Pages on Stages, Writer: Mason Pilevsky

Here is the full list of Pages on Stages Tony Awards predictions!

Best Musical

The Lost Boys

There is no contest for this one in my heart. This show was hands down my favorite new musical of the year. It had moments that were serious, moments that were frivolous, and moments that were nothing short of amazing. Deep family troubles. Child superheroes. Flying vampires. The utilization of space and lighting and sound and music were all spectacular.

Schmigadoon!

The antithesis of The Lost Boys, Schmigadoon! is the only other serious contender in this category. It was extremely well designed, and had a story and score that had been successfully tested out on television audiences. The show meant absolutely nothing, but was such a fun night at the theater. The way that it paid homage to some of our favorite musicals will definitely score it points with Tony voters.

Titaníque

This show ran off-Broadway for years before moving into its current home. It’s fun, but doesn’t feel worth Broadway prices. The jokes are mostly cheap shots, and I bet they get funnier with a couple of cheap shots. A lot of the show is cringe worthy.

Two Strangers (Carry a Cake Across New York)

Absolutely charming and certainly a fun journey, this show simply can’t compete with the big sets and bright lights of The Lost Boys and Schmigadoon!, both of which have many looks and feel a little bit less DIY. I will say that Two Strangers (Carry a Cake Across New York) has the most memorable score and is the only show on this list that gets stuck in your head without listening to it after.

Pages on Stages Prediction: Schmigadoon!

If it Was Up to Me: The Lost Boys

—

Best Play

The Balusters, David Lindsay-Abaire

Hands down the funniest play of the season, The Balusters upended political correctness and made a fool out of everybody is ways that were refreshing and enjoyable.

Giant, Mark Rosenblatt

Giant was intense, as it centered an age old political conversation in ways that were bold, direct, and head-on with no sign of apology. I walked out of the show thinking about the root of hatred and double standards.

Liberation, Bess Wohl

Though I am sad that we still need to talk about this particular wave of feminism, being reminded of the trailblazers who stood up for women’s rights and gender equality is an inspiring experience that reminds us how far we have come and what we don’t want to go back to. I expect a win, as it recently won the Pulitzer Prize for Drama.

Little Bear Ridge Road, Samuel D. Hunter

This is the only nomination for Little Bear Ridge Road, a quirky, three person adventure into how people’s psyche’s get stuck and what it means to truly love someone. Though this show was one of my favorites, the number of nominations reflect that it has largely been forgotten, likely because it took the risk of opening in the fall.

Pages on Stages Prediction: Liberation, Bess Wohl

If it Was Up to Me: The Balusters, David Lindsay-Abaire

—

Best Revival of a Musical

Cats: The Jellicle Ball

Though the most innovative revival we’ve had in a while, the production is aimless in terms of plot, with each successive dance down the runway showcasing incredible feats of human motion. Ultimately, despite its tribute moment in the second act, this show doesn’t mean much other than a good time.

Ragtime

The strength and timeliness of Ragtime make it ultimately the most important production of the year. America is once again facing divisive othering on a level that is profoundly disturbing, and I believe that this show likely resonates enough with Tony voters to win. It’s a show that makes you feel something.

Richard O’Brien’s The Rocky Horror Show

This wonderful encapsulated time warp was a joy to attend. It was well designed, but didn’t push many envelopes not already pushed by the original.

Pages on Stages Prediction: Ragtime

If it Was Up to Me: Ragtime

—

Best Revival of a Play

Arthur Miller’s Death of a Salesman

This revival was an incredibly faithful homage to Death of a Salesman as it has always been done. The new score elevated this production, as did the intensity of lead actors Nathan Lane and Laurie Metcalf. The performance was striking, and the death at the end was incredibly emotional.

Becky Shaw

Becky Shaw is quirky and fun, and almost feels new in this refreshing revival. The story is about relationships as entrapment, and the distinct perspectives showcased were portrayed with a genuine sincerity and full commitment that was deeply engrossing.

Every Brilliant Thing

Daniel Radcliffe is a gem, and the energy he brings to this solo show is incredibly uplifting. Despite the seriousness of mental health challenges portrayed in the show, Radcliffe keeps us smiling, reminding us of how much life is worth. His crowd work is perfection.

Fallen Angels

This was the first time I had seen this particular play, so I have nothing to compare it to. I enjoyed the frequent double meanings and how watching it felt at times like hide-and-seek as characters were seemingly unaware of the irony that had the audience in stitches.

Oedipus

This one has a serious chance at winning. It was a clever reimagining that poked the bear regarding what it means to be a morally upstanding politician. Though at times the show dragged a little, I enjoyed the psychological elements and how they played out in a modern setting.

