Category: Creative

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Creative

What are Broadway’s longest-running shows?

Photo by Matthew Murphy.

New shows come to town all the time. But there are those long-standing favorites that feel like they just belong in New York City. In our list, we’ll be including the longest-running Broadway shows of a single production – past and present. And you know what they say: only the best Broadway shows have runs like these.

Photo by Matthew Murphy.

The Phantom of the Opera by Andrew Lloyd Webber and Charles Hart

With an unbelievable 13,981 performances, The Phantom of the Opera easily tops the list. For 36 years it took residence in the Majestic Theater where it ran from January 26 1988 to April 16 2023.

When it first opened, it won seven Tony Awards and seven Drama Desk Awards. It was the first Broadway musical in history to surpass 10,000 performances and has had over 3,500 more performances than the second longest-running Broadway show in history – that’s over eight years of performances! With a record like that, it really is one of the best Broadway shows.

Photo courtesy of Boneau/Bryan-Brown.

Chicago (1996 revival) by John Kander and Fred Ebb

Chicago’s original 1975 production ran for a respectable 936 performances. But it was its second coming, the 1996 revival, that made it a show everyone knows and loves.

Following a showcase in the City Center Encores! series, Barry and Fran Weissler brought an expanded, revised, and jazzed-up production of the Encores! concert to the Richard Rodgers Theater (the same theater the original production was staged). After rave reviews and six Tony Awards, it was an undeniable hit and had to be moved to the larger Shubert Theater in 1997. It stayed there for seven years until it was moved for a second time to the Ambassadors Theater in 2014 where it still runs today.

So far, it’s had over 10,400 performances and is the longest-running revival in Broadway history.

Photo by Joan Marcus.

The Lion King by Elton John and Tim Rice

The groundbreaking stage adaptation of Disney’s animated film of the same name left both children and adults filled with wonder. Featuring giant puppets and unforgettable songs by Elton John and Tim Rice, The Lion King had audiences stampeding to the theater to watch the incredible show.

It originally opened at the New Amsterdam Theater in 1997 before moving to the Minskoff Theater in 2006. Its current performance count stands at over 10,000 which has resulted in over $1 billion in gross sales making it the highest-grossing Broadway production of all time.

Photo by Mark Senior.

Wicked by Stephen Schwartz and Winnie Holzman

Leaving other shows green with envy is Wicked – the original musical based on Gregory Maguire’s 1995 novel of the same name. Focusing on the origin story of the Wicked Witch of the West from The Wizard of Oz, the colorful, whimsical, and crowd-pleasing show reframed our preconceptions of the previously hateful character and gave us another perspective.

The original production opened in 2003 at the Gershwin Theater and starred Kristin Chenoweth and Idina Menzel – making both household names. So far, it’s had over 7,500 performances and with a film adaptation starring Ariana Grande and Cynthia Erivo coming up, we don’t see it going anywhere for a long time.

Cats by Andrew Lloyd Webber

Based on the 1939 poetry collection by T.S. Eliot, Cats is a sung-through musical about a tribe of cats who are trying to decide which among them will be ascended to the Heaviside Layer before coming back to a new life. The surreal show opened in 1982 and was unlike anything seen on Broadway before. It won seven Tony Awards and a Grammy making it a must-see show.

It opened at the Winter Garden Theater on October 7 1982 where it ran until its close on September 10 2000. It was the first Broadway show to reach over 7,000 performances reaching 7,485 performances when it closed.

It looks as though Cats will happily perch at number five on the list for a while as the next show on the list that’s currently open is The Book of Mormon which sits with 4,400 performances which, again, would take approximately eight years to overtake Cats.

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Creative

Most Anticipated Shows Coming This Season

With the 2023-2024 theatrical season underway, Broadway’s Best Shows is sharing some of the most exciting productions heading to the main stem in the coming months! With more shows still to be announced, this is just a first look at some of what Broadway and beyond has to offer theatergoers in the year ahead.

Most Anticipated Musical Revival: Cabaret

From across the pond, where this production of Cabaret has been playing in the West End since 2021, the Kander & Ebb classic will make its fifth Broadway appearance spring 2024. The Rebecca Frecknall-helmed revival will play the August Wilson Theatre with a cast yet to be announced (though some reporting suggests Oscar winner Eddie Redmayne will resume the Emcee role in which he opened the London production).

Most Anticipated Play Revival: Doubt: A Parable

Liev Schreiber and Tyne Daly are set to lead the first Broadway revival of the 2005 Tony-winning Best Play Doubt: A Parable. The John Patrick Shanley play, which was later adapted into a film starring Meryl Streep, Philip Seymour Hoffman, and Viola Davis, will run at Roundabout Theatre Company’s American Airlines Theatre in the new year. The theater is also set to be renamed after late Roundabout Artistic Director Todd Haimes, who passed away in May 2023. 

Most Anticipated New Musical: Harmony & Water for Elephants (TIE)

After successful world premiere productions, two exciting new musicals are headed to Broadway this season, and we couldn’t pick our favorite! 

With music by Barry Manilow and book and lyrics by Bruce Sussman, Harmony will play the Ethel Barrymore Theatre beginning October 18. The cast, under the direction and choreography of Warren Carlyle, is led by Chip Zien and Sierra Boggess reprising their roles from the Off-Broadway run at the National Yiddish Theatre Folksbiene, and Funny Girl standout standby Julie Benko will join the cast.

Though official word has not been given, we have reason to believe that Water For Elephants is destined for a Broadway bow after wowing audiences in its Atlanta premiere at the Alliance Theatre this summer. Directed by Kimberly Akimbo’s Jessica Stone, this musical adaptation of the novelbrings high-flying circus to the stage.

Most Anticipated New Play: Prayer For the French Republic

Manhattan Theatre Club is transferring its Off-Broadway hit from last season, Joshua Harmon’s three-act epic about Jewish identity and resilience during and after the Holocaust, to the Samuel J. Friedman Theatre in early 2024. Directed by David Cromer with a cast yet to be announced, Harmon’s second Broadway at-bat after 2017’s Significant Other may have some exciting surprises in store…

Most Anticipated Comedy: Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

Leslie Odom, Jr. and Kara Young will lead the first-ever Broadway revival of Ossie Davis’ landmark 1961 play Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch. Kenny Leon directs the biting comedy, which will run at the Music Box Theatre beginning September 7, with an opening night set for September 27. The cast also features Billy Eugene Jones, Jay O. Sanders, and Heather Alicia Simms. 

Most Anticipated Off-Broadway Production: Hell’s Kitchen at the Public Theater

Alicia Keys. Shoshana Bean. Michael Greif. Camille A. Brown. This musical and theatrical A-Team is coming together to bring the world premiere of Hell’s Kitchen to New York City this fall. A semi-autobiographical musical about a young “Ali” growing up in midtown Manhattan, it will feature both classics and new songs by pop icon Alicia Keys.

