Tony Picks 2011

 

Every year, my boyfriend and I look over the Tony nominees and pick our favorites. Not who we think will win, mind you, but whom we would choose if we were Tony voters. Here is a list of whom we would like to win, with a handful of folks we feel were, in Julie Andrews’s timeless phrase, “egregiously overlooked”. Enjoy.

Best Play

Good People

Jerusalem

The Motherfucker with the Hat

War Horse

Our Pick: Good People. Playwright David Lindsay-Abaire delivers his best work to date, taking us to Southie, the hardscrabble Boston neighborhood where he grew up. He is very much writing what he knows, more directly than he ever has before, with powerful results.

Best Musical

The Book of Mormon

Catch Me If You Can

The Scottsboro Boys

Sister Act

Our Pick: The Book of Mormon. One of the funniest, most tuneful shows to open on Broadway in quite some time. That’s largely because The Book of Mormon, no matter how you look at it, is classic musical comedy fun. Scottsboro was an admirable, ambitious work, but didn’t have Mormon‘s tunes or wit.

Best Book of a Musical

Bloody Bloody Andrew Jackson, Alex Timbers

The Book of Mormon, Trey Parker, Robert Lopez and Matt Stone

The Scottsboro Boys, David Thompson

Sister Act, Cheri Steinkellner, Bill Steinkellner and Douglas Carter Beane

Our Pick: The Book of Mormon, Trey Parker, Robert Lopez and Matt Stone. There are a few times that a joke in Mormon can feel forced, but fortunately they’re really set ups for better comic payoffs later on. Raucous comedy has rarely been so lovingly crafted.

Best Original Score (Music and/or Lyrics) Written for the Theatre

The Book of Mormon, Music & Lyrics: Trey Parker, Robert Lopez and Matt Stone

The Scottsboro Boys, Music & Lyrics: John Kander and Fred Ebb

Sister Act, Music: Alan Menken, Lyrics: Glenn Slater

Women on the Verge of a Nervous Breakdown, Music & Lyrics: David Yazbek

Our Pick: The Book of Mormon, Music & Lyrics: Trey Parker, Robert Lopez and Matt Stone. It was clearly constructed with Rodgers and Hammerstein in mind as its musical and dramatic model, while satirizing classic and current musical comedy, even while it profits from their best lessons.

Best Revival of a Play

Arcadia

The Importance of Being Earnest

The Merchant of Venice

The Normal Heart

Our Pick: The Importance of Being Earnest. Director Brian Bedford, who also plays colorful gentry gorgon Lady Bracknell in this bright, vigorous production, has successfully captured the unbridled joy with which Oscar Wilde suffused every line. Bedford has plainly encouraged his castmates to make a full meal of this classic comic feast.

Best Revival of a Musical

Anything Goes

How to Succeed in Business Without Really Trying

Our Pick: How to Succeed in Business Without Really Trying. Director/choreographer Rob Ashford gets a long way with hyper-kinetic frugging and monkeying. A thoroughly entertaining revival that has the size and sizzle you expect from a Broadway musical.

Best Performance by an Actor in a Leading Role in a Play

Brian Bedford, The Importance of Being Earnest

Bobby Cannavale, The Motherfucker with the Hat

Joe Mantello, The Normal Heart

Al Pacino, The Merchant of Venice

Mark Rylance, Jerusalem

Our Pick: Mark Rylance, Jerusalem. Rylance proves once again that he is one of the English-speaking world’s greatest actors, this time in a role that, while wildly funny, goes way beyond comedy.

Best Performance by an Actress in a Leading Role in a Play

Nina Arianda, Born Yesterday

Frances McDormand, Good People

Lily Rabe, The Merchant of Venice

Vanessa Redgrave, Driving Miss Daisy

Hannah Yelland, Brief Encounter

Our Pick: Frances McDormand, Good People. A knockout female lead role performed by one of the finest American actress of our time. McDormand is incandescent, with exciting rock ’n’ roll energy to boot.

Best Performance by an Actor in a Leading Role in a Musical

Norbert Leo Butz, Catch Me If You Can

Josh Gad, The Book of Mormon

Joshua Henry, The Scottsboro Boys

Andrew Rannells, The Book of Mormon

Tony Sheldon, Priscilla Queen of the Desert

Our Pick: Josh Gad, The Book of Mormon. Butz was stiff competition, but Gad’s deliciously varied comic effects and eccentric charm put him over the top (literally) for us. Egregiously overlooked: Daniel Radcliffe, How to Succeed in Business Without Really Trying. Probably wouldn’t vote for him above the others, but the lad did deserve a nod for his efforts.