Pages on Stages Prediction: Arthur Miller’s Death of a Salesman

If it Was Up to Me: Becky Shaw

—

Best Performance by an Actor in a Leading Role in a Musical

Nicholas Christopher, Chess

Though Nicholas Christopher comes through in passionate moments like “Anthem” and “Endgame”, his Russian accept is wildly inconsistent and his character’s hard, unfeeling qualities will likely prevent him from winning.

Luke Evans, Richard O’Brien’s The Rocky Horror Show

Luke Evans delivers an exceptional performance that gives voice to Frankenfurter’s roots and to how a character like this would walk thorugh the modern world.

Joshua Henry, Ragtime

Coalhouse is a stoic character—in real life, it’s hard to remain unflappable in the face of injustice, but it’s fairly easy to hold your emotions at a distance on stage. That being said, I expect Joshua Henry to win. This is an instance where the Tony likely goes to the person with the most well written and moving songs. Of this bunch, that is Joshua Henry.

Sam Tutty, Two Strangers (Carry a Cake Across New York)

Sam Tutty gives such a fun, hilarious performance among a list of people demanding to be taken seriously. The layers of his characters are like the layers of a cake—distinct, separate, and sweet.

Brandon Uranowitz, Ragtime

Brandon Uranowitz’s character Tate has the biggest character arc of any actor on this list, and the way that he sculpts the role vocally is outstanding. Unfortunately, his musical numbers are less memorable.

Pages on Stages Prediction: Joshua Henry, Ragtime

If it Was Up to Me: Brandon Uranowitz, Ragtime

—

Actress in a Leading Role in a Musical

Sara Chase, Schmigadoon!

This happy-go-lucky character was fun to watch on stage, but I think she’s a longshot for a Tony Award this time around because her character didn’t really connect with the audience emotionally. Everyone can relate to a woman looking to reignite the spark in her relationship, but the story doesn’t give Sara Chase much to work with in terms of emotional depth.

Stephanie Hsu, Richard O’Brien’s The Rocky Horror Show

This performance pleasantly surprised me. Stephanie Hsu really held her own and made all of the tropes associated with Janet fun to watch. She gave her all, especially in the sexual bits.

Caissie Levy, Ragtime

I see Caissie Levy as the frontrunner here because her portrayal of Mother made audiences cry. Her performance was delightfully nuanced, her character is lovable, and she’s part of a story that really makes people feel things.

Marla Mindelle, Titaníque

I find Mindelle’s Celine Dion a bit tiresome. She has one bit, and she does it the whole way through with relentless energy. The jokes are good, and she wrote this role for herself so I can say with confidence that it’s everything she wanted it to be.

Christiani Pitts, Two Strangers (Carry a Cake Across New York)

Christiani Pitts is a fun foil to Sam Tutty, and she goes on an interesting emotional journey in places where Tutty stays static. That being said, this is a lighthearted show and though she has a beautiful voice, the story moves around her as opposed to her truly being in it.

Pages on Stages Prediction: Caissie Levy, Ragtime

If it Was Up to Me: Caissie Levy, Ragtime

—

Best Performance by an Actor in a Leading Role in a Play

Will Harrison, Punch

Will Harrison’s performance in Punch took a character most people would shun and turned him into someone we cared about deeply. His physicality took a journey into increasing vulnerability, and the story gave a lot of hope.

Nathan Lane, Arthur Miller’s Death of a Salesman

The least Nathan-Lane-like role I could imagine Nathan Lane in—but he really pulled this one off. His performance was powerfully moving and his Willy Loman reminded the audience why Arthur Miller’s Death of a Salesman remains a widely produced classic.

John Lithgow, Giant

This role required courage, as Lithgow’s Roald Dahl is a portrayal of antisemitism that, despite our society’s normalization of antisemitism, still shocks and revolts an audience. Lithow is bold, direct, and deeply steeped in his character in all of the right ways.

Daniel Radcliffe, Every Brilliant Thing

Holding the audience’s attention with ease, Daniel Radcliffe goes in and out of crowd work to tell a story about mental health that is stirring and moving. Radcliffe does so with grace and dignity, while also evoking difficult conversations.

Mark Strong, Oedipus

Oedipus is by nature a somewhat oblivious character, but Mark Strong gave a really touching performance—and not just literally. The scenes with his family and the people he employs are infused with a kindness and care that we’d all want in a politician—Mark Strong’s Oedipus earns trust with the grand tragedy that his hypocrisy comes frome something he genuinely didn’t know.

