Friday 5: The 5 2026 Tony Awards Snubs and Disappointments

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5 2026 Tony Awards

Snubs & Disappointments

Every year, right after the Tony Awards nominations are announced, publications and fans alike rush to declare that so and so was "snubbed." The truth is, there are snubs, yes, but more times than not it is disappointment that a favorite artist or show was left off the list. There is a difference:

• Snub: When the parameters of a category are manipulated to exclude a possible nominee.
• Disappointment: When a favorite that fits a category doesn't make the cut; those that are included really all deserve to be included.

Today's Friday 5 are 5 such nominee omissions. Most are disappointments, but two definitely qualify as snubs. Do you agree?

  

Disappointment: Leading Actress in a Musical: 

• Lea Michele as Florence Vassey, Chess 
• Jessica Vosk as Cee Cee Bloom, Beaches

These are the two names that keep coming up as the "egregiously overlooked." We would have loved it is Ms. Michele made the cut, as we found her performance to be terrific. Of course, we realize for many, she's a polarizing performer, so there are just as many people who are glad she wasn't nominated as there are disappointed. In the case of Ms. Vosk, we weren't that impressed, but understand that her massive following would be upset that she was left out.

But we're they snubbed? No. The ladies who did make the list are all deserving of being there; neither Lea nor Jessica were likely not nominated because the field was too crowded.

  

Disappointment: Featured Actor/Actress in a Musical: Cats: The Jellicle Ball:

• Sydney James Harcourt as Rum Tum Tugger
• "Tempress" Chastity Moore as Grizabella

In the case of shows like Cats: The Jellicle Ball, where there are ally aren't any leads, but each member of the cast makes big contributions. And let's face it, there are so many featured performers each season, it is nearly impossible to include everyone. In this case, we were majorly disappointed that neither Harcourt nor Moore made the final list. His Rum Tum Tugger is a really fresh take on the character, while the same could be said for Moore's Grizabella. I mean heck, even Betty Buckley raved about her performance!

Again, as painful as it is that they didn't make the cut, those that did were deserving.*

  

Disappointment: Featured Actor/Actress in a Musical: Schmigadoon!:

• Max Clayton as Danny Bailey
• Isabelle McCalla as Emma Tate

We were completely smitten with both of these performances, and were disappointed that they weren't nominated. But, just as with Cats, a large, impactful supporting cast is bound to have someone not on the nominee list. Both Mr. Clayton and Ms. McCalla led big numbers - his was more a solo, but both were among the songs that got the biggest hands of the evening.

Again, as painful as it is that they didn't make the cut, those that did were deserving.*

      

Disappointment: Featured Actor/Actress in a Musical: Titanique:

• Jim Parsons as Ruth DeWitt Bukater
• Constantine Rousouli as Jack Dawson
• Melissa Barrera as Rose DeWitt Bukater
• Deborah Cox as The Unsinkable Molly Brown

There's a pattern here. Titanique is another mostly ensemble show. Here the cast is so small, they all are stars. Anyway, we felt that any or all of these four performances were worthy of awards love. Mr. Rousouli and Ms. Barrera, one could argue, have roles as big as Best Leading Actress nominee, Marla Mindelle, and both are just terrific. Mr. Parsons is comedy gold and Ms. Cox is not only funny, but damn she has a major voice! 

Again, as painful as it is that they didn't make the cut, those that did were deserving.*

  

Snub-ish: Score Written for the Theatre: 

• Stephen Schwartz, The Queen of Versailles
• Iris Rainer Dart & Mike Stoller, Beaches

Let me start off by saying that I haven't heard any of the two scores nominated from plays this year, and I can't weigh in on whether or not I think their inclusion wasn't worthy. And I think there was plenty of fresh music in Schmigadoon! That said, even though no rules were broken, it may appear that both Queen and Beaches were purposely excluded. However, having sat through both, I can honestly say I don't think either were good enough to be nominated. Even as weak as this year was, including them just to fill in the minimum number of nominees would have been insulting to both The Lost Boys and Schmigadoon!

No one but the committee will ever know if they were purposely excluded (I have my doubts), so this may or may not be a snub.

