The Wiz is back on Broadway in 2024! The new production stars Wayne Brady as The Wiz alongside Nichelle Lewis, making her Broadway debut in the star-making role of Dorothy. The production started a national tour in 2023 and has now landed at its new home, the on Broadway!
The musical has been a cultural staple since its original Broadway debut in 1975. Winning seven Tony Awards, including Best Musical, the adaptation brings a unique blend of R&B, soul, and funk to the classic tale of Oz. With a 1984 revival and several tours since its premiere, The Wiz has seen a number of famous faces donning the silver slippers and journeying down the yellow brick road. Here’s a look at some of the stars who have brought magic to this musical over the years.
Stephanie Mills
Stephanie Mills burst onto the Broadway scene as Dorothy, charming audiences with her powerful voice and heartfelt performance. Mills’ rendition of “Home” became an instant classic, embodying the soul of the musical. Her connection with Dorothy was so iconic that she reprised her role in several revivals, forever linking her name with The Wiz.
André De Shields
André De Shields took on the mysterious and charismatic role of the Wiz in the original Broadway production. His dynamic presence and masterful performance as the all-powerful wizard left a lasting impression, paving the way for a distinguished career in theatre, including his Tony-winning turn in Hadestown, which he followed up most recently with the role of Ben Loman in Death of a Salesman.
Hinton Battle
As the Scarecrow, Hinton Battle brought an infectious energy and incredible dance skills that helped make The Wiz a true spectacle. He continued to influence Broadway with roles in other musicals like Sophisticated Ladies, The Tap Dance Kid, and Miss Saigon, winning a Tony Award for each of them.
Of course, the 1978 film adaptation starred some of the most iconic Black talent of the time, including Diana Ross, Michael Jackson, Richard Pryor, and Lena Horne. They need no blurbs about their many accomplishments of course.
With each revival and production, The Wiz continues to enchant new generations of theatergoers, proving that this reimagined classic remains timeless. As we look forward to future revivals, these memorable performances remind us why The Wiz is indeed a fabulous way to experience the magic of Oz.
Irish theatre has a long and storied history on Broadway, dating back to the early 20th century. From the works of great Irish playwrights like George Bernard Shaw and Sean O’Casey to contemporary productions like “The Ferryman” and “Hangmen” Irish theatre has made a significant impact on the Broadway stage.
George Bernard Shaw at Shaw’s Corner, his home for 44 years (photo: Granger Historical Picture Archive / Alamy Stock Photo)
One of the earliest examples of Irish theatre on Broadway was George Bernard Shaw’s “John Bull’s Other Island,” which premiered in 1904. The play tells the story of an Englishman who travels to Ireland to build a hydroelectric power plant, but finds himself at odds with the locals and their way of life. The play was a success and helped establish Shaw as one of the leading playwrights of his time.
From left, Adam Petherbridge, Clare O’Malley, John Keating and Ed Malone in “The Plough and the Stars.”
Another notable Irish playwright who made an impact on Broadway was Sean O’Casey. His plays, including “Juno and the Paycock” and “The Plough and the Stars,” dealt with the struggles of working-class Irish families during the early 20th century. These plays were praised for their realistic depictions of life in Ireland and helped introduce American audiences to the political and social issues of the time.
The Weir 1999 Broadway Production Photo
A new generation of Irish playwrights emerged, including Brian Friel and Conor McPherson. Friel’s “Dancing at Lughnasa” (1991) tells the story of five unmarried sisters living in rural Ireland in 1936, while McPherson’s “The Weir” (1999) is a ghost story set in a remote Irish pub. Both plays were critical and commercial successes on Broadway, and helped establish Ireland as a major force in contemporary theatre.
In recent years, Irish theatre has continued to make an impact on Broadway. In 2012, “Once,” a musical based on the 2006 film of the same name, premiered on Broadway and went on to win eight Tony Awards, including Best Musical. The show, which tells the story of a Dublin street musician and a Czech immigrant who fall in love, was praised for its heartfelt music and authentic portrayal of life in Dublin.
Another recent Irish production that made waves on Broadway was “The Ferryman,” a play by Jez Butterworth that premiered in 2018. Set in rural Northern Ireland during the Troubles, the play tells the story of a family caught up in the conflict. “The Ferryman” was praised for its powerful performances and gripping storytelling, and won four Tony Awards, including Best Play.
(Mel Melcon/Los Angeles Times)
You cannot write a piece about Irish theatre without playwright Martin McDonagh, a renowned Irish playwright and screenwriter who has made significant contributions to Broadway. He is best known for his dark comedies and exploration of human nature through his works. McDonagh made his Broadway debut in 1998 with “The Beauty Queen of Leenane,” which was critically acclaimed and won four Tony Awards, including Best Play. He followed this up with “The Lonesome West,” “The Pillowman” and “Hangmen,” all of which were also well-received by audiences and critics. McDonagh’s works have brought a unique voice to Broadway, with their dark humor and complex characters. His contributions to the world of theater have helped to shape and define the modern stage, and his influence continues to be felt in productions around the world.
