With a refreshing accept of both experimental toys and difficult themes, this years nominations offer up an interesting, hard-to-predict race
What does it say about Broadway that a gambling about a agitated belief in the American experiment was not be appointed for a Tony award and a gambling about a heap of corpses with waggling genitalia was? Welcome to the nominations for the 73 rd Tony awards, announced on Tuesday morning by Bebe Neuwirth, in a frilly blouse, and Brandon Victor Dixon, in a pulverization blue suit. Although many of the nominations proceeded as expected, “theres gonna be” a few surprises- some of them very welcome.
If the Tonys have a deserved reputation for opting conventional, easy-touring displays or large-hearted blockbusters, this year courtesy went to more experimental design, including Daniel Fish’s darkly revisionist Oklahoma !, Heidi Schreck’s gutting and startling What the Physique Means to Me, and Anais Mitchell’s Hadestown, a show that began 12 years ago in a silver-painted bus touring Vermont town halls.
Hadestown, a lush retelling of the Orpheus and Eurydice myth with a kinfolk, jazz and blues value, produced the nominations with 14 gestures, and looks likely for best melodic, although it has close event from the relentlessly comic Tootsie. As expected, a best melodic nomination also went to the Temptations jukebox musical Ain’t Too Proud, with The Prom and Beetlejuice making slots that might have gone to teenage fave Be More Chill or The Cher Show.( Few will be mourning the Pretty Woman and Gettin’ the Band Back Together shutouts, though Head Over Heels, the sunny, lesbian Go-Go’s musical, had its champs .)
King Kong was rightly excluded from the big categories, but( maybe also rightly, maybe not) it was recognized in the design lists, with a special Tony award for its man motif. Be More Chill received a sign for tally. So did Adam Guettel’s music for To Kill a Mockingbird, which honestly precisely felt a little like shade-throwing.
Because in a breakfast-time bombshell, Aaron Sorkin’s sturdy but self-satisfied Mockingbird led un-nominated for best comedy, disturbing most predictors( and boasts potting areas ), who had calculated a breathless race between Mockingbird and The Ferryman, with What the Charter Entails to Me, from hometown protagonist Schreck, coming up behind. Also ignored was Ivo van Hove’s version of Network. Snubs were expected for American Son, Lifespan of a Fact, The Nap, The New One and Straight White Men( the first Broadway substantiate by an Asian American woman, fascinating and tricky ). Expectations were met.