The 2022 Tony Awards: Why I’d Vote For These Nominees Part 1
The Tony Awards are Broadway’s biggest event. It’s like the Super Bowl, and a contended presidential race all at the same time!
More than any other year I feel connected to these shows, creative teams, and performers. While I haven’t seen every show nominated for every award (Covid and Omnicron made that difficult for anyone), the ones I have seen are worth discussing. Here is why I’d vote for these selected categories of Tony Award nominees.
Best Musical
In this category, my favorites are MJ and SIX. They are different, but also not. Both are based on historical events (SIX 500+ years ago…still…) and both have elements of a pop concert.
Six shines in the vocals category. MJ’s music is iconic. MJ wins on choreography and in set design which has the ability to transport us to so many different locations. SIX wins in its intimacy to the audience and in its storied history of how it got to Broadway. (That Cinderella story of going from fringe festivals to a Broadway stage makes me cheer loudly as I shepherd new work.)
As for the best costume design, Six’s now iconic Queen’s costumes are a show stopper. They are, however, mostly the same throughout. Conversely, MJ’s thoughtful costumes transition between time and space, between every day wear and detailed on-set-costumes for Thriller. Paul Tazewell for MJ has my vote for Best Costume Design of a Musical. Director’s for both have been nominated for Best Direction Musical. Sadly, as much as I like both of these new musicals. I fear that even with everything they have playing to their benefit, neither of these pieces will win Best Musical. My guess is that Strange Loop will take this category. My vote, however, would be for MJ.
Best Choreography
Choreography in a musical is the secret sauce. It’s a key part of the trifecta of staging, music, and dance. When designed and executed well dance tells the story is a way no words or music can. I’ve long admired the role of choreography in a musical and this year’s nominees, namely Camille A. Brown (‘for colored girls’) Christopher Wheeldon (MJ) and Warren Carlyle (Music Man) take their responsibilities to a whole new level.
Warren Carlyle’s originality of movement in The Music Man is new in the way Fosse was new. He discovers new angles, new levels, and a new way of approaching a time-honored material. His skill in finding the best young dancers on the planet should, alone, be applauded. Teaching and placing young people on stage is one of Warren’s super powers that can’t be overlooked. Also, the sheer number of people he moves and arranges on stage should be celebrated. He’s a master of the turn and the trick. It’s eye candy! And it elevates the story to a whole new level. “Shipoopi” and “Marion the Librarian” never looked so good. For these reasons and the sheer number of dancers and cast (41?!) who were taught choreography, Warren Carlyle gets my vote.
Camille A. Brown made history with her two Tony nominations as the first Black woman to serve as both choreographer and director for a Broadway show in 67 years. Her work is poetry personified. Solo and ensemble moments find their own rhythm while telling a continuous story. Her skill is in giving each performer the freedom and the challenge to find their inner rhythm and then share it boldly and broadly. It’s beautiful.
The strength of MJ’s choreography is its precision. Christopher Wheeldon’s ability to cast dancers with a love of movement and a range of dance styles is stunning. The “Thriller” number is both iconic and made new. There’s also an intimacy of moment that makes me feel like I’m watching MJ in his own living room as he discover his style piece by piece through practice. One of my favorite scenes is when we learn of MJ’s dance influences; Bob Fosse, Fred Astaire, and the Nicholas Brothers. The dance in this show is spectacular.
Best Performance by an Actor in a Leading Role in a Musical
Billy Crystal, Mr. Saturday Night
Myles Frost, MJ
Hugh Jackman, The Music Man
Rob McClure, Mrs. Doubtfire
Jaqueline Spivey, A Strange Loop
Next to Best Musical, and Best Choreography this award category may be the most contended. We have seasoned performers in Billy Crystal and Hugh Jackman. New-to-Broadway performers in Jaqueline Spivey and Myles Frost. And while I adore the charisma of Hugh Jackman and want to celebrate that show on every level, and Myles Frost was MJ reincarnated, my vote would be for Rob McClure for two reasons. 1. He’s brilliant 2. Because I think Mrs. Doubtfire was shafted and this is the only place to vote for that show.
The show had a stuttered start when forced to close while in previews March 2020 for Covid. The show reopened only to be closed again for Omnicorn. Next, after a nine week hiatus, it re-reopened to slow box office. I think the team deserve a Tony for tenacity. The set was impressive. The story hit the beats. Jenn Gambatese as Mom was warm, passionate, and displayed a depth of character that helped this mom-in-the-audience (me) really connect with her. She was terrific.
Sure, maybe this made-for-film story of the 90’s missed its audience. Maybe folks couldn’t imagine anyone except Robyn Williams in the lead role. I get that family audiences may not have fully returned to Broadway, and I also honor that audiences intentionally laughing at a man in a dress is hurtful. Still, Rob’s ability to fully commit to each transition from one character to the next was remarkable. His honesty and pure talent makes him my choice.
