw a dart again: Joy Woods in Gypsy.

Sandra: I’m with Wendy here. I’d like to see this show get attention and Machado adds some spice and heart to her matriarch character.

Wendy: I’m predicting Justina Machado, Real Women Have Curves, partially to give the show something.

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Best Featured Actor in a Musical

Brooks Ashmanskas, “Smash”

Jeb Brown, “Dead Outlaw”

Danny Burstein, “Gypsy”

Jak Malone, “Operation Mincemeat”

Taylor Trensch, “Floyd Collins”

Liz: I don’t see Burstein or Trensch winning this. Brooks Ashmanskas is funny and holds Smash together. But I think this one will go to Jak Malone for his generous, funny, and surprisingly moving work in Mincemeat.

Sandra: Again, I’m voting with my heart and no logic whatsoever. I would watch Danny Burstein read the phone book as they say and have enjoyed his presence in so many productions over the years — he’s done 19 Broadway shows (19!) — and I want to give the award to him.

Wendy: I’m predicting Danny Burstein because he is clearly very loved by the Broadway community.

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Best Book of a Musical

“Buena Vista Social Club”

“Dead Outlaw”

“Death Becomes Her”

“Maybe Happy Ending”

“Operation Mincemeat”

Liz: These are all good-to-superb books, and a few — like Death Becomes Her — even improve on their filmic predecessors. But Maybe Happy Ending and Dead Outlaw are the two completely original ones — and of those two, Outlaw stays with me as especially loopy, manic and brilliantly executed.

Sandra: This is a particularly strong category as Liz mentions. I think Outlaw will win for its originality, but I’d love to see a world where Wendy’s prediction comes true. 

Wendy: I think this is where the Tony voters will acknowledge Operation Mincemeat.

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Best Scenic Design of a Play

Marsha Ginsberg, “English”

Rob Howell, “The Hills of California”

Marg Horwell and David Bergman, “The Picture of Dorian Gray”

Miriam Buether and 59, “Stranger Things: The First Shadow”

Scott Pask, “Good Night, and Good Luck”

Liz: I loved the Hills set, with its stairways climbing up into the heights, but I suspect the award will go to something newer and gimmickier, like Stranger Things. That’s a shot in the dark, though — haven’t seen enough of these to offer any educated guesses.

Sandra: Sometimes gimmicky works, especially when it’s slightly magical. With elaborate sets and high-impact stagecraft, Stranger Things elevates its fan-friendly material. If Harry Potter and the Cursed Child, Parts One and Two can win six Tony Awards (including Best Scenic Design) with a play that lacks the emotional impact of J.K. Rowling’s original series, perhaps Stranger Things can prevail, too.

Wendy: I agree with Liz and Sandra that a newer and gimmickier design is likely to win, but I’m predicting The HIlls of California for its elegant old and less-gimmicky design.

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Best Scenic Design of a Musical

Rachel Hauck, “Swept Away”

Dane Laffrey and George Reeve, “Maybe Happy Ending”

Arnulfo Maldonado, “Buena Vista Social Club”

Derek McLane, “Death Becomes Her”

Derek McLane, “Just in Time”

Liz: I appreciated the spare, evocative design for Swept Away but was most impressed with the clean lines, brightness and tidy, graceful efficiency of the set for Maybe Happy Ending.

Sandra: I’m siding with the Show Showdown gang with this one: Maybe Happy Ending.

Wendy: Maybe Happy Ending, as in complete guess.

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Best Lighting Design of a Play

Natasha Chivers, “The Hills of California”

Jon Clark, “Stranger Things: The First Shadow”

Heather Gilbert and David Bengali, “Good Night, and Good Luck”

Natasha Katz and Hannah Wasileski, “John Proctor is the Villain”

Nick Schlieper, “The Picture of Dorian Gray”

Liz: Just gonna go with Clark for the tv show onstage or Schlieper for Dorian Gray. Maybe the latter, because super newsy one-woman shows don’t lighting design themselves.

Sandra: I think Stranger (Jon Clark) could take this for the reasons above (Harry Potter BTW also won for lighting design).

Wendy: Picture of Dorian Gray (Nick Schlieper), because the lighting is so lit.

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Best Costume Design of a Play

Brenda Abbandandolo, “Good Night, and Good Luck”

Marg Horwell, “The Picture of Dorian Gray”

Rob Howell, “The Hills of California”

Holly Pierson, “Oh, Mary!”

Brigitte Reiffenstuel, “Stranger Things: The First Shadow”

Liz: Oh, who knows? More darts: Pierson for Oh, Mary!