Gabriel Byrne’s “Walking With Ghosts”
Irish theatre on Broadway has also provided a platform for Irish actors to showcase their talent. Actors like Liam Neeson, Gabriel Byrne, and Saoirse Ronan have all appeared in Irish productions on Broadway, helping to raise the profile of Irish theatre in the United States.
Irish plays have captivated audiences with their poignant storytelling and authentic depictions of Irish life. As long as there are talented Irish playwrights and actors, Irish theatre will continue to thrive on the Broadway stage.
We all know that theater is a labor of love. But some of Broadway’s brightest stars have taken that to heart more than others, looking within our own theater community for romantic partnerships. In preparation for Valentine’s Day, here’s Broadway’s Best Shows’ list of our favorite Broadway duos.
Audra McDonald & Will Swenson
Photo by Marc J. Franklin
Audra McDonald is the Tony-winningest performer in history. And if she represents Broadway royalty, then her husband of over 10 years, Will Swenson, undoubtedly stands as a king in his own right. While McDonald graced the stage most recently in Ohio State Murders, Swenson commanded the stage just across Times Square, leading the cast of A Beautiful Noise as Neil Diamond. The couple starred opposite each other in a 2015 Williamstown Theatre Festival production of A Moon for the Misbegotten by Eugene O’Neill.
Phillipa Soo & Steven Pasquale
Photo by Jeremy Daniel
Another pair of performers, Philippa Soo and Steven Pasquale recently mirrored their real-life relationship, playing lovers at the Kennedy Center in their 2022 production of Guys & Dolls.Individually, Soo has appeared in Hamilton, Amélie, and Camelot, while Pasquale’s credits include The Bridges of Madison County and American Son.The couple were married in 2017, following her star-making run in Hamilton and ahead of his engagement in Lincoln Center Theater’s Junk.
Andy Karl & Orfeh
Photo by Amy Arbus
Likely the first Broadway couple that comes to mind for many, Andy Karl & Orfeh have been married since 2001, mere months after meeting when Karl joined the cast of Saturday Night Fever. The stalwarts have appeared together on the Broadway stage twice more since then, in 2007’s Legally Blond: The Musical and 2018’s Pretty Woman: The Musical.
Christopher Fitzgerald & Jessica Stone
Photo: City Center
It might be a surprise to learn that the Tony-nominated director of Kimberly Akimbo and the upcoming Water for Elephants is married to the legendary character actor, of Wicked, Waitress, and now Spamalot fame. In true showbiz fashion, Fitzgerald and Stone met in 1999, performing opposite each other in the 1999 Encores! Concert of Babes in Arms at City Center, and married in 2001. As Stone transitioned from a performer to a director, they continued to work together – most notably, Stone directed the legendary 2009 production of A Funny Thing Happened on the Way to the Forum at Williamstown Theatre Festival, starring Fitzgerald as Pseudolus alongside an all-male cast.
Photo: Williamstown Theatre Festival
Lisa Peterson & Rachel Hauck
Photo by Jennifer Broski
A power couple off- and on Broadway, Rachel Hauck is the Tony-winning set designer of Hadestown, and Lisa Peterson is the two-time OBIE-winning director of new plays premiered around the country. They met while working at the Mark Taper Forum in 1996. Audiences might best know their project An Iliad, which Peterson wrote with performer Denis O’Hare, and which toured the country after its 2012 premiere. They most recently collaborated on the 2023 play Good Night, Oscar, which also marked Peterson’s Broadway debut.
Charlotte d’Amboise & Terrence Mann
Photo by Joan Marcus
Triple threat Charlotte d’Amboise has been married to fellow performer Terrence Mann since 1996, after meeting over a decade prior when they were both in Cats on Broadway. D’Amboise has had a long career on the Broadway stage, including two Tony-nominated performances, but is maybe best known for her perennial stints as Roxie Hart in Chicago, to which she has returned more than 25 times for brief runs in the starring role. Mann, a three-time Tony nominee, has appeared in 14 Broadway productions since 1981. The couple most recently appeared together in the 2013 revival of Pippin, and have also co-founded Triple Arts, a training program for aspiring musical theater performers, which they operate and teach together.
