Play Nominees
The producers should go back to showing (or staging) brief scenes from the Tony-nominated best new plays. Having an actor do a quick, loving plot summary neither sells tickets nor showcases the plays to their best advantage. Last night, the only bit that worked was for War Horse - because the actual horse came out as a visual demonstration. But, of course, once the magnificent horse came onscreen, who was listening to the narration? I say, offer a very brief summary and then give two minutes' worth of a scene (the way the Tonys used to do). If you have to switch out another segment to make time, the montage of all the plays of the season was ok but too choppy to be anything more than a gimmick.
Brooke Shields
Okay, it is very, very tough to stand up from the audience, have a mic thrust in your face, and be forced to sing, let alone say anything at all. Still, giving Brooke Shields an index card to hold instead of a far-away monitor to read might have rescued the night's only disastrous moment. At least she didn't bump into the scenery and sue the League.
Larry Kramer
Not sure why he was dressed like a monk, but what a speech! No fire and brimstone, just a moving benediction.
Neil Patrick Harris & Hugh Jackman
Well done but a smidgen disappointing. Twice now NPH has proved he can carry the show on his shoulders without help from anybody (well, apart from the writers) -- though it was nice to see him with all those crazy married people.
Daniel Radcliffe
He was charming but underwhelming when I saw him in How to Succeed back in April. On TV yesterday, his voice was strong and his charisma solid. Bet he's growing into the role nicely. (And what an inspired touch to have Robert Morse and Matthew Broderick do the introduction honors.)
The opening number
A home run right out of the box, thanks to authors David Javerbaum and Adam Schlesinger, with champion slugger Harris in the batter's box. Of course, by the time the show brought on Priscilla's "It's Raining Men" two hours later, the thoughts expressed in "Not Just for Gays Anymore" seemed like a distant memory.
The Rap
Lin-Manuel Miranda and Tommy Kail (director of Miranda's In the Heights) worked on it in the Beacon Theater basement while the show was going on. Somehow, they came up with a finale that was just as funny as last year's and, considering the evening's occasional nods to slang and naughty words, even more appropriate.
The Beacon
During the Rosie O'Donnell years, Radio City Music Hall gave the Tony's a needed boost of PR and dazzle, but I think a smaller house like the Beacon makes the musical numbers feel more cozily theatrical and the whole evening more haimische.
The Obits
I'm very glad they still do this. Taking a minute or two out to remember yesteryear's greats adds gravitas and also reminds viewers that theater is an ongoing family of connections and memories. It's also a way for Tony to acknowledge the likes of Ellen Stewart and John Willis, who may not otherwise have a shot to shine in the Broadway firmament.
The off-camera awards
Wonderful idea! Going into each commercial, we were told about a design award given during the broadcast or during the prior commercial break. That's not new, but having a clip of the award winner's acceptance speech is a considerate and welcome touch. However
Commercials
I didn't count, but there had to be 45 minutes of commercials spread out over the three-hour broadcast. No wonder there's no time during the show to announce design awards or even direction and choreography honors. Not sure I miss the days of the one-hour PBS pre-show, but I wish CBS could charge more per ad and keep more minutes of basic award-giving.
Rush-off music
Kudos to the producers and orchestra for judicious use of its "get off the stage" music. Sure, the bumblebee speech and Frances McDormand's "best play since Chekhov" exultations were over the top, but that's part of the goofy magic of the awards. And cutting off Ellen Barkin and nutty Sutton after 30 seconds would have been criminal. Hooray for the dressers!
Whoopi What?
What the hell was up with that? My first thought was that she was going to be in a Wicked spoof that got cut for time, but no, it was just her fashion statement. I think Bjork needs to give her some couture tips.
Bono and the Edge
At first, I worried their comedy act would be too low-key, but Edge nailed it with the "humble" line.
Memphis
No knock on this pretty good show, which won the 2010 Best Musical Tony, but do you get the feeling that if it ran this year, it would have finished behind not only Mormon but Scottsboro and Sister Act?
Spidey
Interesting. Very low-tech, and the song was the only ballad of the entire night. Pretty tune, too.
The Mormon invasion
Of course it won best musical, and best book and score, and congrats to Nikki M. James. But really, all those design awards? Not that the nominees weren't worthy, but methinks some Tony voters just checked any box that had "Mormon" next to it.
War Horse
Best play? Nah.. maybe best theatrical experience. Try doing the play without the Handspring horses and amazing design scheme and THEN tell me it's better than Good People.
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