Sandra: When a team of dressers needs to appear onstage, you know that costumes have become an essential part of the theatrical experience. While the video technology and Sarah Snook’s acting skill form the 26 characters in Oscar Wilde’s only novel, it is the quick change of the period clothing that facilitate the actress’s transformation. (Marg Horwell)

Wendy: Oh, Mary! for sure.

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Best Choreography

Joshua Bergasse, “Smash”

Camille A. Brown, “Gypsy”

Christopher Gattelli, “Death Becomes Her”

Jerry Mitchell, “Boop!”

Patricia Delgado and Justin Peck, “Buena Vista Social Club”

Liz: Ummmm….Smash? I’m out of my league, here.

Sandra: The dance in Buena Vista Social Club infuses the audience with the spirit of this show. It is performed not as an aside but as a key element to the musical’s storytelling, which is why it will win the Tony.

Wendy: I’m envisioning a Tonys where the awards are spread around, and I’m predicting Buena Vista Social Club here.

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Best Orchestrations

Andrew Resnick and Michael Thurber, “Just in Time”

Will Aronson, “Maybe Happy Ending”

Bruce Coughlin, “Floyd Collins”

Marco Paguia, “Buena Vista Social Club”

David Cullen and Andrew Lloyd Webber, “Sunset Boulevard”

Liz: Floyd Collins sounded so rich and lovely in this rendition, and I love that score so much.

Sandra: Floyd Collins deserves some recognition and like Liz I think this is where the Tony Awards will show it love.

Wendy: And here’s where I think they’ll reward Just In Time.

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Best Sound Design of a Play

Paul Arditti, “Stranger Things: The First Shadow”

Palmer Hefferan, “John Proctor Is the Villain”

Daniel Kluger, “Good Night, and Good Luck”

Nick Powell, “The Hills of California”

Clemence Williams, “The Picture of Dorian Gray”

Liz: When in doubt, as I am, go for the tech-heavy spectacle. Stranger Things.

Sandra: I say Stranger Things, too.

Wendy: This always seems to me to be a difficult category, because people have different sonic experiences from different seats. And is it about clarity, mood, or some other factor? Totally randomly, I’m going for Good Night, and Good Luck.

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Best Original Score

“Dead Outlaw,” David Yazbek and Erik Della Penna

“Death Becomes Her,” Julia Mattison and Noel Carey

“Maybe Happy Ending,” Will Aronson and Hue Park

“Operation Mincemeat,” David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts

“Real Women Have Curves,” Joy Huerta and Benjamin Velez

Liz: Dead Outlaw is currently my personal favorite, even as it’s ultimately very short, just slightly one-note (even as that one note ROCKS), and not necessarily Yazbek’s best work. While I’d love to see it win just because I dig it, I suspect Maybe Happy Ending will instead.

Sandra: I'm siding with Wendy on this one. (Maybe Happy Ending)

Wendy: I think this will go to Maybe Happy Ending.

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Best Costume Design of a Musical

Dede Ayite, “Buena Vista Social Club”

Gregg Barnes, “Boop!”

Clint Ramos, “Maybe Happy Ending”

Paul Tazewell, “Death Becomes Her”

Catherine Zuber, “Just in Time”

Liz: Can I vote for Great Gatsby again? No? Fine: Tazewell for Death Becomes Her.

Sandra: The costumes in Death Becomes Her give insight into the character’s POV, and those sparkle dresses in the end are to die for — if Madeline and Helen lost their immortality — and show the totality of their decisions. So, Show Showdown stands united on this one.

Wendy: Paul Tazewell for Death Becomes Her.

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Best Lighting Design of a Musical

Jack Knowles, “Sunset Boulevard”

Tyler Micoleau, “Buena Vista Social Club”

Scott Zielinski and Ruey Horng Sun, “Floyd Collins”

Ben Stanton, “Maybe Happy Ending”

Justin Townsend, “Death Becomes Her”

Liz: Knowles for sure: the lighting makes that production.

Sandra: Hey, look at us: we all agree again. We’re on a roll. (Sunset Boulevard)

Wendy: Jack Knowles for Sunset Boulevard.

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Best Sound Design of a Musical

Jonathan Deans, “Buena Vista Social Club”

Adam Fisher, “Sunset Boulevard”

Peter Hylenski, “Just in Time”

Peter Hylenski, “Maybe Happy Ending”

Dan Moses Schreier, “Floyd Collins”

Liz: Just because I love when this happens, I’m voting for Hylenski. Which one? Do I have to guess? Happy Ending if so, but as always, I’ll wonder if, should he win for one and not the other, he’ll still beat himself up for losing?

Sandra: Buena Vista Social Club for the win because the show is literally about the music. The sound embraces a pure, exuberant joy that stays with the audience long after the last notes.

Wendy: Hey, Floyd Collins should get something, right?