Best Performance by an Actress in a Leading Role in a Musical

Sutton Foster, Anything Goes

Beth Leavel, Baby It’s You!

Patina Miller, Sister Act

Donna Murphy, The People in the Picture

Our Pick: Beth Leavel, Baby It’s You! Housewife turned record company exec Florence Greenberg is magnetically channelled by Beth Leavel. Leavel fills her portrayal of Greenberg with a profound soulfulness, and sings and dances with a fiery vigor that keep the whole thing moving.

Best Performance by an Actor in a Featured Role in a Play

Mackenzie Crook, Jerusalem

Billy Crudup, Arcadia

John Benjamin Hickey, The Normal Heart

Arian Moayed, Bengal Tiger at the Baghdad Zoo

Yul Vázquez, The Motherfucker with the Hat

Our Pick: Arian Moayed, Bengal Tiger at the Baghdad Zoo. Moayed played disillusioned Baghdad gardener Musa with great sensitivity and detail – a singularly striking and emotional performance.

Best Performance by an Actress in a Featured Role in a Play

Ellen Barkin, The Normal Heart

Edie Falco, The House of Blue Leaves

Judith Light, Lombardi

Joanna Lumley, La Bête

Elizabeth Rodriguez, The Motherfucker with the Hat

Our Pick: Judith Light, Lombardi. Light was particularly marvelous as a woman who isn’t thrilled with being a “sports widow” but nonetheless loves her man enough to realize that his happiness depends on the game and not on her.

Best Performance by an Actor in a Featured Role in a Musical

Colman Domingo, The Scottsboro Boys

Adam Godley, Anything Goes

John Larroquette, How to Succeed in Business Without Really Trying

Forrest McClendon, The Scottsboro Boys

Rory O’Malley, The Book of Mormon

Our Pick: Adam Godley, Anything Goes. A standout performance, and a bit of a stealth performance: he tools along gracefully until his big Act II number “The Gypsy In Me” when – Bam! Pow! – he totally nails it, delivering the song and dance with real fire, knocking all of the song’s comedy right out of the ballpark.

Best Performance by an Actress in a Featured Role in a Musical

Laura Benanti, Women on the Verge of a Nervous Breakdown

Tammy Blanchard, How to Succeed in Business Without Really Trying

Victoria Clark, Sister Act

Nikki M. James, The Book of Mormon

Patti LuPone, Women on the Verge of a Nervous Breakdown

Our Pick: Laura Benanti, Women on the Verge of a Nervous Breakdown. Laura Benanti stole every scene she was in as ditzy model Candela.

Best Scenic Design of a Play

Todd Rosenthal, The Motherfucker with the Hat

Rae Smith, War Horse

Ultz, Jerusalem

Mark Wendland, The Merchant of Venice

Our Pick: Ultz, Jerusalem. Ultz’s very impressive set laid out a pastoral but chaotic scene in fastidious detail, evoking both the gutsiness of the play’s trailer-dwelling hero and the grand mysteries of nature (and even supernature).

Best Scenic Design of a Musical

Beowulf Boritt, The Scottsboro Boys

Derek McLane, Anything Goes

Scott Pask, The Book of Mormon

Donyale Werle, Bloody Bloody Andrew Jackson

Our Pick: Donyale Werle, Bloody Bloody Andrew Jackson. Werle created an audience-surrounding environment, which successfully blended early 19th Century hunting lodge realness with witty 21st Century kitsch. Egregiously overlooked: Brian Thomson, Priscilla Queen of the Dessert. Garish, yes, but gorgeous, too. Flamboyant, fabulous, an outpouring of pure joy that I liked better than Werle’s work.

Best Costume Design of a Play

Jess Goldstein, The Merchant of Venice

Desmond Heeley, The Importance of Being Earnest

Mark Thompson, La Bête

Catherine Zuber, Born Yesterday

Our Pick: Desmond Heeley, The Importance of Being Earnest. Glamorous, giddy and glittery, Heeley’s excellent creations go elegantly, entertainingly over-the-top; his costumes for Lady Bracknell in particular are easily among the best of the year.