Maryann Plunkett & Jay O. Sanders
Photo by Joseph Marzullo
Two veterans of the New York stage, Maryann Plunkett and Jay O. Sanders have been married since 1991. Each with decades-long careers on and off Broadway, the pair has appeared onstage together in Richard Nelson’s Apple Family and The Gabriels play cycles, as husband & wife in the former three plays and then as brother- & sister-in-law in the latter. Recently, their work on Broadway overlapped as Sanders finished up the final weeks of his run in Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch at Music Box Theatre, while Plunkett worked directly across 45th Street in tech rehearsals for The Notebook at the Gerald Schoenfeld Theatre.
Leslie Odom, Jr. & Nicolette Robinson
Photo by Marcus Middleton
Tony Award winner Leslie Odom, Jr. married Nicolette Robinson back in 2012, years before he would go on to become a household name as the original Aaron Burr in Hamilton, and she would make her own Broadway debut in Waitress. The couple are frequent creative collaborators, releasing music together, co-writing a children’s book, and most recently, teaming up as producers for the 2023 Broadway revival of Purlie Victorious, in which Odom also starred in the title role.
Allan & Beth Williams
Behind-the-scenes duo Allan Williams & Beth Williams have each been a part of over 65 Broadway productions in their careers to date. Allan is a veteran General Manager and Producer, recently serving as GM on Purlie Victorious, Good Night Oscar, and Diana the Musical and as Executive Producer on American Utopia, The Band’s Visit, and American Psycho. Beth is a Producer, who also served as CEO of Broadway Across America between 2008 and 2013. She has 12 Tony Awards to date, and her next show is the new musical Water for Elephants.
For 20 years, Leigh Silverman has built an impressive directing career in New York and across the country. Since her Off-Broadway debut with 2004’s Well at the Public Theater (which she would restage for Broadway two years later), Silverman has helmed five Broadway and over 30 Off-Broadway productions.
Her Broadway credits include Chinglish, The Lifespan of a Fact, and Grand Horizons, among others, and her sixth Broadway show is this season’s new musical Suffs, which Silverman brings to the Music Box Theatre following its Public Theater premiere in 2022.
Her awards nods include a Tony nomination for her work on the 2014 revival of Violet and two Drama Desk nominations, one for directing the play From Up Here in 2008 and the other for the musical Soft Power. The latter happens to be the show that came to mind for Silverman when Broadway’s Best Shows asked about her most challenging work to date. See what she had to say about the difficult project, and her eye towards its future… 👀
Conrad Ricamora & Kendyl Ito in Soft Power at the Public Theater. Photo by Joan Marcus
This interview has been edited for clarity and concision.
Broadway’s Best Shows: What has been your most challenging work to date?
Leigh Silverman: This is such an interesting question because every project is rife with its own unique, amazing challenges. I love challenge when it is artistic in nature and forces my collaborators and me to imaginatively and rigorously grapple.
The most challenging work, using this framework, would be Soft Power, a musical I directed at the Ahmanson Theater in 2018 followed by a run at the Curran in San Francisco and was then produced at the Public Theater in 2019.
BBS: What was so difficult about this project?
LS: This musical had been a dream of David Henry Hwang’s, with music by Jeanine Tesori, and was a true exploration/investigation of what is “possible” in musical theater. David wanted to write a play that would shatter when the character of DHH is stabbed (a hate crime that did happen to the real David), and then the play would replay/transform into a musical complete with a full orchestra. He loved the structure of Anne Washburn’s iconic play, Mr. Burns, and in his own spin wanted to create an inverse to Rodgers and Hammerstein’s The King and I.So in his musical Soft Power, America’s struggles are musicalized through a futuristic Chinese musical lens.
We faced challenges in tone and style as we tried to bend and twist and subvert and articulate why we love musicals, and why, even when they are so very problematic and racist, they still have the power to move us so deeply. All this while commenting on China’s possible future point of view about America as told through musical theater and thereby exerting their “soft power.”
BBS: How did you address and/or resolve the challenges?
LS: We worked tirelessly. We love musical theater and wanted to make an exciting piece of musical theater that honored the form while interrogating it. We wanted to explicitly address the brutal and constant racism Asian Americans face. We worked and worked and worked and at one point Jeanine said to David, “David! Put your pancreas on the table!” That’s how hard we were all working.
BBS: Are you proud of the result?
LS: Extremely. But also it is unfinished.
BBS: Is there anything you would do differently with the benefit of hindsight?
LS: The world has changed significantly since 2019 and I believe, when we get back to it, there will be fresh ideas and energy for reinvestigating David’s incredible vision.
Beowulf Boritt is one of the busiest set designers on Broadway. Since making his debut with 2005’s The 25th Annual Putnam County Spelling Bee, Boritt has designed the set of over 30 Broadway productions, earning two Tony Awards (from six nominations), and two Drama Desk Awards (from eight nominations) in the best scenic design category. His latest Broadway set was for Harmony, and next up is the upcoming revival of Thornton Wilder’s Our Town.