* - I have to say that at least one nominee that did make the list in the Featured categories I would not have included, but I wouldn't say any of them are that shocking to be on the list.

From Where We Sat: The St. James Theatre (Rear Orchestra)

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Today, we have the next in our series of seating articles based on many of your emails requests and questions, namely "how were your seats?" Sure, I'm aware of another website that provides a similar service that covers New York theaters, national theaters and concert and sporting venues. I hope to provide a bit more information and insight. That said, if there's anything more you'd like to know or want to share your own experiences please feel free to contact us on social media at JKsTheatreScene.

From Where We Sat:

The St. James Theatre

The Theatre: 

• 246 W. 44th Street
• Current capacity: 1347 seats
• Orchestra, and Mezzanine (Balcony seating is not available for this production)

What We Saw There:

• Titanique (review HERE)
• The Queen of Versailles (center mezzanine information HERE)

Where We Sat: 

• Left Rear Orchestra Row P, Seats 9 & 11. The seating in this theater has average leg room, though these rows felt a tad more spacious. The seats themselves were comfortable and in excellent condition.

What We Paid: 

• $62.00 (Box Office price) The next seats over, 5 & 7, were offered during a discount, but actually cost more than what we paid!

The Location: 

• Upon entering the theater, we were directed to the first door immediately to our left.
• Row P is the seventeenth row from the stage and the second row from the back of the left orchestra section.

Seat Amenities and Exiting the Theatre:

• These seats are comfortable and well maintained.
• These back side rows are at the top of the house rake. Seeing over everyone in front was no problem at all. Watching the cast enter and exit virtually right next to us (the aisles are used extensively) was fun. The constant flow of tipsy patrons in and out to the bathroom, not so much. 
• Exiting the theatre is particularly easy and simple from here. The door to the street is about 10 feet away to the left, and the main lobby is about 15 feet away behind you here. Getting out is pretty painless.   
• We were out of the theater and on our way in less than 3 minutes post curtain call.

So how was the view*?

• We had a full view of the action, including the front of the stage and upstage. The only thing we couldn't see was the very top of the proscenium.
• I don't think people in the orchestra seating on the extreme sides or too close to the tall stage would have the same completely unobstructed view.
• Even from this distance, facial expressions and set and costume details were crystal clear.

The bottom line:

• I would choose these seats specifically. The view is perfect, and they are comfortable.

* - Your seating preferences may vary, of course. And these seats may not be as ideal for a different production.

Other seating at The St. James Theatre

• We have seen several productions at this theater and we've sat in various locations in the orchestra, mezzanine and balcony areas. 
• A couple of times, we sat in the center orchestra section. The seats had an average amount of leg room. You could see the whole stage at once, but it isn't too far from the stage, so you can still see the details and facial expressions. The legroom is less generous in the orchestra, but it isn't uncomfortable. The seats there have a typical rake, so seeing over others can be difficult if someone tall sits in front of you. Do with that information what you will.
• The mezzanine view is pretty great throughout, with the normal limitations of the extreme sides. Oddly, the closer you are to the front of the section, the more cramped the seating.
• The view from the balcony is full, but the angle is steep and the stage feels pretty far away. The leg room is not great. If stairs are an issue for you, I do not recommend sitting up there. That said, the price difference in these seats may make sitting there a great economic choice, if that's an issue for you. (This production did not offer balcony seating.)

Review: West Side Story

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Review of the Saturday, May 9, 2026 matinee performance at the Lyric Opera House in Baltimore, Maryland. A production of the Washington National Opera Company. Starring Ryan McCartan, Shereen Pimentel, Taylor Harley, Amanda Castro and Yurel Echezarreta. Music by Leonard Bernstein. Lyrics by Stephen Sondheim. Book by Arthur Laurents. Original conception, choreography and direction by Jerome Robbins. Set design by Peter J. Davison. Costume design by Jessica Jahn. Lighting design by A.J. Guban. Sound design by Andrew Harper. The Washington National Opera Company Orchestra conducted by Marin Alsop. Choreography re-created by Joshua Bergasse. Direction by Francesca Zambello. 2 hours, 45 minutes including one intermission. Production continues through May 15th at The Music Center at Strathmore in Bethesda, Maryland. NOTE: The production will be semi-staged (costumes and props, no scenery) at Strathmore. 

