"Re-Awarding the Tonys" : 2017
With the “quasi-Tonys” coming later on this fall, I thought it would be a good time to start a new series of columns where we take a look back at some past ceremonies and rethink how the awards were handed out.
Just a disclaimer before we dive in. I’m skipping the 2018 awards because when looking through it, I couldn’t find any category that I felt should’ve gone to someone else. The closest I could find would have been Ethan Slater for ‘Spongebob’ but that would be a stretch. So I’m moving right on to 2018.
2018
The 2018 Tony Awards are going to be remembered as an awkward, problematic performance. The ceremony’s host was months away from being exposed relating to sexual crimes that would accelerate the #metoo movement. Only one BIPOC walked away with an award and the Best Musical that year hasn’t aged well in the past three years. So in hindsight, there were some issues with the ceremony.
But here are the categories I felt should’ve been awarded to someone else.
Best Performance by a Leading Actress in a Musical
Who won: Bette Midler – Hello, Dolly!
Should have won: Denée Benton – Natasha, Pierre & The Great Comet of 1812
2018 was actually a great year for leading women on Broadway. In addition to these two shows, you had War Paint, Anastasia, Miss Saigon, Amélie, and Bandstand, all of which centered on leading female characters. The only problem was hardly any of them were Tony-award worthy shows. Bandstand and Amélie were duds and while Christy Altamore carried Anastasia on her back, the show’s overall quality prevented her from cracking the top five. How Mary Beth Peil was nominated in a mystery I’ll never solve.
There wasn’t a shot that Midler was going to be upset that night. And in many cases, she deserved it. It was a must-see, superstar performance. But just as Eva Noblezada did in Miss Saigon, Midler didn’t do much else than playing an iconic theatre role really well.
If the award truly should go to the best performance, meaning that the performer displayed incredible range, nuance, and unwavering power, then Denée Benton should be a Tony winner right now.
Best Performance by a Featured Actor in a Musical
Who won: Gavin Creel – Hello, Dolly!
Should have won: Lucas Steele – Natasha, Pierre & The Great Comet of 1812 or Brandon Uranowitz – Falsettos
I love me some Gavin Creel and he was excellent in Hello Dolly! But as I sat in the Tonys press room that night, I couldn’t wrap my head around him beating out Steele and Uranowitz for the award. The same with Midler, Creel did a great job portraying an iconic role but Steele was incredible in Natasha, Pierre. The same could be said for Uranowitz who came out of nowhere for me because I had Rannells pegged for this award before Falsettos even opened. I would have been happy if either Steel or Uranowitz won that night.
I also don’t understand the Mike Faist nomination, probably due to Dear Evan Hansen’s Tony popularity. I would have bumped him out for Nick Cordero in A Bronx Tale who really deserved a nomination for that performance.
Best Play
What won: Oslo
Should have won: Indecent
Oslo is great. But Indecent was magnificent. How it didn’t win, especially considering Rebecca Taichman won Best Director, I’ll never understand.
Best Revival of a Musical
What won: Hello Dolly!
Should have won: Falsettos
For me, this comes down to the question of what truly makes a great revival. Is it an excellent carbon copy of what’s been done before? (Hello Dolly!) or is it a somewhat new spin on an old piece, therefore, giving it some new dimensions not seen before? (Falsettos). I tend to go with the latter. Also, the fact that the Willian Finn masterpiece was screwed over the first time it was nominated in 1992(Crazy for You, give me a break), its incredible revival deserved recognition.
Best Musical
What won: Dear Evan Hansen
Should have won: Come From Away
In 1972, Two Gentlemen of Verona beat out Follies. In 2006, Jersey Boys won over The Color Purple. And in 1991, The Will Rodgers Follies walked out as Best Musical over the likes of Miss Saigon, Once on this Island, and The Secret Garden.
I don’t think it’s too presumptuous to think that years from now, theatre people will be wondering how Dear Evan Hansen beat out Come from Away and to a larger extent, Natasha, Pierre.. both of which are vastly superior musicals.
DEH does a great job playing on emotions, but I think both Come From Away and Natasha, Pierre check off more boxes of what should be considered “Best Musical”.