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      Tony Award Winners 2022: Full List

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      The Tony Awards were held Sunday at Radio City Music Hall.The Tony Awards were back at Radio City Music Hall for the first time since June 2019. The awards ceremony, which honors the plays and musicals staged on Broadway and resumed its traditional calendar after a long pandemic disruption, honored work that opened on Broadway between Feb. 20, 2020, and May 4, 2022. (“Girl From the North Country” opened on March 5, 2020, just a week before theaters shut down for the pandemic.)Ariana DeBose, the former Broadway understudy turned Oscar winner, hosted the three-hour broadcast portion of the Tony Awards on CBS, which was preceded by a one-hour segment hosted by Darren Criss and Julianne Hough on Paramount+. “A Strange Loop” won best musical and “The Lehman Trilogy” was awarded best play at a glittering ceremony celebrating Broadway’s comeback. Myles Frost won his first Tony for best leading actor in a musical for “MJ,” his Broadway (and professional acting) debut. And there were performances from some of the past year’s most prominent musicals: “Company,” “Girl From the North Country” and “Paradise Square,” among others. A complete list of winners is below.Barbara Whitman, center, accepting the Tony for best musical for “A Strange Loop.”Sara Krulwich/The New York TimesBest Musical“A Strange Loop”Best Revival of a Musical“Company”Best Play“The Lehman Trilogy”Best Revival of a Play“Take Me Out”Best Book of a MusicalMichael R. Jackson, “A Strange Loop”Lucy Moss, left, and Toby Marlow accepting the Tony for best original score for “Six: The Musical.”Sara Krulwich/The New York TimesBest Original Score“Six: The Musical,” music and lyrics by Toby Marlow and Lucy MossBest Direction of a PlaySam Mendes, “The Lehman Trilogy”Best Direction of a MusicalMarianne Elliott, “Company”Best Leading Actor in a PlaySimon Russell Beale, “The Lehman Trilogy”Best Leading Actress in a PlayDeirdre O’Connell, “Dana. H”Best Leading Actor in a MusicalMyles Frost, “MJ”Best Leading Actress in a MusicalJoaquina Kalukango, “Paradise Square”Jesse Tyler Ferguson accepting the Tony for best featured actor in a play for “Take Me Out.”Sara Krulwich/The New York TimesBest Featured Actor in a PlayJesse Tyler Ferguson, “Take Me Out”Phylicia Rashad accepting the Tony for best featured actress in a play for “Skeleton Crew.”Sara Krulwich/The New York TimesBest Featured Actress in a PlayPhylicia Rashad, “Skeleton Crew”Best Featured Actor in a MusicalMatt Doyle, “Company”Patti LuPone accepting the Tony for best featured actress in a musical for “Company.”Sara Krulwich/The New York TimesBest Featured Actress in a MusicalPatti LuPone, “Company”Best Scenic Design of a PlayEs Devlin, “The Lehman Trilogy”Best Scenic Design of a MusicalBunny Christie, “Company”Best Costume Design of a PlayMontana Levi Blanco, “The Skin of Our Teeth”Best Costume Design of a MusicalGabriella Slade, “Six: The Musical”Best Lighting Design of a PlayJon Clark, “The Lehman Trilogy”Best Lighting Design of a MusicalNatasha Katz, “MJ”Best Sound Design of a PlayMikhail Fiksel, “Dana H.”Best Sound Design of a MusicalGareth Owen, “MJ”Christopher Wheeldon accepting the award for best choreography for “MJ.”Sara Krulwich/The New York TimesBest ChoreographyChristopher Wheeldon, “MJ”Best OrchestrationsSimon Hale, “Girl From the North Country”Special Tony Award for Lifetime AchievementAngela LansburyIsabelle Stevenson AwardRobert E. WankelRegional Theater Tony AwardCourt Theater (Chicago)Special Tony AwardJames C. NicolaTony Honors for Excellence in the TheaterAsian American Performers Action CoalitionBroadway for AllFeinstein’s/54 BelowEmily GrishmanUnited Scenic Artists, Local USA 829, IATSE More

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      Angela Lansbury Honored for Lifetime Achievement at the Tonys

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      Angela Lansbury, a beloved star of stage, film and television, was honored on Sunday night with a special Tony Award for lifetime achievement.Len Cariou, 82, who starred opposite Lansbury in the Broadway production of “Sweeney Todd,” presented the award. Lansbury, 96, was not present to accept the award in person at Radio City Music Hall.The New York City Gay Men’s Chorus also sang “Mame” as a special tribute to Lansbury. (Read on for more about that show.)The New York City Gay Men’s Chorus perform a tribute to Lifetime Achievement Award winner Angela Lansbury.Sara Krulwich/The New York Times“There is no one with whom I’d rather run a cutthroat business with,” Cariou said. “Angela’s extraordinary 75 year career was marked with many joyful moments onstage.”Lansbury first appeared on Broadway in 1957, in a farce called “Hotel Paradiso,” and in 1964 she starred in her first Broadway musical, “Anyone Can Whistle.” She landed her breakout Broadway role, starring as the free-spirited title character in “Mame” in 1966. She won her first Tony Award for that performance.Lansbury, center, in hat, appearing in “The Best Man” in 2012.Sara Krulwich/The New York TimesHer most recent Broadway appearance was in a 2012 revival of “The Best Man,” a play by Gore Vidal.In total, Lansbury has been nominated for a Tony seven times, winning in all but two instances. Here is some of what critics from The New York Times have said about those Broadway performances over the years:Mame (1966)“This star vehicle deserves its star, and vice is very much versa. No one can be surprised to learn that Angela Lansbury is an accomplished actress, but not all of us may know that she has an adequate singing voice, can dance trimly, and can combine all these matters into musical performance.” — Stanley KauffmannDear World (1969)“But for one minor miracle I suspect that ‘Dear World’ would never have seen the gloom of day. That minor miracle is Miss Lansbury and whether or not the musical is worth seeing — for it is extraordinarily tenuous — no connoisseur of the musical comedy can afford to miss Miss Lansbury’s performance. It is lovely.” — Clive BarnesGypsy (1974)Lansbury in “Gypsy” in London in 1973.Donald Cooper/Alamy“Most important of all, this new Broadway ‘Gypsy’ has brought over Angela Lansbury as Rose. Her voice has not got the Merman-belt, but she is enchanting, tragic, bewildering and bewildered. Miss Lansbury not only has a personality as big as the Statue of Liberty, but also a small core of nervousness that can make the outrageous real.” — Clive BarnesSweeney Todd (1979)“Her initial number, in which she sings of selling the worst pies in London, while pounding dough and making as many purposefully flailing gestures as a pinwheel, is a triumph.” — Richard EderDeuce (2007)“After an absence of nearly 25 years Angela Lansbury has returned to the New York stage. And she is so vitally and indelibly present that she even occasionally gives flesh to a play as wispy as ectoplasm.” — Ben BrantleyBlithe Spirit (2009)Lansbury in “Blithe Spirit” in 2009.Sara Krulwich/The New York Times“But it’s Madame Arcati who walks — or rather dances — away with the show, as she has always been wont to do. Those who know Ms. Lansbury only as the bland, levelheaded Jessica Fletcher of television’s ‘Murder, She Wrote’ may not be aware of this actress’s depth and variety of technique.” — Ben BrantleyA Little Night Music (2009)“But there is only one moment in this production when all its elements cohere perfectly.That moment, halfway through the first act, belongs to Ms. Lansbury, who has hitherto been perfectly entertaining, playing Madame Armfeldt with the overripe aristocratic condescension of a Lady Bracknell.” — Ben Brantley More