Most Anticipated Special Theatrical Event: Pal Joey at City Center Encores! Annual Gala

Ephraim Sykes, Aisha Jackson, and Elizabeth Stanley lead the cast of a reimagined take on Rodgers and Hart’s Pal Joey. Set to play for just one week in November as part of New York City Center’s annual gala, the production is co-directed by Tony Goldwyn and Savion Glover, with Glover also choreographing. Also set to appear in the production are Brooks Ashmanskas, Loretta Devine, and Jeb Brown.

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Creative

A Tribute to Sheldon Harnick

Sheldon Harnick, lyricist of such Broadway classics as Fiddler on the Roof, She Loves Me, Fiorello!, and more, passed away on June 23, 2023, at the age of 99. Broadway’s Best Shows asked some of the artists who have staged his iconic material on and off Broadway to reflect on his body of work and his artistry.

Sheldon Harnick

Danny Burstein

Danny Burstein as Tevye in the 2015 Broadway revival of Fiddler on the Roof.

The great lyricist, Sheldon Harnick has passed and the world is a sadder place for it. His genius and influence will most assuredly live on forever. 

Sheldon wrote lyrics that were honest, intelligent, witty, profound, heartbreaking, ridiculously funny and always specific for characters. He and Jerry Bock wrote some of the world’s most glorious songs. Here is one of them:

“Will He Like Me” – From the musical, She Loves Me

Will he like me when we meet?
Will the shy and quiet girl he’s going to see
Be the girl that he’s imagined me to be?
Will he like me?

Will he like the girl he sees?
If he doesn’t, will he know enough to know
That there’s more to me than I may always show?
Will he like me?

Will he know that there’s a world of love
Waiting to warm him?
How I’m hoping that his eyes and ears
Won’t misinform him.

Will he like me? Who can say?
How I wish that we could meet another day.
It’s absurd for me to carry on this way.
I’ll try not to.

Will he like me?
He’s just got to.

When I am in my room alone I write
Thoughts come easily, words come fluently then.
That’s how it is when I’m alone, but tonight
There’s no hiding behind my paper and pen.

Will he know that there’s a world of love
Waiting to warm him?
How I’m hoping that his eyes and ears
Won’t misinform him.

Will he like me? I don’t know.
All I know is that I’m tempted not to go.
It’s insanity for me to worry so.
I’ll try not to.

Will he like me?
He’s just got to.
Will he like me?
Will he like me?

When I think of this lyric, I weep. How perfectly it sits in the music. How perfectly it encapsulates the character’s feelings. How perfectly it tells the story. My heart breaks to think that both of the men who created this brilliant song are no longer with us.

Sheldon was a dear friend to both myself and my late wife Rebecca. Whether it was professionally or personally, we treasured his counsel and his company. Sheldon was a shining example of a life well-lived.

Julie Benko

Julie Benko as Hodel in Fiddler on the Roof.

When I was 14 years old, I was cast as Hodel in the local JCC community theater production of Fiddler. The show was a family affair: my sister played Bielke, my dad was cast as Reb Mordcha, and my mom was a villager selling bagels. That production changed everything for me. I fell head over heels in love with the theater and began to pursue a life in show business. So, it was an enormous honor to get cast in the 2015 Broadway revival of “Fiddler,” where I understudied eight roles (one for each night of Chanukah!) and had the chance to meet Sheldon. I hope I was able to express to him just how much his words have shaped me. I have carried them with me through every major moment of my life and expect them to resonate through many more. “Sunrise, sunset,” indeed. Rest In Peace, Sheldon.

Jerry Zaks

Jerry Zaks plays the title role in the 1994 Encores production of Fiorello.

If ever anyone personified Emerson’s definition of success, it was Sheldon. 

A true great: talented, kind, and funny. 

What Is Success
by Ralph Waldo Emerson

To laugh often and much;
To win the respect of intelligent people and
the affection of children;
To earn the approbation of honest critics and endure
the betrayal of false friends;
To appreciate beauty;
To find the best in others;
To give of one’s self;
To leave the world a bit better, whether by a healthy child,
a garden patch, or a redeemed social condition;
To have played and laughed with enthusiasm and
sung with exultation;
To know even one life has breathed easier because you
have lived –
This is to have succeeded.

Scott Ellis

Footage from the 1993 Broadway revival of She Loves Me, directed by Scott Ellis.

My first Broadway show I ever directed was She Loves Me… how lucky was I? It was a glorious experience, and Sheldon Harnick was one of the main reasons why. He approached that production as if it had never been done before. Sheldon was so encouraging, supportive, and beyond respectful to a very young director doing this for the first time. He was joyous, loving, and so, so incredibly smart. I could not have asked for a better teacher and collaborator. We remained friends in the years following, and eventually, I had the privilege of revisiting She Loves Me twenty years later. Nothing had changed; Sheldon still approached the process as if it was the first production and brought all of his love and support back into the room. I am so fortunate to be able to look back and see where my life and career shifted. She Loves Me was that moment, and Sheldon was the center of it all. How lucky for everyone that his legacy will live on with future generations through his beautiful work.

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Creative

The Pride of Broadway: Celebrating LGBTQ+ Plays and Musicals

Billy Porter, Getty Images

Broadway has long been a platform for diverse stories, and the LGBTQ+ community has found a powerful voice within its hallowed theaters. From groundbreaking dramas to electrifying musicals, the Broadway stage has showcased the struggles, triumphs, and vibrant lives of LGBTQ+ individuals. Let’s delve into the realm of LGBTQ+ plays and musicals, exploring iconic productions that have captivated audiences and left an indelible mark on both the stage and society.

Angels in America: Tony Kushner’s monumental masterpiece, “Angels in America,” shattered barriers and ignited conversations about sexuality, politics, and the AIDS crisis. Set against the backdrop of 1980s America, this two-part play explores the intersecting lives of a group of individuals affected by the epidemic. With its poetic language, powerful themes, and unforgettable characters, “Angels in America” remains an enduring symbol of LGBTQ+ resilience and the fight for equality.

Fun Home: Based on Alison Bechdel’s graphic memoir, “Fun Home” invites audiences on a deeply personal journey of self-discovery and acceptance. This groundbreaking musical delves into Bechdel’s experiences growing up in a funeral home, her relationship with her closeted gay father, and her own exploration of her sexuality. With its poignant storytelling and memorable songs, “Fun Home” shines a light on the complexities of family dynamics and the quest for authenticity.