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Tony Awards Show 2024: A Very Satisfying Event

Well, this is an opinion piece, so I should perhaps make the subtitle "A Very Satisfying Event for Me." A quick glance around the web reveals that I was not in the majority. 

I do, of course, mark my satisfaction on a curve. Before the show even started, I accepted that (1) it would be at least a partial ego-a-thon; (2) Ariana DeBose would be annoying; (3) the Tony people would not give a full spotlight to many winners, delegating lifetime achievement and various other awards to an earlier show before the show-show. Jack O'Brien, George C. Wolfe, Billy Porter, and Best Book should not be treated as second class! None of the awards should, of course, but Lifetime Achievement? That's huge!

I would usually add that I accepted that there would be horrible non-witty repartee, but I'm glad to say that it was much less of an issue than in the past. And, although DeBose's opening number was truly terrible, her screen time was kept to a minimum.

As for the ego-a-thon moments: I agree that many of the winners are as wonderful as they think they are. And theatre does save lives--or if not lives, hearts and sanity. (A friend and I texted about what it would have meant for us to see the Illinoise number when we were closeted teens!) But the back-and-forth-and-sideways adoration of each other and themselves at the awards, as though they are curing cancer rather than acting, can really be a bit much!

So, stipulating that certain negatives come with the territory, I am able to focus on the positives--and there were so many!

Many of the numbers came off really well. I am now considering seeing Illinoise, The Outsiders, and Water for Elephants, and I hadn't been. The number from Merrily seemed insufficient to represent the show, but I can't think of how one could represent that show in less than two hours. Also, having stars such as Alicia Keys--and, years ago, Carol King--in numbers for shows that they do not appear in seems a little dishonest to me. (Oh, and if I ever had any interest in seeing the current version of Cabaret, the number on the Tonys nipped it in the bud.)

The winners were great choices. Not everyone I wanted won--I wish Leslie Odom, Jr., had won for Best Actor in a play, for example--but there were no outright miscarriages of justice (eg, like not awarding Tonya Pinkins for Caroline, or Change!)

I loved that people mostly got to talk for as long as they wanted to--even the people who really did go on too long. It takes decades of work and sacrifice to get to that podium; let them have their moments (or minutes, as it turned out).

I was glad Maria Friedman lost. I have nothing against the woman, but she has received way too much credit for reviving Merrily in the "bringing back from the dead" sense. The main credit must go to Jonathan Groff, who didn't find the heart in Merrily so much as he brought the heart to Merrily. (And as for those who say that Merrily was a masterpiece back in the 1980s, well, no. The score was mostly fabulous, of course, but the show was truly unpleasant and, uh, lousy.)

What fun that Shaina Taub and Danya Taymor won! And Jonathan Tunick! And, in particular, Kara Young. What an incredible talent she is, and I hope she gets cast in at least one show every year from now on--and that they're shows I can afford to see. I was sad that Kelli O'Hara lost and that her one Tony so far is for her least interesting performance in her least interesting show--Anna in The King and I. But, good for Maleah Joi Moon!

I think an important point that is generally ignored in giving awards--and in hiring people for shows and for regular jobs--is that there is rarely, if ever, one best. Look at the incredible nominees this year. Jessica Lange beating Sarah Paulson would hardly have been an injustice. Groff may be truly and really one of the rare actual "best bests," but Brian D'Arcy James was also extraordinary. Broadway is magical because the most talented people on earth want to be here, so why wouldn't each category have more than one possible winner? We are blessed in this city!

One little churlish nitpick: Winners often say, "Never give up!" as though perseverance is sufficient for success. Yes, they never gave up, but they were also incredibly talented and incredibly lucky. I'm glad they want to inspire people, but their comments are almost mathematically equivalent to a lottery winner saying, "Never give up!" The odds are bad. 

But, in 20 years, a winner will be telling us how hearing that "Never give up" speech changed their life!

Wishing us all a great Broadway season with accessible prices.

Wendy Caster

2021-2022 Outer Critics Circle Award Nominations

The 2021-2022 Outer Critics Circle Award Nominations

Outstanding New Broadway Musical
MJ the Musical
Mr. Saturday Night
Mrs. Doubtfire
Paradise Square
Six

Outstanding New Broadway Play
Birthday Candles
Clyde's
Skeleton Crew
The Lehman Trilogy
The Minutes

Outstanding New Off-Broadway Musical
Black No More
Harmony
Intimate Apparel
Kimberly Akimbo
Little Girl Blue

Outstanding New Off-Broadway Play
Morning Sun
On Sugarland
Prayer for the French Republic
Sanctuary City
The Chinese Lady

