Tony Awards 2025: Complete list of winners
Tony Awards 2025: Complete list of winners
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Darren Criss leads 'Maybe Happy Ending': Broadway's new musical
Darren Criss shines in Broadway musical "Maybe Happy Ending"
Broadway's biggest night has arrived, celebrating the best musicals, plays and actors on stage.
"Maybe Happy Ending," "Death Becomes Her" and "Buena Vista Social Club" lead the nominations with 10 each, including best musical. The strange-but-true "Dead Outlaw" and World War II spy satire "Operation Mincemeat" round out the best musical category.
Cole Escola's madcap "Oh, Mary!" earned five nods, including best play, best actor (Escola) and best featured actor (Conrad Ricamora). The other nominees for best play are "The Hills of California," "English," "Purpose," and "John Proctor is the Villain."
Several Hollywood A-listers earned their first Tony nominations, including George Clooney for "Good Night, and Good Luck," Mia Farrow for "The Roommate," Bob Odenkirk for 'Glengarry Glen Ross," 'Stranger Things' star Sadie Sink for "John Proctor is the Villain," "Succession" star Sarah Snook for "The Picture of Dorian Gray" and former Pussycat Dolls frontwoman Nicole Scherzinger for "Sunset Boulevard."
More: Broadway's 10 best shows of 2024, including 'Oh, Mary!'
The 78th annual Tony Awards air live on Sunday, June 8, from New York's Radio City Music Hall (8 ET/5 PT on CBS and streaming on Paramount+ with Showtime). Cynthia Erivo, the three-time Oscar-nominated star of "Wicked," will host.
Tony Awards 2025 winners
Best new musical
'Buena Vista Social Club'
'Dead Outlaw'
'Death Becomes Her'
'Maybe Happy Ending'
'Operation Mincemeat'
Best new play
'English'
'The Hills of California'
'John Proctor Is the Villain'
'Oh, Mary!'
'Purpose'
Best musical revival
'Floyd Collins'
'Gypsy'
'Pirates! The Penzance Musical'
'Sunset Boulevard'
Best play revival
'Eureka Day'
'Our Town'
'Romeo + Juliet'
'Yellow Face'
Best leading actress in a play
Laura Donnelly, 'The Hills of California'
Mia Farrow, 'The Roommate'
LaTanya Richardson Jackson, 'Purpose'
Sadie Sink, 'John Proctor Is the Villain'
Sarah Snook, 'The Picture of Dorian Gray'
Best leading actor in a play
George Clooney, 'Good Night, and Good Luck'
Cole Escola, 'Oh, Mary!'
Jon Michael Hill, 'Purpose'
Daniel Dae Kim, 'Yellow Face'
Harry Lennix, 'Purpose'
Louis McCartney, 'Stranger Things: The First Shadow'
Best leading actress in a musical
Jasmine Amy Rogers, 'Boop!'
Megan Hilty, 'Death Becomes Her'
Audra McDonald, 'Gypsy'
Nicole Scherzinger, 'Sunset Boulevard'
Jennifer Simard, 'Death Becomes Her'
Best leading actor in a musical
Darren Criss, 'Maybe Happy Ending'
Andrew Durand, 'Dead Outlaw'
Tom Francis, 'Sunset Boulevard'
Jonathan Groff, 'Just in Time'
Jeremy Jordan, 'Floyd Collins'
James Monroe Iglehart, 'A Wonderful World: The Louis Armstrong Musical'
Best direction of a musical
Saheem Ali, 'Buena Vista Social Club'
Michael Arden, 'Maybe Happy Ending'
David Cromer, 'Dead Outlaw'
Christopher Gattelli, 'Death Becomes Her'
Jamie Lloyd, 'Sunset Boulevard'
Best direction of a play
Knud Adams, 'English'
Sam Mendes, 'The Hills of California'
Sam Pinkleton, 'Oh, Mary!'