Pages on Stages Prediction: John Lithgow, Giant

If it Was Up to Me: Will Harrison, Punch

—

Best Performance by an Actress in a Leading Role in a Play

Rose Byrne, Fallen Angels

Rose Byrne and Kelli O’Hara are both utterly hilarious in this Noel Coward comedy—the thing is, they’re not all that distinguishable from each other, which will make a win difficult to secure for either.

Carrie Coon, Bug

Carrie Coon gave the performance of a lifetime in Bug—and she did it without her clothes on. Her character was hard to like, but not that hard to relate to, as she taught us what it meant to want love so badly that you will believe anything you are told.

Susannah Flood, Liberation

I am in the minority here, and I recognize that. I am not a huge fan of the way Susannah Flood’s character breaks the fourth wall with her own anxiety every time a tough topic comes up in the play. Nevertheless, this is what’s written for her, and Susannah Flood does it so believably that audiences would actually talk aback to her sometimes.

Lesley Manville, Oedipus

Portraying a liberated free spirit alongside Mark Strong, Lesley Manville brought a youthful energy to Jocasta and fully committed to creating a mother that could be mistaken for a wife. She really shone in this role.

Kelli O’Hara, Fallen Angels

Kelli O’Hara and Rose Byrne are both utterly hilarious in this Noel Coward comedy—the thing is, they’re not all that distinguishable from each other, which will make a win difficult to secure for either.

Pages on Stages Prediction: Susannah Flood, Liberation

If It Was Up To Me: Carrie Coon, Bug

—

Best Performance by an Actor in a Featured Role in a Musical

Ali Louis Bourzgui, The Lost Boys

Though a very fun performance, Ali Louis Bourzgui’s role is more understated than other candidates. He is eerie and a large part of creating the tension and atmosphere in The Lost Boys. He does this well, but not well enough to win a Tony Award for it.

André De Shields, Cats: The Jellicle Ball

A Tony award for André De Shields would be a lifetime achievement award recognizing that he can still get on stage and have a commanding presence. This year, I expect him to win for the sheer feat that is consistently doing eight shows a week in costumes that are very heavy and require precision.

Bryce Pinkham, Chess

Pinkham is the victim of trying to make a book that really sucks into a story that is meaningful. He does really well, and excels musically. Unfortunately, he has a lot of the cringey lines that appall long time lovers of Chess. I expect this to work against him.

Ben Levi Ross, Ragtime

Ben Levi Ross had me in tears when his character finally stands up to his abhorrent brother-in-law. His delivery was infused with meaning and the dynamic arc he created for his character was masterful. And when he sang, he created meaning out of his lines, not just lyricism.

Layton Williams, Titaníque

My favorite iceberg—I am so glad to see Layton Williams receive recognition for not just how well he played this role, but also for the intense contrasts he had to create and the quick changes in and out of different characters. Though not a Tony caliber performance, Layton Williams reminds everybody of how theatre used to be—you’re on, you’re off, and you’re running between contrasts to create something memorable.

Pages on Stages Prediction: André De Shields, Cats: The Jellicle Ball

If it Was Up to Me: Ben Levi Ross, Ragtime

—

Best Performance by an Actress in a Featured Role in a Musical

Shoshana Bean, The Lost Boys

Big Mom Energy! Shoshana Bean doesn’t get to show off all of her vocal capabilities in this particular role, and her acting is also somewhat limited by the constraints of her character. Still, she makes the most of every onstage moment. If she were to win this award, I would attribute it to her lifetime of achievement in the theatre more than this specific performance.

Hannah Cruz, Chess

Cruz’s energy in this show is electric and magnetic. She plays the character who complicates an already messed up relationship dynamic, and she radiates confidence in a way that is truly inspiring on stage.

Rachel Dratch, Richard O’Brien’s The Rocky Horror Show

If I’m being totally honest, this nomination upsets me. Dratch’s performance is monotone, and I almost mean that literally. She effortlessly oozes sarcasm and gives nothing in terms of effort to this “performance”.

Ana Gasteyer, Schmigadoon!

One of the highlights of Schmigadoon! is Ana Gasteyer’s uptempo, brilliantly delivered performance parodying “Ya Got Trouble” from The Music Man. Her delivery is precise, without sacrificing nuance and understanding. She is simply hilarious, and commits 100%.

Nichelle Lewis, Ragtime

Nichelle Lewis has developed a strong, powerful voice as she comes into her own theatrically. I had trouble understanding her diction when she sang, but the emotion in her performance is unmistakable.

Pages on Stages Prediction: Ana Gasteyer, Schmigadoon!

If It Was Up to Me: Ana Gasteyer, Schmigadoon!

