"Where's My Tony?" : But Seriously, It’s Time to Recognize the Press

by Chris Peterson, OnStage Blog Founder

If we’re being honest, I should probably have a Tony Award by now.

I mean, come on. For the past decade, I’ve run OnStage Blog, covering everything from regional theatre triumphs to Broadway scandals to high school productions of Hamilton gone very, very wrong. I’ve written about nepotism in casting, shady licensing practices, and whether or not we need content warnings in our programs. That’s Tony-worthy stuff, right?

Okay, okay—I’m kidding. But the point stands: if theatre journalism is such an essential part of this industry—and it is—then why are theatre journalists completely ignored when it comes to Broadway’s biggest night?

Each year, the Tony Awards include a handful of Special Awards. These are reserved for individuals or organizations that may not qualify under the usual categories but still deserve recognition for their impact on the American theatre. We’ve seen awards given to educators, regional theatres, accessibility pioneers, agents and even photographers. All incredibly deserving.

But somehow, no theatre journalist has ever received a Tony. Not one.

That’s a huge oversight, because this industry wouldn’t function—let alone evolve—without the people who document, analyze, and interrogate it. And not just any people—responsible people. Theatre journalism, at its best, isn’t about clickbait, rumor mills, or snarky hot takes. It’s about context. It’s about care. It’s about holding the industry accountable without trying to burn it down. It’s about asking hard questions and still rooting for the art form to thrive.

Michael Paulson of The New York Times embodies that responsibility. He covers theatre with the same depth and nuance the paper gives to Congress. His pandemic-era reporting on shutdowns, reopenings, and labor issues was essential, not just for insiders, but for audiences trying to understand what was happening behind the velvet curtain. He reports with a clear-eyed understanding of what’s at stake—and he never forgets the humans behind the headlines.

Then there’s Diep Tran, whose work has long championed inclusion, equity, and truth-telling in an industry that doesn't always make those values easy to uphold. Whether she’s writing for American Theatre, orThe Stage, her voice is smart, empathetic, and fearless. She knows how to ask the right questions—and who’s been left out of the conversation. And now, as Editor in Chief of Playbill, she’s actively reshaping one of theatre’s most iconic platforms. Under her leadership, Playbill isn’t just a souvenir anymore—it’s a vital space for critical discourse and cultural reflection. Tran is setting a new bar for what responsible, forward-looking arts journalism can be.

And Caitlin Huston? She’s the industry’s financial truth-teller. Her work—at The Broadway Journal, The Hollywood Reporter, and beyond—cuts through the fluff and gets to the numbers. She’s not here for gossip; she’s here for clarity. When a show shutters unexpectedly or a merger shifts Broadway’s power dynamics, she’s the one explaining what it means, why it matters, and what comes next. Her work is precise, fair, and essential for anyone trying to understand the business of show business.

These journalists aren’t just covering theatre—they’re protecting it. They’re chronicling its triumphs, yes, but also its failures, contradictions, and blind spots. And they do so with integrity. With research. With respect. And with a sense of responsibility that is, frankly, too rare in today’s media landscape.

There are more, of course. Writers like Brittani Samuel, Elisabeth Vincentelli, Ruthie Fierberg —they’re all raising the bar and widening the lens. Some are backed by big institutions. Others are flying solo. But all of them are part of a growing chorus of voices asking theatre to be better while still loving it fiercely.

The Tony Awards have rightfully honored teachers, nonprofit leaders, and even…politicians. Surely there’s room for a journalist or two—especially when their work shapes how history will remember this moment in theatre. Because if we truly care about this art form, we should care about the people who chronicle it, challenge it, and champion it with care and credibility.

So here’s my proposal: Give theatre journalists a Special Tony. Not just a mention. Not just a tweet. An actual award. Because documenting this industry responsibly is a form of artistry—and advocacy—all its own.