Danya Taymor, 'John Proctor Is the Villain'
Kip Williams, 'The Picture of Dorian Gray'
Best featured actress in a play
Tala Ashe, 'English'
Jessica Hecht, 'Eureka Day'
Marjan Neshat, 'English'
Fina Strazza, 'John Proctor Is the Villain'
Kara Young, 'Purpose'
Best featured actor in a play
Glenn Davis, 'Purpose'
Gabriel Ebert, 'John Proctor Is the Villain'
Francis Jue, 'Yellow Face'
Bob Odenkirk, 'Glengarry Glen Ross'
Conrad Ricamora, 'Oh, Mary!'
Best featured actress in a musical
Natalie Venetia Belcon, 'Buena Vista Social Club'
Julia Knitel, 'Dead Outlaw'
Gracie Lawrence, 'Just in Time'
Justina Machado, 'Real Women Have Curves'
Joy Woods, 'Gypsy'
Best featured actor in a musical
Brooks Ashmanskas, 'Smash'
Jeb Brown, 'Dead Outlaw'
Danny Burstein, 'Gypsy'
Jak Malone, 'Operation Mincemeat'
Taylor Trensch, 'Floyd Collins'
Best book of a musical
'Buena Vista Social Club'
'Dead Outlaw'
'Death Becomes Her'
'Maybe Happy Ending'
'Operation Mincemeat'
Best scenic design of a play
Marsha Ginsberg, 'English'
Rob Howell, 'The Hills of California'
Marg Horwell and David Bergman, 'The Picture of Dorian Gray'
Miriam Buether and 59, 'Stranger Things: The First Shadow'
Scott Pask, 'Good Night, and Good Luck'
Best scenic design of a musical
Rachel Hauck, 'Swept Away'
Dane Laffrey and George Reeve, 'Maybe Happy Ending'
Arnulfo Maldonado, 'Buena Vista Social Club'
Derek McLane, 'Death Becomes Her'
Derek McLane, 'Just in Time'
Best lighting design of a play
Natasha Chivers, 'The Hills of California'
Jon Clark, 'Stranger Things: The First Shadow'
Heather Gilbert and David Bengali, 'Good Night, and Good Luck'
Natasha Katz and Hannah Wasileski, 'John Proctor is the Villain'
Nick Schlieper, 'The Picture of Dorian Gray'
Best costume design of a play
Brenda Abbandandolo, 'Good Night, and Good Luck'
Marg Horwell, 'The Picture of Dorian Gray'
Rob Howell, 'The Hills of California'
Holly Pierson, 'Oh, Mary!'
Brigitte Reiffenstuel, 'Stranger Things: The First Shadow'
Best choreography
Joshua Bergasse, 'Smash'
Camille A. Brown, 'Gypsy'
Christopher Gattelli, 'Death Becomes Her'
Jerry Mitchell, 'Boop!'
Patricia Delgado and Justin Peck, 'Buena Vista Social Club'
Best orchestrations
Andrew Resnick and Michael Thurber, 'Just in Time'
Will Aronson, 'Maybe Happy Ending'
Bruce Coughlin, 'Floyd Collins'
Marco Paguia, 'Buena Vista Social Club'
David Cullen and Andrew Lloyd Webber, 'Sunset Boulevard'
Best sound design of a play
Paul Arditti, 'Stranger Things: The First Shadow'
Palmer Hefferan, 'John Proctor Is the Villain'
Daniel Kluger, 'Good Night, and Good Luck'
Nick Powell, 'The Hills of California'
Clemence Williams, 'The Picture of Dorian Gray'
Best original score
'Dead Outlaw,' David Yazbek and Erik Della Penna
'Death Becomes Her,' Julia Mattison and Noel Carey
'Maybe Happy Ending,' Will Aronson and Hue Park
'Operation Mincemeat,' David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts
'Real Women Have Curves,' Joy Huerta and Benjamin Velez
Best costume design of a musical
Dede Ayite, 'Buena Vista Social Club'
Gregg Barnes, 'Boop!'