—

Best Performance by an Actor in a Featured Role in a Play

Christopher Abbott, Arthur Miller’s Death of a Salesman

Christopher Abbott’s Biff Loman delivered the role exactly as expected. Although there was nuance, the nuance wasn’t new insight on who this character is or how he walks through the world.

Danny Burstein, Marjorie Prime

This is a demanding acting role because Danny Burstein had to have complete control of his reactions and emotions as his character cycled through being empowered and being utterly helpless. He always gave enough of himself to keep the audience on the edge of their seat while holding on to the credibility that he was, at times, holding back human reactions and emotions.

Brandon J. Dirden, Waiting for Godot

I did not see this production. This is a very small role, and Dirden must have been impressive in it as the actors playing Vladimir and Estragon were not Tony nominated and this is the only nomination Waiting for Godot received.

Alden Ehrenreich, Becky Shaw

This character was so twisted, and the weird sadistic charm infused by Alden Enrenreich simultaneously pulled the audience in and repulsed us. The manipulations were devilish, and Ehrenreich delivered this chilling thought process with intensity and profound precision.

Ruben Santiago-Hudson, August Wilson’s Joe Turner’s Come and Gone

Ruben Santiago-Hudson plays a classic “character part” in this show, and his grasp of power dynamics is, in a word, masterful. His character is holding on to the past, and also leveraging it in a very memorable performance.

Richard Thomas, The Balusters

Richard Thomas played the community board’s deeply corrupt seat of power. In a play that was ultimately about a stoplight, this character was responsible for ratcheting up the stakes (and the distractions!) and he did a phenomenal job.

Pages on Stages Prediction: Ruben Santiago-Hudson, August Wilson’s Joe Turner’s Come and Gone

If It Was Up to Me: Alden Ehrenreich, Becky Shaw

—

Best Performance by an Actress in a Featured Role in a Play

Betsy Aidem, Liberation

Representing the older generation in a cast of bright, bold young women, Betsy Aidem delivers a touching, amusing, and disturbing monologue about her responsibilities as a housewife that serves as a wake up call to the women around her. Aidem’s character goes through a late blooming transformation that Aidem portrays with delightful nuance.

Marylouise Burke, The Balusters

Burke plays an elderly contrarian with brilliant comedic timing that has the audience rooting for her character the whole way through. Burke leans into consistency and lands her jokes with determined precision such that the audience can’t help but like her character.

Aya Cash, Giant

The youngest nominee in this category, Aya Cash plays a firecracker character who feels the heat of Roald Dahl’s rage against Israel and, by extension, Jews. Her character, Jessica, tries (and fails) to straddle the line between professionalism and integrity. Cash’s performance is highly relatable and really highlights the strength of her character and the historical figure her character is based on.

Laurie Metcalf, Arthur Miller’s Death of a Salesman

Metcalf is faced with a unique challenge among this nominee pool—she plays Linda Loman, a canonical character who everyone knows well. Metcalf brings this familiar character a deeply felt pain that echoes and resonates through the room in ways that are simultaneously harsh and dignified.

June Squibb, Marjorie Prime

At 96, Squibb is the oldest actress to be nominated for a Tony Award. Squibb plays both a person and an artificially intelligent shell of a person in Marjorie Prime, and her stamina is truly incredible. If she were to win this award, it might have more to do with her age than her actual performance of her character; nevertheless, her commitment and dedication are commendable.

Pages on Stages Prediction: June Squibb, Marjorie Prime

If It Was Up to Me: Laurie Metcalf, Arthur Miller’s Death of a Salesman

—

Best Direction of a Musical

Michael Arden, The Lost Boys

The Lost Boys juxtaposes being otherworldly with emotions and dynamics that are utterly of this world and deeply human. This is also the only show in this category without a previous iteration. It is a true world premiere, where every directorial choice is the first of its kind.

Lear deBessonet, Ragtime

deBassonet’s direction is what makes this production of Ragtime resonate so well with audiences. The vocal lines are clearly thought through, and sculpted similarly all across the show. The staging is delightful and sometimes blocking tells the story all by itself, with no explicit need for words.

Christopher Gattelli, Schmigadoon!

Gattelli keeps track of every opportunity to reference Golden Age theatre productions in this very timeless story. It is clear that everyone is having fun,, and the show is very tight.

Tim Jackson, Two Strangers (Carry a Cake Across New York)

An interesting challenge for a director—Sam Tutty has played his role in several out of town productions while Christiana Pitts is new to the material. Jackson’s direction makes this two-hander work and keeps the audience smiling and laughing through the show.