Best Costume Design of a Musical

Tim Chappel & Lizzy Gardiner, Priscilla Queen of the Desert

Martin Pakledinaz, Anything Goes

Ann Roth, The Book of Mormon

Catherine Zuber, How to Succeed in Business Without Really Trying

Our Pick: Tim Chappel & Lizzy Gardiner, Priscilla Queen of the Desert. Goes even further over the top than Heeley’s Earnest designs (this is a drag queen musical, after all) and are even more wonderfully witty and complex than their own Oscar-winning designs for the Priscilla film.

Best Lighting Design of a Play

Paule Constable, War Horse

David Lander, Bengal Tiger at the Baghdad Zoo

Kenneth Posner, The Merchant of Venice

Mimi Jordan Sherin, Jerusalem

Our Pick: David Lander, Bengal Tiger at the Baghdad Zoo. Lander’s rich and profound yet delicate lighting is perhaps the most successfully evocative thing about this production, practically bringing us the smells and flavors of wartime Baghdad.

Best Lighting Design of a Musical

Ken Billington, The Scottsboro Boys

Howell Binkley, How to Succeed in Business Without Really Trying

Peter Kaczorowski, Anything Goes

Brian MacDevitt, The Book of Mormon

Our Pick: Howell Binkley, How to Succeed in Business Without Really Trying. Rarely have pastels been so vibrant! Binkley’s swirling lighting literally caresses the How to Succeed set. Egregiously overlooked: Nick Schlieper, Priscilla Queen of the Desert. See scenic design above. Same story.

Best Sound Design of a Play

Acme Sound Partners & Cricket S. Myers, Bengal Tiger at the Baghdad Zoo

Simon Baker, Brief Encounter

Ian Dickinson for Autograph, Jerusalem

Christopher Shutt, War Horse

Our Pick: Simon Baker, Brief Encounter. Baker is literally the wind beneath this production’s wings, giving support to the production’s many musical interludes, as well as creating emotional and symbolic soundscapes all his own.

Best Sound Design of a Musical

Peter Hylenski, The Scottsboro Boys

Steve Canyon Kennedy, Catch Me If You Can

Brian Ronan, Anything Goes

Brian Ronan, The Book of Mormon

Our Pick: Brian Ronan, The Book of Mormon. Always a difficult category to judge, but one that comes down to this – can you hear the lyrics and does the music sound full? Ronan suceeds loud and clear on both counts.

Best Direction of a Play

Marianne Elliott and Tom Morris, War Horse

Joel Grey & George C. Wolfe, The Normal Heart

Anna D. Shapiro, The Motherfucker with the Hat

Daniel Sullivan, The Merchant of Venice

Our Pick: Anna D. Shapiro, The Motherfucker with the Hat. As always, Shapiro delivers a production that is very sharp and well-calibrated while also being profoundly human and emotional. Egregiously overlooked: Brian Bedford, The Importance of Being Earnest. He didn’t just play Lady Bracknell and let the chips fall where they may. This production is the best Earnest in a long time because Bedford imparted the true spirit of Wilde to his cast with intelligence, joy and vigor. I’d pick him over Shapiro, if only by a bit.

Best Direction of a Musical

Rob Ashford, How to Succeed in Business Without Really Trying

Kathleen Marshall, Anything Goes

Casey Nicholaw and Trey Parker, The Book of Mormon

Susan Stroman, The Scottsboro Boys

Our Pick: Susan Stroman, The Scottsboro Boys. Stro is doing some of her best work ever here, using minimal means to create a constantly compelling theatricality. Sometimes her direction and choreography do diametrically opposite things at the same time, to truly stunning effect.

Best Choreography

Rob Ashford, How to Succeed in Business Without Really Trying

Kathleen Marshall, Anything Goes

Casey Nicholaw, The Book of Mormon

Susan Stroman, The Scottsboro Boys

Our Pick: Susan Stroman, The Scottsboro Boys. See above. Egregiously overlooked: Jerry Mitchell, Catch Me if you Can. Precise, even tricky high-energy steps, that tell the story and reveal character very effectively. I’d still probably give the prize to Stro, but Jerry truly deserved a nod.

Best Orchestrations

Doug Besterman, How to Succeed in Business Without Really Trying

Larry Hochman, The Scottsboro Boys

Larry Hochman and Stephen Oremus, The Book of Mormon

Marc Shaiman & Larry Blank, Catch Me If You Can

Our Pick: Larry Hochman, The Scottsboro Boys. The show satirizes minstrelsy’s worst tendencies while also allowing Kander and Ebb to write an energetic, engaging score of minstrel-style songs. Hochman unflinchingly captured all the wonderful things that made this music so abidingly influential.