Clint Ramos, 'Maybe Happy Ending'
Paul Tazewell, 'Death Becomes Her'
Catherine Zuber, 'Just in Time'
Best lighting design of a musical
Jack Knowles, 'Sunset Boulevard'
Tyler Micoleau, 'Buena Vista Social Club'
Scott Zielinski and Ruey Horng Sun, 'Floyd Collins'
Ben Stanton, 'Maybe Happy Ending'
Justin Townsend, 'Death Becomes Her'
Best sound design of a musical
Jonathan Deans, 'Buena Vista Social Club'
Adam Fisher, 'Sunset Boulevard'
Peter Hylenski, 'Just in Time'
Peter Hylenski, 'Maybe Happy Ending'
Dan Moses Schreier, 'Floyd Collins'
Special awards
Isabelle Stevenson Tony Award: Celia Keenan-Bolger
Special Tony Award for Lifetime Achievement: Harvey Fierstein
Contributor: Patrick Ryan, USA TODAY
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This is an updated version of a story first published on March 23, 2025. The original video can be viewed here. Yes, in film, but even more so in theater, a sense of timing is essential. At age 63, George Clooney made his Broadway debut this spring, starring in an adaptation of the 2005 Oscar-nominated movie, "Good Night, and Good Luck." The play broke box office records and it's up for five awards at the Tonys later tonight. Clooney co-wrote both the original screenplay and this play, telling the story of pioneering journalist Edward R. Murrow, who took on strong-arming Sen. Joseph McCarthy, all while withstanding pressure not to make waves at his own news network-this network-CBS. The plot revolves around themes of truth, intimidation, and courage in the face of corporate media. It is set in the 1950s. As we first told you in March, Clooney always meant for the story to echo today. He just didn't realize how loudly it would. Deep February, Winter Garden Theater in the heart of Broadway, the set still under construction — George Clooney arrives in character. Ever the everyman, he doesn't stand on ceremony; he hurdles over it. But now it can be told: Hollywood's famously cool leading man has the jitters. George Clooney: I mean, look at this place. This is proper old Broadway. And it's exciting to be here, you know? Um --look-- let's not kid ourselves. It's nerve-wracking and there's a million reasons why it's dumb to do. Jon Wertheim: What do you mean? George Clooney: Well, it's dumb to do because you're coming out and saying, "Well, let's try to-- get an audience to take this ride with you back to 1954." 60 Minutes The play brings to life the humming CBS newsroom of the 1950s—all typewriters and smoldering cigarettes. Having dyed his hair—upsetting that familiar salt-and-pepper ratio—Clooney plays the protagonist Edward R. Murrow, host of the weekly television news program "See It Now." Jon Wertheim: You wrote the script to the film more than 20 years ago. You played Fred Friendly. George Clooney: Yeah. Jon Wertheim: Murrow's producer. You didn't play Murrow. George Clooney: No. Jon Wertheim: Why did you not want to play him? George Clooney: Murrow had a gravitas to him that at 42 years old I didn't-- I wasn't able to pull off. Murrow earned his gravitas during World War II, with eyewitness radio dispatches from London amid the Blitz. His trademark signoff doubles as the play's title. Clooney wrote the story with his longtime friend and creative partner, Grant Heslov. Jon Wertheim: How does this partnership work? Who's at the keyboard? George Clooney: Oh, you're at the keyboard. (laugh) Grant Heslov: He doesn't know how to use a computer. He can barely-- George Clooney: No, I'm like this. I'm the luddite. They met in LA in the early 80s, when both were struggling actors. Now they run a production company together. (Full disclosure: the three of us collaborated on an unrelated sports documentary out this month.) Clooney and Heslov conceived of the story of "Good Night, and Good Luck" in the early 2000s, when the U.S. went to war in Iraq. George Clooney: You know, I just thought it was a good time to talk about when the press held government to account. A show within a show, the play recreates the historic television face-off between Murrow and Joseph McCarthy, with McCarthy essentially playing himself through archival footage. At the height of the Red Scare, the Wisconsin senator led a crusade to weed out supposed communist infiltration