⭐️⭐️⭐️⭐️⭐️

Though we would never intentionally miss a production of West Side Story, especially a professional one, I have to confess that we attended this performance for more than our love for the show. We are fully in support of Washington National Opera's refusal to play at the Kennedy Center in D.C. under the current regime.

There are, of course, other reasons we wanted to see this. Regular readers know that this title is among our vary favorites in the musical theater canon. There are several Broadway folks involved in this production, including both leads and several other company members, not to mention the choreographer and director. Perhaps most specifically, we were interested in seeing how an opera company would influence the presentation. Finally, we are big fans of the renowned conductor, Marin Alsop.

So, how was it? In a word: Fantastic!

This production, save for some of the design elements, is about as traditional a West Side Story as I've seen. It is even more traditional than even the 2009 Broadway revival. The score, played by the glorious 50-piece Washington National Opera Company Orchestra, is so lush and full bodied. It reminded me of the original movie scoring. Even the scene change music is intact! Every song, every dance number - including the gorgeous "Somewhere Ballet" - is joyous to listen to. Literally, it was music to my ears. As a fan of this iconic masterpiece, hearing this was a rare privilege, one for which I am very grateful.

While in the context of grand opera, the scoring & orchestra size/quality, might be expected, I was very interested in how a Broadway musical would play as an opera. I never doubted that the singing would be less than superb (it was), I wondered how it might sound in this context. Though some of the singing was less "character-y" than normal - the stereotypical New Yawk affectations of the script aren't hit quite as hard as usual - and some of the notes in the the ballads are held a smidge longer that usual, none of the differences come at the expense of meaning or characterization. In my limited experience with opera, I have found that many times the acting takes a back seat to the singing. Not the case here, at all.

  

Under the direction of Francesca Zambello, the production is fast-paced, and taut in all the right places. The exuberance of "America" and "The Jet Song," for example, serve as sharp counterpoint to the tension of "The Dance at the Gym" and "The Rumble," as well as the dramatic heights of "Tonight" and "A Boy Like That/I Have a Love." What is remarkable about her direction is how she manages to use the enormous stage fully, and yet makes it all feel so intimate.  Broadway's Joshua Bergasse has taken on the monumental task of re-creating the legendary Jerome Robbins choreography, and done so successfully. The Jets, Sharks and their girls here are very capable, and are at all times exciting to watch. "The Dance at the Gym," "Cool" and the "Somewhere" ballet were particularly thrilling.

In terms of design, there are some interesting choices here: the main set - huge and imposing - designed by Peter J. Davison, is an interesting mix of urban decay, 50's style and Roman/Italian arches, perhaps a nod to Romeo and Juliet? While A.J. Guban's lighting is relatively utilitarian, there are beautiful moments of light washes and equally ominous dark shadows. Andrew Harper's superb sound design was perfection, particularly the balance between the orchestra and the actors. This is no small feat, considering the enormous cavern that Baltimore's Lyric Opera House is. The most unique design element here is Jessica Jahn's costume design, which is both traditional in its use of opposing color palates for the Jets and Sharks, and non-traditional in its style. Everyone is in non-specific modern dress. Picture Adidas jogging pants, jeans, modern sports team jerseys and jackets, leggings and crop tops, and an array of modern footwear like high top Nikes, Vans and the like. The differences between the two factions are still easily discernible, yet somehow they seem more equal and, importantly, timelessly everyman.

As great as all of that is, the cast is even better, from top to bottom. All of the gang members are high energy and intense, each excellent at gelling as a unit while creating individual characters. Standouts include Arcadian Broad (Baby John), Brendan Yeates (Diesel), Madison Hertel (Anybodys) and Emily Snouffer (Graziella). As the primary adults, Wynn Harmon's Doc is the perfect mix of world-weary and terrified, and Zachary Owen's Lt. Schrank is excellent at being an all too familiar mouthpiece for ignorance, anger and prejudice.