His 2023 Tony Award and Drama Desk Award wins were both for his design of the new musical New York, New York. These must have been particularly rewarding accolades, considering that show is the one Boritt named when we asked him about his toughest project to date. Here is Beowulf Boritt on his most challenging work to date:
An early sketch for ‘Wine & Peaches’ in New York, New York, courtesy of Beowulf Boritt.
This interview has been edited for clarity and conciseness.
Broadway’s Best Shows: What has been your most challenging work to date?
Beowulf Boritt:New York, New York (by John Kander, Fred Ebb, David Thompson, Sharon Washington, and Lin-Manuel Miranda at the St. James Theatre, Directed and Choreographed by Susan Stroman, 2023) was by far the largest, most complicated set I’ve designed.
BBS: What was so difficult about this project?
BB: The show required many, many locations in quick succession and it all had to squeeze into a Broadway theatre without a very big backstage. The rapid pace of the scene changes was hard because there were several 15-20 minute sequences in the show that were basically constant scene changes keeping the crew working at a fevered pace. For the first 10 days of tech, I think the crew and stage management just thought it was impossible, but they kept at it valiantly, and eventually, we got it all working efficiently, safely, and beautifully.
BBS: How did you address and/or resolve the challenges?
BB: We planned very carefully, making sure everything was exactly the size we had laid out in our technical drawings so it could all fit together like a giant three-dimensional Tetris game. We had to balance all these technical needs with the look of the design so it would all feel beautiful and effortless.
BBS: Are you proud of the result?
BB: I won a Tony Award for it, so that’s a nice cherry on top!
BBS: Is there anything you would do differently with the benefit of hindsight?
BB: The show was enormous. Perhaps too enormous to survive in the current Broadway climate. It was what the artistic and producing team wanted, I think, but I suppose in retrospect had we done a much simpler production it might have had a longer life.
Broadway’s clearest indicator of notoriety is the Tony Awards. The annual ceremony has been celebrating excellence in New York theater since 1947 and has made actors, creators, and shows themselves become household names.
In our list, we’ll be listing which Broadway shows have won the most Tony Awards for a single production, though we’re giving shout-outs to Cabaret, Death of a Salesman, and La Cage Aux Folles as each has collected an impressive number of awards over their multiple productions throughout the years. So if awards mean the best Broadway shows to you, then see below.
Photo by Paul Kolnik
The Producers by Mel Brooks and Thomas Meehan
It may come as a surprise but the record for most Tony wins by a single production was set over 20 years ago.
Back in 2001, Mel Brooks and Thomas Meehan brought their hilarious 1967 film, The Producers, to the stage. The meta-musical about a pair of money-hungry Broadway producers who want to purposefully put on the worst show possible to fraudulently make money wowed audiences and critics. Nathan Lane starred alongside Matthew Broderick (both of whom would go on to star in the 2005 film adaptation) with Nathan Lane winning the coveted Best Actor in a Musical Tony Award.
Nathan Lane’s award is just one win of a whopping 12 as The Producers won in every single category it was nominated in, losing out only when multiple actors were nominated for the same award.
Photo by Joan Marcus
Hamilton by Lin-Manuel Miranda
You’d be forgiven if you believed Hamilton was top of the list when it comes to wins as it holds the record for most Tony Award nominations for a single production. Back in 2016, Hamilton was nominated for a staggering 16 awards in 13 categories. It was believed that it would equal or surpass The Producers as the Broadway show with the most Tony wins, but alas, it came home with 11. Wins include Best Musical, Best Direction of a Musical, Best Costume Design in a Musical, and Best Choreography.
Though Lin-Manuel Miranda lost the Best Actor in a Musical award to cast-mate Leslie Odom Jr., he still won two awards – one for Best Original Score and one for Best Book of a Musical.
Photo by David Schneimann
Billy Elliot by Elton John and Lee Hall
After the surprise run-away success of the independent film and considering its subject matter, it was no surprise when a stage adaptation of Billy Elliot hit the West End in 2006. Two years later, Billy Elliot the Musical came to Broadway sealing its status as “a global theatrical phenomenon” (Los Angeles Times).
In 2009, Billy Elliot the Musical was nominated for 15 awards (the same number of nominations as The Producers received) and won 11. The most notable award was that of Best Actor in a Musical as the three young actors – David Alvarez, Trent Kowalik and Kiril Kulish – who shared the role of Billy shared a single nomination and win.
Photo by Joan Marcus
South Pacific by Richard Rodgers, Oscar Hammerstein II, and Joshua Logan
If you were going to use cumulative Tony Award wins as a metric, South Pacific would be at the absolute top of the list.