John Gassner Award (presented to a new American play, preferably by a new playwright)
Cullud Wattah by Erika Dickerson-Despenza
English by Sanaz Toossi
Selling Kabul by Sylvia Khoury
Tambo and Bones by Dave Harris
Thoughts of a Colored Man by Keenan Scott II

Outstanding Revival of a Musical (Broadway or Off-Broadway)
Assassins
Caroline, or Change
Company
The Music Man
The Streets of New York

Outstanding Revival of a Play (Broadway or Off-Broadway)
for colored girls who have considered suicide/when the rainbow is enuf
How I Learned to Drive
Take Me Out
A Touch of the Poet
Trouble in Mind

Outstanding Actor in a Musical
Justin Cooley, Kimberly Akimbo
Myles Frost, MJ the Musical
Rob McClure, Mrs. Doubtfire
Jaquel Spivey, A Strange Loop
Chip Zien, Harmony

Outstanding Actress in a Musical
Kearstin Piper Brown, Intimate Apparel
Victoria Clark, Kimberly Akimbo
Sharon D Clarke, Caroline, or Change
Carmen Cusack, Flying Over Sunset
Joaquina Kalukango, Paradise Square

Outstanding Featured Actor in a Musical
Quentin Earl Darrington, MJ the Musical
Matt Doyle, Company
Steven Pasquale, Assassins
A.J. Shively, Paradise Square
Will Swenson, Assassins

Outstanding Featured Actress in a Musical
Shoshana Bean, Mr. Saturday Night
Jenn Colella, Suffs
Judy Kuhn, Assassins
Patti LuPone, Company
Bonnie Milligan, Kimberly Akimbo

Outstanding Actor in a Play
Patrick J. Adams, Take Me Out
Simon Russell Beale, The Lehman Trilogy
Adam Godley, The Lehman Trilogy
Adrian Lester, The Lehman Trilogy
Sam Rockwell, American Buffalo

Outstanding Actress in a Play
Betsy Aidem, Prayer for the French Republic
Stephanie Berry, On Sugarland
Edie Falco, Morning Sun
LaChanze, Trouble in Mind
Debra Messing, Birthday Candles

Outstanding Featured Actor in a Play
Chuck Cooper, Trouble in Mind
Brandon J. Dirden, Skeleton Crew
Jesse Tyler Ferguson, Take Me Out
Michael Oberholtzer, Take Me Out
Austin Pendleton, The Minutes

Outstanding Featured Actress in a Play
Chanté Adams, Skeleton Crew
Uzo Aduba, Clyde's
Francis Benhamou, Prayer for the French Republic
Phylicia Rashad, Skeleton Crew
Nancy Robinette, Prayer for the French Republic

Outstanding Solo Performance
Alex Edelman, Just For Us
Jenn Murray, A Girl Is a Half-Formed Thing
Arturo Luís Soria, Ni Mi Madre
Kristina Wong, Kristina Wong, Sweatshop Overlord

Outstanding Director of a Play
Camille A. Brown, for colored girls who have considered suicide/when the rainbow is enuf
Scott Ellis, Take Me Out
Sam Mendes, The Lehman Trilogy
Ruben Santiago-Hudson, Skeleton Crew
Anna D. Shapiro, The Minutes

Outstanding Director of a Musical
Warren Carlyle, Harmony
Moisés Kaufman, Paradise Square
Jessica Stone, Kimberly Akimbo
Christopher Wheeldon, MJ the Musical
Jerry Zaks, Mrs. Doubtfire

Outstanding Choreography
Camille A. Brown, for colored girls who have considered suicide/when the rainbow is enuf
Warren Carlyle, Harmony
Warren Carlyle, The Music Man
Bill T. Jones, Alex Sanchez, Garrett Coleman, and Jason Oremus, Paradise Square
Christopher Wheeldon and Rich + Tone Talauega, MJ the Musical

Outstanding Book of a Musical
Billy Crystal, Lowell Ganz, and Babaloo Mandel, Mr. Saturday Night
Karey Kirkpatrick and John O'Farrell, Mrs. Doubtfire
David Lindsay-Abaire, Kimberly Akimbo
Lynn Nottage, Intimate Apparel
Bruce Sussman, Harmony

Outstanding Score
Jason Howland, Nathan Tysen, and Masi Asare, Paradise Square
Wayne Kirkpatrick and Karey Kirkpatrick, Mrs. Doubtfire
Barry Manilow and Bruce Sussman, Harmony
Toby Marlow and Lucy Moss, Six
Jeanine Tesori and David Lindsay-Abaire, Kimberly Akimbo

Outstanding Orchestrations
John Clancy, Kimberly Akimbo
David Holcenberg and Jason Michael Webb, MJ the Musical
Greg Jarrett, Assassins
Jason Howland, Paradise Square
Doug Walter, Harmony