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Tony Picks 2010

Every year, my boyfriend and I look over the Tony nominees and pick our favorites. Not who we think will win, mind you, but whom we would choose if we were Tony voters. Here is a list of whom we would like to win with a guess or two at who will. Enjoy.

Best Play
In the Next Room or the vibrator play
Next Fall
Red
Time Stands Still

Our pick: Red. Playwright John Logan did a tremendous job of capturing how much Art mattered to Modernist painter Mark Rothko. Time Stands Still is as smart and well-written, but not as insightful.

Best Musical
American Idiot
Fela!
Memphis
Million Dollar Quartet

Our pick: Memphis. This is a very good – but not great – show, that in a more competitive season might not capture the prize. This season, however, it is easily the most well-rounded, successful musical. Both American Idiot and Fela! were more ambitious, but neither show quite achieved everything they aimed for.

Best Book of a Musical
Everyday Rapture Dick Scanlan and Sherie Rene Scott
Fela! Jim Lewis & Bill T. Jones
Memphis Joe DiPietro
Million Dollar Quartet Colin Escott and Floyd Mutrux

Our pick: Memphis. Joe DiPietro’s book is inspirational, heart wrenching and devastatingly smart — sometimes all in the same moment. It’s not the most tightly plotted show ever, but its emotional arc rings very true

Best Original Score (Music and/or Lyrics) Written for the Theatre
The Addams Family Music & Lyrics: Andrew Lippa
Enron Music: Adam Cork, Lyrics: Lucy Prebble
Fences Music: Branford Marsalis
Memphis Music: David Bryan, Lyrics: Joe DiPietro, David Bryan

Our pick: Memphis. David Bryan’s music, while it is more ’60s rock & soul than ’50s r&b, is miles more sophisticated than his work on The Toxic Avenger or anything he did with Bon Jovi. It isn’t a very competitive season in this category, with Memphis featuring the only successful musical theatre score of the season.


Best Revival of a Play
Fences
Lend Me a Tenor
The Royal Family
A View from the Bridge

Our pick: A View from the Bridge. The entire production was a class act. It didn’t suddenly become my favorite play by Arthur Miller, but this production was rock-solid, hitting every level of this play and adding a few more.

Best Revival of a Musical

Finian’s Rainbow
La Cage aux Folles
A Little Night Music
Ragtime

Our pick: La Cage Aux Folles. I have to say that it’s the most authentic, fun and touching version of this drag-centric story I’ve ever even heard of. From the Chorus of Cagelles on up, a sassy, heartfelt winner.

Best Performance by a Leading Actor in a Musical
Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles
Chad Kimball, Memphis
Sahr Ngaujah, Fela!

Our pick: Douglas Hodge, La Cage aux Folles. I don’t think I’ve seen an Albin that’s as believably a drag diva as the one Hodge gives us. He doesn’t just add a fey layer to the songs he sings, as some Albins do. He sings this line as Piaf, this line as Dietrich. Nagaujah was hot as Fela Kuti, and its very much apples and oranges. Egregiously overlooked: Nathan Lane working his tuchus off in Addams Family.


Best Performance by a Leading Actress in a Musical

Kate Baldwin, Finian’s Rainbow
Montego Glover, Memphis
Christiane Noll, Ragtime
Sherie Rene Scott, Everyday Rapture
Catherine Zeta-Jones, A Little Night Music

Our pick: Montego Glover, Memphis. She positively glowed as beautiful, black rhythm and blues singer Felicia. Sherie Rene Scott gets an A for hard work and charisma, and Zeta-Jones was better than anybody expected, but this should be Montego’s.


Best Performance by a Leading Actor in a Play

Jude Law, Hamlet
Alfred Molina, Red
Liev Schreiber, A View from the Bridge
Christopher Walken, A Behanding in Spokane
Denzel Washington, Fences

Our pick: Liev Schreiber, A View from the Bridge. Eddie Carbone was played with great sensitivity by one of the most intelligent and talented hunks of the American stage and screen. Molina and Washington were also both magnificent, but Liev just dug deeper. Egregiously overlooked: Norbert Leo Butz in Enron and Michael McKean in Superior Donuts did work at least on a par with the nominated actors.