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      The 75th Tony Awards: Time, Hosts and How to Watch

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      The ceremony returns to Radio City Music Hall on Sunday night.The Tony Awards, which honor plays and musicals performed on Broadway, will take place this year on Sunday, June 12, with a four-hour ceremony that begins on a streaming service and continues with a television broadcast.The evening is the first Tony Awards ceremony to recognize shows that opened after the long shutdown of theaters brought on by the coronavirus pandemic. The theater season was extraordinarily challenging, with ongoing Covid disruptions and fewer tourists than normal, and the ceremony is expected to highlight Broadway’s perseverance.The nominators spread out their admiration quite widely: Of the 34 eligible shows, 29 got at least one nod, including the critically scorned “Diana.”Here’s what to look out for on Sunday night:How Do I Watch?The main event, at Radio City Music Hall, starts at 8 p.m. Eastern time and is to be hosted by Ariana DeBose; it will be both broadcast on CBS and available to stream on Paramount+.The broadcast show will be preceded by a one-hour segment, hosted by Darren Criss and Julianne Hough, that will begin at 7 p.m. Eastern time and be viewable only on Paramount+. That hour is expected to include the announcement of many of the design and writing awards, as well as some performances.The 2022 Tony AwardsThis year’s awards, the first to recognize shows that opened after a long Broadway shutdown during the pandemic, will be given out on June 12.Hosting Duties: Ariana DeBose, who will host the ceremony, vows that this edition will celebrate the often unsung actors who have stepped in during the pandemic.Ruth Negga: The actress, who is nominated for her role as Lady Macbeth in Sam Gold’s staging of the play, infuses the character with intensity, urgency and vitality.Hugh Jackman: The actor may potentially win his third Tony Award for his role in “The Music Man.” He shared some thoughts on his life between film and theater.Choreography: Musicals like “MJ” and “Paradise Square” take on dances of the past but miss some opportunities to elevate the dancing; “For Colored Girls” effectively weaves language and motion.There will also be a red carpet earlier in the evening; New Yorkers with Spectrum cable can watch coverage of the red carpet starting at 6 p.m. on NY1.What Should I Expect?The broadcast will feature performances from all six shows nominated for best new musical — “Girl From the North Country,” “MJ,” “Mr. Saturday Night,” “Paradise Square,” “Six: The Musical” and “A Strange Loop” — as well as from two of the three shows nominated for best musical revival, “Company” and “The Music Man.” And, of course, many awards will be bestowed.Some of the presenters include Chita Rivera, Cynthia Erivo, Laurence Fishburne, Samuel L. Jackson, Sarah Silverman, Lin-Manuel Miranda and Bebe Neuwirth. Paris Jackson and Prince Jackson, two of Michael Jackson’s children, are expected to spotlight “MJ,” a jukebox musical about their father that is nominated for 10 awards, including best new musical and best book of a musical.Among the other expected highlights: a tribute to the composer and lyricist Stephen Sondheim, who died in November; a 15th anniversary reunion of the cast of “Spring Awakening”; and a lifetime achievement award for Angela Lansbury.What Are Some of the Key Races?Best new play: This Tony Award seems certain to go to “The Lehman Trilogy,” a riveting history lesson that chronicles the rise and fall of the Lehman Brothers financial empire. Two dark comedies are also in the running: “Clyde’s,” by Lynn Nottage, is set in a sandwich shop employing recently incarcerated individuals; and “Hangmen,” by Martin McDonagh, takes place at a bar run by Britain’s second-best executioner just after that country banned capital punishment. The other contenders are “Skeleton Crew,” Dominique Morisseau’s play about a group of workers at an automotive plant facing shutdown, and “The Minutes,” Tracy Letts’s look at the dark secrets kept by a small-town governing body.Tony Awards: The Best New Musical NomineesCard 1 of 7The 2022 nominees. More

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      Tony Nominees for Choreography Put the Past in Motion