of the U.S. government. Murrow and his team overcame the climate of fear and intimidation to expose and help take down McCarthy with measured, fact-based editorials. Jon Wertheim: Are you guys using McCarthyism as a parable for today? Grant Heslov: Originally it wasn't for today, today. But it's–this is a story that stands the test of time. I think it's a story that you can keep telling over and over. I don't think it will ever-- thematically get old. George Clooney and Grant Heslov speak with Jon Wertheim 60 Minutes At the table read in a downtown Manhattan studio, Clooney met the cast and wasted no time addressing what he sees as the parallels to today. George Clooney: When the other three estates fail, when the judiciary and the executive and the legislative branches fail us, the fourth estate has to succeed. Has to succeed - as 60 Minutes is here right now on our first day. (laugh) Kidding aside, Clooney made the point: these are chilling times for the news media. George Clooney: ABC has just settled a lawsuit with the Trump administration. And CBS News is in the process … The process he's talking about: President Trump lodged a $20 billion lawsuit against CBS, making the unfounded allegation that 60 Minutes engaged in election interference. CBS filed a motion to dismiss the lawsuit and the parties have discussed settlement, all this as the network's parent company, Paramount, is trying to close a merger deal, which requires approval from the Trump-appointed chair of the Federal Communications Commission. George Clooney: We're seeing this idea of using government to scare or fine or use corporations -- to make-- journalists smaller. Governments don't like-- the freedom of the press. They never have. And-- that goes for whether you are a conservative or a liberal or whatever side you're on. They don't like the press. Jon Wertheim: What does this play tell us about the media's ability or willingness to withstand this kind of pressure? George Clooney: It's a fight that is for the ages. It will continue. You see it happening at the LA Times. You see it happening at the Washington Post, for god's sake. George Clooney: Journalism and telling truth to power has to be waged like war is waged. It doesn't just happen accidentally. You know, it takes people saying, we're gonna do these stories and you're gonna have to come after us. And that's the way it is. When we dropped in on rehearsals, the mood was as light as the material was heavy. Comedian and producer Ilana Glazer plays CBS news-writer Shirley Wershba. Jon Wertheim: How is George Clooney doing-- leading a troupe of stage actors? Ilana Glazer: It's shaky. It's shaky, Jon. It's tough. No, I'm just kidding. Ilana Glazer, who plays CBS news writer Shirley Wershba, speaks with Jon Wertheim about working with George Clooney. 60 Minutes Ilana Glazer: We're all, like, so focused on this material, and it's serious, and we're trying to make it as honest as possible. So George really, like, will-- let the-- the tension release and break the tension with a joke at the right time. One of Broadway's most in-demand directors, David Cromer, is the man in charge. Jon Wertheim: Your Murrow character is being portrayed by someone with-- considerable star wattage. What challenge does that present to you? David Cromer: It doesn't present a challenge. It helps. Jon Wertheim: Why-- David Cromer: Edward R. Murrow was a star. He was the most-trusted man in America. He had this very serious news show, but he also had this incredibly popular entertainment show, which was on Friday nights. It was called Person to Person… David Cromer: And he went into Liberace's house. And he went into all these people's houses. David Cromer: If he were playing Willy Loman, that would be different, you know what I mean-- Jon Wertheim: A smaller figure than Murrow-- David Cromer: If he were playing-- a little man. If he were playing a little man. He's playing a great man. And he's a great man who's playing a great man. David Cromer 60 Minutes As for the play's setting, Clooney knows his way around a newsroom. His father Nick Clooney was a longtime journalist and anchorman. George Clooney: When I was 12 years old, my dad was working at WKRC in Cincinnati. I would run the