The 2025 Tony Awards: If We Were Nominators

The 2025 Tony Awards: 

If We Were Nominators

This year, Mike and I still have several Tony-eligible shows to see before the nominations are announced tomorrow. So, instead of our typical list of informed predictions, we are going to talk about each show we have seen so far, and name those people, elements and productions we hope the committee honors. The plays and musicals we saw this season (as of April 30, 2024) are: Dead Outlaw, Death Becomes Her, Floyd Collins, Gypsy, Maybe Happy Ending, Oh, Mary!, Once Upon a Mattress, Our Town, Redwood, Romeo + Juliet, Stephen Sondheim's Old Friends, Sunset Boulevard and Swept Away. (We will be seeing Buena Vista Social Club, Real Women Have Curves and Operation Mincemeat in the weeks leading up to the Tony Awards on June 8th.)

Regardless of who gets nominated or who doesn't, we congratulate and thank everyone involved in this exceptional Broadway season. 

Best Musical

Best Book of a Musical: Itamar Moses

Best Score Written for the Theater: Music and Lyrics by David Yazbek and Erik Della Penna

Best Orchestrations: Erik Della Penna, Dean Sharenow and David Yazbek

Best Direction of a Musical: David Cromer

Best Lighting Design of a Musical: Heather Gilbert

Best Performance by an Actor in a Leading Role in a Musical: Andrew Durand

Best Performance by an Actor in a Featured Role in a Musical: Jeb Brown

Best Performance by an Actor in a Featured Role in a Musical: Thom Sesma

Best Performance by an Actress in a Featured Role in a Musical: Julia Knitel

Best Musical

Best Book of a Musical: Marco Pennette

Best Score Written for the Theater: Music and Lyrics by Julia Mattison and Noel Carey

Best Orchestrations: Doug Besterman

Best Direction of a Musical: Christopher Gattelli

Best Choreography: Christopher Gattelli

Best Scenic Design of a Musical: Derek McLane

Best Costume Design of a Musical: Paul Tazewell

Best Lighting Design of a Musical: Justin Townsend

Best Sound Design of a Musical: Peter Hylenski

Best Performance by an Actress in a Leading Role in a Musical: Megan Hilty

Best Performance by an Actress in a Leading Role in a Musical: Jennifer Simard

Best Revival of a Musical

Best Orchestrations: Bruce Coughlin

Best Direction of a Musical: Tina Landau

Best Lighting Design of a Musical: Scott Zielinsky and Ruey Horng Sun

Best Sound Design of a Musical: Dan Moses Schreier

Best Performance by an Actor in a Leading Role in a Musical: Jeremy Jordan

Best Performance by an Actor in a Featured Role in a Musical: Jason Gotay

Best Performance by an Actor in a Featured Role in a Musical: Taylor Trensch

Best Performance by an Actress in a Featured Role in a Musical: Lizzie McAlpine

Best Revival of a Musical

Best Direction of a Musical: George C. Wolfe

Best Performance by an Actress in a Leading Role in a Musical: Audra McDonald

Best Performance by an Actor in a Featured Role in a Musical: Danny Burstein

Best Performance by an Actress in a Featured Role in a Musical: Joy Woods

Best Performance by an Actress in a Featured Role in a Musical: Jordan Tyson

Best Musical

Best Book of a Musical: Will Aronson and Hue Park

Best Score Written for the Theater: Music: Will Aronson; Music by Will Aronson and Hue Park