The principal cast has a lot to live up to, and boy, do they! Yurel Echezarreta's Bernardo is a coy young man with something to prove, cloaked in an interesting bravado and provocative arrogance. At times, I thought he was being a bit...sassy, but he made it work. Equally headstrong, but with an undercurrent of naivete is Taylor Harley's Riff, who is probably the best sung Riff I've ever heard. Everyone's favorite diva, Anita, is marvelously rendered here by Amanda Castro, who is a smaller woman with a giant presence. A ton of sass and strength, with a satisfying amount of vulnerability, she sings and dances the role with an endearing urgency. I'm certain Chita Rivera would approve.

Of course, West Side Story all but requires a Tony and Maria that you not only root for but care about and truly believe. Shereen Pimentel is a stunning Maria, headstrong and no shy violet from the get go, you see immediately why Tony could be head over heels at first sight. Her soaring soprano is breathtaking, and her final scene will break even the coldest of hearts. (She was out the day we saw the 2020 Broadway revival, and I am so happy we finally got to see her.) For me, though, Ryan McCartan was the find of the show. I'm not sure anything I could say here could completely capture how amazing his ill-fated Tony is. His "Something's Coming" is joyous, and his "Maria" is a true revelation. What a voice! What a belt! He is utterly charming from his first line, and even though his tragic end is a given, I found myself hoping that somehow, someway, he'd survive this time.

This production is proof positive that a traditional West Side Story is still relevant as is. Those things that are problematic actually serve the point these days. The stereotypes and language are perhaps even more relevant today, given the current climate in our country. And yet, it still provides hope that we will find our way back to a more civil way of life, and from there, celebrate what makes us different instead of dividing us.

📸: Elman Studio

The 2026 JKTS Awards: Readers' Choice Nominations Ballot

The Reader's Choice Nominations Ballot

DIRECTIONS:

• Nominate up to the defined limit for each of 20 categories.
• Any category that includes an "Other" choice allows write-in nominees. 
• One category - replacement actor in a musical - is only write-in. Follow the directions there.

NOTES:

• Scroll through all 20 categories. The ballot is LONG!
• You MUST tap the "SUBMIT" button, or your ballot won't be counted.
• The ballot is NOT collecting information on you. We see nothing but your choices.
• The nominations will close at noon (Eastern) on Sunday, May 17th.

Thanks for taking the time to do this!

Broadway Quiz: The 2026 Tony Award Nominations

With Tuesday's announcement of the 79th Tony Awards Nominees, the Broadway games began in earnest. Who got what they deserved? Who got snubbed? The biggest surprises and disappointments will be the fodder of gossip and social media. And, of course, all eyes will be on the campaigns each production creates as they lobby for the big prize. Will this year be another Avenue Q vs. Wicked situation? Time will tell, and all will be revealed in June.

In the meantime, here's a quiz all about those nods. Good luck!

Broadway Quiz:

The 2026 Tony Award Nominations

DIRECTIONS: Base your answers on this year's Tony Award nominees.

1. All of the following are true about Tony nominee June Squibb EXCEPT:

    A. She made her Broadway debut as a replacement Electra in the original production of Gypsy.

    B. She is the first actress to be nominated for a role playing a dementia sufferer.

    C. She is the oldest Tony nominee in history.

    D. This is her first Tony nomination.

2. TRUE or FALSE: Of all the Best Actor in a Leading Role in a Musical nominees, only one was born in the United States.

3. All of the following are true about Tony nominee Michael Arden EXCEPT:

    A. He is nominated for 3 2026 Tony Awards.

    B. He has 5 Tony Awards already.

    C. He is never been nominated for an acting Tony Award.

    D. So far, he has directed 4 shows that have won either Best Musical or Best Musical Revival.

4. TRUE or FALSE: With 12 nominations, Schmigadoon! has the most nominations ever for a musical based on a TV show.

5. Which category has two nominees that have been regulars on Saturday Night Live?

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

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

    C. Best Scenic Design of a Play

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

6. TRUE or FALSE: John Lithgow, Tony nominee for Giant, is this year's oldest nominee.

7. Which Best Actress in a Leading Role in a Musical nominee has the most Broadway credits?

    A. Sara Chase

    B. Stephanie Hsu

    C. Caissie Levy

    D. Marla Mindelle

    E. Christiani Pitts

8. TRUE or FALSE: With 9 nominations (and 1 win!), Danny Burstein now holds the record for most nominations for an actor.