Zhailon Levingston and Bill Rauch, Cats: The Jellicle Ball

I would argue that this show is built more on choreography than direction. There is no plot, and the show is primarily a series of dance numbers where characters don’t relate to each other on stage, they just do their thing on the runway. Though coordinating all of this was certainly a nightmare and putting the pieces of this concept together must have been tough, it did have an off-Broadway run and success was virtually guaranteed.

Pages on Stages Prediction: Lear deBessonet, Ragtime

If it Was Up to Me: Michael Arden, The Lost Boys

—

Best Direction of a Play

Nicholas Hytner, Giant

Giant was exceptionally well directed and well blocked. The narrative was clearly conveyed and the difficult material was well navigated.

Robert Icke, Oedipus

This was a very interesting and timely reimagining and the connections to modern politicians were both there and not there. The staging featured a countdown clock, which I feel was a poor directorial choice. Nevertheless, the performances all worked well together.

Kenny Leon, The Balusters

One of Kenny Leon’s better projects. In this case, Leon did not try to reinvent the wheel. Every character took up a constantly shifting amount of space and the blocking was clear, easy, and functional.

Joe Mantello, Arthur Miller’s Death of a Salesman

An extraordinarily faithful revival, the love Mantello has for the source material is clear and resounding in every scene.

Whitney White, Liberation

Though not that different from its off-Broadway try out, White’s Liberation creates a semblance of movement for characters who are trapped and a safe space for people to (literally) bare themselves and their souls.

Pages on Stages Prediction: Joe Mantello, Arthur Miller’s Death of a Salesman

If it Was Up to Me: Joe Mantello, Arthur Miller’s Death of a Salesman

—

Best Choreography

Christopher Gattelli, Schmigadoon!

Choreographed like a Golden Age musical, Schmigadoon!’s high energy comes largely from its dance ensemble. Gatelli does brilliant work here and this is definitely a rigorous circuit.

Ellenore Scott, Ragtime

Scott’s challenge is juxtaposing choreography that fits different cultures and balancing when to allow individuality versus when unity is part of the dramaturgical point. Scott does this well, but not well enough to surpass the flashy performances of other nominees.

Ani Taj, Richard O’Brien’s The Rocky Horror Show

Sensual and shocking, Ani Taj delivers familiar choreography and new ideas that fully engage the show’s audience. In a Tony Awards cycle that didn’t contain the truly outstanding athleticism and artistry required for Cats: The Jellicle Ball, this would be my front runner.

Omari Wiles and Arturo Lyons, Cats: The Jellicle Ball

I have made not secret of disliking Cats: The Jellicle Ball. However, I cannot ignore the complexity of the ballroom choreography and how intense performing this show must be for its actors. Cats: The Jellicle Ball is still largely Cats as we knew it prior, so choreography is a large part in what differentiates this production from previous iterations and other shows on Broadway. A win here would be deserved.

Lauren Yalango-Grant and Christopher Cree Grant, The Lost Boys

I am not sure if aerial choreography has any kind of parallel this year, but even so, many of the songs in this show are stand-and-deliver. This is a show that leans into slow, wondrous qualities of movement that are fun in the theater but likely to be overlooked by Tony voters when assessing this season as a whole.

Pages on Stages Prediction: Omari Wiles and Arturo Lyons, Cats: The Jellicle Ball

If it Was Up to Me: Omari Wiles and Arturo Lyons, Cats: The Jellicle Ball

—

Best Scenic Design of a Musical

dots, Richard O’Brien’s The Rocky Horror Show

The set for Richard O’Brien’s The Rocky Horror Show is an experience that begins when you walk through the door. It extends out into the audience and into the boxes, and draws on inspiration from previous productions while also being uniquely its own.

Soutra Gilmour, Two Strangers (Carry a Cake Across New York)

The set for this show quite literally came out of gray suitcases that are onstage from the beginning. It’s clever, but a little too kitschy for my taste.

Rachel Hauck, Cats: The Jellicle Ball

There’s not really a set for this one. It’s a runway. Lighting does most of the work until the very end, when the staircase comes down from the ceiling.

Dane Laffrey, The Lost Boys

Somehow, every space necessary for realistic and abstract storytelling fits in The Palace, and this scenic design is anything but barebones. It is a true achievement in and commitment to storytelling.

Scott Pask, Schmigadoon!

The Schmigadoon! sets are one of a kind, and the use of forced perspective gives depths to these fantasy worlds, in brilliant collaboration with lighting and other design elements. Scott Pask brilliantly walks the line between reality and fantasy.

Pages on Stages Prediction: Scott Pask, Schmigadoon!

If It Was Up to Me: Scott Pask, Schmigadoon!