Outstanding Scenic Design (Play or Musical)
Beowulf Boritt, Flying Over Sunset
Es Devlin, The Lehman Trilogy
Scott Pask, American Buffalo
Adam Rigg, The Skin of Our Teeth
David Zinn, The Minutes

Outstanding Costume Design (Play or Musical)
Jane Greenwood, Plaza Suite
Santo Loquasto, The Music Man
Gabriella Slade, Six
Emilio Sosa, Trouble in Mind
Catherine Zuber, Mrs. Doubtfire

Outstanding Lighting Design (Play or Musical)
Jon Clark, The Lehman Trilogy
Natasha Katz, MJ the Musical
Bradley King, Flying Over Sunset
Brian MacDevitt, The Minutes
Jen Schreiver, Lackawanna Blues

Outstanding Sound Design (Play or Musical)
Nick Powell and Dominic Bilkey, The Lehman Trilogy
André Pluess, The Minutes
Ben and Max Ringham, Blindness
Dan Moses Schreier, Harmony
Matt Stine, Assassins

Outstanding Video/Projection Design (Play or Musical)
59 Productions and Benjamin Pearcy, Flying Over Sunset
Stefania Bulbarella and Alex Basco Koch, Space Dogs
Shawn Duan, Letters of Suresh
Luke Halls, The Lehman Trilogy
Jeff Sugg, Mr. Saturday Night

Special Achievement Awards 
Johanna Day, David Morse, Mary-Louise Parker, and Ruben Santiago-Hudson for reprising their outstanding performances in How I Learned to Drive and Lackawanna Blues two decades later. All were eligible in previous seasons.

2019-2020: Looking Back, Looking Forward: The Glories of Off- and Off-Off-Broadway

I was going to do a "best-of" for 2019 plus a "looking forward" for 2020, when I realized that their focus would be much the same: the treasure that is non-Broadway theatre.

I'm not denying the treasure that is on-Broadway theatre. There's something undeniably magical about those buildings, with their plush seats, ornate ceilings, and theatrical history. And there are always incredible shows running. But the prices are truly insane.

Once, when I was a kid, my parents were complaining about the price of something. I said, "But that's what it costs now." And my dad said, "Someday you'll be faced with a 'that's what it costs now' that you just refuse to pay. You just can't." I recently decided to bite the bullet and spend a small fortune to see American Utopia. But a small fortune wasn't enough. Could I have afforded the actual price? Yes, as a special treat. But I just couldn't do it. My dad was right.

Maybe it's because I'm old enough to have spent $9 on a "special treat" ticket--Debbie Reynolds in Irene, first row center. I was making $1.95/hr, minimum wage. Now minimum wage is ~$15/hr, and tickets are hundreds of dollars. Something is wrong on Broadway.

But Off-Broadway, and Off-Off-Broadway, something is right. You can see fabulous shows with brilliant casts from great seats, and it doesn't cost an arm and a leg. Not even a finger.

Here are ten of the theatre companies that I have found to provide reliably top-notch work at accessible, even cheap, prices. (All are linked to their websites; they're in alphabetical order.)

APAC. It's a pleasure to start with APAC (Astoria Performing Arts Center), which is high on my list of favorite theatre companies, mostly because the artistic director--Dev Bondarin--is one of the most reliably excellent directors in New York. In fact, when Roundabout announced their production of Caroline, or Change, my first thought was that I hoped it would be as good as APAC's!

And here's the thing: APAC's tickets for Caroline were only $25 for adults and $20 for students and senior citizens--an insane bargain. (I don't know if they will go up in the future, but even so, APAC will remain a bargain. Their Caroline was every bit as meaningful, beautiful, and heart-breaking as the original Broadway production!)

APAC has given us brilliant productions of Follies (amazing) and Merry We Roll Along (my favorite of all the productions I have seen, including the original), to mention only a couple. The rest of the 2019-2020 season includes the New York premiere of Jump by Charly Evon Simpson and a revival of Man of La Mancha. And who knows what 2020-2021 will bring?

Bedlam. I'm new to Bedlam, but after seeing their excellent revival of The Crucible (and also on the recommendation of a friend whose opinion I respect), I don't plan to miss any of their shows going forward. They don't seem to have announced their 2020 season, and I wasn't able to track down their ticket prices. (I bought my Crucible tickets on tdf.) But click here for their Facebook page, which may provide more up-to-date info than their website.

Elmwood Playhouse (Nyack, NY). I've only seen one show at the Elmwood, and to be honest I've heard some non-raves about their earlier work. But their production of The Little Foxes was solid, entertaining, and moving. Currently running is the Curious Incident of the Dog in the Night-Time, and tickets are only $27 ($24 for seniors and students). The rest of the season includes Born Yesterday, The Drowsy Chaperone, and Calendar Girls.

