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    Tonys Red Carpet Looks: Angelina Jolie, Brooke Shields and More

    Broadway’s biggest stars descended on Lincoln Center in Manhattan on Sunday for the Tony Awards, an annual celebration of all the people — casts, crews and creatives — who make live theater the spectacle that it is. Since many attendees spend most of the week in costumes, the Tonys was also a chance to get dressed up and showcase personal style.The red carpet — technically a shade of blue — was packed with A-listers, a reflection of the star-studded productions that have recently overtaken Broadway. Alicia Keys, Jay-Z, Sarah Paulson, Billy Porter and Nicole Scherzinger were among the celebrities who graced the awards show this year.Purple might have been the color of the evening, with several attendees incorporating shades of it into their ensembles. Men and women alike embraced bows, which appeared around some people’s necks and at the shoulders or waists of others. Of all the outfits, the following 17 stood out the most — for better or worse.Elle Fanning: Most Femme Fatale!Dia Dipasupil/Getty ImagesInstead of a shirt, the actress, a star of the play “Appropriate,” wore a silver necklace beneath her sleek Saint Laurent tuxedo jacket.Brooke Shields: Most Sunny and Sensible!Dia Dipasupil/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Best and Worst Moments From the 2024 Tony Awards

    Alicia Keys and Jay-Z’s high-wattage performance was a highlight, as were first-time wins for Kecia Lewis, Jonathan Groff and David Adjmi.Ariana DeBose ended her third turn as Tonys host with a mic drop. Otherwise, last night’s ceremony offered a first time for everything and very nearly everyone. All eight winners in the acting categories took home their first trophies. (How is it possible that this is Jonathan Groff’s inaugural win?) The playwright David Adjmi, in his Broadway debut, won for “Stereophonic,” as did its director Daniel Aukin, also a Tony-winning newbie. Danya Taymor took home the prize for best direction of a musical for “The Outsiders,” her initial win. (“The Outsiders” also won for best musical.) In a mellow, equitable night, the other awards were spread among many of the nominated shows, with “Stereophonic,” “The Outsiders,” “Appropriate” and an ingeniously reimagined “Merrily We Roll Again” carrying home the top prizes. Here are the highs and lows — and wait, is that Jay-Z on the stairs? — of the ceremony.Now that’s putting on a show“The Outsiders” won best new musical. As the New York Times’s chief theater critic, Jesse Green, put it, Tony voters went with “the underdog show about perennial underdogs.”Sara Krulwich/The New York TimesThe producers and director were the same, but so much about this year’s telecast was a vast improvement on that of previous years. The pacing was swifter: The main broadcast ended on time and the pre-broadcast ended early. The dialogue was more dignified: no brainless chatter or mawkish introductions. The transitions were smoother: Sets were changed live on camera, saving time and showing us how theater actually works. And the investors who used to throng the stage when their shows won awards — not a good look, plus a traffic problem — were sequestered in some alternative universe and beamed in by video. All this allowed the show to deliver better entertainment while leaving room for thoughtfulness and giddiness, and both together. For the first time in a long time, the Broadway on TV felt like the one I know. JESSE GREENWrong-footed openingSara Krulwich/The New York TimesThe Neil Patrick Harris years set an imposing bar for Tony broadcast opening numbers, and this year’s attempt, a strained variety-show knockoff that prematurely promised “this party’s for you,” didn’t end the drought. The Tonys would have done better opening with “Empire State of Mind” from “Hell’s Kitchen” — the night’s highest-wattage performance, featuring Alicia Keys and Jay-Z. Or, better if not bolder: “Willkommen” from “Cabaret,” which was expertly staged for the camera and drenched in Eddie Redmayne’s kooky charisma. SCOTT HELLERThird time’s the charmWendell Pierce presenting Kara Young with her Tony, which she received for “Purlie Victorious.”Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘The Outsiders’ Wins Tony Award for Best Musical, ‘Stereophonic’ Best Play

    “The Outsiders,” a muscular musical based on the classic young adult novel, was named best new musical at the Tony Awards on Sunday night, while “Stereophonic,” a behind-the music play about a band making an album, was named best new play.Stephen Sondheim’s “Merrily We Roll Along” completed a four-decade journey from flop to hit by winning the best musical revival prize, while “Appropriate,” Branden Jacobs-Jenkins’s family drama about a trio of siblings confronting an unsettling secret, won best play revival.Here are the highlights of the 77th Tony Awards ceremony, which took place at Lincoln Center in Manhattan and was hosted by Ariana DeBose:We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Ariana DeBose, Tonys Host, Just Might Be the Busiest Woman on Broadway