9. Of all the nominees in the 8 acting categories, how many have won Tony Awards before?

    A. 5

    B. 6

    C. 8

    D. 9

10. TRUE or FALSE: With 9 nominations (and 1 win!), Kelli O'Hara now holds the record for most consecutive nominations for an actress.

From Where We Sat: The Nederlander Theatre

 Today, we have the next in our series of seating articles based on many of your emails requests and questions, namely "how were your seats?" Sure, I'm aware of another website that provides a similar service that covers New York theaters, national theaters and concert and sporting venues. I hope to provide a bit more information and insight. That said, if there's anything more you'd like to know or want to share your own experiences please feel free to contact us on social media at JKsTheatreScene.

From Where We Sat:

The Nederlander Theatre

The Theatre: 

• 208 W. 41st Street
• Current capacity: 1161 seats
• Orchestra, Front & Rear Mezzanine

What We Saw There:

• Schmigadoon! (review HERE)

Where We Sat: 

• We sat in Orchestra Row L, Seats 9 & 11. The seating in this theater has average leg room. The seats themselves are very comfortable and in great condition.

What We Paid: 

• $97.25 (TDF Discount) These seats at the Box Office are $135.50 each. 

The Location: 

• The furthest downtown Broadway house, you are just out of the craziness of 42nd Street. The line up to enter stretches down 41st Street from the Port Authority/8th Avenue end.
• Upon entering the theater, we were directed to the left aisle.
• Row L is the fourteenth row from the stage.

Seat Amenities and Exiting the Theatre:

• The seats themselves are quite comfortable, with a comfortable amount of legroom.
• The rows of this part of the orchestra are at a decent rake, and seeing over the people in front is not a problem. The seats are far enough back that the stage is fully visible.  
• Restrooms are upstairs on the mezzanine level.
• Exiting the theatre is easy, if a little congested given the relatively small lobby area.  
• We were out of the theater and on our way in about 5 minutes post curtain call.

Pre-Show

Start of Act Two

So how was the view*?

• The height of the deck is a non-issue from this point. 
• These seats were an excellent view, top to bottom. We were far enough back to get the full stage picture at all times, including the sides and all the way upstage.
• Note: The pictures above are a little deceptive, especially the pre-show image. The view is much closer than the picture indicates.

The bottom line:

• I would definitely get these seats again. We have sat in the mid to rear orchestra several times and the view from there is very good.

* - Your seating preferences may vary, of course. And these seats may not be as ideal for a different production.

Other seating at The Nederlander Theatre

• We have seen several productions at this theater and we've sat in various locations in the orchestra and mezzanine areas. 
• The front mezzanine offers a full view that doesn't feel very far away, but the legroom is actually painful.  The rear mezzanine, though budget friendly, offers the same pain and what feels like a far away view.

The 2026 Tony Awards: If We Were Nominators

 

The 2026 Tony Awards:

If We Were Nominators

For us, theater awards season is what it must be like for football fans around Super Bowl time. We get super excited by every announcement, every eligibility notice. If it's a detail, we are interested! Tomorrow is the day we look forward to after every season: The Tony Awards Nominations announcement. 

I'll bet we aren't the only ones who try to predict which shows will make the cut, which of our favorite performers will get a flurry of texts and calls when their name is called. which of our favorite designers will be honored with a nod. This year, Mike and I only made it to each of the 10 major musical openings (6 new musicals, 4 revivals). We didn't see the return engagements of either Mamma Mia! or Beetlejuice. Given that, we are only sharing our thoughts on the musical categories this season.

We are not predicting who the nominating committee with choose; we are simply naming those shows and artists that we would nominate if we were nominators. Mike and I made our lists separately, so it is interesting to see how much we matched. It was often!