teleprompter. In those days, a teleprompter was-- sheets of paper taped end-to-end with a camera pointed down. And you'd feed them like this, underneath the camera. And my dad would be able to read it on the teleprompter. And then at the commercial they'd say, "Okay, cut three minutes out of that story." And you had at the end of it a paper cutter-- Jon Wertheim: Literally cut-- George Clooney: And you'd just go sh-dunk… Grant Heslov: You really are old. George Clooney: I'm old, man. Clooney says he's running for nothing, but he makes no secret of his politics. A lifelong Democrat, he made news last summer, when he wrote a pointed essay calling on Joe Biden not to seek reelection on account of his age. Jon Wertheim: Looking back on that, happy you did it? George Clooney: Yeah. I'll make it kind of easy. I was raised to tell the truth. I had seen-- the president up close for this fundraiser, and I was surprised. And so I feel as if there was-- a lot of profiles in cowardice in my party through all of that. And I was not proud of that. And I also believed I had to tell the truth. Truth: an increasingly elusive concept…Clooney says that for all the parallels between the play and these convulsive times we live in today, disinformation is one critical distinction…. George Clooney: Here's where I would tell you where we differ from what Murrow was doing. Although McCarthy would try to pose things that-- he'd show up a blank piece of paper and say, "I've got a list of names." Okay, so it was-- that was his version of-- of fake news. We now are at a place where we've found that it's harder and harder and harder to dis-- to discern the truth. Facts are now negotiated. Jon Wertheim: You and I can agree or disagree, but if we can't reach a consensus that this chair is brown… George Clooney: Yeah. Jon Wertheim: We're in trouble. George Clooney: That's right. George Clooney 60 Minutes By March, rehearsals had moved into the theater. A big production issue on this day: the prop cigarettes. George Clooney: The hardest part for me is smoking. Jon Wertheim: What do you mean? George Clooney: Well, he smokes a lot. And we smoke a lot in the play. Everybody smokes in the play, so the place is covered in smoke. And smoking in our family's a big, you know, problem. We grew up in Kentucky. A lotta tobacco farmers. And-- almost all of my family members died of-- of lung cancer. My father's-- sister, Rosemary, died of it. She was a wonderful singer, died of it. And my dad's 91 because he didn't smoke. So smoking has always been-- it's a hard thing to do. It's easy to forget, George Clooney has been an A-lister for 30 years now. In 2003, he was a bachelor living with a pet pig when 60 Minutes profiled him. Jon Wertheim: You were in the Sexiest Man of the Year-- phase. George Clooney: Sure, that was a big time for me. I was very-- Jon Wertheim: Not-- not that you're not sexy now. George Clooney: That's okay. I'm not hurt, Jon. He's married now. His wife and their two kids left the home they keep in Europe to spend this spring run with him in New York. Clooney is also in a different phase of his life professionally. George Clooney: Look, I'm 63 years old. I'm not trying to compete with 25-year-old leading men. That's not my job. I'm not doing romantic films anymore. Clooney's turn on Broadway earned him a Tony nomination for best actor, just as it put him a few feet from the audience. Jon Wertheim: They can see you, you-- you can see them too. George Clooney: I'm not looking at them. I'm putting my wife in the very, very, very back. Jon Wertheim: You-- you wish you had done this earlier in your career? George Clooney: I don't know that I could've. I wasn't-- I didn't do the work required to get there. Jon Wertheim: But I saw the smile when you came out here… George Clooney: Oh, yeah. It's cool. Jon Wertheim: and-- looked out here. George Clooney: --Anybody who would deny that would just be a liar. I mean, there isn't a single actor alive that wouldn't have loved to have, you know, been on Broadway. So that's-- that's the fun of it. It's-- it's trickier the older you get. But why not? Produced by Nathalie Sommer and Kaylee Tully. Broadcast associates, Elizabeth Germino and Mimi Lamarre. Edited by Sean Kelly.