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      Musicals like “MJ” and “Paradise Square” take on dance of the past — with some missed opportunities. But the dance in “For Colored Girls” helps us to “remember what cannot be said.”A Black dancer and an Irish one face off in a dance contest in 19th-century New York. They take turns, each trying to top the other with steps and rhythms that are unique and unbeatable. It’s adversarial but also collegial, since the premise both assumes and encourages commonality, the kind of back-and-forth that breeds hybrids. This is a primal scene of American dance, and a version of it is on Broadway now.Whether in revivals, jukebox musicals or reimaginings of more distant history, a lot of the dance on Broadway these days is dance of the past. It’s theater, so the aim is less historical fidelity than persuasiveness. The choreography has to represent how people used to move in a way that makes sense to people today. But that constraint contains a possibility: In watching performers of the present embody the dance of the former times, we might feel, in our own bodies, how the present and the past are connected.That possibility was live for all five shows nominated for Tony Awards in choreography this year. The subject of each is, in some sense, historical. But the one that addresses dance history most directly is “Paradise Square.” It’s a musical about the Black and Irish denizens of the Five Points district in the 1860s. In the decades before, this neighborhood was a crucial site of interracial exchange and invention, a nursery not just for tap dance but for American theatrical dance in general — the kind that would long characterize Broadway musicals.“Paradise Square,” with choreography by Bill T. Jones and others, makes dance central and consequential.Sara Krulwich/The New York TimesMainly set in the kind of tavern where much cultural exchange occurred, the story seems to make dance central and consequential. No one knows exactly what the dancing in the Five Points looked or sounded like, so Bill T. Jones, leading a team of choreographers, is free to juxtapose some ideas of the Black and African side (Juba dance, shout) with some ideas of the Irish (the fast stepping familiar from “Riverdance”). But this choreography is subtle and inventive only compared to the absence of those qualities in the score and book. It doesn’t persuade.The Irish dance, credited to Jason Oremus and Garrett Coleman, is served somewhat better, partly because the Irish clichés in the music support it. Two of what the program calls “Irish Dancers” (Coleman and Colin Barkell), with little role in the plot, get to be briefly impressive in bursts of footwork. But even as the story builds to that Black vs. Irish dance-off, the dancing doesn’t make us feel how and why Black and Irish dance mixed, the similarities and differences that attracted the cultures to each other.It’s a missed opportunity. “Paradise Square” might have staged a shocking, thrilling return to sources, especially the Black ones. Instead, in a deeply flawed show, it offers the sort of choreography that inspires comments like “But wasn’t the dancing good?” Not good enough.Hugh Jackman in “The Music Man,” with choreography by Warren Carlyle.Sara Krulwich/The New York TimesA revival of “The Music Man,” a tried-and-true classic, is a much simpler choreographic assignment. Warren Carlyle does the job just fine. He has an adequate, nostalgic grasp of the period flavor, the “new steps” of the 1910s. The origins of these moves — in places like the Five Points before spreading to places like Iowa, the musical’s setting, and to the white stages of Broadway — isn’t part of the story. So Carlyle can focus on arranging a large cast of skilled dancers. If it’s all a little cautious and underwhelming, so is the rest of the production.Carlyle offers a professional, if uninspired, take on Broadway choreography as it used to be. “Six” is much more current, despite being about the wives of Henry VIII. The conceit of the show is to give them voice by casting them as contemporary pop divas, inspired by Beyoncé, Rihanna and the like. It’s a singing contest, and we expect to see certain kinds of dancing. These are dancing singers, and as each queen takes her turn, the others serve as the backup that every pop diva commands in concert.This is dance of the present, and Carrie-Anne Ingrouille, the choreographer, is up to speed in the genre and its variations — the ratios of sass and sex and empowerment moves, even the requisite absence of dance in Adele-style heartache. She keeps the action both tight and fluid, letting the performers save enough breath for all their belting. Like the clever, catchy pastiche songs, the choreography identifies its sources without quoting directly. It gives the pleasure of finding what we already know in a context where we might not expect it.Present tense: The cast of “Six” doing Carrie-Anne Ingrouille’s moves.Sara Krulwich/The New York TimesA show about Michael Jackson, the King of Pop, and one of the great dancing singers, might seem to call for a similar approach. But “MJ,” as in so many other ways, is a different beast. It’s a jukebox musical, so the whole point is to hear the songs you know and love. But many of these songs already have choreography inextricably attached: that of Jackson’s hugely influential music videos of the 1980s. This isn’t just a period style that can be reproduced in general. Plenty of people who know the words and melodies also know all the steps.What is Christopher Wheeldon, the choreographer of “MJ,” to do? For the parts of the show covering Jackson’s early life, the Motown and Soul Train years, Wheeldon can work idiomatically, borrowing the styles to tell the story. When the timeline reaches the advent of MTV, though, he balks, having dancers tease some of the zombie boogie from “Thriller” at the back of the stage, facing away.It’s true that the second act begins with a close-to-verbatim reproduction of Jackson’s epochal “Motown 25” performance of “Billie Jean.” And Myles Frost, who plays the adult Jackson, is an astonishing mimic. (He dances that “Billie Jean” a little better than Jackson did.) But elsewhere, Wheeldon keeps replacing the original choreography with his own, and I kept feeling my heart sink, both as a lifelong Jackson fan and a dance critic.An effective replacement would have to be an improvement. And while Wheeldon is expert at crowd control and transitions (and an extremely accomplished choreographer of ballet), he has little feel for what Jackson in the show calls “smelly jelly” — funk, swing or whatever the dancers of the real Five Points called it. Despite help from Rich and Tone Talauega, who worked with Jackson, Wheeldon keeps swerving from that core, straightening away the rhythmic complexity of Jackson’s dancing along with its strangeness.Myles Frost as Michael Jackson in “MJ,” which was directed by Christopher Wheeldon, who was also the lead choreographer.Sara Krulwich/The New York TimesThe most telling moment is the scene of the dancers who inspired Jackson. The representations of the Nicholas Brothers and Fred Astaire show no understanding of what Jackson saw in them (rhythm and attack that extend back to the Five Points), and thus the production can’t fully communicate how this great imitator forged a style that has been endlessly imitated. The only predecessor that “MJ” comprehends is Bob Fosse, whose own easy-to-imitate style defines the boundaries of Broadway dance inside which “MJ” keeps retreating.A good director might have pointed this out. But the director of “MJ” is Wheeldon (who, granted, had many other Jackson-related problems to deal with). There’s a strong Broadway precedent for combining those roles, one established by Jerome Robbins. But among this year’s Tony nominees, the best example of how that can benefit a show isn’t Wheeldon.It’s Camille A. Brown. “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf.” is what its dancing-poet author, Ntozake Shange, called a “choreopoem.” Although the show was a Broadway hit in 1976, the form didn’t become common, even as the text became canonical. Directing and choreographing this revival, Brown becomes one of exceedingly few Black women ever to take both roles for a Broadway show. (The last that comes to my mind is Katherine Dunham, in 1955.) That fact matters, but so does how she uses the combined power: She restores the work as an expression of a culture in which dance is central.The seven women of the cast recite poems, and they’re always dancing, in sadness and joy. They dance in girls’ games that become adult play, part of Shange’s original conception. But Brown adds American Sign Language, making the weaving of language and motion even more visible. Like the cast of “Six,” these women back each other up in dance. But in Brown’s vision, you can also sense their connections in the way that an exposing monologue by one, about abortion or abuse or self-discovery, reverberates in the silent bodies of the others.This isn’t what we know and expect of Broadway choreography. But unlike “Paradise Square,” it is a powerful return to a source. Dance, Shange once wrote, “is how we remember what cannot be said.” Brown reminds us. More