JEFF WOULD NOMINATE	MIKE WOULD NOMINATE
Best Musical	Best Musical
Schmigadoon!	Schmigadoon!
The Lost Boys	The Lost Boys
Titanique	Titanique
Two Strangers (Carry a Cake Across New York)	Two Strangers (Carry a Cake Across New York)
Best Revival of a Musical	Best Revival of a Musical
Cats: The Jellicle Ball	Cats: The Jellicle Ball
Chess	Chess
Ragtime	Ragtime
*The Rocky Horror Show	* The Rocky Horror Show
Best Original Score (Music &/or Lyrics)	Best Original Score (Music &/or Lyrics)
Cinco Paul - Schmigadoon!	Cinco Paul - Schmigadoon!
The Rescues - The Lost Boys	The Rescues - The Lost Boys
Stephen Schwartz - The Queen of Versailles	Stephen Schwartz - The Queen of Versailles
Jim Barne & Kit Buchan - Two Strangers	Jim Barne & Kit Buchan - Two Strangers
Best Orchestrations	Best Orchestrations
Andrew Lloyd Webber, et al - Cats: The Jellicle Ball	Andrew Lloyd Webber, et al - Cats: The Jellicle Ball
Brian Usifer - Chess	Brian Usifer - Chess
Doug Besterman & Mike Morris - Schmigadoon!	Doug Besterman & Mike Morris - Schmigadoon!
The Rescues & Ethan Popp - The Lost Boys	The Rescues & Ethan Popp - The Lost Boys
Best Book	Best Book
Cinco Paul - Schmigadoon!	Cinco Paul - Schmigadoon!
David Hornsby & Chris Hoch - The Lost Boys	David Hornsby & Chris Hoch - The Lost Boys
Tye Blue, Marla Mindelle, Constantine Rousouli - Titanique	Tye Blue, Marla Mindelle, Constantine Rousouli - Titanique
Jim Barne & Kit Buchan - Two Strangers	Jim Barne & Kit Buchan - Two Strangers
Best Direction of a Musical	Best Direction of a Musical
Zhailon Levingston & Bill Rauch - Cats: The Jellicle Ball	Zhailon Levingston & Bill Rauch - Cats: The Jellicle Ball
Lear deBessonet - Ragtime	Lear deBessonet - Ragtime
Christopher Gattelli - Schmigadoon!	Christopher Gattelli - Schmigadoon!
Michael Arden - The Lost Boys	Michael Arden - The Lost Boys
Tye Blue - Titanique	Tye Blue - Titanique
Best Choreography	Best Choreography
Omari Wiles & Arturo Lyons - Cats: The Jellicle Ball	Omari Wiles & Arturo Lyons - Cats: The Jellicle Ball
Lorin Latarro - Chess	Lorin Latarro - Chess
Christopher Gattelli - Schmigadoon!	Christopher Gattelli - Schmigadoon!
Lauren Yalango-Grant and Christopher Cree Grant - The Lost Boys	Lauren Yalango-Grant and Christopher Cree Grant - The Lost Boys
Ellenore Scott - Titanique	Ellenore Scott - Titanique
Best Performance by an Actor in a Leading Role in a Musical	Best Performance by an Actor in a Leading Role in a Musical
LJ Benet - The Lost Boys	LJ Benet - The Lost Boys
Nicholas Christopher - Chess	Nicholas Christopher - Chess
Joshua Henry - Ragtime	Joshua Henry - Ragtime
Sam Tutty - Two Strangers	Sam Tutty - Two Strangers
Brandon Uranowitz - Ragtime	Brandon Uranowitz - Ragtime
Best Performance by an Actress in a Leading Role in a Musical	Best Performance by an Actress in a Leading Role in a Musical
Sara Chase - Schmigadoon!	Sara Chase - Schmigadoon!
Caissie Levy - Ragtime	Caissie Levy - Ragtime
Lea Michele - Chess	Lea Michele - Chess
Marla Mindelle - Titanique	Marla Mindelle - Titanique
Christiani Pitts - Two Strangers	Christiani Pitts - Two Strangers