—

Best Scenic Design of a Play

Hildegard Bechtler, Oedipus

The scenic design for Oedipus is very clean with sharp corners—until of course, it becomes a blood bath. A perfect manifestation of the content of the play it is in, Hildegard Betchtler’s set is a functional storytelling vehicle.

Takeshi Kata, Bug

The set for Bug is really two sets—one that is incredibly realistic and one that is incredibly abstract. Takeshi Kata handles both concepts with fastidious detail.

Chloe Lamford, Arthur Miller’s Death of a Salesman

I wasn’t sure I understood this set, if I am being honest. It was partially tile. There was a car in it, ever-present like the knowledge that the show’s protagonist will die. It was an abstract attempt to make everything fit on one space that I didn’t think very highly of.

David Korins, Dog Day Afternoon

I was impressed by David Korins’s set and the production’s overall use of the space. The bank was very realistic, filled with nooks and crannies and as more set pieces materialized, they did so in a clean, orderly fashion.

David Rockwell, Fallen Angels

David Rockwell’s set for Fallen Angels is elegant and reflective of its time period. The set is beautiful, functional, and well coordinated with the color schemes used in costumes and lighting.

Pages on Stages Prediction: David Rockwell, Fallen Angels

If it Was Up to Me: David Rockwell, Fallen Angels

—

Best Costume Design of a Musical

Linda Cho, Ragtime

Ragtime featured costumes that simultaneously showcased belonging to a particular group and the individuality of the character. The plethora of colors and designs was aesthetically pleasing for the eye and very well executed.

Linda Cho, Schmigadoon!

Costumes for Schmigadoon! were bright and fun, keeping us grounded in a time outside of time. They were functional for all kinds of dancing and kept all scenes, particularly ensemble ones, visually dynamic.

Qween Jean, Cats: The Jellicle Ball

Perhaps the biggest departure from Cats as a source material was how Qween Jean’s costuming turns the spectacle into the Jellicle Ball—letting us know that these are very different kinds of cats.

Ryan Park, The Lost Boys

The vibe and aesthetic of this show was so much fun—the alternative spin on the vampires fit in well with the music and remained simultaneously tasteful and sexy.

David I. Reynoso, Richard O’Brien’s The Rocky Horror Show

The Rocky Horror Show wouldn’t be The Rocky Horror Show without certain costumes. Yet Reynoso managed to still be inventive, as many of the casting choices were atypical demographics. His designs were energizing and creative.

Pages on Stages Prediction: Qween Jean, Cats: The Jellicle Ball

If it Was Up to Me: Ryan Park, The Lost Boys

—

Best Costume Design of a Play

Brenda Abbandandolo, Dog Day Afternoon

The costumes for Dog Day Afternoon kept us grounded in the timeframe and showed social class and station. They were functional and aesthetically pleasing.

Qween Jean, Liberation

Costumes for Liberation defined each character’s archetype/stereotype. A lot of thought went into each individual’s look and how the characters changed over the course of the play.

Jeff Mahshie, Fallen Angels

These wonderful period costumes were dazzling—especially the ones on Rose Byrne and Kelli O’Hara. They were colorful and fun, like the characters wearing them.

Emilio Sosa, The Balusters

This was another show with wonderful, individually unique looks that told us who each character was, what their politics are, and how they fit into their neighborhood.

Paul Tazewell, August Wilson’s Joe Turner’s Come and Gone

The most difficult show to costume on this list, August Wilson’s Joe Turner’s Come and Gonefeatured everything from peasant’s rags to full skirted dresses. The clothing was thoughtfully distressed and had a lot of character.

Pages on Stages Prediction: Paul Tazewell, August Wilson’s Joe Turner’s Come and Gone

If It Was Up to Me: Paul Tazewell, August Wilson’s Joe Turner’s Come and Gone

—

Best Lighting Design of a Musical

Kevin Adams, Chess

In the literal and metaphorical sense, Chess is a game of moving parts. Lighting design captured this idea but took a backseat to sound and the pulsating score.

Jane Cox, Richard O’Brien’s The Rocky Horror Show

Clever and unafraid to take risks, Jane Cox has a serious chance of taking home this award. As much about what is shown as what must remain hidden, the production keeps everyone on their toes as lighting guides us to what we should be seeing and steers us away from the set up for the next thing.

Donald Holder, Schmigadoon!

Donald Holder’s work with this show is really beautiful, infusing both an endlessness and a sense of time of day. It’s an integral part of the collaboration.

Adam Honoré, Cats: The Jellicle Ball

Lighting is all over the place for this one, and feels sloppy at times and sharply precise at others. Adam Honoré has to work with a set that is mostly unchanging, which he keeps alive with what the industry calls, “flash and trash”. Oh look! A disco ball!