During its first Broadway production in 1950, the Rodgers and Hammerstein masterpiece firmly cemented its place in Broadway history as one of the greatest musicals of all time. Not only did it win over audiences and critics, it also won every single Tony Award it was nominated for and a Pulitzer. In fact, it’s still the only production in history to win all four of the acting awards in the same year.
Since its premiere, there have been productions of South Pacific all over the world including multiple Broadway revivals each garnering praise and accolades in their own right. Its 2008 Broadway revival won seven further Tony Awards bringing the show’s cumulative total to an unbelievable 17.
Photo by Friedman-Abeles
Fiddler On The Roof by Jerry Bock, Sheldon Harnick, and Joseph Stein
Almost 60 years ago, Fiddler on the Roof took Broadway by storm. When it first opened in 1964, the now-classic musical wowed audiences and became the first Broadway musical to run for more than 3,000 shows. In fact, the original production won nine Tony Awards in 1965 and then received a special Tony Award in 1972 for the longest-running Musical in Broadway History bringing the total to 10.
Since its initial run, Fiddler on the Roof has had five revivals but has only received one further Tony Award.
Other shows that have been awarded 10 Tony Awards for a single production include David Yazbek’s The Band’s Visit and John Logan’s Moulin Rouge! The Musical.
Whether it’s long-standing shows or a limited-run production, Broadway offers the best theater New York – and the world – has to offer. With over 40 theaters and a never-ending list of shows coming and going, it’s often hard to choose what to see. So, we’re going to give you our best Broadway shows for 2023.
Hadestown by Anaïs Mitchell
Greek myth is all the rage at the moment and Hadestown has added fuel to that hellfire. The musical based on the myth of Orpheus and Eurydice had a long road to Broadway but now it’s here, we don’t know what we would have done without it.
After workshops that started back in 2006, Hadestown finally landed a run on Broadway in 2019. It was an instant hit and garnered 14 Tony Award nominations of which it won eight.
The modern retelling of the ancient myth shows a young woman who chooses to sell her soul to Hades in a bid to ease her suffering. However, she is soon forced to work in his factory and her lover, a wannabe musician, attempts to save her from her miserable fate all set to an incredible soundtrack.
Currently playing at Walter Kerr Theater.
Kimberly Akimbo by David Lindsay-Abaire and Jeanine Tesori
This year’s Best Musical winner at the Tony Awards, Kimberly Akimbo, is a touching and joyful show centring Kimberly Levaco – a 16-year-old high schooler who suffers from an incredibly rare condition that makes her age rapidly – played by 63-year-old Victoria Clark.
The show, based on David Lindsay-Abaire’s 2001 play of the same name, is a clever and darkly absurd comedy about a teenager dying of old age. It’s set to a playful and uplifting score from Caroline, Or Change’s Jeanine Tesori and it’ll leave you with a newfound verve for life.
Currently playing at Booth Theater.
Moulin Rouge! The Musical by John Logan
This red-hot stage adaptation of Baz Luhrmann’s film of the same name enchanted audiences when it opened in June 2019. Even COVID-19 couldn’t slow down its momentum. After nine months of packed audiences and rave reviews, Moulin Rouge! The Musical was forced to close due to multiple cast members contracting the virus. They hoped to reopen a few weeks later but a few weeks turned into over a year when the whole of Broadway went dark. When doors reopened, audiences flocked to the windmill for the extravagant show and they weren’t disappointed.
Winning 10 Tony Awards – including Best Musical, Best Actor in a Musical (for Aaron Tveit) and Best Choreography – this tragic, brash, raunchy love story is filled with glitter and heart.
Currently playing at Al Hirschfeld Theater.
The Book of Mormon by Trey Parker and Matt Stone
You won’t know whether to laugh, cringe, or sing along with this dark satire that’s been winning over audiences since 2011. The Book of Mormon follows two young Mormon missionaries who are sent to Uganda to recruit local people to join the Church of Jesus Christ of Latter-day Saints. Once there, they’re made to face the realities of the world and the inconceivable hardships people have to undertake resulting in their faith being rocked.
From the creators of South Park, this tongue-in-cheek, outrageous, incredibly dark comedy musical makes social commentary no one thought possible (or appropriate) to make. But with nine Tony Awards under its belt and a run that looks infinite, it’s definitely a crowd-pleaser.
Currently playing at Eugene O’Neill Theater.
Sweeney Todd: The Demon Barber of Fleet Street by Stephen Sondheim and Hugh Wheeler
If A-listers are the name of your game, you’ll lose your head if you miss this killer revival.
Sweeney Todd: The Demon Barber of Fleet Street is arguably one of the greatest Broadway musicals of all time. Written by the late-great Stephen Sondheim, it features his signature and irreplaceable sound along with a true crime story you won’t be able to resist.