Best Orchestrations: Will Aronson

Best Direction of a Musical: Michael Arden

Best Scenic Design of a Musical: Dane Laffrey and George Reeve

Best Lighting Design of a Musical: Ben Stanton

Best Sound Design of a Musical: Peter Hylenski

Best Performance by an Actress in a Leading Role in a Musical: Helen J. Shen

Best Performance by an Actor in a Leading Role in a Musical: Darren Criss

Best Play

Best Performance by an Actor in a Leading Role in a Play: Cole Escola

Best Performance by an Actor in a Featured Role in a Play: Conrad Ricamora

Best Performance by an Actress in a Featured Role in a Play: Bianca Leigh

Best Revival of a Musical

Best Performance by an Actress in a Leading Role in a Musical: Sutton Foster

Best Performance by an Actor in a Featured Role in a Musical: Michael Urie

Best Performance by an Actor in a Featured Role in a Play: Ephraim Sykes

Best Performance by an Actress in a Leading Role in a Musical: Idina Menzel

Best Scenic Design of a Musical: Jason Ardizzone-West and Hana S. Kim

Best Lighting Design of a Musical: Scott Zielinski 

Best Sound Design of a Musical: Jonathan Deans

Best Revival of a Play

Best Performance by an Actor in a Leading Role in a Play: Kit Connor

Best Performance by an Actress in a Leading Role in a Play: Rachel Zegler

Best Performance by an Actor in a Featured Role in a Play: Tommy Dorfman

Best Performance by an Actress in a Featured Role in a Musical: Lea Salonga

Best Revival of a Musical

Best Orchestrations: David Cullen and Andrew Lloyd Webber

Best Direction of a Musical: Jamie Lloyd

Best Choreography: Fabian Aloise

Best Scenic Design of a Musical: Soutra Gilmour, Nathan Amzi and Joe Ransom

Best Lighting Design of a Musical: Jack Knowles

Best Sound Design of a Musical: Adam Fisher

Best Performance by an Actress in a Leading Role in a Musical: Nicole Scherzinger

Best Performance by an Actor in a Leading Role in a Musical: Tom Francis

Best Performance by an Actor in a Featured Role in a Musical: David Thaxton

Best Actor in a Leading Role in a Musical: John Gallagher, Jr.

Best Direction of a Musical: Michael Mayer

Best Scenic Design of a Musical: Rachel Hauck

Best Lighting Design of a Musical: Kevin Adams

Best Sound Design of a Musical: John Shivers

Review: Floyd Collins

Review of the Saturday, April 26, 2025 matinee performance at the Vivian Beaumont Theater at Lincoln Center in New York City. Starring Jeremy Jordan, with Jason Gotay, Sean Allan Krill, Kevin Bernard, Lizzie McAlpine, Wade McCollum, Jessica Molaskey, Taylor Trensch, Cole Vaughan and Clyde Voce. Book by Tina Landau. Music and Lyrics by Adam Guettel. Additional lyrics by Tina Landau. Orchestrations by Bruce Coughlin. Sets by dots. Projections by Ruey Horng Sun. Costumes by Anita Yavich. Lighting by Scott Zielinski. Sound by Dan Moses Schreier. Musical direction by Ted Sperling. Dance sequences by Jon Rua. Direction by Tina Landau. 2 hours 35 minutes including one intermission.

It was with the off-Broadway cast recording of Floyd Collins that I found out (contrary to popular belief) you can, in fact, wear out a compact disc. That is how much I adore Adam Guettel's complex and sonically brilliant score. And, as rendered in Lincoln Center's equally brilliant revival, the score is as ravishing as ever as played (under musical director Ted Sperling's storied baton) and sung. This show has been on my radar for the entirety of the three decades since its premiere. More often than not, when I build up a show in my mind like this one, I'm ultimately disappointed. Happily, that is not the case here; it exceeded my every expectation. 

Though Guettel and Tina Landau's score and book has had some tweaking done to it, the show is largely intact from its last major New York production. If I have any quibble whatsoever about this revival, it's that some of the repetitive events could stand some condensing. But, overall that's a minor quibble, and I'd be loathe to pick out any specific things I would trim. Landau's direction is tight, and surprisingly varied considering the length and number of times the story visits a confined Floyd Collins. It is also striking that the varied points of view surrounding this tragic moment in history are given pretty equal time to breathe and evolve. The result is a story that honors the complexities of humanity - there are imperfect and ever-changing heroes and villains here.