Best Performance by an Actor in a Featured Role in a Musical	Best Performance by an Actor in a Featured Role in a Musical
Ali Louis Bourzgui - The Lost Boys	Ali Louis Bourzgui - The Lost Boys
Max Clayton - Schmigadoon!	Andre deShields - Cats: The Jellicle Ball
Sydney James Harcourt - Cats: The Jellicle Ball	Sydney James Harcourt - Cats: The Jellicle Ball
Benjamin Pajak - The Lost Boys	Benjamin Pajak - The Lost Boys
Layton Williams - Titanique	Jim Parsons - Titanique
Best Performance by an Actress in a Featured Role in a Musical	Best Performance by an Actress in a Featured Role in a Musical
Melissa Barrera - Titanique	Shoshana Bean - The Lost Boys
Shoshana Bean - The Lost Boys	Hannah Cruz - Chess
Ana Gasteyer - Schmigadoon!	Nichelle Lewis - Ragtime
McKenzie Kurtz - Schmigadoon!	Isabelle McCalla - Schmigadoon!
"Tempress" Chastity Moore - Cats: The Jellicle Ball	"Tempress" Chastity Moore - Cats: The Jellicle Ball
Best Scenic Design of a Musical	Best Scenic Design of a Musical
Rachel Hauck - Cats: The Jellicle Ball	Rachel Hauck - Cats: The Jellicle Ball
Scott Pask - Schmigadoon!	Scott Pask - Schmigadoon!
Dane Laffery - The Lost Boys	Dane Laffery - The Lost Boys
Gabriel Hanier Evansohn, Grace Laubacher, Iron Bloom - Titanique	Dane Laffery - The Queen of Versailles
Soutra Gilmour - Two Strangers	Soutra Gilmour - Two Strangers
Best Costume Design of a Musical	Best Costume Design of a Musical
Qween Jean - Cats: The Jellicle Ball	Qween Jean - Cats: The Jellicle Ball
Linda Cho - Ragtime	Linda Cho - Ragtime
Linda Cho - Schmigadoon!	Linda Cho - Schmigadoon!
Ryan Park - The Lost Boys	Ryan Park - The Lost Boys
David I. Reynoso - The Rocky Horror Show	Alejo Vietti - Titanique
Best Lighting Design of a Musical	Best Lighting Design of a Musical
Adam Honoré - Cats: The Jellicle Ball	Adam Honoré - Cats: The Jellicle Ball
Kevin Adams - Chess	Kevin Adams - Chess
Jen Schriever & Michael Arden - The Lost Boys	Donald Holder - Schmigadoon!
Jane Cox - The Rocky Horror Show	Jen Schriever & Michael Arden - The Lost Boys
Paige Seber - Titanique	Paige Seber - Titanique
Best Sound Design of a Musical	Best Sound Design of a Musical
Kai Harada - Cats: The Jellicle Ball	Kai Harada - Cats: The Jellicle Ball
John Shivers - Chess	Kai Harada - Ragtime
Adam Fisher - The Lost Boys	Walter Trarbach - Schmigadoon!
Lawrence Schober - Titanique	Adam Fisher - The Lost Boys
Tony Gayle - Two Strangers	Tony Gayle - Two Strangers

* - If the Tony committee opts not to nominate a 4th musical revival, The Rocky Horror Show would be our 4th choice, leaving the other three,

Jeff's Nomination Totals: 74% matched the actual nominations!

The Lost Boys - 14

Schmigadoon! - 12

Cats: The Jellicle Ball - 10

Titanique - 10

Two Strangers (Carry a Cake Across New York) - 7

Chess - 7

Ragtime - 6

The Rocky Horror Show - 2

The Queen of Versailles - 1

Beaches - 0

Mike's Nomination Totals: 77% matched the actual nominations!

The Lost Boys - 14

Schmigadoon! - 12

Cats: The Jellicle Ball - 11

Titanique - 8

Ragtime - 8

Two Strangers (Carry a Cake Across New York) - 7

Chess - 7

The Queen of Versailles - 2

The Rocky Horror Show - 0

Beaches - 0