Adam Honoré and Donald Holder (Lighting Design) and 59 Studio (Projection Design), Ragtime

Lighting design for Ragtime was very good, but projection design was almost entirely bad. As I mentioned in my review, projections looked like the home screen for Google Pixel or Windows XP. Two really good moments do not a production make.

Jen Schriever and Michael Arden, The Lost Boys

The lighting for The Lost Boys was a huge part of the narrative and the ambiance, especially when many of the actors are dancing in midair. It was also a huge part of helping the audience know how to feel at different moments.

Pages on Stages Prediction: Jen Schriever and Michael Arden, The Lost Boys

If it Was Up to Me: Jen Schriever and Michael Arden, The Lost Boys

—

Best Lighting Design of a Play

Isabella Byrd, Dog Day Afternoon

The lighting for Dog Day Afternoon created a cinematic texture that was highly effective, especially in immersive moments in the audience. Each area was distinct, and isolation to create distance was chilling.

Natasha Chivers, Oedipus

There were some big lighting moments in Oedipus, but most of the show appeared to be a single cue with the whole stage lit.

Stacey Derosier, August Wilson’s Joe Turner’s Come and Gone

Truly breathtaking work that had interesting artistic features in addition to functional moments and scene changes.

Heather Gilbert, Bug

Heather Gilbert’s work on Bug really drew the eye to key aspects of the characters’ mindsets.

Heather Gilbert, The Fear of 13

Lighting for The Fear of 13 helped enhance the characters’ isolation—both literal and symbolic.

Jack Knowles, Arthur Miller’s Death of a Salesman

Of these nominees, Jack Knowles created the most complete aesthetic concept with lighting, which included striking angles that were interesting. He played with shadow effectively, and his close collaboration with scenic artistry was evident.

Pages on Stages Prediction: Jack Knowles, Arthur Miller’s Death of a Salesman

If it Was Up to Me: Jack Knowles, Arthur Miller’s Death of a Salesman

—

Best Sound Design of a Musical

Kai Harada, Cats: The Jellicle Ball

Cats: The Jellicle Ball is a very difficult show to sound design because the audience noise levels are very high for most of the performance. Additionally, the athleticism in the dancing makes performers harder to mic than usual. As a result, the mix felt a little haphazard (though I will acknowledge that I saw it in previews).

Kai Harada, Ragtime

The sound design for Ragtime is very clear, crisp, and polished. While not necessarily a standout design, Kai Harada gets the job done such that the audience is not thinking or worrying about sound at all, making for a very pleasant theatre experience.

Adam Fisher, The Lost Boys

This show blurs the line between sound and music more than most. Sound is part of creating jump scare moments and also part of world-building in a significant way.

Brian Ronan, Richard O’Brien’s The Rocky Horror Show

Sound design for Richard O’Brien’s The Rocky Horror Show is playful and fun, just like the show itself. This is another show that is pleasant to listen to because it’s fairly straightforward to design and mix.

Walter Trarbach, Schmigadoon!

Trarbach creates a world of genuinely fun sound effects, some of which are part of jokes and others part of keeping the jollity going. This is a tough one for me, as I feel Adam Fisher’s The Lost Boys was more artistic but Walter Trarbach’s Schmigadoon! brings effects to the forefront in a way that feels like a distinct presence from music.

Pages on Stages Prediction: Walter Trarbach, Schmigadoon!

If it Was Up to Me: Adam Fisher, The Lost Boys

—

Best Sound Design of a Play

Justin Ellington, August Wilson’s Joe Turner’s Come and Gone

Justin Ellington added lovely texture to Joe Turner’s Come and Gone, both in moments you were meant to hear and moments you were meant to feel.

Tom Gibbons, Oedipus

Sound was a storytelling device for Tom Gibbons’s Oedipus, particularly in showing public opinion about Oedipus’s political campaign.

Lee Kinney, The Fear of 13

There are a lot of sound effects in The Fear of 13. Personally, I would have liked more soundscapes in some of Adrien Brody’s monologues to create texture. Lee Kinney’s design for this show is mostly literal, and leaves something artistic to be desired.

Josh Schmidt, Bug

Bug had a sound design that challenged assumptions and took us deep into the world of the characters. I fear its chances are weakened slightly by its limited run being at the beginning of the year.

Mikaal Sulaiman, Arthur Miller’s Death of a Salesman

In close collaboration with Caroline Shaw’s score, sound design for Arthur Miller’s Death of a Salesman was seamlessly integrated into the show.