A Strange Loop: Uplifting and introspective, “A Strange Loop” offers a fresh and unapologetic perspective on the challenges faced by a young, black, queer artist. Michael R. Jackson’s innovative musical takes audiences on a journey through the mind of Usher, a struggling writer grappling with self-doubt, body image, and societal expectations. With its blend of humor, soul-stirring songs, and raw honesty, “A Strange Loop” celebrates the power of self-love and artistic expression. A Strange Loop is coming to the West End.

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The Normal Heart: Larry Kramer’s seminal play, “The Normal Heart,” serves as a powerful testament to the early years of the AIDS crisis and the tireless activism that emerged during that time. Through the character of Ned Weeks, loosely based on Kramer himself, the play confronts the government’s inaction, the stigma surrounding HIV/AIDS, and the urgent need for community support. “The Normal Heart” continues to be a rallying cry for LGBTQ+ rights and a reminder of the importance of solidarity in the face of adversity.

The Laramie Project: “The Laramie Project” is a poignant and heart-wrenching play that explores the aftermath of the brutal murder of Matthew Shepard, a gay college student in Laramie, Wyoming. Through a series of interviews conducted with the people of Laramie, the play reflects the town’s response to the hate crime and examines broader issues of prejudice and intolerance. By giving voice to various perspectives, “The Laramie Project” calls for empathy and understanding in a divided world.

The Boys in the Band: Mart Crowley’s groundbreaking play, “The Boys in the Band,” made its mark in 1968 as one of the first plays to unapologetically portray gay characters. Set during a birthday party, the play explores the complexities of friendship, love, and self-acceptance within a group of gay men. It remains a significant cultural touchstone, representing a time of evolving LGBTQ+ visibility and the challenges faced by the community.

The Nance: Set in the 1930s, “The Nance” provides a glimpse into the world of burlesque and the life of a “nance” — a stock character often portrayed as a campy, effeminate gay man. Douglas Carter Beane’s play sensitively explores the dichotomy faced by the protagonist, Chauncey Miles, as he navigates his personal life while performing on stage. “The Nance” serves as a powerful reminder of the struggles faced by LGBTQ+ individuals during an era of limited acceptance.

Torch Song Trilogy: Harvey Fierstein’s “Torch Song Trilogy” follows the journey of Arnold Beckoff, a drag queen and gay man, as he seeks love, family, and acceptance in 1970s and 1980s New York City. This landmark play explores themes of identity, relationships, and the longing for a sense of belonging. With its mix of heartache, humor, and resilience, “Torch Song Trilogy” became a touchstone for LGBTQ+ audiences and a symbol of hope.

Hedwig and the Angry Inch: A rock musical like no other, “Hedwig and the Angry Inch” tells the story of Hedwig, a transgender rock singer from East Germany. With a fusion of catchy songs and a compelling narrative, this musical explores themes of gender identity, love, and the quest for self-acceptance. “Hedwig and the Angry Inch” has captivated audiences with its fierce energy and unapologetic celebration of individuality.

Kinky Boots: Inspired by a true story, “Kinky Boots” follows the journey of Charlie Price as he takes over his family’s struggling shoe factory and forms an unlikely partnership with drag queen Lola. With a vibrant score by Cyndi Lauper, this feel-good musical celebrates acceptance, self-expression, and the power of embracing one’s true self. “Kinky Boots” offers a joyous celebration of diversity and the triumph of love over prejudice.

Priscilla Queen of the Desert: Based on the hit film, “Priscilla Queen of the Desert” takes audiences on a fabulous journey across the Australian Outback with a trio of drag queens. This exuberant musical combines dazzling costumes, disco hits, and a heartfelt story of friendship and self-discovery. Through its vibrant spectacle and themes of resilience and acceptance, “Priscilla Queen of the Desert” has become a beloved LGBTQ+ anthem.

Broadway has played a vital role in giving voice to LGBTQ+ narratives, allowing for greater understanding, acceptance, and celebration of the community’s experiences. As Broadway continues to evolve, it remains an essential platform for sharing the diverse stories of the LGBTQ+ community, fostering empathy, and inspiring change.

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Creative

Leslie Odom, Jr. and Kara Young to star in PURLIE VICTORIOUS: A NON-CONFEDERATE ROMP THROUGH THE COTTON PATCH

Tony & Grammy Award winner and Academy Award nominee Leslie Odom, Jr. will star alongside two-time Tony nominee Kara Young (Clyde’s, Cost of Living) in the first Broadway revival of Ossie Davis’ Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch. Kenny Leon is set to direct the production, which will mark Odom, Jr.’s return to the Broadway stage after his Tony-winning turn in Hamilton.

Odom, Jr. announced live on MSNBC’s Morning Joe this morning that the comedy will run at the Music Box Theatre with performances beginning September 7. An opening night date will be announced at a later date.

The cast also includes Billy Eugene Jones, who is in the Broadway cast of Fat Ham, and Jay O. Sanders, who was last seen on Broadway in Girl From the North Country. Vanessa Bell Calloway, Noah Robbins, Heather Alicia Simms, Bill Timoney, and Noah Pyzik round out the company.

As previously announced, set design is by Tony Award winner Derek McLane, costume design is by Tony Award nominee Emilio Sosa, and lighting design is by Adam Honoré. Sound design will be by Peter Fitzgerald.

Davis’ play originally ran on Broadway in 1961 before being adapted into a film titled Gone Are The Days!, in which he and his wife and collaborator, Ruby Dee, reprised their stage roles. A classic piece of American theatre, the production will mark the play’s grand return to the Broadway stage. 

The producing team is led by Jeffrey Richards, Hunter Arnold, Irene Gandy, Kayla Greenspan and Leslie Odom, Jr., making his Broadway producing debut. 

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Creative

The Best Theater District Restaurants

Whether you’re cramming in a few more shows before this year’s Tony Awards (reminder: June 11th!), entertaining friends from out-of-town, or just in need of a good meal in Midtown, here are five quality restaurants in the Theater District, hand-picked by the Broadway’s Best Shows editorial team. All five wait staffs will get you to your 7 or 8 o’clock curtain in time if you ask. We highly recommend reserving tables in advance.

La Masseria

This Theater District mainstay opened in 2004, and is more elegant and a little less chaotic than other red sauce joints in the neighborhood, while still being great for families or groups. Try the Capri-style ravioli di angelina or the i cucuzielli fritti alla Chef Pino, a.k.a. the chef’s specialty fried zucchini. 

235 W 48th St (between Broadway and 8th.) Reservations available by phone or email here. 

The Lambs Club

The Lambs Club was formerly the home of a private club for actors and performers, and the decor might make you feel dropped into an episode of Mad Men. Chef Jack Logue offers a three-course pre theater menu for $75, or you might try the baroque-ish “Stanford White burger” with Gruyere and pickled onion. 