Best Performance by a Leading Actress in a Play

Viola Davis, Fences
Valerie Harper, Looped
Linda Lavin, Collected Stories
Laura Linney, Time Stands Still
Jan Maxwell, The Royal Family

Our pick: Laura Linney, Time Stands Still. Linney is a marvel, investing her hard-bitten photojournalist character with serious gravitas and deep emotions that percolate suddenly and unexpectedly to the surface. Davis is also particularly good, and Maxwell was this year’s hardest working comedian in non-musicals, which deserves some kind of recognition.


Best Performance by a Featured Actor in a Play

David Alan Grier, Race
Stephen McKinley Henderson, Fences
Jon Michael Hill, Superior Donuts
Stephen Kunken, Enron
Eddie Redmayne, Red

Our Pick: Jon Michael Hill, Superior Donuts. In a play that was all about character portraits, Hill delivered a knockout performance, really getting under skin of a young black writer marking time in the titular coffee shop.


Best Performance by a Featured Actress in a Play

Maria Dizzia, In the Next Room or the vibrator play
Rosemary Harris, The Royal Family
Jessica Hecht, A View from the Bridge
Scarlett Johansson, A View from the Bridge
Jan Maxwell, Lend Me a Tenor

Our pick: Jessica Hecht, A View from the Bridge. Hecht was marvelous early in the season in the ill-fated Brighton Beach Memoirs, in a comic relative of the character she played in View. She nailed every layer of her role in View, from the tough Brooklynese patter to her heart-rending scream at the end.


Best Performance by a Featured Actor in a Musical

Kevin Chamberlin, The Addams Family
Robin De Jesús, La Cage aux Folles
Christopher Fitzgerald, Finian’s Rainbow
Levi Kreis, Million Dollar Quartet
Bobby Steggert, Ragtime

Our pick: Levi Kreis, Million Dollar Quartet. One of the most impressive performances of the season came from out (and sexy) performer Levi Kreis as Jerry Lee Lewis. Lewis had one of the brashest stage personas and the most flamboyant, out-of-control performance styles of all time, and Kreis very successfully “goes there.”


Best Performance by a Featured Actress in a Musical

Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Karine Plantadit, Come Fly Away
Lillias White, Fela!

Our pick: Angela Lansbury, A Little Night Music. At 84, Lansbury has more lines than the rest of the entire bunch, which she delivers with great panache and depth. The only serious competition would be fellow octogenarian Cook, who has more, and more complex, Sondheim lyrics to sing – but no actual part to play. Egregiously overlooked: Jackie Hoffman working almost as hard as Nathan Lane in Addams Family.


Best Scenic Design of a Play

John Lee Beatty, The Royal Family
Alexander Dodge, Present Laughter
Santo Loquasto, Fences
Christopher Oram, Red

Our pick: Alexander Dodge, Present Laughter. Garry Essendine, Noël Coward’s comic hero, is way over the top, so why shouldn’t his apartment be, too. Alexander Dodge’s set is a luscious Deco marvel, packed with character.


Best Scenic Design of a Musical

Marina Draghici, Fela!
Christine Jones, American Idiot
Derek McLane, Ragtime
Tim Shortall, La Cage aux Folles

Our pick: Christine Jones, American Idiot. Across the board, American Idiot was the most innovately designed show of the season, and that all starts with Jones’s tricked-out, poster-plastered set.


Best Costume Design of a Play

Martin Pakledinaz, Lend Me a Tenor
Constanza Romero, Fences
David Zinn, In the Next Room or the vibrator play
Catherine Zuber, The Royal Family

Our pick: Catherine Zuber, The Royal Family. Zuber is Broadway’s reigning queen of beautifully designed and constructed period costumes, and her work on The Royal Family, packed with dramatic 1920s chic, did her proud.


Best Costume Design of a Musical

Marina Draghici, Fela!
Paul Tazewell, Memphis
Matthew Wright, La Cage aux Folles

Our pick: Matthew Wright, La Cage aux Folles.Wright very smartly designed the clothes as 1970s French street chic, with lovely results. And as for the Cagelles: They’re not the collection of drag chorines you see in other productions of La Cage. They are six individual drag queens corralled into performing together. Some of that is casting, but a lot of it is the distictive looks Wright gave to each of them.


Best Lighting Design of a Play

Neil Austin, Hamlet
Neil Austin, Red
Mark Henderson, Enron
Brian MacDevitt, Fences

Our pick: Mark Henderson, Enron. A show about an energy company had better damn well have great lighting, and Henderson certainly didn’t disappoint. From light-saber-like sticks to heavy-metal pyrotechnics, Henderson pulled out all the stops.


