May 1, 2025: Theatre Yesterday and Today, by Ron Fassler

It's always a thrill for me to read the Tony nominations the minute they're announced, something I've been doing since the 1960s when I was a geeky theatre kid (hell—I'm still a geeky theatre kid). Only trouble is that back then I had to wait till the next day's newspaper since the news moved a lot slower. This morning, nominations were announced live on the internet and television and I watched them in real time, matching the names read aloud against the lists I've had in constant flux all season. With only five nominees per category unless a tie merits an extension to six or more, the word "snub" invariably comes up, which is something of a misnomer. With fourteen produced shows vying for one of five Best Musical and Best Play slots, being left off isn't so much a snub as a simple "no room at the inn" situation. That said, I believe one show is being inarguably snubbed — the Denzel Washington-Jake Gyllenhaal Othello. Absent as one of the four Best Revival of a Play slots — especially with only six titles in the running — has to be disconcerting. Despite $921 being charged for orchestra and front mezzanine seats and a mixed critical reception, it is still selling out every performance. And Gyllenhaal being denied a nomination after garnering excellent reviews in a role that, if you're successful, should practically guarantee one, is a puzzler. Although in 1982, Christopher Plummer's extraordinary Iago lost to Roger Rees Nicholas Nickleby (also extraordinary), leaving no one as ever having won for portraying the epitome of evil—to date.

A lot of love is being spread around with ten nominations for three different musicals, the foot-stomping Buena Vista Social Club, the kooky comedy of Death Becomes Her, and the sweetness and charms of Maybe Happy Ending. The critically acclaimed Dead Outlaw (7 noms) is most certainly in leading contender mode with the strongest reviews of all these nominees, though it's a more difficult climb for the import Operation Mincemeat (4 noms), even though it won last season's Olivier Award (the Tonys British counterpart) as Best Musical. The Best Play category features three of five plays still running. The Hills of California came over from London for a limited run last fall, and English was a transfer after its 2022 off-Broadway run at the Atlantic Theatre Company, with the entire cast returning for the Roundabout production. Purpose, John Proctor is the Villain, and Oh, Mary! are all worthy contenders with the edge going to Cole Escola's hilarious comedy because of its status as not only a box office smash but a cultural phenomenon. It may just win in every category for which it's nominated. We'll see.

Two prominent records were achieved with this morning's announcements. Kara Young, who won the Best Featured Actress in a Play Tony last year for her hilarious turn in Purlie Victorious, is again nominated in that same category for—get this now—the 4th year in a row. Not sure that's ever been accomplished by any actor or actress in any category before today. If someone wants to look that up, be my guest. And, as expected, Audra McDonald's 11th nomination for Gypsy is now the most earned by any actor or actress, eclipsing the ten that the legendary Julie Harris and Chita Rivera achieved over the course of their careers. McDonald, at age 54, might just keep going and going. Angela Lansbury won her fifth and final Tony in 2009, followed by another nomination in 2011 at the ages of 84 and 85, respectively, proving anything is possible.

As for Kieran Culkin (and his press reps), hopes have been dashed for him to win a triple crown of trophies in what would have been record time. His previous wins for Succession (a 2023 Emmy) and this year's Academy Award for A Real Pain, made it seem like he might be on an inevitable path to a Tony, considering two other actors have already won for playing Ricky Roma, the flashy salesman in Glengarry Glen Ross. But the Tony nominators had different ideas, nominating Bob Odenkirk as the sad sack Shelly Levine (the role also had in contention its originator Robert Prosky and its first revival's Alan Alda in the same category). Now Odenkirk, in his Broadway debut, stands alone with the highly praised Bill Burr and Michael McKean left out in the cold (the two most outstanding actors in the show, in my humble opinion). In all honesty, I didn't expect Culkin to be nominated as the competition is so stiff. And frankly, as good an actor as he is, he didn't pull of the role entirely. I was hoping for the perpetually underestimated McKean to break through, but alas no.

Being a Drama Desk Awards voter, I was invited to 40 of the 42 Broadway productions this season. And guess what? The two that didn't offer tickets received zero love this morning from the Tonys, Othello and the revival of Jason Robert Brown's The Last Five Years. Works for me, as I now feel comfortable discussing the merits and demerits of all the nominated plays and musicals. I believe the nominators got the five Best Play choices right and agree with four of the five musicals (I would have preferred the Jonathan Groff-Bobby Darin revue Just in Time over Death Becomes Her). In the acting categories, I'm especially pleased for Francis Jue, who was thankfully not overlooked for his beautiful performance in David Henry Hwang's Yellow Face, that even though it has closed may take Best Revival of a Play (its chief completion, Jonathan Spector's Eureka Day, has also closed, so their limited runs are not a detriment). I was also happy to see Taylor Trensch's work in Floyd Collins recognized. This actor is working constantly on the New York stage and is almost always the best thing in whatever it is he's cast. Congrats to him.

I doubt there's little that can be done to pry the Tonys from the hands of Cole Escola in Oh, Mary! and Sarah Snook in The Picture of Dorian Gray. They are both giving the kinds of performances that make you wonder how the hell they do it. What mysterious alchemy is at work that makes what they do even possible? Beats me. And as much as the media will try and make a big deal out of the highly competitive Best Actress in a Musical race, I think at the end of the day a 7th Tony will have to be made room for on Audra McDonald's already overcrowded shelf.

The Best Actor in a Musical category has a worthy group of contenders, though look for Jonathan Groff to land unprecedented back-to-back Tony Awards in this category, something which has never happened in Tony history. In fact, for the record, it's only happened for performers six times previously:

Laurie Metcalf: Best Actress in a Play in 2017 and Featured Actress in a Play 2018.

Judith Light: Best Featured Actress in a Play in 2012 and 2013.

Stephen Spinella: Best Featured Actor in a Play in 1993 and Actor in a Play 1994.

Sandy Dennis: Best Featured Actress in a Play in 1963 and Best Actress in a Play 1964.

Gwen Verdon: Best Actress in a Musical in 1958 and 1959.

Shirley Booth: Best Featured Actress in a Play in 1949 and Actress in 1950.

I'm sorry that there proved no spot for Thom Sesma, whose spectacular second act song in Dead Outlaw would have assured him inclusion in a less competitive year. But with Christopher Sieber (Death Becomes Her) and Michael Urie (Once Upon a Mattress) missing out as well displays how heavily loaded this category is. And it's a shame that Helen J Shen, who I loved as such an equal part of Maybe Happy Ending's romantic duo, couldn't break through. Robyn Hurder (Smash) and Natasha Hodgson (Operation Mincemeat), both terrific, were also casualties of the overabundance of leading actresses in musicals. Other favorite performances that were neglected include Purpose's Alana Arenas, although the marvelous Jon Michael Hill, LaTanya Richardson, and Glenn Davis were victorious. And I'll not soon forget the fine work from Mare Winningham (always wonderful) as a passive-aggressive harridan of a mother in Leslye Headland's Cult of Love.

Those are a few of my thoughts. I'll have more as things progress towards the June 8th ceremony at Radio City Music Hall. Hosted by Cynthia Erivo, it should make for a great opportunity night to celebrate more than a few memorable nights (and afternoons) on Broadway this season.

Ron Fassler is the author of the recently published The Show Goes On: Broadway Hirings, Firings and Replacements. For news and "Theatre Yesterday and Today" columns when they break, please hit the FOLLOW button.