Flux Theatre Ensemble. I have been a huge Flux fan since 2009 when I saw the wonderful Lesser Seductions of History, a lovely and deeply humane play by Corinna Schulenburg, beautifully directed by Heather Cohn. In the intervening years, I've seen another 15 or so Flux productions, and an insanely large percentage of them have been amazing, incredible, thought-provoking, funny, and all the other things one hopes plays to be.

And talk about inexpensive! Flux doesn't even ask you to lay out money to get a ticket. They do ask you to support Flux in any way you can, but they don't want the price of a ticket to keep people from seeing their shows. (For more info, click here.) I donate to Flux every year.

Next at Flux: the world premiere of Rage Play by Nandita Shenoy, directed by Lori Elizabeth Parquet. Runs March 28 through April 11.

Mint Theater Company. The Mint's tag line is "lost plays found here." And what treasures these lost plays are! Also, the Mint has a truly astonishing batting average, providing excellent production after excellent production after excellent production. There was one show I hated, but about a dozen that I liked, liked a lot, or loved. And Mint productions are often eye-opening. Who knew that plays in the early 20th century were grappling so honestly with sexuality and class?

Currently at the Mint is Chekhov/Tolstoy: Love Stories. While I prefer it when the Mint focuses on more obscure writers, I am sure that this production will be worthwhile. After all, it's the Mint! (Ticket prices: $35.00 - $65.00.)

PTP/NYC. The PTP/NYC is yet another theatre company that provides excellent production after excellent production. Here's how they describe themselves on their website:

PTP/NYC is an Off-Broadway powerhouse of veteran and emerging talent creating socially and politically acute theatre for the 21st century. In its 27 seasons [actually, it's 33 now], the voices of PTP/NYC’s writers have addressed the necessity and difficulty of art, homelessness, censorship, pornography, AIDS, totalitarianism, apartheid and gender wars—always in passionate, deeply human terms. Playwrights whose work is often seen on the company’s stages include Howard Barker, Caryl Churchill, Harold Pinter and Neal Bell. 

I have been blown away again and again by PTP/NYC, particularly by plays directed by co-artistic director Cheryl Faraone. Faraone's productions are lucid and smart; she lets the plays tell their stories with a subtle and smooth hand.

I don't know what PTP/NYC has up their sleeve; unfortunately, their website is terrible. But I do know that, whatever they produce, I'll be there.

Red Bull Theater. The Red Bull focuses on past centuries--often far past. For example, their next (one-night) event is a January 27 reading of Women Beware Women, Thomas Middleton's 17th century social satire. (There are $47 tickets left, and the reading has a very classy cast. For more info, click here). Sometimes I wish Red Bull productions were clearer; sometimes I wish they were truer to the original plays. But I'm always grateful to have seen their productions, feeling entertained and/or educated. And sometimes I'm blown away.

Signature Theatre. The Signature has a unique role in NY theatre, focusing largely on living playwrights but often including revivals of their earlier works. Signature used to pick one playwright per season; now they combine "legacy" and "residency" playwrights. The 2019-2020 season includes plays by Anna Deavere Smith, Horton Foote, Katori Hall, and Lauren Yee. And tickets are $35. Thirty-five dollars! (And ticket packages eliminate any fees, while providing a generous exchange policy.)

Voyage Theater Company. The VTC is brand-new to me, but I'm putting them on this list based on their production of The Hope Hypothesis. There's no way to know if their future productions will be as good, but I do know I'll give them a try.

York Theatre Company. The York is devoted to musicals, old and new, with main stage productions (such as the wonderful Desperate Measures and Unexpected Joy), concert readings (the fabulous Mufti series, recently including the very entertaining The Decline and Fall of the Entire World as Seen Through the Eyes of Cole Porter), and a developmental series of over 30 readings a year. (Shows developed or partially developed at the York include Avenue Q and the brilliant, insanely funny Musical of Musicals: The Musical.) Some York shows are flat-out wonderful; minimally, the Muftis are of of historical interest; the casts are often top-notch; and the voices are unmiked. Main stage tickets are $67.50 - $72.50; Muftis are $45 - $50. Plus you can get a York membership, which reduces the ticket prices significantly, and there are various forms of rush tickets.

***

Strange to think that, for a price of a pair of tickets to a Broadway show, you could see a show or two at all ten of these theatre companies! And I hope you do.

Wendy Caster

Ladyship

Ladyship, the new show by twins Laura Good and Linda Good, exemplifies how difficult it is to write a good musical. There is so much here to like: some beautiful songs, an original story, and a clear desire to write something that matters.