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      Tony Awards Predictions: ‘Strange Loop’ and ‘Lehman’ Look Strong

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      We surveyed voters ahead of this year’s ceremony on Sunday. They are strikingly split in the races for leading musical performers.After a strange year on Broadway, it looks as if it could be a “Strange” night at the Tony Awards.Our annual survey of Tony voters — well, it was annual, until the coronavirus pandemic disrupted everything — suggests that Michael R. Jackson’s meta-musical “A Strange Loop” is favored to win the all-important race for best new musical at this year’s Tony Awards, which will take place on Sunday night. If there is an upset, it will come from “MJ,” the biographical musical about Michael Jackson.Over the past few days, I have connected with 181 of the approximately 650 Tony voters to talk about their choices in eight key categories. This is not a scientific poll — voting continues through Friday; the voting pool is distorted, and diminished, by coronavirus cancellations that left many ineligible to vote in some categories; and numerous voters have been scrambling to catch up with missed shows while hoping to vote at the last minute. To see actual statuettes handed out, you’ll have to tune in to the award show Sunday, which starts with a one-hour streaming segment on Paramount+ at 7 p.m. Eastern, and then continues at 8 p.m. with a three-hour segment broadcast on CBS and streamed on Paramount+.But interviews with a large subset of voters make clear which races are locked up, and which are insanely close.The race for best play is all sewn up.The best play Tony Award seems certain to go to “The Lehman Trilogy,” a riveting history lesson that chronicles the rise and fall of the Lehman Brothers financial empire. The play was originally written by an Italian playwright, Stefano Massini, and then adapted by a British writer, Ben Power.The survey suggests that “Lehman” will win easily — a supermajority of voters believe that it was the best play of the season, and those who do not support it are splitting their votes among the other four contenders, making any other outcome improbable.A plurality of voters also favor one of the “Lehman” stars, the great English actor Simon Russell Beale, in the unusual seven-nominee race for best leading actor in a play. Beale’s career has been spent mostly on the British stage, and this would be his first Tony Award.Simon Russell Beale, center, with Adam Godley, left, and Adrian Lester in “The Lehman Trilogy.” All three are competing for a best actor Tony Award.Sara Krulwich/The New York TimesWhy is “Lehman” winning? The show, with a meaty subject that both explicates and implicitly critiques New York City’s hugely important financial industry, was a showcase for its three main actors, each of whom played many roles, and it had a showpiece set, designed by Es Devlin, that contained the action within a rotating glass box.Directed by Sam Mendes, it arrived on Broadway with a lot of buzz. After productions in Europe, it had been staged Off Broadway, at the Park Avenue Armory, in 2019, and that production was the talk of the town, becoming a best seller for the nonprofit, with some seats reselling for several thousand dollars.The road to Broadway was bumpy: “The Lehman Trilogy” began previews at the Nederlander Theater less than a week before theaters shut down in March 2020; it then resumed previews 18 months later and finally opened last October. The run sold well, particularly given that much of it overlapped with the pandemic surge associated with the Omicron variant, and it ended Jan. 2 before the production moved to Los Angeles for another brief run.Read More About the 2022 Tony AwardsHosting Duties: Ariana DeBose, who will host the ceremony, vows that this edition will celebrate the often unsung actors who have stepped in during the pandemic.Ruth Negga: The actress, who is nominated for her role as Lady Macbeth in Sam Gold’s staging of the play, infuses the character with intensity, urgency and vitality.Hugh Jackman: The actor may potentially win his third Tony Award for his role in “The Music Man.” He shared some thoughts on his life between film and theater.Choreography: Musicals like “MJ” and “Paradise Square” take on dances of the past but miss some opportunities to elevate the dancing; “For Colored Girls” effectively weaves language and motion.The play faced some criticism from those who felt that it soft-pedaled the relationship between the Lehmans’ early business practices and slavery; the production sharpened its references to race via script revisions made during the theater shutdown.Among new musicals, ‘A Strange Loop’ is the favorite.“A Strange Loop” also arrived on Broadway with a big head of steam: During the pandemic, it won the Pulitzer Prize for drama, based on an Off Broadway production staged by Playwrights Horizons and Page 73 Productions in 2019.The musical is about a young aspiring musical theater writer who is Black and gay, and who is haunted by a mostly self-critical inner dialogue that springs to life in the show.The musical, written by Michael R. Jackson and directed by Stephen Brackett, garnered the strongest reviews of the season, and picked up 11 Tony nominations, more than any other show.Voters praised the show’s originality and its raw honesty. As is true with every show, this one also has its skeptics — some voters find the songs unmemorable, or the explicitness off-putting — but in the Tony race, it is benefiting from the fact that there is no consensus about any of the other nominees.Some industry veterans have suggested that Tony voters who live outside New York might be reluctant to support “A Strange Loop” because its sexual content could make it challenging to produce on tour. But that does not appear to be a decisive factor: “A Strange Loop” is favored by half of the voters I spoke with; about one-fifth are supporting “MJ,” the musical about Michael Jackson, which they uniformly praised as entertaining, and the other contenders have less support.“Six,” the fan favorite that was all the rage in 2020, when it came within a few hours of opening before theaters shut down, seems to have lost some heat among voters who no longer think of it as a new show because its run began before the pandemic. But shed no tears for “Six”: it is proving to be hugely successful, with strong box office grosses and a thriving touring market.Several acting races are down to the wire.Voters are remarkably divided in the races for best leading musical performers.In the race for lead actor in a musical, the voters are evenly split between two young actors, Myles Frost, 22, and Jaquel Spivey, 23, each of whom is making his professional stage debut this season. Frost is nominated for his convincing depiction of a driven Michael Jackson in “MJ,” and Spivey is nominated for his soul-baring performance as the self-doubting protagonist in “A Strange Loop”; both have wowed audiences, in very different ways. Each of them has support from about one-third of voters.In the race for lead actress in a musical, the voters are torn between Sharon D Clarke, who played the pained but powerful maid at the heart of a revival of “Caroline, or Change,” and Joaquina Kalukango, who plays a determined tavern owner in the new musical “Paradise Square.”Joaquina Kalukango, left, of “Paradise Square” and Sharon D Clarke of “Caroline, or Change” are in a tight race for lead actress in a musical.Photographs by Sara Krulwich/The New York TimesIn the race for best actress in a play, Deirdre O’Connell, who uncannily lip-synced recorded interviews with a kidnapping victim in “Dana H.,” has a modest edge among the voters I talked to. But the margin was not big enough to predict what will happen with any confidence; the other leading contenders appear to be LaChanze, for her performance as a truth-telling actress in “Trouble in Mind,” and Mary-Louise Parker, for her performance as a woman abused by her uncle in “How I Learned to Drive.”‘Company’ leads in the musical revival category, but the best play revival is harder to predict.The death of the composer and lyricist Stephen Sondheim, one of the most important writers in musical theater history, was among the biggest theater stories of the last season, and it appears that Tony voters are now inclined to honor the final Broadway production that he worked on with the prize for best musical revival.About half of voters say they are choosing the gender-reversed revival of “Company,” which Sondheim strongly supported before his death. The show, first produced in 1970, previously centered on a man contemplating his single life as he turns 35; this version, directed by Marianne Elliott, puts a woman in the same predicament.The revival of “Company” appears to be the leading contender in the best musical revival category.Sara Krulwich/The New York Times“Company” appears to have twice as much support as its nearest competitor, the revival of “Caroline, or Change.”Tony Awards: The Best New Musical NomineesCard 1 of 7The 2022 nominees. More