Best Lighting Design of a Musical

Kevin Adams, American Idiot
Donald Holder, Ragtime
Nick Richings, La Cage aux Folles
Robert Wierzel, Fela!

Our pick: Kevin Adams, American Idiot. Adams did things to my eyeballs that I hadn’t seen outside of a rock concert or a doctor’s office. Some of the lights focused on the audience were too much, but when Adams got the balance right, it looked like something really new.


Best Sound Design of a Play

Acme Sound Partners, Fences
Adam Cork, Enron
Adam Cork, Red
Scott Lehrer, A View from the Bridge

Our pick: Adam Cork, Enron. Thunderclaps, choruses of traders, zings, zaps – and the Propellerheads! As with lighting, the sound for a show about a power company should crackle, and crackle it did. Cork is his own biggest competition, with his skillful, understated work on Red.

Best Sound Design of a Musical

Jonathan Deans, La Cage aux Folles
Robert Kaplowitz, Fela!
Dan Moses Schreier and Gareth Owen, A Little Night Music
Dan Moses Schreier, Sondheim on Sondheim

Our pick: Robert Kaplowitz, Fela! This show ranged all over the theatre, went from screaming loud to hushed, and Kaplowitz made sure that is was all crystal clear and lucid. Egregiously overlooked: Brian Rogers for American Idiot – too loud fer ya, grandpa?


Best Direction of a Play

Michael Grandage, Red
Sheryl Kaller, Next Fall
Kenny Leon, Fences
Gregory Mosher, A View from the Bridge

Our pick: Gregory Mosher, A View from the Bridge. Mosher helmed this with modest dignity and subtle power, as well as penetrating intelligence. This was my first encounter with this particular Miller play, and I feel like I’ve seen a production that advocated for it very well. Egregiously overlooked: Rupert Goold for Enron; sure, he was showing off, but damn the man has chops!


Best Direction of a Musical

Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime
Terry Johnson, La Cage aux Folles
Bill T. Jones, Fela!

Our pick: Bill T. Jones, Fela! Jones built this recreation of Fela Kuti’s Lagos, Nigeria “Shrine” from the ground up. Egregiously overlooked: Michael Mayer’s visionary work on American Idiot; if he was nominated, he’d be my pick.


Best Choreography

Rob Ashford, Promises, Promises
Bill T. Jones, Fela!
Lynne Page, La Cage aux Folles
Twyla Tharp, Come Fly Away

Our pick: Bill T. Jones, Fela! He added choreography that would have been beyond the abilities of the real life people he portrays, and yet makes it all fit comfortably within the world of the show.


Best Orchestrations

Jason Carr, La Cage aux Folles
Aaron Johnson, Fela!
Jonathan Tunick, Promises, Promises

Daryl Waters & David Bryan, Memphis

Our pick: Aaron Johnson, Fela! Fela Kuti’s Afrobeat was all about groove and mood. Johnson molds it to serve the pace of the story, without losing sight of its spirit for a nanosecond. Stunning.

* * *

Special Tony Award for Lifetime Achievement in the Theatre

Alan Ayckbourn

Marian Seldes

Regional Theatre Tony Award

The Eugene O’Neill Theater Center, Waterford, Connecticut

Isabelle Stevenson Award

David Hyde Pierce

Tony Honor for Excellence in the Theatre

Alliance of Resident Theatres/New York

B.H. Barry

Midtown North & Midtown South New York City Police Precincts

Tom Viola

Tony Nominations by Production

Fela! – 11

La Cage aux Folles – 11

Fences – 10

Memphis – 8

Red – 7

Ragtime – 6

A View from the Bridge – 6

The Royal Family – 5

Enron – 4

A Little Night Music – 4

Promises, Promises – 4

American Idiot – 3

Finian’s Rainbow – 3

In the Next Room or the vibrator play – 3

Lend Me a Tenor – 3

Million Dollar Quartet – 3

The Addams Family – 2

Come Fly Away – 2

Everyday Rapture – 2

Hamlet – 2

Next Fall – 2

Sondheim on Sondheim – 2

Time Stands Still – 2

A Behanding in Spokane – 1

Collected Stories – 1

Looped – 1

Present Laughter – 1

Race – 1

Superior Donuts – 1

www.TonyAwards.com