The current revival has won praise from all, with much of that admiration going to the show’s stars Josh Groban, Annaleigh Ashford, Jordan Fisher, and Gaten Matarazzo.
Broadway’s Biggest Night was held on Sunday, June 11th! Host Ariana DeBose presided over the WGA strike-induced unscripted ceremony, which was held uptown at the United Palace for the first time in the Tonys’ 76-year history.
Major winning productions included Kimberly Akimbo (Best Musical, Best Book, Best Score, Best Lead Actress for Victoria Clark, Best Featured Actress for Bonnie Milligan) and Leopoldstadt (Best Play, Best Direction of a Play, Best Lead Actor for Brandon Uranowitz, and more). Other notable winners included Alex Newell and J. Harrison Ghee, the first two openly non-binary performers to win Tony Awards, and this season’s productions of the Jason Robert Brown-Alfred Uhry musical Parade and Suzan-Lori Parks’ Topdog/Underdog, which nabbed the Best Revival of a Musical and Best Revival of a Play awards, respectively. See a complete list of the night’s winners here.
While the ceremony itself is but a memory now, the performances of all nine nominated musicals (and then some!) live on in the pantheon of Tony telecast performances past, an iconic treasure trove of Broadway history residing mostly on YouTube these days. Here are Broadway’s Best Shows’ picks for the season’s top numbers on the 2023 telecast.
Ariana DeBose leads a lyricless dance medley (no writing, remember?) to kick things off!
Brian D’Arcy James and Sara Bareilles duet ‘It Takes Two’ from Into the Woods, with a little help from Milky White
Ben Platt and Micaela Diamond perform Parade’s act two showstopper ‘This Is Not Over Yet’
Will Swenson whips the crowd up into a singalong of ‘Sweet Caroline’ with the cast of A Beautiful Noise: The Neil Diamond Musical
New York, New York’sColton Ryan, Anna Uzele, and company croon their show’s opening and title numbers
Some Like It Hot shows off its now-Tony-winning choreography with its title song
Joaquina Kalukango tributes the end of Phantom’s Broadway run and those who the Broadway community has lost this year with an In Memoriam to be remembered
Lea Michele belts out ‘Don’t Rain on My Parade’ with the cast of Funny Girl to close out the ceremony
Meet Kara Young, Tony-nominated actress from Manhattan Theatre Club’s COST OF LIVING.
COST OF LIVING. Photo by Jeremy Daniel.
After her Broadway debut in last year’s CLYDE’S and stunning turn in COST OF LIVING, Young is nominated in the Best Performance by an Actress in a Featured Role for the second year in a row! She is recognized alongside her co-stars Katy Sullivan and David Zayas, the production’s director Jo Bonney, and the play itself by Martyna Majok, nominated in the Best Play category.
CLYDE’S. Photo by Joan Marcus.
Young is an exciting rising Broadway star, with several film and theater projects on the horizon. Learn more about her with our TONY TALK Q&A:
Who was the first person to text/call you when you got the nomination?
My mom and dad!
Show some love to a fellow nominee this year. Whose work blew you away?
Crystal Lucas PERRY!!! I’ve been watching her for years and her work always blows me away. Also, Nikki Crawford, when I saw her at The Public Theater’s production of Fat Ham, I walked out of the theater crying to the entire cast… This is what theater is supposed to be (and I’ve seen it twice on Broadway.) Nikki’s work is literal magic. Stephen McKinley Henderson. Omg!!! This man is our golden gem; watching him is a masterclass!! And David Zayas!!!! I can’t believe I was in a play with him; after watching him for years, I was watching him from backstage every night and genuinely feeling like, “Whoa, is this real?”
Top restaurant in the theater district?
Glass House Tavern
The first Broadway show you ever saw?
The Christmas Spectacular, the fabulous Rockettes!!
When did you decide to become a theater artist?
I was a mime when I was five years old at the 92nd street Y. My instructor Zahava Gratz took me under her wing. At the time, I didn’t know the full concept of what theater was, but I believe that was the first time I fell in love with performing.
What is your earliest Tonys memory?
There are too many!!
Who’s your favorite Tonys host in history, and why?
Well I have to say Ariana [DeBose] because I gotta see her do it live!
All-time favorite Tonys performance on the telecast, and why?
Also because I was there last year, being a long time fan of the great Bernadette Peters; seeing, hearing and feeling her from my seat was one of the most magical experiences of my life.
Most memorable Tonys acceptance speech, and why?
Phylicia Rashad for her performance in [A Raisin in the Sun], and her speech last year as well in Skeleton Crew. Her grace is colossal, her work is paramount, and her legacy is monumental.
What is one play or musical (and role) would you like to perform on Broadway, and why?
I’m not a singer but I would love to be Mrs. Lovett in Sweeney Todd.