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      Ariana DeBose on Hosting the Tonys: ‘Whatever We Do Is Going to Be Fun’

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      The Broadway ensemble member turned Oscar winner vows that the ceremony will celebrate the often unsung actors who have stepped in so often during the pandemic.A decade ago, Ariana DeBose made her Broadway debut as an understudy in the musical adaptation of “Bring It On.”This weekend she’s hosting the Tony Awards.DeBose’s rise to prominence, due in large part to her Oscar-winning performance in Steven Spielberg’s movie remake of “West Side Story,” has been hard-won. She was an understudy, an ensemble member, and struggled before breaking through; in 2018 she was nominated for a Tony Award as one of three actresses playing Donna Summer in “Summer,” and since then she has had multiple film and television projects, including “The Prom” and “Schmigadoon!”This year she became the first Afro Latina and first openly queer woman of color to win an Academy Award. Next, she will be featured in the action film “Argylle,” the superhero film “Kraven the Hunter” and the space thriller “I.S.S.”DeBose, 31, is now rehearsing the three-hour broadcast portion of the Tony Awards ceremony, which starts on Sunday night at 8 p.m. Eastern on CBS. (An earlier hour, starting at 7 p.m., will be streamed on Paramount+.)In an interview this week, DeBose talked about her determination to honor Broadway’s unsung heroes and her desire to return to the stage. These are edited excerpts from the conversation.The 2022 Tony AwardsThis year’s awards, the first to recognize shows that opened after a long Broadway shutdown during the pandemic, will be given out on June 12.Ruth Negga: The actress, who is nominated for her role as Lady Macbeth in Sam Gold’s staging of the play, infuses the character with intensity, urgency and vitality.Hugh Jackman: The actor may potentially win his third Tony Award for his role in “The Music Man.” He shared some thoughts on his life between film and theater.A New Star: Myles Frost is drawing ovations nightly on Broadway with his performance in “MJ,” a musical about Michael Jackson’s creative process.Choreography: Musicals like “MJ” and “Paradise Square” take on dances of the past but miss some opportunities to elevate the dancing; “For Colored Girls” effectively weaves language and motion.What are your goals for Sunday night?This is the first time we’re back at Radio City. The community is still coming out of what has been an extremely challenging time. I do look at this as an opportunity to try and provide a real moment of celebration, because I think it’s a gosh-darn feat and a triumph to have been able to make work at all and get to this moment in time.You’re new to this. Are you nervous?I would like to throw up, if I’m honest. But I love a challenge. And I just feel like whatever we do is going to be fun.You’ve talked a lot about your identity. Tell me what you hope that prompts for people watching you?If I do my job right, it will be a reminder to young people out there watching that there is a place for us. And, to be perfectly frank, Broadway was the place that gave me freedom to explore my identity, freedom to explore my artistry. It was the place of love and acceptance that helped create the woman that you see now.There’s been a lot of discussion this season about the role of understudies and standbys, who kept many shows going when other performers tested positive for the coronavirus. Can you talk about what your intention is for Sunday on that front?In three of my six Broadway shows, I was an understudy. And I began in this industry in the ensemble. There’s no way in the world that a host like me is going to let this moment go by without acknowledging swings and understudies, but also the myriad groups of people that put in the work to keep this industry going, and that includes stage managers, dance captains, associates, hair and makeup departments, musicians. There’s not a version of the world where I don’t have something up my sleeve. I’m not going to tell you what it is, but what I am going to tell you is if it doesn’t happen, you can hold me accountable.One of the other important developments this season was the death of Stephen Sondheim. Should we expect to see that acknowledged?Well, we wouldn’t have the American theater as we know it without him. So while I will not tell you what we are doing, there will be a beautiful moment for the man that is Stephen Sondheim.Tony Awards: The Best New Musical NomineesCard 1 of 7The 2022 nominees. More