Short of a claustrophobic black box theater, where we might feel as if we were trapped in a cave with Floyd, I can't think of a better space for this show than with the mostly bare, dark stage at the cavernous Vivian Beaumont. Rather than go with the literal, the design team uses that space to create scale - no matter your vantage point, Collins looks small against a world so large against him. That's not to say that dots. scenic design is lacking. Large and small set pieces emerge from the ceiling and the floor as needed, and again hint at the scale of things. In combination with Scott Zielinski's focused, moody lighting, Ruey Horng Sun's stage-spanning projections, and Dan Moses Schreier's vivid and atmospheric sound design (the echoing and landslide effects are especially well-rendered) the entire physical production is both expansive and intimate. Anita Yavich's costumes wordlessly add to the sense of time, social standing and characters and a great deal to the production's overall aesthetic.

With a company of actors this outstanding, it is not surprising just how beautifully performed this piece really is. From top to bottom, they are all aces at the top of their game, including understudy Frank Bernard, on for Marc Kudisch, as the father of Floyd Collins, a role that requires a wide range of emotion as the man clings to anything that will abate his desperation and pain. His is an accomplished performance. The story demands a relatively large group of supporting characters, each given a moments to shine, and all evolve in fully fleshed out performances. Among them are Cole Vaughn as Jewell, a quirky young local, and Wade McCollum as Bee and Clyde Voce as Ed, all three friends of the Collins family. The trio is frequently called upon to provide the local point of view on the situation as well as "insider" tidbits between the various factions at play. Jessica Molaskey makes a welcome return to the Broadway stage as Miss Jane, a widow herself, who serves as a friend, confidante and pillar of strength for the family in place of the deceased Mrs. Collins. As one might expect after years of brilliant turns by Sean Allan Krill, he does marvelous work here as the big company man who comes into save the day with massive resources at his disposal. It is particularly interesting to watch and feel a roller coaster of emotions about this character as Krill navigates a minefield of contradictions and problems; he's at times a savior, a tough decision-maker, an ego maniac, a sincere man desperate to help, and a power-hungry tyrant who seems to want his role in this event to parlay into big personal gains.

After decades of theater-going, I can honestly say that three things bring me some of the greatest joy: discovering new talent, watching that new talent blossom into new heights of accomplishment, and seeing someone I've long admired reach a career pinnacle. Floyd Collins has afforded me all three of these pleasures. Forget that she's most famous as a You Tube personality, Lizzie McAlpine is the real deal, giving a polished, endearing performance as Floyd's sister Nellie. She has a stunning, clear voice and a presence to match; she's so captivating, it is hard to keep your eyes off of her. This, I hope, will be just the first in a long line of stage triumphs for her. 

Then there's Taylor Trensch and Jason Gotay, who were both (a few years ago) where Ms. McAlpine is today. Both of these young men are giving the best performances of their careers to date. Trensch is simply brilliant as the young reporter who inadvertently causes the media circus surrounding this disaster. It is, as they say in the show, "remarkable" to watch him begin as a spunky go-getter reporter and then see him horrified at what his actions caused. He is particularly poignant in those moments where he takes it up on himself to try to right his wrongs and befriend Floyd in the process. Gotay is really a revelation here as Homer, Floyd's devoted brother. He is heroic at every turn - you'd want him on your side in a crisis - and watching this youthful actor convey the inner turmoil of this young man, who begins to feel the pull of fame and fortune and all of the pitfalls and betrayals that might encompass, is truly gratifying. Both of them confirm my long ago impressions of them: they are going places!

Finally, after years of watching Jeremy Jordan grow in a variety of leading roles on Broadway, he has hit the first of many peaks in what I believe will be a storied career. He is utterly captivating in this mammoth title role - equally amazing in the physical and emotional demands of the role. That he can sing was never a doubt, but here, his voice is really a triumph. He opens the show with a magnificent performance of "The Call," a number that requires both pyrotechnic vocals (those yodels gave me chills) and extraordinary physicality. In a word: amazing. I dare say his performance of the show's most famous song, "How Glory Goes," is definitive, and ends the show on a thrilling if tragic note. Bravo, Mr. Jordan, bravo.