132 W 44th st (between 6th and 7th.) Reservations on Resy. 

Gallagher’s

This nearly one hundred year old institution is so old school it even has a dress code (no tank tops, sports jerseys, or hats) but the menu isn’t tired at all. The name of the game here is the steaks, which you can see carefully aging through a storefront window on 52nd. Again, not a spot for a light meal! Try to save room for the pecan pie a la mode. 

228 W 52nd (between Broadway and 8th.) Reservations on OpenTable. 

Barbetta

Situated in a former Astor mansion, the luxurious Barbetta is the oldest restaurant in New York to still be owned by the family that opened it, way back in 1906. The menu features delicacies from the Peimonte region of Northwest Italy. If you arrive for the pre-theatre pre fixe menu early enough, you might be able to score a table in the restaurant’s jaw dropping back patio – it’s first come, first serve. The menu notes the year each dish was added to the repertoire, like the minestrone soup, made using the same recipe they used on opening day in 1906.

321 W 46th (between 8th and 9th.) Reservations here. 

The Mermaid Inn

The Mermaid Inn might be best known as a stylish and unpretentious cocktails and oysters bar, and their raw selections and happy hour options are excellent. For those who prefer their crustaceans cooked, they offer Manhattan’s best lobster roll. Be sure to try their french fries seasoned with Old Bay spice mix. The Inn also has locations in Greenwich Village and Chelsea, and will soon reopen on the Upper West Side at Columbus and 76th. 

127 W 43rd (between Broadway and 6th.) Reservations on OpenTable. 

We would be remiss not to mention:

Sardi’s and Joe Allen

We’ll never reveal just how much of our “Broadway’s Best Kept Secrets” newsletter feature comes from overheard conversations at Sardi’s and Joe Allen. The caricatures lining the walls at Sardi’s have become so famous that sometimes we need a reminder that they also serve food there– particularly classic the spinach cannelloni. Joe Allen stays open late for an after-theater burger, and you can eye the posters of flop shows while you gossip and eat. 

Sardi’s, 234 W 44th (between Broadway and 8th.) Reservations on OpenTable. 

Joe Allen, 326 W 46th (between 8th and 9th, across the street from Barbetta.) Reservations on OpenTable. 

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Creative

TONY TALK: Jo Bonney

Meet Jo Bonney, the Tony-nominated director of Martyna Majok’s COST OF LIVING.

Last fall’s Manhattan Theatre Club production of Cost of Living may have been director Jo Bonney’s Broadway debut, but she’s been working extensively Off-Broadway and around the country and world since the 1980s. Having worked with dozens of celebrated contemporary playwrights, including everyone from David Rabe to Suzan-Lori Parks, Bonney received particular acclaim for directing the premiere of Lynn Nottage’s By the Way, Meet Vera Stark at Second Stage in 2011. She won OBIE awards in both 1998 and 2019 for her sustained excellence in directing, and also has two Lucille Lortel Award wins and a Drama Desk nomination under her belt. 

Now, after over forty years working in the theatre, she’s a first-time Tony nominee for her work on Cost of Living by Martyna Majok. Three out of the play’s four cast members are also nominated this year for the performances, and the show is nominated for Best Play.

Get to know more about this New York theater stalwart with our TONY TALK Q&A:

Who was the first person to text/call you when you got the nomination?

I didn’t actually register the very first person as I had slept late that morning, so when I turned my phone back on it seemed to explode with dozens of texts, confetti bursts, emojis and general mayhem. I was still 80% asleep and had no clue what I was looking at. It was a sweet moment when I did. My husband was the first to give me a huge hug – he had a tear in his eye. He’s more sentimental than I am.

How did you celebrate your nomination?

I was out of the city and we went for a long hike in the woods that afternoon. It seemed like the perfect way to celebrate.

Show some love to a fellow nominee this year. Whose work blew you away?

I want, desperately, to name my entire cast for Cost of Living because they ‘blew me away’ but maybe that’s a little too in-family so I’m going to say (and I’m being greedy here by naming two actors), Wendell Pierce and Stephen McKinley Henderson. Their body of work over the years is simply inspiring and their particular performances on Broadway this season were a joy to watch.

Top restaurant in the theater district?

I’m not going to pretend that Hurley’s Saloon is the top restaurant in the theater distance but they’re so welcoming to theater people after a show. The Cost of Living group spent a lot of hours in their outside seating area late into the night, alongside many other theater artists relaxing after a show. Sort of like office workers’ 6 o’clock get togethers.

The first Broadway show you ever saw?

Someone invited me to see Phantom of the Opera in 1988. I was immersed in the performance/downtown theater scene, which tended to be more low budget, with a different sensibility, and when I saw Phantom I was like, ‘Whoa – the scale! the effects! the full size orchestra!’ I still have this reaction when I see a huge Broadway Musical – they’re their own glorious over-the-top universe.

When did you decide to become a theater artist?

I think the answer is in the next question…

Joe Papp

To which teacher/mentor/colleague do you most attribute your theatrical success?

Joe Papp. I came out of art school and was working with Eric Bogosian on solo pieces in clubs and performance venues and Joe brought us into The Public Theater in the mid 80’s. I had never thought to name what I was doing, but Joe would sit in the theater and watch us work and one day he took me aside and told me I was a director and encouraged me to commit to that. He and Gail Merrifield (his wife and the director of Play Department) continued to be super supportive of my work as I figured out who I was as a theater artist. 

Do you have any theatre superstitions? What are they?

My superstition is not specific to theater, it’s more a general life superstition. If anyone says to me, “this is going to be a big success,” you know immediately, it’s not.

Next up in Broadway’s Best Shows TONY TALK series are our chats with Director/Choreographer Casey Nicholaw and Costume Designer Emilio Sosa! Stay tuned to the website to see more.

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Creative

TONY TALK: Andre Bishop

Meet André Bishop, the Producing Artistic Director of Lincoln Center Theater, whose revival of Lerner & Loewe’s CAMELOT is nominated for five Tony Awards including Best Revival of a Musical.

Mr. Bishop previously served as Artistic Director of Playwrights Horizons and as its Literary Manager prior to that, before joining Lincoln Center Theater in 1992. He is responsible for shepherding some of the theater’s classics of the last four decades to the stage, including SUNDAY IN THE PARK WITH GEORGE, THE HEIDI CHRONICLES, DRIVING MISS DAISY, and THE LIGHT IN THE PIAZZA. In addition, he has produced countless acclaimed revivals before this year’s, including SOUTH PACIFIC, FALSETTOS, THE KING & I, and MY FAIR LADY.

Learn more about this titan of Broadway with our TONY TALK Q&A:

Who was the first person to text/call you when you got the nomination news?

The first person to call me when we got the nomination was our director, Bartlett Sher

Show some love to a fellow nominee this year. Whose work blew you away?

I can’t possibly pick out anybody specific who blew me away as so many fine actors gave great performances.

Top restaurant in the theater district?