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      Ruth Negga Thinks Lady Macbeth Is Misunderstood

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      The actress, nominated for a Tony Award for her magnetic performance in “Macbeth,” is drawn to female characters who challenge the status quo.Ruth Negga dazzles onstage. Not just because, as Lady Macbeth, she briefly wears a gold metallic gown in Sam Gold’s otherwise fairly casual staging of “Macbeth” at the Longacre Theater. But, rather, it’s because she infuses her character, and her marriage to Macbeth (Daniel Craig), with such intensity, urgency and vitality that I found myself missing her when she came to her inevitable end.Negga was nominated for a Tony Award for best performance by a leading actress in a play, which recognizes both her powerful stage presence and the gender parity that Gold’s revival sought to achieve. “Like a feral cat, she can seem quicksilver and weightless or, when enraged, menacing and bristly and twice her size,” Jesse Green wrote of Negga’s performance in a review in The Times.Even if Lady Macbeth appears in substantially fewer scenes than her husband, her cunning mind — and Negga’s command of Shakespeare’s verse — leave an indelible imprint. “Her language is very fertile, it’s very fecund and it’s very sensual,” Negga said last week in a video interview. “I think a lot of people associate that with darkness as well. But that’s another layer that I think this character has been burdened and muddied with.”Negga, left, with Amber Gray in the revival. “She’s not evil,” Negga said of Lady Macbeth. “It’s this archetype that chases her: the deadly villainess, the villain behind the man.”Sara Krulwich/The New York TimesNegga, who plays the mysterious, seductive, blonde-haired Clare in the movie “Passing,” and the real-life civil rights activist Mildred Loving in “Loving,” is drawn to characters who try to circumvent the social circumstances into which they were born. Negga sees Clare, Loving and now Lady Macbeth as paying a price for such transgressions because they are either running out of time or, in the case of Loving, ahead of hers.Born in Ethiopia to an Ethiopian father and an Irish mother, and raised in Ireland and England, Negga, 40, spoke from her place in New York about the significance of seeing “Macbeth” as a love story, and why she finds the role of Lady to be liberating. These are edited excerpts from our conversation.You were playing Hamlet at St. Ann’s Warehouse right before everything shut down in March 2020. How has coming back to the stage, on Broadway with a different Shakespeare play, been for you?Revisiting the Tragedy of ‘Macbeth’Shakespeare’s tale of a man who, step by step, cedes his soul to his darkest impulses continues to inspire new interpretations. On Stage: Daniel Craig and Ruth Negga star in Sam Gold’s take on the play. Despite its star power, the production feels oddly uneasy, our critic writes. Onscreen: In the “Tragedy of Macbeth,” Denzel Washington and Frances McDormand embody a toxic power couple with mastery. Break a Leg: Shakespeare’s play is known for the rituals and superstitions tied to it. How does the supernatural retain its hold on the theater world?My isolation was book ended by two Shakespeare plays, which is really interesting because I hadn’t actually been onstage for 10 years before that. I didn’t realize how much I missed it. I think those two years of being so separate from people just compounded that feeling of “connect, connect.” It’s such a personal, visceral experience for the person playing onstage and the person receiving that performance. Because it’s so immediate and in the now, and it’s happening live, that kind of energetic exchange can only happen at that moment. It’s so weird — that’s why I love it.How did playing Hamlet prepare you for Lady Macbeth?I was approaching 40, playing this young man who was just entering his exploration of his adulthood and his place in the world, and I was guided by this moment of internal discovery and complete honesty. Hamlet is a truth-teller but he’s also a truth searcher, and for good or bad, and I think to his chagrin sometimes, nothing but the truth will do. That’s a very hard place to be, but it’s also where amazing transformation can happen. [The role] really tests your mettle, your physical and vocal stamina, and also what you’re willing to lay bare. And since everything’s laid bare, you can’t really hide anywhere. To be honest, anything’s a relief after Hamlet.With Lady Macbeth, was it hard to know what motivated her?Even before I started rehearsals I was like, “What’s all this jazz about her being evil?” She’s not evil, it’s this archetype that chases her: the deadly villainess, the villain behind the man. That’s what she’s become known for, and she’s been robbed of any idiosyncrasy or personality. But whereas we rail against [Macbeth] for his procrastination, I think she could have done a bit more thinking things through. But the thing is, time wasn’t on her side. This is what happens when you just have all these ideas and they seem great and you’re really getting things going and you don’t have much time. I mean she makes one bad mistake when you think about it.Which is?Well, I personally don’t think you need to kill people to get ahead! But I don’t come to a character trying to justify them, that’s not my job. I’m not interested in that. But very few people act from a core of badness or evilness. I loved her desire to be alive, to reach for things, to strive, and I was so excited to play someone who has such clear ideas of what they think they deserve, especially a woman. And when you realize that your desires and your ambitions are restricted by the status quo, one has to think quickly on one’s feet. They have to become quick and mercurial. That’s what she has a talent for. There’s a self-awareness there that I think makes her similar to Hamlet.Daniel Craig, left, stars as Macbeth. “There’s very much an awareness that this is a marriage of equals and respect, and I loved that,” Negga said.Sara Krulwich/The New York TimesThe chemistry between Macbeth and Lady is so palpable onstage. Was that important to you?When I read this script, I thought, “Wow, this dies on whether you believe that they love each other or not. This is key.” Their relationship is the backdrop or the environment of this play; that’s what their action is born out of. But there’s also a love there that is very robust. You feel like they both draw strength from that union in a very equal, balanced way. And that was something that was important for me to not let be put to the side, or laid to waste or watered down in any way. There’s very much an awareness that this is a marriage of equals and respect, and I loved that.Marriage is central to some of your other characters, like Clare in “Passing” and Mildred in “Loving,” whose marriages to white men challenge the status quo.To me race is in the foreground, the background, the present, and it’s not something I have had to chase or I’ve had to ignore. It’s with me, it’s in me, it’s who I am. So stories about race and stories written by people of color, Americans of color, have always piqued my interest. How do people go through the world as a person of color with the structures and limitations that have been imposed by society? And how does the status quo come up against your personal desire and ambition? And how do you live the life that you want as best you can within these structures that are telling you, “No.”In “Macbeth,” the other characters are casually dressed, but at one point, Lady is wearing a gold gown. Why?That was really important to me and to Suttirat [Larlarb], our amazing costume designer. I think we both fell in love with Lady. My heart spills over with joy when I see women, any type of woman, just embrace who they are. And for me, her femininity is important because I was familiar with this idea that she could seem like this sexless, austere, bloodless, lustless sort of shell. That just doesn’t chime with the Lady on the page, so I wanted her to have no shame, be lusty and alive, and really enjoy her sexuality and her femininity, and not be frightened to stand out from the crowd.Is there another Shakespeare character that you long to play?I remember in college I used to do the Queen Margaret speeches [from “Richard III”]. They’re great because they’re deadly, speeches that are powerful and about power. It’s extraordinary that Shakespeare gave them to her. What I love about him, he doesn’t make his women saints. He gives you complexity. He’s not presenting a Lady Macbeth we can hate; he’s presenting a woman that we can see ourselves in, and a woman overwhelmed by grief. She has a great catharsis and a great internal reckoning. And I feel for her deeply. More