The story of young women sent from London to Australia for seven years in the late 18th century as penalty for their (often small) crimes, Ladyship largely takes place during the long, long journey. The two main characters are the teen aged sisters Alice and Mary, who stole because they were hungry. Also on the ship are Lady Jane, brought low after her husband went through her money; Kitty, painfully young, without family, and innocent of the crime for which she was sentenced; the street-smart Abigail; and Mrs. Pickering, heartbroken because she didn't even get to say goodbye to her children. The four men we see on board are the captain, who is kind but turns away from many injustices; Finn, a sweet, mixed-race sailor; Zeke Cropper, a nasty, misogynistic drunk; and Lieutenant Adams, who hopes to have sex with a different woman each night.

This story is a lot to take on, and it is important that the show have a clear through-line. Is it about the injustice of the women's punishment? Yes, but. Is it about the relationship of the sisters? Yes, but. Is it about the generally horrible treatment of women in the 18th century? Yes, but. Is it about the rottenness of  the rich and men, and particularly rich men? Yes, but. Is it about women banding together to help each other? Yes, but. Is it about being brave and making the best of whatever life hands you? Yes, but.

There's nothing wrong with a show taking on a variety of issues and story lines, but they have to mesh effectively, and in Ladyship, they don't. The Goods use the "making the best of what life hands you" theme to avoid dealing with the true reality of the other topics. For example, not a single female character is raped. On one hand, that's fine with me; I was glad not to have to go through that scene. On the other hand, that's a cop out. Many of the women would have been raped. A lot. Nor do any of the women die. In fact, the show is so unwilling to depict reality that it has Kitty sing about the stars she can see through a grill from the orlop deck. The orlop deck is below the waterline! There are no grills there, no stars, no light. The Goods don't want to face that level of darkness.

Does it make sense to try to address difficult topics when you're not willing to go to difficult places? The best serious musicals, e.g., Sweeney Todd; Caroline, or Change, are actually painful to watch. The pain is mitigated by the art, but the pain is also real. By avoiding that pain, Ladyship becomes dishonest.

Also, on a more micro level, the Goods use half rhymes, sort of rhymes, not-even-close rhymes. Away does not rhyme with safe, no matter how many times they are repeated. The songs thereby lose the clarity that comes from true rhymes. Also, many of the songs end lamely, sort of petering out.

The Goods have much to be grateful for in this NYMF production of Ladyship. The cast is strong, with some gorgeous voices: Maddie Shea Baldwin, Jennifer Blood, Jordon Bolden, Caitlin Cohn, Noelle Hogan, Justin R.G. Holcomb, Lisa Karlin, Brandi Knox, Quentin Oliver Lee, and Trevor St. John-Gilbert. The lighting design (Sam Gordon) is clear, clean, and lovely. The scenery (David Goldstein), costumes (Whitney Locher) and sound (Patrick Calhoun) are all effective.

I hope that the Goods continue to write musicals (perhaps with an experienced book writer who can provide some perspective and theatre-savvy). There is enough that is good in Ladyship to want to see more of their work.

Wendy Caster
(fifth row, center)

The Bachelor Girls

Kristen Egenes, Laura Hall, Kathleen Culler, Kelly Berman, Gia Mongell, Timmy Hays, Emma Vielbig, Lucy Anders, Brittany Rodin, Emily Kersey, Mandy McDonell. Photo: Shoshana Medney

The Bachelor Girls (book, music and lyrics by Caroline Wigmore and Jen Green) is one of nine theatrical works (eight shows and a high school showcase), created by women, featured in the fourth annual She NYC Arts Summer Theater Festival at The Connelly Theater on June 28 and 29, and the only musical. While the piece’s plot and characters progress unevenly at times, the show features standout performances and often a witty score.

The premise intrigues: three British friends graduate from a woman’s college in 1919, just as the concept of the ‘modern girl’ is developing. Because of World War I — and the lives lost — the women are told that only 1 in 10 will get married. The graduates venture to London: Molly (Kelly Berman) takes care of her Aunt Smythe (Tracy Bidleman) while waiting to wed, Gertie (Lucy Anders) fights for women’s rights and Cecily (Lael Van Keuren) works as a nanny.

The title comes from an actual book published in 1916, The Bachelor Girl’s Guide to Everything by Agnes M. Miall, which a teacher gifts to the co-eds at the show’s beginning. This world of flappers where women want careers, equal voting rights and pay equity offers a rich forum for heroic battles and character development. Unfortunately, the book still needs work as plotlines propel forward almost capriciously — so the show never gels like it could. In one scene, for instance, Molly and Gertie rescue Cecily from a graveyard, and it is never apparent how they even knew she was there. Such gaps pepper the musical and hinder character development, making the insights and growth the girls gather often unbelievable.