And really, bravo to all involved. This challenging piece has finally - I hope - come into its rightful place in the pantheon of great modern American musicals. This is not to be missed.

 

📸: J. Marcus

Review: Dead Outlaw

Review of the Friday, April 25, 2025 preview performance at the Longacre Theatre in New York City. Starring Andrew Durand, with Jeb Brown, Eddie Cooper, Dashiell Eaves, Julia Knitel, Ken Marks, Trent Saunders and Thom Sesma. Book by Itamar Moses. Music and lyrics, orchestrations and arrangements by David Yazbek and Erik Della Penna. Conceived by David Yazbek. Scenic design by Arnulfo Maldonado. Costume design by Sarah Laux. Lighting design by Heather Gilbert. Sound design by Kai Harada. Choreography by Ani Taj. Direction by David Cromer. 1 hour and 40 minutes with no intermission.

My first inclination was to get to my laptop and start writing my review immediately after seeing Dead Outlaw last night. It would not have been favorable. Instead, I gave myself time to think about what I saw and talk about it with Mike. I'm still a mix of emotions and thoughts, but at the very least I can say there must be something to it as I have thought of little else since departing the Longacre Theatre.

A messy parable about a messy person, the show's format is both maddening and intriguing. On the surface of it, we are narrated through what feels like a Wikipedia reading of Elmer McCurdy's life. But Itamar Moses' book presents it in such a way, back and forth in time and with glib, almost mocking commentary, that it is nonetheless mostly compelling. The real meat of the piece is in David Yazbek and Erik Della Penna's score, a crazy mix of country-ish tunes suitable for maybe a honky-tonk ba with blistering guitar licks, and more traditional theater-ish songs. It comes across at first listen as a mishmash of styles, often jarring in its tonal switches, but taken as a whole, the book and score is simply American. After all, America is a mishmash of messy people, ideas and sounds - perhaps even more so today than at any other time in our brief history. And what better emblem of that whole idea than a man who had dreams and neither the circumstance nor ability to achieve them? How perfect it is that he was more famous for being dead than alive, and made so through capitalism, opportunism, greed and grift. 

This season has been full of small, wonderfully cohesive casts, and the company of Dead Outlaw would certainly be a contender for a much-needed Best Ensemble Tony Award. Each of the eight cast members are amazingly on the same page as they navigate the potential minefield of the quirky story, and save for one, they all play multiple characters. Dashiell Eaves plays a variety of hapless men, and provides a fun running gag with a satisfying conclusion. Similarly, Ken Marks makes a meal out of several empathetic characters, including a pivotal turn as the one man who gives Elmer a shot at a future. Then there's Trent Saunders, such a presence that even when he's in the background, he makes an impression (not a bad thing in this case), and though he's saddled with what could be a throw away number (a tertiary character with a the slimmest of connections to Elmer) he even makes that a stand-out moment later in the performance. Likewise, the ever reliable Eddie Cooper is spot-on as the coroner turned businessman, and even as a train conductor.

In all of the girl/lady (and occasionally male) roles, Julia Knitel displays a wide range of ages and personalities, each with such distinction, you might wonder if she wasn't the only female in the acting troupe. I suspect she will have a long career on the stage and screen ahead of her - she gives off serious Carrie Coon vibes. And one of my favorite character actors, Thom Sesma, brings his special brand of comedic chops and eerie presence to several roles, most notably as the modern day coroner, who brings the house down with a hilarious and quite biting 11 o'clock number, "Crimson Thread."

The two lead roles here are perfectly rendered by Jeb Brown and Andrew Durand. Brown is the band leader (he plays a mean guitar with such fervor, he broke a string or two when we saw it), narrator and at one point an outlaw gang leader. He really does it all with such passion that he adds considerable heft to what could easily be a very slight show. I hope he is recognized come nomination day. Then there's Durand, whose one role really requires three characterizations, each rendered so fully, he comes across as more chameleon than actor. There's hapless, pitiable Elmer, bland as plain oatmeal - a real Mr. Cellophane - who can't seem to do anything right; there's angry, bitter and ultimately self-destructive Elmer, who is almost justifiable in his actions (he does some really awful things, but a few times the audience reacts with "awww" in sympathy). But it's his third Elmer that has gotten the most press: Elmer the touring mummy, who stands lifeless in a coffin display for about a third of the show's running time. What is remarkable about that is not only his ability to remain completely still, but that Durand always seems fully present. He continues to be one of my favorite young Broadway actors.

