Best Play
“All the Way”

Best Musical
“A Gentleman’s Guide to Love & Murder”

Best Revival of a Musical
“Hedwig and the Angry Inch”

Best Revival of a Play
“A Raisin in the Sun”

Best Performance by an Actor in a Leading Role in a Musical
Neil Patrick Harris, “Hedwig and the Angry Inch”

Best Performance by an Actress in a Leading Role in a Musical
Jessie Mueller, “Beautiful — The Carole King Musical”

Best Performance by an Actor in a Leading Role in a Play
Bryan Cranston, “All the Way”

Best Performance by an Actress in a Leading Role in a Play
Audra McDonald, “Lady Day at Emerson’s Bar & Grill”

Best Book of a Musical
“A Gentleman’s Guide to Love & Murder”

Best Direction of a Play
Kenny Leon, “A Raisin in the Sun”

Best Direction of a Musical
Darko Tresnjak, “A Gentleman’s Guide to Love & Murder”

Best Performance by an Actor in a Leading Role in a Musical
Neil Patrick Harris, “Hedwig and the Angry Inch”

Best Performance by an Actor in a Featured Role in a Play
Mark Rylance, “Twelfth Night”

Best Performance by an Actress in a Featured Role in a Play
Sophie Okonedo, “A Raisin in the Sun”

Best Performance by an Actor in a Featured Role in a Musical
James Monroe Iglehart, “Aladdin”

Best Performance by an Actress in a Featured Role in a Musical
Lena Hall, “Hedwig and the Angry Inch”

Best Original Score (Music and/or Lyrics) Written for the Theatre
“The Bridges of Madison County”

Best Scenic Design of a Play
Beowulf Boritt, “Act One”

Best Scenic Design of a Musical
Christopher Barreca, “Rocky”

Best Costume Design of a Play
Jenny Tiramani, “Twelfth Night”

Best Costume Design of a Musical
Linda Cho, “A Gentleman’s Guide to Love & Murder”

Best Costume Design of a Musical
Linda Cho, “A Gentleman’s Guide to Love & Murder”

Best Sound Design of a Play
Steve Canyon Kennedy, “Lady Day at Emerson’s Bar & Grill”

Best Sound Design of a Musical
Brian Ronan, “Beautiful — The Carole King Musical”

Best Lighting Design of a Play
Natasha Katz, “The Glass Menagerie”

Best Choreography
Warren Carlyle, “After Midnight”

Best Orchestrations
Jason Robert Brown, “The Bridges of Madison County”

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  • Estelle Parsons didn’t win. She was a lock for me. Happy for Harris and Cranston. Waiting for Idina. Adele must win. 🙂

  • Why does Hugh Jackman have a beard this time? It looks really stupid. All these people who show up at events with stupid facial hair because it’s “for a role” need to be stopped. It’s time to go back to stick-on beards.

  • I’m not a bearded guys lover. I really prefer a baby face look. 🙂

  • SallyinChicago

    Does Hugh Jackman take B12 shots before a live show? 🙂 Why was he hopping through the hallways?
    And poor Clint. I think Frankie Valle would have been a better and more lucent presenter….or maybe Clint just doesn’t know how to speak in front of people?:)

    Notice that they closed the show with Jennifer Hudson singing a song from a Harvey Weinstein musical that’s not even on Broadway? That’s power baby.

    Fast moving show….why can’t the oscars be that way?

  • I hate that Hugh Jackman is allowed to prance around and sing badly for 3 hours and Patrick Wilson walks across the stage and reads a few phrases off a teleprompter. This is why the universe is fucked up.

    In case you’ve ever wondered why I diss Jackman all the time. That’s all of it. He’s got enough money. He should get out of the way for people with actual talent.

  • Jamie

    It’s a fast moving show because they don’t have as many categories as the Oscars.

    Hugh Jackman was fine and so was his beard. Maybe you should have avoided the show since you obviously have some strange, intense hatred for him. You had to have known he was hosting, so my guess is that you tuned in to be upset with him because that’s what you wanted…to be upset.

    Anyway. Happy for Audra, Bryan and Mark, though I would have preferred Jefferson over NPH and Kelli or Indina over that lady from the Carole King musical.

  • SeattleMoviegoer

    big congrats to Audra McDonald for making history. one of the sad, sad things about the movie world is that the film honchos have absolutely no idea what to do with truly phenomenal, multi-talented people like McDonald, Sutton Foster, Brian Stokes Mitchell, etc. etc. etc.–unless they can fit their talents to a comic book franchise. they don’t even put them in movie musicals–they give them to Meryl and Russell Crowe…

  • Koleś

    Bryan Cranston – now that’s a man I can actually picture scoring the EGOT. Half way there with a Dalton Trumbo biopic in the pipeline. Who knows, he just might make it. All he has to do is to figure out how to win a Grammy, but just looking at the shitload of categories they have each year, I’m sure Cranston can squeeze in somewhere.

  • SallyinChicago

    I saw Bryan Cranston in Godzilla and he chewed lines in every scene and I felt cringe-y watching him. I never saw him on TV, but after Godzilla, I won’t see him again at the movies.
    The show was entertaining and there were only 2 Brdwy shows I want to see afterwards: Beautiful, and the winning show.
    Did anyone notice the “diversity” of winners and cast? Oh my!

  • Pablo

    I am beyond happy that Audra won Best Actress in a play – feel really privileged that I saw that performance in New York in April.