    Back in New York City after filming a movie, the actress has been racing to shows while also rehearsing for Sunday night’s ceremony.“Baby,” Ariana DeBose confided, “you are always on.”DeBose, an Oscar winner and a longtime Broadway phenom, was speaking of herself, in the second person, last Saturday evening. Dressed in a beige ribbed tank, athletic shorts and chunky heeled boots, she was still glistening from a rehearsal for Sunday’s Tony Awards broadcast. “On” is an understatement: This will be her third time hosting the ceremony, and her first time producing and choreographing.“Why I did that, I’ll never know,” she said. “Dear lord, the Tonys is just one giant learning experience. You have to be humble.”Humble. And very busy. DeBose is 33 but still very much a theater kid. Her speech was fast, excitable, and when not vaping from a hot pink pen, she had a tendency to reach out to pat my arm or leg, an intimate form of emphasis. Soon, she would take herself out for a hurried plate of pasta before racing to an evening show. For the past two weeks, DeBose has been on a mission, however implausible, to see all of the nominated plays and musicals.Until the end of May, DeBose had been in Winnipeg, Manitoba, shooting an action film, “With Love.” She arrived in New York City the Saturday before Memorial Day and saw her first show that Sunday. On the day we spoke, a week before the broadcast, she had just three shows remaining. (One, “Water for Elephants,” she would see that night.) And this was in addition to arduous rehearsal days.DeBose has said that she will take a break as Tonys host, in large part because she hopes to return to Broadway. OK McCausland for The New York Times“These are opposite processes,” she said of hosting and spectating. “They’re very different disciplines, but you can’t host if you don’t know who’s involved. So to me, it’s a requirement.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    How to Watch the Tony Awards 2024: Date, Time, Streaming

    The main event will be broadcast on CBS and livestreamed for Paramount+ with Showtime subscribers. A simulcast will also air at Damrosch Park in Manhattan.OK, Broadway fans: It’s showtime.The Tony Awards — the annual celebration of Broadway’s best — are on Sunday evening, with performances and prizes and who-knows-what-they’ll-say acceptance speeches.Here’s what you might want to know:When is the ceremony, and how can I watch it?The main event, featuring songs from most of the nominated musicals and the announcement of most of the big winners, is scheduled to start Sunday at 8 p.m. Eastern and to end at 11.The ceremony will be broadcast live on CBS, and can be streamed live by Paramount+ with Showtime subscribers. (Paramount+ Essential subscribers can watch the next day.)A preshow ceremony, at which a number of awards for design and other crafts will be handed out, will take place from 6:30 to 8 p.m. Eastern and will be streamed on Pluto TV, a free service. (Go to Pluto TV on whatever device you’re using, and then click on the ET channel.)If you’re in New York, you can also watch from Damrosch Park at Lincoln Center. That’s a seated area, outdoors, where a simulcast will play. Skylar Astin will host, and there will be some performances and guest appearances. The free event begins at 6:30 p.m. Eastern; the simulcast begins at 8. Capacity is limited, and American Express cardholders are given priority seating.There are also a variety of ticketed watch parties taking place at bars and other venues. Here’s a list from BroadwayWorld.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘I.S.S.’ Review: Ariana DeBose’s Turn as a Space Warrior