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      Portraits of the 2022 Tony Nominees

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      The Broadway season that just ended, the first since the pandemic shutdown, will be remembered for many reasons — the persistence of Covid, the death of Stephen Sondheim, the dwindled tourism and the indispensable understudies. It was a season for renewed appreciation: of song and storytelling and shared experiences, of a beloved art form and a rebounding industry. And it was a season that featured an extraordinary volume of work by Black artists, catalyzed by the social unrest of 2020. The 2022 Tony Awards, which take place June 12, offer an opportunity to honor some of Broadway’s best work; in anticipation of that event, we photographed and interviewed many of the performers, and a few of the writers, directors and choreographers, nominated for awards. Below are portraits and edited excerpts from the interviews.“MACBETH”Ruth Negga“I’ve always wanted to be an actress, since I was a really young kid. I just love stories in all shape and form. And for me, there’s a whole different draw: There’s an aspect of the performer, the peacock — something kind of lovely about being looked at, at the same time I’m quite shy in my normal life, so that’s an interesting dichotomy.” — Ruth Negga“POTUS”Rachel Dratch and Julie White“People really, really want to laugh. The laughs are like hyperlaughs. Maybe that’s pandemic-flavored. Obviously, I’ve done a lot of comedies, but this one you can just feel the cackles coming off the audience. I think it’s because people have been shut in for so long.” — Rachel Dratch“All the lady shows — we’re all keeping our clothes on. It’s the boys that are taking them off. I feel like that’s a step in the right direction.” — Julie White“TAKE ME OUT”Jesse Tyler Ferguson, Jesse Williams and Michael Oberholtzer“I decided at the age of 5 I was going to become an actor or a baker or a zookeeper. My dad reminded me that zookeepers were going to have to pick up lots of poop, and so then I narrowed it down to the baker and the actor, and the acting just seemed more fun. So it was a very early decision, and I’m glad it panned out.” — Jesse Tyler Ferguson“I’m making discoveries every day. It’s really liberating. It’s incredibly stressful. And it’s a lot of pressure.” — Jesse Williams“This is something that I never really thought about, and it’s kind of all I ever thought about at the same time. Not so much the Tonys, but to be in a position to have an opportunity to be in a play, in a production that is seen by people, that excites people, that’s talked about.” — Michael Oberholtzer“hangmen”Alfie Allen“I was going to be a snowboard instructor at one point if the acting didn’t work out. Came back from getting that qualification, and then I got a part in a film.” — Alfie Allen“Paradise Square”Joaquina Kalukango, A.J. Shively and Sidney DuPont“There’s hope in community. There’s hope in love. There’s hope for this country. And I think the more we see the things that are alike within us, the less we see the differences.” — Joaquina Kalukango“There’s 40 of us in this cast. To sing in a big group like that, which has been unsafe for a long time, it feels wonderful. That first rehearsal back when we all sang together, we were all just crying.” — A.J. Shively“I’m hoping that by me being in this space and by doing what I’m doing, that I can inspire young Black boys and men and inspire young hearing-impaired people to believe that they can do it — that there’s nothing, nothing that can get in your way as long as you push for it.” — Sidney DuPont“dana h.”Deirdre O’Connell“Because everything had stopped so radically, it felt like there was a real wide open spirit to the way people were going to the theater.” — Deirdre O’Connell“funny girl”Jared Grimes“I started dancing in the subways. We would set up the board, and we would just dance.” — Jared Grimes“company”Patti LuPone, Jennifer Simard and Matt Doyle“To experience any of Steve’s work is to realize what a human is capable of. He is complex, deeply human, nuanced and daring. He dares to write about every aspect of the human condition with a deeply beating heart.” — Patti LuPone, on Sondheim“Thank God Stephen actually came to the first preview. It was like a rock concert. He adored it, and he laughed from his head to his toes.” — Jennifer Simard“The first preview back was just so magnificent and overwhelming. And to have Stephen Sondheim sitting there with us, it’s a night that I will never forget.” — Matt Doyle“the music man”Hugh Jackman, Sutton Foster and Jayne Houdyshell“I get bored of myself. I think that’s why I like acting. With acting, you get to have complete freedom to do all sorts of things.” — Hugh Jackman“The pandemic was crazy. I remember when the theater shut down and all of a sudden you realize, ‘Wait a minute, what I do for a living just doesn’t exist right now.’ I don’t think anyone plans for that.” — Sutton Foster“It feels like a big privilege to be part of the group of people that have come together to make Broadway reopen and do it as safely as possible.” — Jayne Houdyshell“For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”Camille A. Brown and Kenita R. Miller“I didn’t grow up during the internet, so we went to the library and we got videos of our favorite musicals and we would watch them over and over again, and the dance sequences, and I would learn them.” — Camille A. Brown (nominated as director and choreographer)“I get this tribe of sisters that have shown me what it really means to be a sister.” — Kenita R. Miller“How I learned to drive”Mary-Louise Parker, Paula Vogel and David Morse“I didn’t think the play would ever be produced. I didn’t think I’d ever find actors who could do it. I thought I was going to be judged and condemned for writing it. I realized I shouldn’t be afraid of