Top restaurant is Orso

The first Broadway show you ever saw?

The first Broadway show I ever saw was Mary Martin’s Peter Pan.

When did you decide to become a theater artist?

I decided to become a theater artist after I saw Mary Martin’s Peter Pan.

What is your earliest Tonys memory?

My earliest Tony memory was buying a balcony ticket to the show (the year of No, No Nanette), but not wearing a tuxedo as I did not have one. Alexander H Cohen, who was the Tony Producer at the time, was basically standing guard in the lobby, looking for improperly dressed audience members. He spotted me, grabbed me by the arm, and forcefully threw me out of the theater and onto the street.

Who’s your favorite Tonys host in history, and why?

My favorite Tony host was Neil Patrick Harris. I thought he was totally charming and deft.

All-time favorite Tonys performance on the telecast, and why?

My favorite Tonys performance from the telecast was given by Barbara Harris who sang a song from ON A CLEAR DAY YOU CAN SEE FOREVER. She was sensational and vocally impeccable.

Most memorable Tonys acceptance speech, and why?

The most memorable Tony acceptance speech was given by the director Gerald Gutierrez who thanked his best friend, Phyllis. Who was Phyllis? Newman? Diller? No, it was his dog whom he brought up onstage with him and revealed her hiding in his tuxedo. She was a Pekinese.

What is one play or musical you would like to adapt or revive on Broadway, and why?

The one musical I would like to revive is The Most Happy Fella whose beauty is incomparable.

CAMELOT is running at the Vivian Beaumont Theater, currently scheduled through September 3, 2023. The revival is directed by Bartlett Sher and features a revised book by Aaron Sorkin. In addition to Best Revival of a Musical, the production earned nominations for Best Performance by an Actor in Featured Role in a Musical for Jordan Donica, Best Scenic Design of a Musical, Best Costume Design of a Musical, and Best Lighting Design of a Musical. Next up for Mr. Bishop and LCT is FLEX, to be presented at the Newhouse Theater Off-Broadway starting June 23.

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Creative

THE REHEARSAL SPACE: WHERE THE MAGIC BEGINS

By Jordan Levinson

Through the years, there have been multiple rehearsal spaces that have etched their places in New York City lore and hosted some historic theater moments.

As early as the 1930s, Fazil’s Times Square Studio served as a safe space for a large plethora of cultural figures, from struggling dancers to rap and hip-hop artists and famous movie stars. Rates were cheap, and even penniless artists could afford to rent out a rehearsal room. Located on 8th Avenue between 46th and 47th Streets, the building used to be called Michael’s, until taxi driver Fazil Cengiz — who had grown up in a dancing family — bought the space in 1978. Countless workshops and rehearsals for Broadway musicals were held in Fazil’s 14 rooms, spread out across three floors. After 73 long years in business, Fazil’s closed in February 2008 and made way for a condo and hotel complex. Its legacy lives on in movies like “Easter Parade” and Woody Allen’s “Broadway Danny Rose.”

Shelter Studios, now closed.

Also once in the heart of the Theatre District was Shetler Studios, which was founded by voice instructor Ron Shetler in 1990 and provided another affordable space for performing artists. It featured a whopping 35 rehearsal rooms and two black-box theatres, which fostered the growth and development of countless readings, workshops, and Broadway and Off-Broadway productions. One of the first readings of Be More Chill was held at Shetler Studios, as well as early rehearsals of The Jonathan Larson Project and [title of show]. Lin-Manuel Miranda has especially remembers bringing in the new bridge of “That Would Be Enough” for Phillipa Soo to sing for the first time. Shetler closed in May 2020 during the first wave of the COVID-19 pandemic.

In the mid-1980s, West Side Rehearsal Studios opened with Patricia Ripley as the manager. Patricia, who has a background in music and nightclub management, developed a long-distance relationship with former stuntman Butch Grier, and the two of them took over the studios. As their business started to prosper, they started to expand, from just five studios on three floors to 29 total studios in 2002 (and in other suitable spaces), and they renamed their spaces the Ripley-Grier Studios. Now, across four West Side locations, Ripley-Grier consists of 92 spaces and boasts a staff of 45. In addition to Broadway rehearsals, readings, and workshops, the studios provide a solid background for auditions, seminars, meetings, and showcases. 

In 1991, choreographer Gina Gibney launched a dance company with just a single dance studio to work in. Through many expansions, the company kept expanding as the years went by, and to this day thousands of artists work in two New York City locations, which total 23 rehearsal studios and 5 performance spaces. On the fifth floor of 890 Broadway (in Union Square) is where Gibney’s largest space can be found: Studio 4. An expansive studio designed for big ideas, it is perfect for large groups and high-budget productions, which best explains why countless major Broadway productions have rented it out for their rehearsal periods. Before Gibney moved into the space, the director-choreographer Michael Bennett used his profits from A Chorus Line to buy the studios in 1978 and further expand the area. Bennett’s love for dance was particularly reflected in two other building tenants — the Eliot Feld Ballet and the American Ballet Theatre. Studio 1 was also once the home of costume design company Barbara Matera Ltd, which worked on costumes (mostly as an assistant designer) for over 100 Broadway shows. Besides the Union Square location, some of the other Gibney studios can be found further downtown on Chambers Street — 280 Broadway. The 2022-23 Broadway season’s Take Me Out revival was rehearsed at Gibney Center, as well as Bob Fosse’s Dancin’ and Jefferson Mays’s A Christmas Carol. 

A relatively recent entry in the rehearsal space sweepstakes is Open Jar Studios, which opened in summer 2019 and was founded by various Broadway luminaries, including director Susan Stroman, project manager Jeff Whiting, producer Barry Weissler, and The Shubert Organization, just to name a few. A 21st-century institution targeted specifically at larger-scale Broadway productions, Open Jar — located on the corner of 48th and Broadway — features many expansive spaces for auditions and rehearsals, but they can also be used for production offices and even some costume fittings. At first, the studios were so necessary and in-demand that its entire first year of business was near-completely booked. Open Jar is now officially New York City’s newest and largest rehearsal studio space, a reliable option for Broadway shows of all shapes and sizes. In the 2022-23 Broadway season, KPOP, A Beautiful Noise, and Sweeney Todd used up the space. Every day, one can see the various industry readings, workshops, and rehearsals taking place under the large TV display in the lobby. 

Perhaps some of the most iconic rehearsal spaces can be found at New 42. Since 2000, New 42 has played host to several nonprofit theater groups, and most Broadway musicals and plays to this day rehearse in the building. New 42 features over a dozen rehearsal spaces, 10 of which fit the entire footprint of a Broadway stage. It is located on 42nd Street between 7th and 8th Avenues, so some rooms have a stunning view of Times Square and beyond. Multiple Broadway shows can —and often will — fit under the same humongous roof New 42 offers. During a busy spring 2018 Broadway season, The New York Times chronicled a day from 10 AM to 6 PM where Frozen, Pretty Woman, and a replacement cast of Hamilton all rehearsed in separate rooms. A handful of shows rehearsed there this season, including Some Like It Hot, Parade, and Into the Woods. 