    I am still devastated that James Franco wasn’t nominated for “Of Mice and Men” but hey, I got his autograph over there so I can die happy! LOL

  • Kane

    Sally…watch Breaking Bad. I will mail you the series! He gives one of the best performances in TV, or film or theater, I’ve ever seen. He was also really great in Malcolm in the Middle. I’m sorry you felt his acting in Godzilla wasn’t great but that, to me, was the best performance in the movie.

  • rufussondheim

    if you went to see Godzilla for the performances, you kinda missed the point.

    The Tony’s are always so entertaining because they don’t take themselves seriously. With the help of TiVo I can watch the Oscars in half the time it takes me to watch the Tonys because there’s so much shit in the Oscars telecast.

    Plus the speeches are always better at the Tonys too. Maybe because people aren’t so caught up with their images.

  • SallyinChicago

    The same producers produce the Oscars — how come one if entertaining and the other is a snoozefest — although, I give Ellen credit for being creatively witty as a host.

  • SFMike

    The Jackman opening was an hommage to an old Bobby Van number:

    which was also referenced by Peter Wolf in 1987

    Personally I think Peter Wolf hops better than Jackman, but that’s probably just me.

  • Kane

    I didn’t go to Godzilla for the performances, but that doesn’t change the fact Cranston gave the best performances out of all the actors.

  • Alan of Montreal

    You see AMPAS? The winningest actor of all time at the Tonys is an African American woman! And she has at least one award for every category for which she’s eligible! Yet all you can manage is one lead award for one African American actress, a handful of nominations, and a handful of supporting statuettes. Get with the program!

  • By all means AMPAS deserves a scolding. But let’s remember that Oscars can only be awarded to movies that exist and performances that have been filmed, so it’s Hollywood and studio execs who deserve a sterner scolding.

  • Kane

    Ryan’s right. If there aren’t as many roles for African Americans then how does that fall on APMAS’s lap? It should be admitted that they have been a lot better at honoring minorities as of recent, and that started back in the early 2000s. If a win isn’t always the end result, a nomination is just as important.

  • SallyinChicago

    This is strange. After all the songs on last night’s show, only one stuck in my head and I can’t get it out: Neverland.

  • John

    Great show overall. Glad I DVRed it; watched a lot of it back.

  • rufussondheim

    The Tonys telecast has become a commercial for Broadway in addition to an awards show, so they try to showcase fun and frivolity.

    The Oscars on the other hand try to showcase how movies have become an integral part of our lives and thus reverence must be shown to the “art” form.

    It’s all hogwash, both awards shows, but at least the Tonys make chuckle.

    The theater community is far more liberal than the Hollywood community, therefore Audra MacDonald gets a ton of opportunities. Hollywood is way too conservative since they have to sell tickets to “the heartland”. If you didn’t see all of the men on men kissing at the Tonys you’d have to looking in the other direction. Heck, it was practically like an orgy in a Turkish Bath! With the Oscars, you might catch just one or two same sex smooches, and even then the camera switches away right quick. You’d never see NPH in drag giving a lap dance to Sting at the Oscars.

  • SallyinChicago

    Hey all, maybe somebody can answer this question(s). I’m in Chicago and just went to see Motown the Musical. I checked the Broadway tickets and they’re the same $$ as the Chicago tickets. how can that be? Then I checked Book of Mormon tickets and they are triple the cost of Motown tickets. How can that be?
    About how much do these equity Broadway players/actors get for performances. I read once that some of the stars get a percentage of the play receipts(like SJP or Denzel).

  • rufussondheim

    Most actors get the standard Actors Equity rate (you can look it up) for Broadway theaters. If you are a big name, you’ll obviously get more, whether that’s part of the receipts is up to your agent and negotiating team.

    Now some plays (Rent is a famous example) that start in workshop, the actors will sign up to be in the play for free in exchange for a percentage of the box office and other income, and that will last for the life of the show. So each of the starting cast in Rent got a small percentage of all 10+ years of the Box Office, plus all travelling shows, and even the movie rights (not sure if that included movie box office) so each of those actors is a millionaire many times over.

    Now, of course, this is a rare occasion, but it’s how a lot of shows can afford to get initially produced and performed. It’s just the vast majority don’t become blockbusters.

    As to why Book of Mormon is so expensive might have to do with its absurd popularity and how difficult it is to get a ticket.

  • SallyinChicago

    Thanks Rufuss.

  • Kelly


    Sally, don’t forget that there are many many many expenses with live theater that don’t keep “recurring” with movies. Also, the run is very different and the audience base much smaller.

    For example, a movie might cost 100M to make. There are lots of people to pay – actors, directors, writers, costumers, editors, camera men… a crap ton of people. But they typically are only paid once. After the movie goes to the theaters (which are all over the world), the producers make back their investment and they keep the profits.

    In the theater, everyone who is involved has to be paid for the entirety of their part of the run. So, performers and stage workers get paid for every performance… which could be many many many times over. And utilities have to be paid, and theaters have to be rented, and constant publicity has to be made (and changed when new casts arrive). Then you also have the issue of your theatre may only hold 700-1000 people per performance. This is generally why the price of the tickets are so high. I would imagine that the cost to see any show in Chicago is going to be about the same as it would in New York for many reasons: (1) the level of the performers is almost always just as good as it is on Broadway because they’re normally in residence there, (2) the per-day costs are likely about the same and (3) the runs of the shows in Chicago tend to be shorter because they don’t have much of a tourism factor to keep shows open. A lot of people will take trips to NYC just to see shows.

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