This year’s 76th Annual Tony Awards will be broadcast live from the United Palace in Washington Heights on Sunday, June 11th. As this year’s nominated shows head into the final stretch of their awards campaigns, Broadway’s Best Shows is here to remind you that no one is guaranteed a Tony, not even Aaron Tveit. Here is a list of our top 10 surprise upset wins, across 76 years of Tony history.
10. Christopher Ashley wins for directing Come From Away – 2017
Conventional wisdom had the category as a showdown between Michael Greif for Dear Evan Hansen and Rachel Chavkin for Natasha, Pierre, and the Great Comet of 1812, parallel to the competition happening over in the Best Musical category. Perhaps because Greif and Chavkin split the vote, Christopher Ashley was genuinely flabbergasted when he won his first Tony. Ashley was previously nominated in the same category for Memphis and The Rocky Horror Show.
The cast of Come From Away performs in the 2017 Tonys:
9. 1978 Best Play
The Pulitzer Prize-winning The Gin Game was the anticipated winner for best play – that, or Chapter Two, a comedy about grief from Broadway heavyweight Neil Simon. However, the Tony voters chose the lesser-known Irish playwright Hugh Leonard, for Da, a memory play about a man traveling back to the suburbs of Dublin to cope with the death of his adopted father.
Cicely Tyson and James Earl Jones in the 2015 revival of The Gin Game:
8. Follies and the 2012 Revivals category
For whatever reason, Follies has particularly bad Tonys luck, as we also discuss below. Its revival in 2011, starring Bernadette Peters, Jan Maxwell, and Elaine Paige, was not a major commercial success, but it was expected to win the Best Revival category against Evita, Jesus Christ Superstar, and Porgy & Bess. Instead, the Diane Paulus-directed Porgy won the statue.
Norm Lewis, Audra McDonald, and the company of Porgy & Bess perform at the 2012 Tonys:
The always delightful Danny Burstein performs a song from Follies at the 2012 Tonys broadcast:
7. Children of a Lesser God wins Best Play – 1980
Best known for its 1986 film adaptation starring Marlee Matlin, Children of a Lesser God was a watershed moment for portrayals of Deaf people in theater, exploring the complex issue of Deaf schools insisting students learn to speak, instead of using ASL. Its original star Phyllis Frelich was the first Deaf person ever to win a Tony Award. It beat out Talley’s Folly, a romance by Lanford Wilson that won the Pulitzer and was expected to win, and Bent, a gut wrenching drama about queer people in Nazi concentration camps by Martin Sherman.
Children of a Lesser God was also revived on Broadway in 2018, with direction by Kenny Leon:
6. Marissa Jaret Winokur wins Best Actress
While Hairspray was expected to win Best Musical in 2003, Bernadette Peters was the favorite to win the Tony Award for Best Actress in a Musical for her performance as Mama Rose in Gypsy. Peters had previously won for Song and Dance and Annie Get Your Gun. But it was Marissa Janet Winokur, in her Broadway principal debut as Tracy Turnblad in Hairspray, who ended up winning.
Marissa’s acceptance speech:
5. Kinky Boots wins Best Musical
Prevailing wisdom said that Matilda, like the many British mega-musicals before it, was going to sweep the 2013 Tony awards. In a battle between the lovably sassy British drag queens and the lovably sassy British schoolchildren (only in New York!), it was the American-produced Kinky Boots that won out. Why? Perhaps its surprise win at the Drama League Awards earlier that month moved the needle, or perhaps the almost entirely American Tony voter pool wanted to support one of its own. While both shows were uplifting, Kinky Boots’ pro-LGBTQ+ rights message may have resonated extra hard. (Matilda ended up just fine though – it ran for four years on Broadway, and is still open in the West End.)
4. 2007 Best Actor in a Musical
Theater fans are still arguing over whether Raúl Esparza should have won for Company over David Hyde Pierce for Curtains. Esparza gave a heart wrenching performance as Bobby in John Doyle’s stripped down reimagining of the Sondheim classic. While the rest of the cast played their own instruments throughout the show, Esparza-as-Bobby only sits down in front of a piano to accompany himself in the finale, “Being Alive.” Sondheim is notoriously tricky for pianists, and to also act and sing it at the same time is a rare feat:
But it was beloved Frasier star David Hyde Pierce who won out, for his portrayal of a sensitive and theater-obsessed police detective in Curtains. Pierce, who had put himself into musical theater bootcamp to prepare for his debut in Spamalot a few years prior, may have been helped by his reputation as the nicest person in showbusiness, and the goodwill he had amassed by choosing to come back to Broadway after winning four Emmys for Frasier. Below, DHP and the company of Curtains perform at the Tonys:
3. 1972 – Follies loses best musical
A piece of Tonys trivia that always surprises theater lovers: Stephen Sondheim’s masterpiece Follies did not win the 1972 Tony Award for Best Musical. That award went to Two Gentlemen of Verona, a groovy Shakspeare adaptation by Galt McDermot, the composer behind Hair, in collaboration with playwright John Guare. It also beat out heavyweights like Grease and Ain’t Supposed to Die A Natural Death, and Jesus Christ Superstar wasn’t even nominated in the category.There are a few theories for why this happened: first, 2 Gents is a much frothier, more optimistic show than Follies. It was a diverting entertainment that left audiences joyful, while Follies matched the dark reality of the national mood amidst the Vietnam war, Watergate, and Greatest Generation discontent. 2 Gents takes a firm antiwar stance, but it didn’t confront middle-aged Tony voters with their unhappy marriages they way Follies did. At the same time, voters may have picked 2 Gents to save face after Hair was a massive cultural moment back in 1968 but didn’t win any Tonys, making the awards seem out of touch.