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Creative

Some Like it Hot, Leopoldstadt lead Tony Awards Nominations


Lea Michele, star of Funny Girl, and 2022 Tony Award-winner Myles Frost announced the nominations for the 76th Annual Antoinette Perry “Tony” Awards® in 26 competitive categories. The nominees were selected by a committee of 40 theater professionals appointed by the Tony Awards Administration Committee. The Tony Awards, presented by The Broadway League and the American Theatre Wing, will be hosted by Ariana DeBose and will air live on June 11, 2023, from the United Palace in Washington Heights, New York City. The CBS Television Network will broadcast the event, while Paramount+ will stream it live and on demand.

In addition to the competitive categories, the 2023 Tony Honors for Excellence in the Theatre will be presented to Lisa Dawn Cave, Victoria Bailey, and Robert Fried. The Isabelle Stevenson Tony Award will be presented to Jerry Mitchell.

The Tony Awards: Act One, a pre-show featuring live and exclusive content, will be presented by CBS and Pluto TV. The pre-show will be available on Pluto TV, the leading free streaming television service (FAST), on smart TVs, streaming devices, mobile apps, or online. The 2022-2023 eligibility season for Tony nominations began on May 5, 2022, and ended on April 27, 2023. Legitimate theatrical productions that opened in any of the 41 eligible Broadway theaters during the season could be considered for Tony nominations. The Tony Awards will be voted on in 26 competitive categories by 769 designated Tony voters within the theater community.

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Nominations for the 2023 American Theatre Wing’s Tony Awards®
Presented by The American Theatre Wing and The Broadway League

Best Book of a Musical

& Juliet

David West Read

Kimberly Akimbo

David Lindsay-Abaire

New York, New York

David Thompson & Sharon Washington

Shucked

Robert Horn

Some Like It Hot

Matthew López & Amber Ruffin

Best Original Score (Music and/or Lyrics) Written for the Theatre

Almost Famous

Music: Tom Kitt
Lyrics: Cameron Crowe & Tom Kitt

Kimberly Akimbo

Music: Jeanine Tesori
Lyrics: David Lindsay-Abaire

KPOP

Music & Lyrics: Helen Park & Max Vernon

Shucked

Music and Lyrics: Brandy Clark & Shane McAnally

Some Like It Hot

Music: Marc Shaiman
Lyrics: Scott Wittman & Marc Shaiman

Best Performance by an Actor in a Leading Role in a Play

Yahya Abdul-Mateen II, Suzan-Lori Parks’ Topdog/Underdog
Corey Hawkins, Suzan-Lori Parks’ Topdog/Underdog
Sean Hayes, Good Night, Oscar
Stephen McKinley Henderson, Between Riverside and Crazy
Wendell Pierce, Arthur Miller’s Death of a Salesman

Best Performance by an Actress in a Leading Role in a Play

Jessica Chastain, A Doll’s House
Jodie Comer, Prima Facie
Jessica Hecht, Summer, 1976
Audra McDonald, Ohio State Murders

Best Performance by an Actor in a Leading Role in a Musical

Christian Borle, Some Like It Hot
J. Harrison Ghee, Some Like It Hot
Josh Groban, Sweeney Todd: The Demon Barber of Fleet Street
Brian d’Arcy James, Into the Woods
Ben Platt, Parade
Colton Ryan, New York, New York

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

Annaleigh Ashford, Sweeney Todd: The Demon Barber of Fleet Street
Sara Bareilles, Into the Woods
Victoria Clark, Kimberly Akimbo
Lorna Courtney, & Juliet
Micaela Diamond, Parade

Best Performance by an Actor in a Featured Role in a Play

Jordan E. Cooper, Ain’t No Mo’
Samuel L. Jackson, August Wilson’s The Piano Lesson
Arian Moayed, A Doll’s House
Brandon Uranowitz, Leopoldstadt
David Zayas, Cost of Living

Best Performance by an Actress in a Featured Role in a Play

Nikki Crawford, Fat Ham
Crystal Lucas-Perry, Ain’t No Mo’
Miriam Silverman, The Sign in Sidney Brustein’s Window
Katy Sullivan, Cost of Living
Kara Young, Cost of Living

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

Kevin Cahoon, Shucked
Justin Cooley, Kimberly Akimbo
Kevin Del Aguila, Some Like It Hot
Jordan Donica, Lerner & Loewe’s Camelot
Alex Newell, Shucked

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

Julia Lester, Into the Woods
Ruthie Ann Miles, Sweeney Todd: The Demon Barber of Fleet Street
Bonnie Milligan, Kimberly Akimbo
NaTasha Yvette Williams, Some Like It Hot
Betsy Wolfe, & Juliet

Best Scenic Design of a Play

Miriam Buether, Prima Facie
Tim Hatley & Andrzej Goulding, Life of Pi
Rachel Hauck, Good Night, Oscar
Richard Hudson, Leopoldstadt
Dane Laffrey & Lucy Mackinnon, A Christmas Carol

Best Scenic Design of a Musical

Beowulf Boritt, New York, New York
Mimi Lien, Sweeney Todd: The Demon Barber of Fleet Street
Michael Yeargan & 59 Productions, Lerner & Loewe’s Camelot
Scott Pask, Shucked
Scott Pask, Some Like It Hot

Best Costume Design of a Play

Tim Hatley, Nick Barnes & Finn Caldwell, Life of Pi
Dominique Fawn Hill, Fat Ham
Brigitte Reiffenstuel, Leopoldstadt
Emilio Sosa, Ain’t No Mo’
Emilio Sosa, Good Night, Oscar

Best Costume Design of a Musical

Gregg Barnes, Some Like It Hot
Susan Hilferty, Parade
Jennifer Moeller, Lerner & Loewe’s Camelot
Clint Ramos & Sophia Choi, KPOP
Paloma Young, & Juliet
Donna Zakowska, New York, New York

Best Lighting Design of a Play

Neil Austin, Leopoldstadt
Natasha Chivers, Prima Facie
Jon Clark, A Doll’s House
Bradley King, Fat Ham
Tim Lutkin, Life of Pi
Jen Schriever, Arthur Miller’s Death of a Salesman
Ben Stanton, A Christmas Carol

Best Lighting Design of a Musical

Ken Billington, New York, New York
Lap Chi Chu, Lerner & Loewe’s Camelot
Heather Gilbert, Parade
Howard Hudson, & Juliet
Natasha Katz, Some Like It Hot
Natasha Katz, Sweeney Todd: The Demon Barber of Fleet Street