Pages on Stages Prediction: Tom Gibbons, Oedipus

If it Was Up to Me: Tom Gibbons, Oedipus

—

Best Original Score (Music and/or Lyrics) Written for the Theatre

Arthur Miller’s Death of a Salesman, Caroline Shaw

Caroline Shaw is a genius composer and her contributions to the soundscape feel so engrained in the show that we don’t notice music’s entrances into the space. Her work is absolutely striking. It may get overshadowed by a musical.

August Wilson’s Joe Turner’s Come and Gone, Steve Bargonetti

I don’t really remember the score of August Wilson’s Joe Turner’s Come and Gone. It didn’t stand out to me at the time of performance.

The Lost Boys, The Rescues

My favorite original score of a musical, The Rescues cover different genres and generations with ease, and the music built into scenes where no one is singing is truly spectacular.

Schmigadoon!, Cinco Paul

Considering that many of the songs in this show were already in the television show, Schmigadoon! seems like an odd nomination to consider as an original score. The Golden Age vibe is fun and infectious, as is the familiarity that recalls both the television show and other famous musicals.

Two Strangers (Carry a Cake Across New York), Jim Barne and Kit Buchan

This score had several out of town try outs, but rises above the pack in sophistication. It’s catchy, fun, and quite clever.

Pages on Stages Prediction: Schmigadoon!, Cinco Paul

If It Was Up To Me: Arthur Miller’s Death of a Salesman, Caroline Shaw

—

Best Orchestrations

Doug Besterman and Mike Morris, Schmigadoon!

Orchestrated like a Golden Age musical, Schmigadoon! uses music to transport people to a place that exists outside of time and in every time. The orchestrations are grandiose in scale.

Ethan Popp, Kyler England, Adrianne “AG” Gonzalez, and Gabriel Mann; The Lost Boys

The Lost Boys has moments with incredibly intricate orchestrations and some with simple, yet intimate orchestrations. It boasts the most diverse score among these nominations.

Lux Pyramid, Two Strangers (Carry a Cake Across New York)

Easy on the ears and fun to listen to, Lux Pyramid leans into modern musical trends where every song is a hit—in fact, songs from Two Strangers (Carry a Cake Across New York) have been nominated for several other theatre honors that have a best original song category.

Brian Usifer, Chess

The painstaking preservation of the original orchestral feel of Chess is one of the only structural saving graces of this production. As a lover of the music and a hater of the new book, Brian Usifer’s orchestrations kept me connected to the parts of Chess that I knew and loved.

Andrew Lloyd Webber, David Wilson, Trevor Holder, and Doug Schadt; Cats: The Jellicle Ball

I think Cats: The Jellicle Ball will be winning this category on the sheer creativity of transforming the sound of the show to this revival’s ballroom feel. Though personally not a fan of the show, I can appreciate the work that went into recorchestrating it while preserving well known elements of Andrew Lloyd Webber’s initial composition.

Pages on Stages Prediction: Andrew Lloyd Webber, David Wilson, Trevor Holder, and Doug Schadt; Cats: The Jellicle Ball

If It Was Up To Me: Ethan Popp, Kyler England, Adrianne “AG” Gonzalez, and Gabriel Mann; The Lost Boys

—

Best Book of a Musical

The Lost Boys, David Hornsby and Chris Hoch

The story of The Lost Boys that comes through in the book is the campiest part of this musical. Though not air tight when I saw it in previews, I felt that the musical moments shaped this story better than the book did, and at times the book was scrambling to keep up.

Schmigadoon!, Cinco Paul

Cinco Paul was tasked with something difficult in creating the book as the television show this production is based on is still fresh in many people’s minds. Tying together the songs that were deemed important enough for Broadway while also holding space to lovingly reference other famous musicals is a herculean task, completed with grace and love.

Titaníque; Marla Mindelle, Constantine Rousouli, and Tye Blue

Titanique has a lot of improvised moments, and the book is kind of cringy. I wanted more from this creative team.

Two Strangers (Carry a Cake Across New York), Jim Barne and Kit Buchan

By far the best book among these nominees, Two Strangers (Carry a Cake Across New York)survives as a two-hander in large part because the book is witty, quirky, and fun. Jim Barne and Kit Buchan flesh out their characters in the book, enabling songs to be funnier and stakes to be higher.

Pages on Stages Prediction: Two Strangers (Carry a Cake Across New York), Jim Barne and Kit Buchan

If It Was Up To Me: Two Strangers (Carry a Cake Across New York), Jim Barne and Kit Buchan

—

That’s a wrap on predictions! We will let you know how we did after the ceremony tomorrow! Reminder that this year, we are NOT live updating!