Pages on Stages, Mason Pilevsky

Best Book of a Musical

Marco Ramirez, Buena Vista Social Club

There’s not much of a book to this one, but it does tie the songs together and keep the focus on the music.

Itamar Moses, Dead Outlaw

The most extensive book on Broadway, and definitely one of the best for keeping up the suspense and engaging the audience.

Marco Pennette, Death Becomes Her

A script that is witty, cheery, funny, and also deathly serious, this one takes the cake for code switching and staying grounded.

Will Aronson and Hue Park, Maybe Happy Ending

Funny, touching, and full of nuance despite writing for robots. This book is very clever, and has a lot of thoughtful jokes.

David Cumming, Felix Hagan, Natasha Hodgson, and Zoe Roberts; Operation Mincemeat

The glue of this production, the book mostly gets us from song to song. The lyrics of the songs and the staging do more of the work than the book, but the book does the vital job of making it make sense.

Pages on Stages Prediction: Marco Pennette

If It Was Up to Me: Will Aronson and Hue Park

Best Orchestrations

Andrew Resnick and Michael Thurber, Just in Time

Just in Time has a beautiful big band feel with a full brass section and no electronic tracks. The orchestrations are absolutely breathtaking.

Will Aronson, Maybe Happy Ending

Although the music from this show wasn’t memorable, the transition from muted strings to full blown vibrato in “Fireflies” really took the audience on a journey.

Bruce Coughlin, Floyd Collins

The orchestrations simultaneously supported the operatic nature of the show and the folksy, down to earth elements of who the characters were.

Marco Paguia, Buena Vista Social Club

The music from this show is the most extensive musical undertaking on Broadway. The orchestrations find time for solo moments, wild big band feels, and culturally authentic moments that still resonate in America today.

David Cullen and Andrew Lloyd Webber, Sunset Blvd.

The full orchestral score soared powerfully and the orchestrations were a huge part of creating the cinematic world of the play.

Pages on Stages Prediction: Marco Paguia

If It Was Up to Me: Marco Paguia

Best Original Score Written for the Theatre

David Yazbek and Erik Della Penna, Dead Outlaw

This score was a daring undertaking in its rock folk nature, and it brought new excitement to this Broadway season.

Julia Mattison and Noel Carey, Death Becomes Her

This show’s score was fun and helped raise the stakes and create schmaltzy atmosphere.

Will Aronson and Hue Park, Maybe Happy Ending

I recall enjoying the score for this show at the time, but none of the music stuck with me and I really don’t remember any of the songs.

David Cumming, Felix Hagan, Natasha Hodgson, and Zoe Roberts; Operation Mincemeat

Fun, cheery, and supportive of each cast member being any gender, this score is versatile and consistent the whole way through.

Joy Huerta and Benjamin Velez, Real Women Have Curves

This score deeply moved me— literally. I was dancing in my seat, crying (at the appropriate moments), and celebrating the whole way through. The score fully embodied the mission of the production.

Pages on Stages Prediction: David Yazbek and Erik Della Penna

If It Was Up to Me: Joy Huerta and Benjamin Velez

Best Choreography

Joshua Bergasse, Smash

Much of Smash took place in a rehearsal room with a choreographer and this cast is deeply committed to moves that include throwing people into the air, smacking baseball bats, and transitioning quickly between backstage and onstage sets (while onstage the whole time). The show requires precision to keep everybody safe, and does so 

Camille A. Brown, Gypsy

Camille A. Brown’s choreography for Gypsy was deeply rooted in the text of the musical, and helped tell the story by perfectly straddling the line between impressive child moments and showing went Mama Rose couldn’t make a living on her shows. She also made the cabaret moments bawdy without crossing into insulting. This was a wonderfully delicate balancing act for Camille A. Brown.

Christopher Gattelli, Death Becomes Her

Sexy and sensual, plus one utterly brilliant fall down the stairs. There wasn’t much dancing outside of the Siempre Viva club, but those dancers were dynamic, engaging, and powerful.

Jerry Mitchell, BOOP! The Musical

Choreography was an integral part of her storytelling of this story, and it was consistently impressive the whole way through, particularly in the opening number of act two, “Where is Betty”, the tight collaboration with costumes created a truly unforgettable number.

Patricia Delgado and Justin Peck, Buena Vista Social Club

The art of Cuban dance is hard to beat here. From ensemble members twirling to create a social club to poignant moments where choreography told the story, Buena Vista Social Club is an obvious front runner for this award.

Pages on Stages Prediction: Patricia Delgado and Justin Peck

If It Was Up to Me: Jerry Mitchell

Next Week: Men on Broadway (Awards for Best Actor)

PREVIOUS PREDICTIONS:

• Women on Broadway – ACTRESS – Tony Predictions
• Musical Creatives – CREATIVE TEAM (MUSICALS) – Tony Predictions