Best Sound Design of a Play

Jonathan Deans & Taylor Williams, Ain’t No Mo’
Carolyn Downing, Life of Pi
Joshua D. Reid, A Christmas Carol
Ben & Max Ringham, A Doll’s House
Ben & Max Ringham, Prima Facie

Best Sound Design of a Musical

Kai Harada, New York, New York
John Shivers, Shucked
Scott Lehrer & Alex Neumann, Into the Woods
Gareth Owen, & Juliet
Nevin Steinberg, Sweeney Todd: The Demon Barber of Fleet Street

Best Direction of a Play

Saheem Ali, Fat Ham
Jo Bonney, Cost of Living
Jamie Lloyd, A Doll’s House
Patrick Marber, Leopoldstadt
Stevie Walker-Webb, Ain’t No Mo’
Max Webster, Life of Pi

Best Direction of a Musical

Michael Arden, Parade
Lear deBessonet, Into the Woods
Casey Nicholaw, Some Like It Hot
Jack O’Brien, Shucked
Jessica Stone, Kimberly Akimbo

Best Choreography

Steven Hoggett, Sweeney Todd: The Demon Barber of Fleet Street
Casey Nicholaw, Some Like It Hot
Susan Stroman, New York, New York
Jennifer Weber, & Juliet
Jennifer Weber, KPOP

Best Orchestrations

Bill Sherman and Dominic Fallacaro, & Juliet
John Clancy, Kimberly Akimbo
Jason Howland, Shucked
Charlie Rosen & Bryan Carter, Some Like It Hot
Daryl Waters & Sam Davis, New York, New York

Best Play

Ain’t No Mo’

Author: Jordan E. Cooper
Producers: Lee Daniels, BET: Black Entertainment Television, Len Blavatnik, Ron Burkle, Aryeh B. Bourkoff, 59th & Prairie Entertainment, RuPaul Charles, I’ll Have Another Productions, Jeremy O. Harris, Lena Waithe, Tucker Tooley Entertainment, CJ Uzomah, Ann Cox, Gina Purlia, Bob Yari, Marvin Peart, Colleen Camp, Marvet Britto, Jeremy Green, Sue Wagner, John Johnson, Jillian Robbins, The Public Theater, Oskar Eustis, Patrick Willingham, Mandy Hackett

Between Riverside and Crazy

Author: Stephen Adly Guirgis
Producers: Second Stage Theater, Carole Rothman, Khady Kamara, Atlantic Theater Company

Cost of Living

Author: Martyna Majok
Producers: Manhattan Theatre Club, Lynne Meadow, Barry Grove, Williamstown Theatre Festival

Fat Ham

Author: James Ijames
Producers: No Guarantees, Public Theater Productions, Rashad V. Chambers, National Black Theatre, Tim Levy, Bards on Broadway, Bob Boyett, Ghostbuster Productions, James Ijames, Cynthia Stroum, Audible, Adam Cohen, Blake Devillier, Firemused Productions/JamRock Productions, The Forstalls, Iconic Vizion/Corey Brunish, John Gore Organization, Midnight Theatricals, David Miner, Robin Gorman Newman/PickleStar Theatricals, Marc Platt, Play on Shakespeare, The Wilma Theater, Colman Domingo, Cynthia Erivo, Andy Jones, Dylan Pager, Roundabout Theatre Company, Oskar Eustis, Patrick Willingham, Mandy Hackett, Sade Lythcott, Jonathan McCrory

Leopoldstadt

Author: Tom Stoppard
Producers: Sonia Friedman Productions, Roy Furman, Lorne Michaels, Stephanie P. McClelland, Gavin Kalin, Delman Sloan, Eilene Davidson, Brad Edgerton, Patrick Gracey, Hunter Arnold, Burnt Umber Productions, Cue to Cue Productions, The Factor Gavin Partnership, Harris Rubin Productions, Robert Nederlander, Jr., No Guarantees, Sandy Robertson, Iris Smith, Jamie deRoy/Catherine Adler, Dodge Hall Productions/Waverly Productions, Richardo Hornos/Robert Tichio, Heni Koenigsberg/Wendy Federman, Thomas S. Perakos/Stephanie Kramer, Brian Spector/Judith Seinfeld, Richard Winkler/Alan Shorr

Best Musical

& Juliet

Producers: Max Martin & Tim Headington, Theresa Steele Page, Jenny Petersson, Martin Dodd, Eva Price, Lukasz Gottwald, 42nd.club, Independent Presenters Network, Jack Lane, Library Company, Shellback, Shivhans Pictures, Sing Out, Louise!, Kim Szarzynski, Taylor/Riegler, Tenenbaum/Keyes, Barry Weiss, John Gore Organization

Kimberly Akimbo

Producers: David Stone, Atlantic Theater Company, James L. Nederlander, LaChanze, John Gore, Patrick Catullo, Aaron Glick

New York, New York

Producers: Sonia Friedman Productions, Tom Kirdahy, Wendy Federman & Heni Koenigsberg, Crossroads Live, Playing Field, Stephanie P. McClelland, Ambassador Theatre Group, Waiting in the Wings Productions, Colin Callender, Gilbert and DeeDee Garcia/Sue Vaccaro, Peter May, Rileyfan, Silverhopkins+/Hunter Johnson, Jay Alix & Una Jackman, Eric Passmore, Thomas Swayne, Elliott Cornelious/SunnySpot Productions, Santino DeAngelo/Cynthia Tong, Craig Balsam, Richard Batchelder, Concord Theatricals, Creative Partners Productions, Marguerite Hoffman, Jessica R. Jenen, John Gore Organization, MGM on Stage, James L. Nederlander, Linda B. Rubin, Seriff Productions, Shivhans Pictures, 42nd.club/Beards on Broadway, AGL Productions/Brad Blume, Hunter Arnold/Red Mountain Theatre, Cue to Cue Productions/Roy Putrino, Jamie deRoy/Janet and Marvin Rosen, Edgewood/Silva Theatrical Group, Dale Franzen/Henry R. Muñoz, III, Deborah Green/Chris Mattsson, Branden Grimmett/DMQR Productions, Christen James/Gregory Carroll, NETworks Presentations/Lamar Richardson, Ron Simons/Adam Zell, Chartoff-Winkler

Shucked

Producers: Mike Bosner, Jason Owen, AEG Presents/Jay Marciano/Gary Gersh, Jeffrey A. Sine, Richard Smith, Silvia Schmid, Bob Boyett, Jeremiah J. Harris, James L. Nederlander, EST/Emily Tisch, Sony Music Entertaiment, DudaAllen, David W. Busch, Karen Fairchild, HoriPro Inc., Gordon-Helfner, John Gore Organization, Madison Wells Live, S&Co., Terry Schnuck, Jimi Westbrook, ZKM Media