It would be downright disrespectful not to mention the onstage band, who are a character in the show all by themselves. They all play multiple instruments and provide occasional backup vocals. Bravo to them all.

Design-wise, we have an equally quirky production, from Arnulfo Maldonado's piecemeal set that provides a number of surprises, to Heather Gilbert's appropriately murky lighting, to Sarah Laux's time period adjacent costumes. Surprisingly, the usually superlative Kai Harada was a bit off his game with sound, as the big band numbers were way off balance, with the music being uncomfortably close to ear-splitting, and the lyrics largely unintelligible.

Holding all of this together is the spare choreography of Ani Taj and the incredibly tight direction of David Cromer. He is a master of minimalism and razor sharp character study. Winningly, he never lets the crazy tone and time shifts get away from the piece, making it all feel rather organic and sensical no matter how nuts the premise gets.

So, I can't say that this was my favorite show of the season, and I can't quite understand why it has received such universal praise. But I appreciate the effort and the outcome. And when a show sticks with you like this one has with me, that's a definite win. I think Elmer would be pleased.

📸: M. Murphy

Broadway Games: 2024 - 2025 Broadway Musical Logos

It's been a BIG season for musicals this season - 14 new musicals and 6 musical revivals to be exact. Some have come and gone; still others are just now arriving. And now, logo lovers, it is your time to shine!

Broadway Games:

2024 - 2025 Broadway Musical Logos

Can you identify each musical that opened this season from the piece of their logo below? Good luck!

1.  2.   3. 

 

4.  5. 

6.  7.  8. 

9.  10. 

11.  12.  13.  

14.  15. 

16.  17.  18. 

19.  20. 

2024 - 2025 Broadway Musical Logos: Dead Outlaw

We end this season of show art with the logo for the last show to open: Dead Outlaw. An acclaimed off-Broadway transfer, this musical tells the true story of a man who was more famous after he was dead than he ever was when he was alive. Will the advertising imagery keep this alive on Broadway? We think so.

2024 - 2025 Broadway Musical Logos:

Dead Outlaw

Truth be told, this is one of my favorites of the past couple of seasons. It is sharp, eye-catching and will look great on the Playbill, the marquee and on merch. Will a t-shirt be in my future? The color scheme is a study in contrast, perfect against a sinister(ish) deep purple background. The yellow-orange of the title stands out and works well with the roguish red bandanna image. Immediately, we know this is a masked bandit situation.

The font looks like it might be on an old wanted poster, or maybe wooden slats... maybe a wooden casket... apropos for this particular story of a man paraded around the country in one.

Then there's the bandanna, another natural fit for this guy, who was killed in an attempted robbery. But a closer look at it reveals some fun details. The bright red is textured like real cloth and even has edge "stitching." Like any classic bandanna, it is a repetitive pattern in white. It practically tells the story! Down the center, we have a guitar (it is a musical, after all), a sheriff's star (outlaws always have the sheriff after them), and a bag of money (there's a robbery!). Around the edge are railroad tracks, perfect for the two trains at the top (it's a train robbery!). The major pattern is all about the subject of the tale, Elmer McCurdy. The cowboy hats and guns fit our Wild West guy, and I'll bet both a woman (the flower) and alcohol figure prominently in the show, too. Of course, you only keep those bottles upside down when they are empty; the broken hearts on the labels hint that the booze broke some hearts.

Even if I'm completely reading all of that wrong, it is compelling enough to make we want to see how it all plays out. If the show is even half as good as the show art is, I'll bet it is as amazing as everyone says it is. 

Grade: A+