More thought-out is the role of Aunt Smythe, and Bidleman (Mrs. Harcourt in the national/international tour Anything Goes) shines in the best musical number of the show, "Bright Young Thing" — a showy romp worthy of Broadway at its best. Also good is Van Keuren (Broadway’s Sister Act) who displays a sweet earnestness in her yearning for romance and her difficulty in finding a place in the world.

In general, the 1920s style music and dance enlivens The Bachelor Girls. The choreography (Heather Douglas) is high-spirited and fun. The Bachelorette trio (Caitlyn Calfas, Maria Reginaldi and Stephanie Maloney), an Andrews Sisters type singing group, acts as a scatting/jazzy Greek chorus throughout the show — providing a nice addition to the drama unfolding on stage. Too bad their role isn’t more explanatory though — often they just provide background music rather than helping move the story forward. The show's second song, "Shimmy & Shake," touting the benefits of those activities set the high-stepping tone for the show.

The She NYC Arts Summer Theater Festival is a festival that seeks to develop full-length plays, musicals, and adaptations by women writers. Through an open submissions process, She NYC’s fosters up-and-coming talent by mentoring writers in how to produce their work. The yearly festival is in New York (SheNYCArts.org) and Los Angeles (see www.SheLAArts.org). The Bachelor Girls was also produced by British Youth Music Theatre in 2015. (Press ticket)

Caroline, or Change

One of the themes of the gorgeous and heart-breaking Caroline, or Change, the story of an African-American maid working for a Jewish family in the 1960s South, is that "change come fast, change come slow, but change come." Caroline, written by Tony Kushner with music by Jeanine Tesori, premiered in 2003. Unfortunately, in 2019, in the superb production currently playing at APAC in Queens, another one of its themes is that change is still terribly needed.

Lauren Singerman, LaDonna Burns
Photo: Michael R. Dekker

Caroline's life is tediously difficult. She spends far too much of it cleaning and doing the Gellmans' laundry in a hot room in the hot South. She has four kids, and she would do anything for them--such as continuing to do the Gellmans' laundry in that purgatory of a laundry room. Larry, her oldest, is in Vietnam, "wherever that is." Her next oldest, Emmie, has a mind of her own, which terrifies Caroline but also makes her proud.

Noah, the 8-year-old son of the Gellman family, is always sad, but he is comforted by what he perceives as his friendship with Caroline. Noah's mother died a few years back, and his father married her best friend Rose. Noah's father is wraith-like nonpresence, and Noah hates Rose, mostly for not being his dead mother. But he adores Caroline despite her anger and unwillingness to be nice to him. Rose, whose good-heartedness is unfortunately dwarfed by her cluelessness, also tries to befriend Caroline.

Noah tends to leave change in his pockets when he puts his pants in the hamper. Rose decides to teach him a lesson, and to "help" Caroline, by telling Caroline to keep whatever money she finds. In Kushner's brilliant hands, this small, weird decision turns that awful laundry room into a crucible in which Caroline's heart and soul are tested.

Caroline combines theatrical magic realism (the washer and dryer are personified) with hard-hitting reality (Caroline's ex-husband being refused employment after the war because he's black; bills that can't be paid; buses that never come). It has humor and warmth amid the heartbreak, and its deep sadness is mitigated for the audience by its deep beauty. Tesori's thrilling score utilizes the sounds of Motown, spirituals, blues, Motown, and klezmer, with perfectly chosen quotes from well-known songs (e.g., "America, the Beautiful"). Kushner's book and lyrics work on many levels, with wit, compassion, and great humanity.

Caroline is not an easy show to do. It requires a first-class cast and a director with a sure hand. In the APAC production, it has both, along with a small but excellent band and solid production values.

The role of Caroline demands a tour de force performance that ranges from subtlety to raw power. LaDonna Burns' performance is frighteningly good. Even while keeping Caroline as closed-off and angry as she needs to be, Burns provides a three-dimensional portrait of a complex woman who is a hero with a horribly limited battlefield and no parades or medals. (To further attest to Burns' outstanding talent, she was an amazing Stella in APAC's Follies, funny and likeable.)

The rest of the cast is also top-notch, really as good as you could ask for. My only complaint was that a couple of people didn't project that well, but all in all it was an extreme pleasure to hear the casts' glorious voices unmiked.

Caroline is directed by Dev Bondarin, of whom I am a great fan. Bondarin goes to the heart of a show, understands it on all levels, and honors the work by presenting it in its best light. I saw Caroline, or Change both Off-Broadway and on, and thanks to Bondarin and everyone else involved, this production is every bit as amazing.

Wendy Caster
(first row, press ticket)
Show-Score: 98