Some Like It Hot

Producers: The Shubert Organization, Neil Meron, MGM on Stage, Roy Furman, Robert Greenblatt, James L. Nederlander, Kenny Leon, Hunter Arnold, John Gore Organization, The Dalgleish Library Company Group, Sheboygan Conservatory Partners, Ambassador Theatre Group Productions, Bob Boyett, Cue to Cue Productions, Janet and Marvin Rosen, The Araca Group, Concord Theatricals, Marc Howard, Independent Presenters Network, Juanita Jordan, Jujamcyn Theaters, Henry R. Muñoz, III, Ostar, Mariah Carey, D.S. Moynihan

Best Revival of a Play

August Wilson’s The Piano Lesson

Producers: Brian Anthony Moreland, Sonia Friedman, Tom Kirdahy, Kandi Burruss & Todd Tucker, Hunter Arnold, Playing Field, The Factor Gavin Partnership, FBK Productions/42nd.club, Jay Alix & Una Jackman, Creative Partners Productions, Harris Rubin Productions, Marguerite Steed Hoffman, Alia Jones-Harvey, Mark Gordon Pictures, Stephanie McClelland, Moore Delman, James L. Nederlander, Seriff Productions, The Shubert Organization, Salman Al-Rashid/Jamie deRoy, Brad Blume/Cliff Hopkins, Jean Doumanian /Fakston Productions, Edgewood/DMQR Productions, Jay & Cindy Gutterman/Caiola Productions, Van Kaplan/Lu-Shawn Thompson, Erik A. King/Finewomen Productions, Marc David Levine/William Frisbie, Syrinda Paige/Kevin Ryan & Diane Scott Carter, Silva Theatrical Group/Tilted, Thomas Swayne/Cynthia J. Tong, Constanza Romero-Wilson

A Doll’s House

New Version by: Amy Herzog
Producers: Ambassador Theatre Group Productions, Gavin Kalin Productions, Wessex Grove, Julie Boardman, Kate Cannova, Bob Boyett, Hunter Arnold, Creative Partners Productions, Eilene Davidson Productions, GGRS, Kater Gordon, Louise L. Gund, Los Angeles Media Fund, Stephanie P. McClelland, Tilted, Jessica Chastain, Caitlin Clements/Francesca Moody Productions, Caiola Productions/Amanda Lee, Ted & Richard Liebowitz/Joeyen-Waldorf Squeri, Richard & Cecilia Attias/Thomas S. Barnes, OHenry Theatre Nerd Productions/Runyonland MMP, The Jamie Lloyd Company

The Sign in Sidney Brustein’s Window

Producers: Seaview, Sue Wagner, John Johnson, Phil Kenny, Audible, Sony Music Masterworks, Jillian Robbins, Jeremy O. Harris, Larry Hirschhorn and Ricardo Hornos, Shields Smedes Stern Ltd., Kevin Ryan, The Shubert Organization, Willette and Manny Klausner, Marco Santarelli, Be Forward Productions, Concord Theatricals, Creative Partners Productions, Invisible Wall Productions, Salman and Moudhy Al-Rashid, TodayTix Group, Ido Gal, HarrisDonnelly, Sally Cade Holmes, Stella LaRue, LAMF Protozoa, Kati Meister and John Sorkin, Meredith Lynsey Schade, Catherine Schreiber, Dennis Trunfio, MCM Studios, 42nd.club, BAMM Productions, CarterMackTaylorWilliam, HB2M Productions, HK-Undivided Productions, MAJIKK Theatricals, Tanker Kollev Productions, Douglas Denoff, OHenry Productions, Plate Spinner Productions, Runyonland Productions, Mad Gene Media, Scrap Paper Pictures, Joi Gresham, BAM, Gina Duncan, David Binder, Elizabeth Moreau

Suzan-Lori Parks’ Topdog/Underdog

Producers: David Stone, LaChanze, Rashad V. Chambers, Marc Platt, Debra Martin Chase, The Shubert Organization

Best Revival of a Musical

Into the Woods

Producers: Jujamcyn Theaters, Jordan Roth, New York City Center, Daryl Roth, Hunter Arnold, Concord Theatricals, Nicole Eisenberg, Jessica R. Jenen, Michael Cassel Group, Kevin Ryan, ShowTown Productions, Armstrong, Gold & Ross, Nicole Kastrinos

Lerner & Loewe’s Camelot

Producers: Lincoln Center Theater, André Bishop, Adam Siegel, Naomi Grabel

Parade

Producers: Seaview, Ambassador Theatre Group Productions, Alex Levy, Kevin Ryan, Eric & Marsi Gardiner, Interscope & Immersive Records, Erica Lynn Schwartz, Creative Partners Productions, Marcia Goldberg, John Gore Organization, Cynthia Stroum, Tom Tuft, Benjamin Simpson, Nathan Vernon, Brian & Nick Ginsberg, Ruth & Stephen Hendel, Roth-Manella Productions, Chutzpah Productions, 42nd.club, Ahava 72 Productions, The Andryc Brothers, The Array, At Rise Creative, Caiola Jenen Productions, Coles Achilles, deRoy Brunish Productions, Fakston Productions, Federman Batchelder, Level Forward, Pencil Factory Productions, Renard Lynch, Robin Merrie, Rubin Stuckelman, Runyonland Sussman, Kristin Caskey, Mike Isaacson, Bee Carrozzini, New York City Center

Sweeney Todd: The Demon Barber of Fleet Street

Producers: Jeffrey Seller, Bob Boyett, Diana DiMenna & Plate Spinner Productions/Aaron Glick, Eastern Standard Time, Roy Furman, Thomas Kail, Jim Kierstead/Benjamin Leon IV, TourDForce Theatrical, Maggie Brohn, Andy Jones

Tony Nominations by Production

Some Like It Hot – 13

& Juliet – 9

New York, New York – 9

Shucked – 9

Kimberly Akimbo – 8

Sweeney Todd: The Demon Barber of Fleet Street – 8

Ain’t No Mo’ – 6

A Doll’s House – 6

Into the Woods – 6

Leopoldstadt – 6

Parade – 6

Cost of Living – 5

Fat Ham – 5

Lerner & Loewe’s Camelot – 5

Life of Pi – 5

Prima Facie – 4

A Christmas Carol – 3

Good Night, Oscar – 3

KPOP – 3

Suzan-Lori Parks’ Topdog/Underdog – 3

Arthur Miller’s Death of a Salesman – 2

August Wilson’s The Piano Lesson – 2

Between Riverside and Crazy – 2

The Sign in Sidney Brustein’s Window – 2

Almost Famous – 1

Ohio State Murders – 1

Summer, 1976 – 1