telling the truth.” — Paula Vogel (nominated as playwright)“Just living in a world right now where judgment of other people comes quickly and it’s severe. And what Paula wrote, it doesn’t allow you to do that. It just opens you up.” — David Morse“We all have darkness. We all have things we need to be forgiven for. And I think that is something kind of important to remember.” — Mary-Louise Parker“A STRANGE LOOP”Michael R. Jackson, Jaquel Spivey, L Morgan Lee and John-Andrew Morrison“I’m a writer because I have questions, and I have things that scare me, and the only way for me to get over my fears is to confront them directly.” — Michael R. Jackson (nominated as book and score writer)“I grew up watching movie musicals. I was obsessed with them. ‘Dreamgirls,’ the movie: As soon as I saw Jennifer Hudson singing, I thought ‘I want to do that!’” — Jaquel Spivey“In many ways, I feel like it took the world to turn upside down for me to start to find some sense of visibility.” — L Morgan Lee“When I first moved to this city, and I would be auditioning, I would hear things like ‘Oh, your pearls are falling out of your mouth,’ or ‘You’re not thug enough.’ So to be able to be in a show where I can be as queer and as flamboyant and as gay and as big as I possibly can be, and it’s not only needed but celebrated, is amazing.” — John-Andrew Morrison“Mr. Saturday night”Billy Crystal and Shoshana Bean“People are starved for entertainment, and you look out and they’re all masked and yet they’re laughing as hard as they can and we’re getting the same energy we would get. It’s so important that people get entertained and we get some sort of semblance of normal life. This show has been very healing for all of us in a lot of different ways.” — Billy Crystal“The first night that we had an audience and heard that laughter en masse: It’s a drug. It’s crazy.” — Shoshana Bean“Lackawanna blues”Ruben Santiago-Hudson“There was a lot of trepidation, and a lot of second-guessing. I wasn’t sure if one person would show up. But one of the things I discovered is people need theater as bad as we need people to need theater. Human beings need to do what is innate in us, and that’s to be social creatures and to have shared experiences with one another.” — Ruben Santiago-Hudson“MJ”Myles Frost and Christopher Wheeldon“What I cherish the absolute most is getting here — the journey that it took even before I hit the stage the first time, and learning myself, learning more about Michael, meeting my cast mates for the first time. It’s little moments like that that stick out to me the most.” — Myles Frost“The last few months have been filled with highs and lows and a lot of fear, just around whether we could actually get up and get running, keep our cast on the stage, get our audiences in the door. I have learned a lot about my capacity to handle fear as an artist, and also, like the rest of the world, as a human being, and actually to find the best ways that I can to turn that fear into some positive and creative energy.” — Christopher Wheeldon (nominated as director and choreographer)“Clyde’s”Uzo Aduba and Kara Young“It’s exciting to be a part of the thing that people are craving, which is community. Theater has always served as something that is more than just entertainment, but in this time, even more than in the past, it feels like a healing. Some days, when the curtain will come up, I’m not even sure they’re applauding the show. A layer of this feels like it’s for another need.” — Uzo Aduba“I have to admit that I really was very eager to work. And because this was the cards that were dealt, I really hugged this moment with all of myself.” — Kara Young“Clyde’s” and “MJ”Lynn Nottage“I feel very proud to be part of a season in which we’ve had more representation by Black writers than in the history of, probably, Broadway in its entirety.” — Lynn Nottage (nominated as playwright for “Clyde’s” and book writer for “MJ”)“Skeleton Crew”Phylicia Rashad“Theater is always bumpy. That is nothing new. But it was great to be back in the theater.” — Phylicia Rashad“American Buffalo”Neil Pepe and Sam Rockwell“It’s come back in such a big, big way. And we were shut down two years ago. I think that’s why it’s really exciting.” — Sam Rockwell (shown with Neil Pepe, who is nominated as director)“Trouble in mind”LaChanze and Chuck Cooper“We need more stories that are showing the diversity in our community, not just the broad strokes.” — LaChanze“I just hope that those who made it into our little theater and were able to go on our journey with us, I hope that they left the theater moved and thinking and curious.” — Chuck Cooper“girl from the north country”Mare Winningham“I’ve learned that marinating in a role is really good.” — Mare Winningham“Mrs. Doubtfire”Rob McClure“When I was 15, I saw a community theater production of ‘Sweeney Todd’ that changed me, and by that, I mean my DNA. I went into that theater as one person, and I left that theater a different person. It was a magic trick that I didn’t know existed. And then I discovered that I could provide that magic trick for other people. And that’s why I act.” — Rob McClure“THE SKIN OF OUR TEETH”Lileana Blain-Cruz and Gabby Beans“When a piece of theater is good — and I feel like everybody is struggling and reaching for that — you walk out of the theater feeling more alive. And for me, wrestling with what it means to be alive is the eternal question.”— Lileana Blain-Cruz (nominated as director)“This character is completely free. She has no boundaries or self-consciousness. So I feel like inhabiting that energy has made me just expand as a person.” — Gabby Beans“the minutes”Tracy Letts“I’ve never felt more camaraderie with my fellow theater artists. This does not feel like a competition to me, these Tony Awards. It feels like a celebration — getting to return to our art form.” — Tracy Letts (nominated as a playwright) More