This is Tony nominations week. To get you all in the mood to celebrate the golden disk, I am answering another set of questions about the Tony rules.
We know that a Broadway musical typically has some mainstream commercial potential. But what else is required to make a property uniquely Broadway?
After my last Tony column, I received emails asking follow-up questions. This is my attempt to answer two of them.
Another Tony Awards is in the history books. Marred by technical difficulties, this wasn't the best broadcast ever, but it was definitely not the worst.
Tunick's work for the <em>Promises, Promises</em> revival deserved a nomination, but his eligibility still should have been examined. No question about it.
Hardly enough can be said about Geoffrey Nauffts's<em> Next Fall</em>, which is both remarkably simple and exceedingly complex.
<em>The Addams Family</em> got robbed. That is a rather shocking statement, as usually the only things you read about <em>Addams</em> in the press are negative commen…
The intent behind these stage documentaries is to inform. Although billed as plays, these theatrical entries aren't that. They're news reports outfitted with theatrical accoutrements.