    The actress stars in this low-wattage thriller about Russian and American astronauts facing off aboard the International Space Station.Three Americans, three Russians and one exceedingly cramped office hovering 250 miles above Earth — what could possibly go wrong? Given the typical genre coordinates, the 95 minute running time and historic hostilities between Russia and the United States, the more relevant questions here are when and how quickly and entertainingly things will go kablooey in “I.S.S.,” an enjoyable, low-wattage thriller set on the International Space Station.There are nothing but bilateral hugs and smiles when the space newbie Kira Foster (Ariana DeBose) arrives on the station, having been shot into the story on a Russian Soyuz rocket. She and another American astronaut, a smiley family man, Christian (John Gallagher Jr.), have caught a ride to the station, where she’ll be studying mice or “my little guys,” as she cooingly calls them. Like a character’s early reference to the station’s life-support system (if it stops humming, uh-oh), these helpless creatures — soon seen floating tails-up in a container — are early warning signs that something will be disturbing the relative peace very soon.The movie — written by Nick Shafir and directed by Gabriela Cowperthwaite — flashes its wailing red alarms early and often. The space station itself — a cluttered warren with tangles of wires, claustrophobic chambers and eerily weightless bodies — makes a convincing pressure cooker. And Cowperthwaite, who’s worked in nonfiction and fiction (she’s best known for her doc “Blackfish”), clearly maps the tight quarters straightaway, which adds to the ominous atmosphere. By the time a Russian colleague, Alexey (Pilou Asbaek), gruffly tells Kira that “it does not end well,” all this foreshadowing has certainly piqued expectations.What follows is consistently watchable and sometimes tense but, despite some twists, largely unsurprising. After the introductions — Chris Messina plays the third American, Gordon — and the assorted personalities and relationships have been sketched in, the movie gets down to genre business with some worrisome red-orange flashes on Earth. Communication failures ensue, as do the progressively more fretful faces and soundtrack music. The two crews close ranks, with the Americans retreating to one corner to sneak worried looks at the similarly alarmed Russians, who include Weronika (Masha Mashkova) and Nicholai (Costa Ronin).As things go bad and then seriously bad, Cowperthwaite keeps the pieces efficiently shuffling to and fro. She plays with constricted spaces, adds surveillance imagery to amp the disquiet and routinely folds in shots of both outer space and of the orbiting station. This reminds you of the setting’s exoticism and complements the slow-boiling sense of peril, including the obvious unease building in the characters’ head space. (The cosmic imagery also reminds you of how routine persuasive digital special effects are now.) Even so, despite the far-out milieu, the unfolding drama could have easily been set in a submarine — or any other constrained place in which characters have been assembled to prove the best and worst about humanity.DeBose, who’s best known for her powerhouse turn as Anita in Steven Spielberg’s “West Side Story,” makes a convincing narrative axis. The performer’s warmth and charisma nicely offset Kira’s guardedness and outsider status, and that combination makes the character seem more complicated than the bit of back story she’s been given. It’s clear from the get go, from all the close-ups and hovering camerawork, that Kira is the hero of this adventure. In the end, the biggest mystery here is precisely what type of space warrior — a Sigourney Weaver in “Alien” or a Sandra Bullock in “Gravity” — she must become in order to get the job done.I.S.S.Rated R for violence. Running time: 1 hour 35 minutes. In theaters. More

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    Inside the 2023 Tony Awards After-Parties

    Spirited celebrations that included a block party in Washington Heights and a gathering at the Carlyle Hotel extended past 4 a.m.It wasn’t hard to spot J. Harrison Ghee at the official Tony Awards after-party outside the United Palace theater in Washington Heights on Sunday night — they towered over much of the crowd in a vibrant blue gown, with a statuette in hand and a trail of well-wishers close behind. After their groundbreaking win for best leading actor in a musical — they became the first out nonbinary performer to win in the category — the gown color, it seemed, was fortuitous.“I felt like this is such a Cinderella moment,” they said.Hundreds of the ceremony’s attendees spilled out, shortly after 11 p.m., almost directly into the party: a tented extension of the fuchsia carpet and its lush floral backdrop, with catering that reflected both the culinary traditions of the neighborhood’s surrounding communities (paella, ceviche, mango on sticks) and also the immediate hunger of nominees who had sat snackless for hours. (About 800 hamburgers from Shake Shack were gone within 90 minutes.)Suzan-Lori Parks, left, with LaChanze at the after-party near the United Palace theater. Jutharat Pinyodoonyachet for The New York TimesThe Tonys, which celebrate Broadway’s best plays and musicals, were held uptown for the first time this year at the United Palace — an ornate movie house at 176th Street in Washington Heights, nearly eight miles north of Times Square. The theater is tucked within the largely Dominican neighborhood where Lin-Manuel Miranda shot the 2021 film adaptation of his musical “In the Heights.”“To show off one of the cultural gems of the city to a national audience is super exciting,” Heather Hitchens, the president and chief executive of the American Theater Wing, which puts on the Tonys with the Broadway League, said in an interview on Saturday.“The after-party is always important, but to celebrate that we made it through a season and we gave some awards out and actually had a telecast?” she said, continuing, “We haven’t been able to do that for so long.”Sunday’s ceremony was certainly an unusual one. With the Writers Guild of America still on strike, the show featured unscripted commentary from presenters, abundant musical performances from the year’s productions — plus Lea Michele’s rendition of “Don’t Rain on My Parade” from last season’s “Funny Girl” — and a wordless opening dance number by Ariana DeBose, the show’s host.Kelli O’Hara, a presenter at the Tonys, at the party in Washington Heights. Jutharat Pinyodoonyachet for The New York TimesAbout 800 hamburgers from Shake Shack disappeared within 90 minutes at the after-party outside the United Palace.Jutharat Pinyodoonyachet for The New York TimesBowls of Frosted Flakes were scattered around the official after-party. Tony the Tiger attended the Tonys this year.Jutharat Pinyodoonyachet for The New York Times“Ariana DeBose,” Wayne Brady, who is set to star in the 2024 Broadway revival of “The Wiz,” said later in the evening, shaking his head. “She was tremendous. She can improvise like no one’s business.”“It went so smoothly,” said Bonnie Milligan, a Tony Award winner for best featured actress in a musical for her performance as a scheming aunt in the offbeat musical “Kimberly Akimbo,” which was the top winner of the night with five trophies overall. “So many people were able to speak in solidarity with the strike.”With a long list of celebrations still ahead, many of the night’s winners and nominees stayed at the official after-party only briefly before moving on to smaller soirees hosted by individual productions across the city.Myles Frost, last year’s winner for best leading actor in a musical for playing Michael Jackson in “MJ,” at the official after-party. Jutharat Pinyodoonyachet for The New York TimesJulia Lester, a nominee for her turn as Little Red Riding Hood in the revival of “Into the Woods,” was leaving with her father as many attendees were still arriving. Ms. Lester said she was “just seeing where the night takes me.” She wore a voluminous green ball gown, sheer elbow-length gloves, a black choker and a bow in her red curly hair. “I’m wearing a hoop skirt, so I can’t do that much. Sitting down was a nightmare.”Jordan Roth, the president of Jujamcyn Theaters, donned a sparkling scarlet outfit meant to elicit, he said, “Big Red Riding Hood.” His after-party plans, he added, would extend “until the hood falls off, which is literally impossible. It’s pinned, glued, sewn — I probably won’t be able to take it off to go to sleep.”The event at the Carlyle Hotel, hosted by the theater publicist Rick Miramontez and the producer John Gore, picked up after midnight. Rebecca Smeyne for The New York TimesBy 12:30 a.m., many had left the official after-party, and most of the nominees began heading to the Carlyle Hotel on the Upper East Side, where the theater publicist Rick Miramontez — dressed in a white blazer with red-and-white striped shorts — was hosting his famed late-night shindig for several hundred guests with the producer John Gore.“This is the party,” Mr. Brady proclaimed from a couch nestled alongside an open bar near the hotel’s entrance.Kolton Krouse, who starred in a recent revival of “Bob Fosse’s Dancin’” and uses the pronouns they and them, also opted for business-on-top-party-on-the-bottom, sporting a black blazer that barely covered their torso atop gold heels.Bonnie Milligan, left, who won the Tony for best featured actress in a musical, and Miriam Silverman, who won for best featured actress in a play, at the Carlyle Hotel.Rebecca Smeyne for The New York TimesVictoria Clark, who won the Tony for best leading actress in a musical for her role in “Kimberly Akimbo,” at the Carlyle party.Rebecca Smeyne for The New York TimesJessica Chastain, with her grandmother Marilyn Herst, whom the actress said she brings to “all the parties.”Rebecca Smeyne for The New York Times“Congratulations!” they said, lunging to stop Jessica Chastain, who was wearing a caped, sunshine-yellow Gucci gown, her long red hair in a high ponytail, as she swept in around 12:30 a.m. — accompanied by her grandmother, Marilyn Herst.“I bring her with me to all the parties,” said Ms. Chastain, who was nominated for best leading actress in a play for her performance as the housewife Nora Helmer in Jamie Lloyd’s bare-bones revival of “A Doll’s House.”The English actress Jodie Comer had won the category for her performance as a lawyer who defends men accused of sexual assault in the one-woman show “Prima Facie,” but you would not know it by Ms. Chastain’s cadre of photographers, who temporarily clogged the passageway between the upper lounge and a bar area, and a receiving line of those congratulating the actress after the play’s final performance this past weekend.“I hope it’s not over forever,” Ms. Chastain said as shutters clicked away.Alex Newell, left, and J. Harrison Ghee at the Carlyle, hours after becoming two of the first out nonbinary performers to win a Tony Award.Rebecca Smeyne for The New York TimesJordan Roth, the president of Jujamcyn Theaters, at the Carlyle. His after-party plans would extend “until the hood falls off,” he said.Rebecca Smeyne for The New York TimesBuckets of Moet & Chandon champagne were placed around the room, while waiters in white blazers ferried silver trays of sliders and cartons of French fries around four rooms. On side tables sat slender trays of nuts and chips, which nominees appreciatively munched.In a back room alongside a bar, a cabaret singer crooned Frank Sinatra’s “Nice ‘n’ Easy” accompanied by a pianist and a cellist. (The Tony-winning soprano Kelli O’Hara, in a feathery white gown, bopped to the music.)Julia Lester, a nominee for “Into the Woods,” arriving at the Carlyle party, hoop skirt and all.Rebecca Smeyne for The New York TimesBen Platt and Micaela Diamond, the stars of “Parade,” at the Carlyle.Rebecca Smeyne for The New York TimesZachary Prince, left, with Brandon Uranowitz, who won a Tony for best featured actor in a play for his role in “Leopoldstadt.”Rebecca Smeyne for The New York TimesThe party began to pick up around 1 a.m. Ben Platt, accompanied by his fiancé, Noah Galvin, in a matching black suit, got a hug from Micaela Diamond, his co-star in “Parade,” which won best revival of a musical. Ms. Lester — whose night had apparently taken her to the Carlyle — was deep in conversation in a corner with Julie Benko, the “Funny Girl” alternate for Michele’s Fanny Brice.Attendees discussed the beauty of the United Palace, a dazzling remnant of the golden age of cinema, which many had been inside for the first time that night.“I am so in love with that house,” Mr. Brady said.Natasha Katz, who won the Tony for best lighting design for her work on the Josh Groban-led “Sweeney Todd” revival, received a hug at the Carlyle.Rebecca Smeyne for The New York TimesShortly before 3 a.m., many of the performers began heading out, though the party would last until after 4 a.m.“I’m excited to have a shot at the Tonys next year,” Mr. Brady, “The Wiz” star-to-be, said around 2:30 a.m., before heading for the door.“In the bigger sense, I’m excited about making history with such a melanated cast, a mostly Black creative team.” More

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    Tony Awards Viewership Increases to 4.3 Million

    Awards shows have seen steep ratings declines in recent years, but the modest uptick for Sunday night’s Tonys followed recent increases for the Oscars and the Grammys.The CBS telecast of the Tony Awards drew 4.3 million viewers on Sunday night, the second consecutive year that the broadcast has seen a bump in the ratings, according to Nielsen.The modest increase in viewership at a moment where people are fleeing broadcast television qualifies as a win these days. And the fact that the Tonys gained audience share is part of a trend where award shows have stopped the bleeding after years of steep losses. This year’s Oscars and Grammy Awards both increased their viewership, too.Still, for the Tonys, which is a relatively niche ceremony compared to more popular awards shows, Sunday’s ratings represent the third-lowest viewership total since records have been kept. Last year’s ceremony drew 3.9 million viewers.The fact that the Tonys happened at all took no small effort. Just a month ago, the televised ceremony was in jeopardy after the union representing thousands of striking movie and television writers — who have been on strike against the major Hollywood studios since May 2, arguing that their wages have stagnated despite the streaming production boom — threatened to picket the event.The writers have deployed aggressive tactics to hurt the studios during the strike, and a live event broadcast on CBS was lining up to be a good target. (The writers had already successfully disrupted the MTV Movie & TV Awards last month, which prompted the cancellation of the live ceremony; MTV and CBS share the same corporate parent, Paramount.)But a group of playwrights lobbied leaders of the Writers Guild of America, the union representing the writers, arguing that the cancellation of the event would hurt the theater industry more than it would hurt CBS. The Tony Awards represent a vital marketing tool for Broadway as it still makes its slow recovery out of the pandemic. Given the relatively low viewership of the Tonys, the show has always been more of a prestige play for CBS than a profit machine.The W.G.A. relented, and the end result was an awards show that went heavy on live performances and introductory videos, and went without scripted material or pre-written bits. Presenters did little more than introduce themselves and announce the nominees and winners. The striking writers were given repeated shout-outs throughout the night.W.G.A. leaders expressed approval on Monday morning, with the union’s Eastern branch tweeting, “A big congratulations, and a big thank you to the Tony Award winners who stood with the #WGAstrike in their speeches. Thank you to attendees wearing #WGAstrong pins, and to everyone who showed solidarity with the writers during last night’s unscripted awards show.”The unscripted ceremony, which was hosted by Ariana DeBose, was mostly well received. Jesse Green, The New York Times’s theater critic, observed, “Previous Tonys telecasts have often wasted their ‘bumpers’ — the gaps between the end of a big performance or award and the commercials that follow — with unconvincing scripted nonsense. Guess what? No script, no nonsense.”In 2021, the Tony Awards drew a record low of 2.8 million viewers when the pandemic-altered ceremony aired in September, three months later than its traditional mid-June slot. The highest-rated Tony Awards in recent years was in 2016, when a “Hamilton”-fueled ceremony had an audience of 8.7 million viewers.The top-rated markets for Sunday’s telecast were, in order, New York, West Palm Beach, Fla., and San Francisco, according to Nielsen. More