2 Gents was revived off-Broadway in 2005 at the Delacorte with Norm Lewis, Oscar Isaac, Rosario Dawson, John Cariani, and Renee Elise Goldsberry. Here’s Goldsberry and Lewis performing “Night Letter” from that production:
2. Nine beats Dreamgirls
Dreamgirls was an instant, massive smash when it opened to rave reviews in December of 1981. Loosely based on the story of Diana Ross and The Supremes, and with an energetic Motown-inspired score, the production starred Jennifer Holliday and Sheryl Lee Ralph. Nine, a baroque exploration of an Italian film director’s psychosexual whirlwind based on Federico Fellini’s film 8½, had its first *workshop* performance in February of 1982, and opened on Broadway the day of the Tonys cutoff in May. Dreamgirls, directed by Michael Bennett of A Chorus Line fame,was at the Shubert-owned Imperial, and Nine played at the Nederlander-owned Rodgers right next door, and was directed by Tommy Tune. Even juicier, Bennett and Tune had once been dear friends, with Bennett having taken Tune under his wing (if you can take someone who’s 6’6” under your wing.) When Nine was quickly announced to open in the 1981-1982 season, on the final day of Tonys eligibility no less, Bennett called Tune and begged/threatened him to take the show out of town and bring it to New York next year instead. Tune refused. So the story goes, during the Tonys campaigning period in May 1982, the Dreamgirls team refused to step into restaurants the Nine people went to, and vice-versa. The American Theatre Wing, the producer of the Tony Awards, amped up the drama by seating the teams on opposite sides of the Imperial Theatre for the ceremony in June. The producers of Nine pushed their narrative as the scrappy show that could, and that Dreamgirls, backed by the mighty Shubert Organization, didn’t need – or deserve – a vote. Many in the industry were grateful for how fierce the competition got, since Broadway hadn’t had a huge hit since 1975’s A Chorus Line, and the brewing feud got lots of press. While Dreamgirls won many awards at the ceremony, including Best Actress for Jennifer Holliday, Nine shocked the world and won Best Musical. It ran for two years on Broadway, and was also revived in 2003 – when it won again, for Best Revival. Dreamgirls ran for four years, and was only briefly revived in 1987, although its historical impact as a Broadway show with three-dimensional roles for Black women and the way it tackles fatphobia, racism, and colorism in the music industry makes Nine’s womanizer-genius focus look a bit hollow in retrospect.
Jennifer Holliday brings down the house with “I Am Telling You I’m Not Going”:
The cast of Nine performs at the Tonys:
Avenue Q bests Wicked
Stephen Schwartz’s Wicked was the enormous smash of the 2003-2004 Broadway season, its creative team and producers all established industry veterans. Avenue Q, a weirder but better-reviewed show by then-unknowns Robert Lopez, Jeff Marx, and Jeff Whitty, wasn’t expected to do well at the Tonys, or last longer than a few months on Broadway. In spring 2004, the country was also gearing up for the 2004 presidential election, and the Avenue Q producers crafted a campaign that both parodied politics and spoke to voters directly: “Vote Your Heart,” pleaded the red, white, and blue posters and buttons, and the puppets even participated in a mock debate. The producers were using a strategy first used by Nine in 1982, the last time a Best Musical race was this excruciating (see below). They appealed to the Tony voters, all 700 or so of them, to support the underdog, the subtext being that Wicked would do well regardless of whether it won, while a Best Musical win could make or break Avenue Q’s future. The campaign worked, and the little puppet show written by newcomers won not just Best Musical, but Best Book and Score of a Musical as well. Avenue Q ran on Broadway for 6 years, and Off-Broadway for another 10. Wicked seems to be doing okay too.
Note the shock on the producer’s faces when they announce that Avenue Q won:
