
Clooney, Denzel, Nicole, Patti: Inside Broadway's big off-stage drama ahead of the Tonys
There's never a shortage of drama on Broadway. However, this Tony season has taken things to a whole new level.
And with records for both ticket prices and box-office grosses having been broken this year, there's more at stake than ever for Sunday's ceremony, which will be held at Radio City and air live on CBS starting at 8 p.m., as well as stream on Paramount+ and Showtime.
Some huge-name stars (hello, Denzel Washington) are said to be hurting from snubs,. while others who are nominated — sorry, George Clooney — already know they won't win.
19 Three-time Tony winner Patti LuPone isn't even nominated for a Tony this year, but she's starred in some blockbuster drama, causing such a stir that 500 Broadway artists signed an open letter condemning her words.
FilmMagic
But even if you are an A-list Hollywood actor, 'Just because you're on stage does not entitle you to a Tony nomination. The disappointment quotient is higher [this year] and it makes it more interesting,' one Tonys insider told The Post.
'In years past, perhaps the caliber of nominees wasn't really as high or exciting. Competition wasn't as great as it is this year.'
Nor were the off-stage theatrics.
Three-time Tony winner Patti LuPone, never known for keeping her opinions to herself, isn't even nominated this year — but kicked off such a storm that 500 Broadway artists signed an open letter condemning her words. And that messy situation might even end up influencing voters in the heated category of Best Actress in a Musical.
19 'Sunset Boulevard' star Nicole Scherzinger, meanwhile, is a frontrunner to take home the Tony for Best Actress in a Musical.
Mike Djordj / SplashNews.com
19 Sources told The Post 'Gypsy' star Audra Mcdonald (left, in 'Mahogonny' in 2007 in Los Angeles) could garner sympathy from Tony voters after LuPone (right) bashed her as 'not a friend' to The New Yorker in May.
Los Angeles Times via Getty Images
The common expectation until recently was that Nicole Scherzinger, up for 'Sunset Boulevard,' had her Tony in the bag. But in the past two weeks, insiders have been buzzing about McDonald's momentum.
That's because she's been in the headlines for reasons no star wants.
It all began last year, when LuPone — who was co-starring with Mia Farrow in 'The Roommate' at the Booth Theatre on 45th Street — called in a noise complaint to Shubert Organization head Robert Wankel about 'Hell's Kitchen,' the Alicia Keys musical starring Kecia Lewis and playing at the Shubert Theatre on 44th, which shares a wall with the Booth.
19 'Othello' stars Denzel Washington (left) and Jake Gyllenhaal are said to be hurting from snubs.
CJ Rivera/Invision/AP
Lewis, speaking as one 'veteran' to another, posted an 'open letter' video in November, deeming LuPone's behavior 'bullying,' 'racially microaggressive,' and 'rooted in privilege' for calling 'a black show loud.'
McDonald then showed support for Lewis on Instagram, which apparently annoyed LuPone, who she has shared the stage many times.
'That's typical of Audra. She's not a friend,' LuPone told the New Yorker in an interview, published in late May, that totally rocked the Broadway community.
19 LuPone complained about the neighboring show, 'Hell's Kitchen,' for being too noisy last year when she starred in 'The Roommate' at The Booth Theatre.
AFP via Getty Images
When the magazine's writer asked LuPone what she thought about McDonald as Mama Rose in 'Gypsy' — a role LuPone played in a 2008 revival — the actress sat quietly before changing the subject and replying, 'What a beautiful day.'
She went on to trash Lewis, saying, 'She calls herself a veteran? Let's find out how many Broadway shows Kecia Lewis has done, because she doesn't know what the f–k she's talking about.
'She's done seven,' LuPone added of the 'Hell's Kitchen' star. 'I've done 31. Don't call yourself a vet, bitch.'
19 Following LuPone's complaint, 'Hell's Kitchen' star Kecia Lewis lashed out at her in an 'open letter' video posted in November, calling LuPone's behavior 'bullying' and 'rooted in privilege' for calling 'a black show loud.'
Instagram / @therealkecialewis
You could practically hear jaws hitting the stages all around Times Square.
'People are thinking that the New Yorker profile on Patti LuPone was akin to the [former FBI director James] Comey emails about Hillary Clinton,' the Tonys insider joked to The Post.
It led to more than 500 Broadway artists, ranging from Tony winners like Wendell Pierce to wild cards like Courtney Love, putting their names to an open letter condemning LuPone.
19 LuPone trashed Kecia Lewis (above) in The New Yorker, saying, 'She calls herself a veteran? Let's find out how many Broadway shows Kecia Lewis has done, because she doesn't know what the f–k she's talking about.'
Getty Images for Tony Awards Productions
19 McDonald (left) came to Lewis' defense on social media, putting her in LuPone's crosshairs.
Los Angeles Times via Getty Images
'This language is not only degrading and misogynistic — it is a blatant act of racialized disrespect,' the letter said. 'It constitutes bullying. It constitutes harassment. It is emblematic of the microaggressions and abuse that people in this industry have endured for far too long, too often without consequence.'
This led to an apology via social media by LuPone, who said, 'I regret my flippant and emotional responses during this interview.'
'She's [LuPone] a very outspoken person – no news flash there. It's certainly her fault for choosing her words incorrectly,' the Tonys insider said.
19 LuPone issued an apology on social media, saying she was 'deeply sorry for the words I used during The New Yorker interview, particularly about Kecia Lewis, which were demeaning and disrespectful.'
19 One Tony's insider told The Post of LuPone: 'She's a very outspoken person – no news flash there. It's certainly her fault for choosing her words incorrectly.'
Getty Images for Disney
Now, a Broadway source explained, the negative headlines might have the consequence of generating Tony voter sympathy for McDonald.
'Pre Patti LuPone drama, I would have said Nicole had [the Tony],' the Broadway source said. 'But after Patti went after Audra, people are saying it may help Audra in the long run.'
Meanwhile, sources told The Post that McDonald, 54, was unhappy last month when she was unwittingly enlisted to present a Drama League award to 'Sunset Boulevard' star Nicole Scherzinger, who is up against McDonald at the Tonys.
19 George Clooney's 'Good Night, and Good Luck' set, then broke, a new record for the highest grossing week for a Broadway play, taking in more than $4.2 million in sales last week.
Bruce Glikas/FilmMagic
There were 51 actors up for the League's Distinguished Performance honor, meaning there was less than a 2% chance McDonald had to present to her rival.
'They've been pitted against each other the entire season. She [McDonald] felt uncomfortable doing it, but ultimately went about doing it,' the Broadway source told The Post.
Playing Mama Rose — which the Tonys insider compared to 'the 'Hamlet' and 'King Lear' of musical theater roles combined' — apparently hasn't been easy for McDonald, who, sources say, has missed several performances of the grueling show due to exhaustion.
19 The other big earner has been 'Othello,' starring Denzel Washington and Jake Gyllenhaal, which made eyes water with box-office ticket prices that went above $900.
Othello
'When Audra misses [a show] it's because she literally cannot perform — otherwise she'd be on that stage. It is Olympian,' the Tonys insider said, adding that Tony-nominated actors are 'doing the shows every night and by day they're campaigning.'
Still, the Tonys insider pointed out one difference between McDonald and rival Scherzinger's 'Sunset Boulevard' run: 'Nicole has never missed a show.'
Scherzinger, meanwhile, had her own mini-scandal when some accused her of being pro-MAGA after she commented on a photo of Russell Brand wearing a hat with the phrase 'Make Jesus First Again' — posting prayer hands and heart emoji and asking, 'Where do I get this hat?'
19 As for Best Actor in a Play, there is apparently no doubt that the 'Oh, Mary' phenomenon, Cole Escola, will walk away with the trophy.19 Escola, 38, wrote and has starred in 'Oh, Mary!' as Mary Todd Lincoln.
AP
The actress later said in a statement, 'I deeply apologize for the hurt caused by my recent engagement with some social media posts. When I commented on these posts, I made the mistake of not realizing that they could be easily interpreted as being politically related and I apologize to anyone who understandably reached that conclusion.'
The Tonys insider called the whole thing nonsense, adding that Scherzinger is 'a devout Catholic. She's all about prayer. Nicole lives in her own world [and] she couldn't be further from the MAGA world. For her to get painted as MAGA is such BS.'
As for Best Actor in a Play, there is apparently no doubt that the 'Oh, Mary' phenomenon, Cole Escola, will walk away with the trophy. In fact, sources said, it's such a sure thing that fellow nominee George Clooney, nominated for 'Good Night, and Good Luck,' threw in the towel a while ago.
19 Nicole Scherzinger had her own mini-scandal when some accused her of being pro-MAGA after she commented on a photo of Russell Brand wearing a hat with the phrase 'Make Jesus First Again.'
Getty Images
19 A Tony's insider said Scherzinger is 'a devout Catholic. She's all about prayer. Nicole lives in her own world [and] she couldn't be further from the MAGA world. For her to get painted as MAGA is such BS.'
Marc Brrenner
'Clooney was campaigning, but then realized Cole Escola has it in the bag, so he stopped,' the Tonys insider said.
Clooney's 'Good Night, and Good Luck' set, then broke, a new record for the highest grossing week for a Broadway play, taking in more than $4.2 million in sales last week.
The other big earner has been 'Othello,' starring Denzel Washington and Jake Gyllenhaal, which made eyes water with box-office ticket prices that went above $900. (When The Post's Johnny Oleksinski wrote a column criticizing those prices, he was disinvited from reviewing the show but did so anyway by purchasing a ticket rather than relying on the comps typically given to reviewers.)
19 'Clooney was campaigning, but then realized Cole Escola has it in the bag, so he stopped,' the Tonys insider said.
REUTERS
Gyllenhaal and Washington, however, were not nominated for Tonys — a fact Washington's wife, Pauletta Washington, told reporters was due to 'narrow-minded people that are in charge of making decisions and judgements.'
'This is one of those great years where people who are giving Tony Award-caliber performances didn't even make the cut during nominations. And that's the way it should be,' the Tonys insider said.
Another surprise snub was Kieran Culkin for his role in the revival of 'Glengarry Glen Ross.' But we're told the actor will host a Tonys after-party at Pebble Bar to celebrate his former 'Succession' co-star Sarah Snook, who is said to have a strong shot at winning Best Actress in a Play for portraying 26 characters in 'The Picture of Dorian Gray.'
19 Another surprise snub was Kieran Culkin for his role in the revival of 'Glengarry Glen Ross.'
FilmMagic
19 We're told Culkin will host a Tonys after-party at Pebble Bar to celebrate his former 'Succession' co-star Sarah Snook, seen here.
Marc Brenner
As always, the hottest ticket in town is not the awards show itself, but power publicist Rick Miramontez's legendarily raucous and hard-to-get-into bash at The Carlyle. The Post is told the party will have a tighter, even more exclusive guest list this year
And after the high drama of this season, everyone on Broadway might need a stiff drink or three.
'It's been a fun season but also a grueling season,' the Tonys insider said. 'Everyone will be in the mood to party.'
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Yahoo
an hour ago
- Yahoo
Tony Awards offer many intriguing matchups in a star-studded season
NEW YORK (AP) — A pair of singing androids. Two Pulitzer Prize-winning plays. A drunken Mary Todd Lincoln. A musical with a corpse as its hero. Romeo, Juliet and teddy bears with rave music. Not to mention George Clooney. Broadway has had a stuffed season with seemingly something for everyone and now it's time to recognize the best with the Tony Awards, hosted by Cynthia Erivo, set for Sunday night on CBS and streaming on Paramount+. Broadway buzz is usually reserved for musicals but this year the plays — powered by A-list talent — have driven the conversation. There's Clooney in 'Good Night, and Good Luck,' Denzel Washington and Jake Gyllenhaal in 'Othello,' Sarah Snook in a one-woman version of 'The Picture of Dorian Gray' and her 'Succession' co-star Kieran Culkin and Bob Odenkirk in 'Glengarry Glen Ross.' (Clooney, Snook and Odenkirk are nominated for Tonys.) There were two Pulitzer winners — 2024 awardee 'English' and 'Purpose' from 2025 — but perhaps one of the season's biggest surprises was 'Oh, Mary!,' Cole Escola's irreverent, raunchy, gleefully deranged revisionist history centered on Mary Todd Lincoln. All three are nominated for best play, along with 'John Proctor is the Villain' and 'The Hills of California.' On the musical side, three options seem to be in the mix for the top prize: 'Maybe Happy Ending,' a rom-com about a pair of androids; 'Dead Outlaw,' about an alcoholic drifter whose embalmed body becomes a prized possession for half a century; and 'Death Becomes Her,' the musical satire about longtime frenemies who drink a magic potion for eternal youth and beauty. 'Maybe Happy Ending,' 'Death Becomes Her' and another musical nominee, 'Buena Vista Social Club,' lead nominations with 10 apiece. The 2024-2025 season took in $1.9 billion, making it the highest-grossing season ever and signaling that Broadway has finally emerged from the COVID-19 blues, having overtaken the previous high of $1.8 billion during the 2018-2019 season. 'We're going through this strange period, which I would think someday we can draw the line from COVID to this, as you can draw the line from the early 1980s with AIDS to the explosion of big musicals again,' says Harvey Fierstein, who will get a special Tony for lifetime achievement. Audra McDonald, the most recognized performer in the theater awards' history, could possibly extend her Tony lead. Already the record holder for most acting wins with six Tonys, McDonald could add to that thanks to her leading turn in an acclaimed revival of 'Gypsy.' She has to get past Nicole Scherzinger, who has been wowing audiences in 'Sunset Blvd.' And Kara Young — the first Black female actor to be nominated for a Tony Award in four consecutive years — could become the first Black person to win two Tonys consecutively, should she win for her role in the play 'Purpose.' Other possible back-to-back winners include director Danya Taymor, hoping to follow up her 2024 win with 'The Outsiders' with another for 'John Proctor Is the Villain,' and 'Purpose' playwright Branden Jacobs-Jenkins, who won last year with 'Appropriate.' Other possible firsts include Daniel Dae Kim, who could become the first Asian winner in the category of best leading actor in a play for his work in a revival of 'Yellow Face.' And Marjan Neshat and her 'English' co-star Tala Ashe could become the first female actors of Iranian descent to win a Tony. Broadway this season saw a burst in alt-rock and the emergence of stories of young people for young people, including 'John Proctor is the Villain' and a 'Romeo + Juliet' pitched to Generation Z and millennials. Sunday's telecast, as usual, will have a musical number for each of the shows vying for the best new musical crown, as well as some that didn't make the cut, like 'Just in Time,' a musical about Bobby Darin, and 'Real Women Have Curves.' This year, there's also room for 'Hamilton,' celebrating its 10th year on Broadway. But the musicals 'BOOP! The Betty Boop Musical' and 'SMASH' didn't get slots. ___ For more coverage of the 2025 Tony Awards, visit

Associated Press
an hour ago
- Associated Press
Tony Awards offer many intriguing matchups in a star-studded season
NEW YORK (AP) — A pair of singing androids. Two Pulitzer Prize-winning plays. A drunken Mary Todd Lincoln. A musical with a corpse as its hero. Romeo, Juliet and teddy bears with rave music. Not to mention George Clooney. Broadway has had a stuffed season with seemingly something for everyone and now it's time to recognize the best with the Tony Awards, hosted by Cynthia Erivo, set for Sunday night on CBS and streaming on Paramount+. Broadway buzz is usually reserved for musicals but this year the plays — powered by A-list talent — have driven the conversation. There's Clooney in 'Good Night, and Good Luck,' Denzel Washington and Jake Gyllenhaal in 'Othello,' Sarah Snook in a one-woman version of 'The Picture of Dorian Gray' and her 'Succession' co-star Kieran Culkin and Bob Odenkirk in 'Glengarry Glen Ross.' (Clooney, Snook and Odenkirk are nominated for Tonys.) There were two Pulitzer winners — 2024 awardee 'English' and 'Purpose' from 2025 — but perhaps one of the season's biggest surprises was 'Oh, Mary!,' Cole Escola's irreverent, raunchy, gleefully deranged revisionist history centered on Mary Todd Lincoln. All three are nominated for best play, along with 'John Proctor is the Villain' and 'The Hills of California.' On the musical side, three options seem to be in the mix for the top prize: 'Maybe Happy Ending,' a rom-com about a pair of androids; 'Dead Outlaw,' about an alcoholic drifter whose embalmed body becomes a prized possession for half a century; and 'Death Becomes Her,' the musical satire about longtime frenemies who drink a magic potion for eternal youth and beauty. 'Maybe Happy Ending,' 'Death Becomes Her' and another musical nominee, 'Buena Vista Social Club,' lead nominations with 10 apiece. The 2024-2025 season took in $1.9 billion, making it the highest-grossing season ever and signaling that Broadway has finally emerged from the COVID-19 blues, having overtaken the previous high of $1.8 billion during the 2018-2019 season. 'We're going through this strange period, which I would think someday we can draw the line from COVID to this, as you can draw the line from the early 1980s with AIDS to the explosion of big musicals again,' says Harvey Fierstein, who will get a special Tony for lifetime achievement. Audra McDonald, the most recognized performer in the theater awards' history, could possibly extend her Tony lead. Already the record holder for most acting wins with six Tonys, McDonald could add to that thanks to her leading turn in an acclaimed revival of 'Gypsy.' She has to get past Nicole Scherzinger, who has been wowing audiences in 'Sunset Blvd.' And Kara Young — the first Black female actor to be nominated for a Tony Award in four consecutive years — could become the first Black person to win two Tonys consecutively, should she win for her role in the play 'Purpose.' Other possible back-to-back winners include director Danya Taymor, hoping to follow up her 2024 win with 'The Outsiders' with another for 'John Proctor Is the Villain,' and 'Purpose' playwright Branden Jacobs-Jenkins, who won last year with 'Appropriate.' Other possible firsts include Daniel Dae Kim, who could become the first Asian winner in the category of best leading actor in a play for his work in a revival of 'Yellow Face.' And Marjan Neshat and her 'English' co-star Tala Ashe could become the first female actors of Iranian descent to win a Tony. Broadway this season saw a burst in alt-rock and the emergence of stories of young people for young people, including 'John Proctor is the Villain' and a 'Romeo + Juliet' pitched to Generation Z and millennials. Sunday's telecast, as usual, will have a musical number for each of the shows vying for the best new musical crown, as well as some that didn't make the cut, like 'Just in Time,' a musical about Bobby Darin, and 'Real Women Have Curves.' This year, there's also room for 'Hamilton,' celebrating its 10th year on Broadway. But the musicals 'BOOP! The Betty Boop Musical' and 'SMASH' didn't get slots. ___ For more coverage of the 2025 Tony Awards, visit


Los Angeles Times
an hour ago
- Los Angeles Times
‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses
Saturday afternoon out west and evening back east, as citizens faced off against ICE agents in the streets of Los Angeles, 'Good Night, and Good Luck,' George Clooney's 2005 dramatic film tribute to CBS newsman Edward R. Murrow, became a Major Television Event, broadcast live from Manhattan's Winter Garden Theater, by CNN and Max. That it was made available free to anyone with an internet connection, via the CNN website, was a nice gesture to theater fans, Clooney stans and anyone interested to see how a movie about television translates into a play about television. The broadcast is being ballyhooed as historic, the first time a play has been aired live from Broadway. And while there is no arguing with that fact, performances of plays have been recorded onstage before, and are being so now. It's a great practice; I wish it were done more often. At the moment, is streaming recent productions of Cole Porter's 'Kiss Me, Kate!,' the Bob Dylan-scored 'Girl From the North Country,' David Henry Hwang's 'Yellow Face' and the Pulitzer Prize-winning mental health rock musical 'Next to Normal.' Britain's National Theater at Home subscription service offers a wealth of classical and modern plays, including Andrew Scott's one-man 'Vanya,' as hot a ticket in New York this spring as Clooney's play. And the archives run deep; that a trip to YouTube can deliver you Richard Burton's 'Hamlet' or 'Sunday in the Park With George' with Mandy Patinkin and Bernadette Peters is a gift not to be overlooked. Clooney, with co-star Anthony Edwards, had earlier been behind a live broadcast of 'Ambush,' the fourth season opener of 'ER' as a throwback to the particular seat-of-your-pants, walking-on-a-wire energy of 1950s television. (It was performed twice, once for the east and once for the west coast.) That it earned an audience of 42.71 million, breaking a couple of records in the bargain, suggests that, from a commercial perspective, it was not at all a bad idea. (Reviews were mixed, but critics don't know everything.) Like that episode, the 'live' element of Saturday's broadcast, was essentially a stunt, though one that ensured, at least, that no post-production editing has been applied, and that if anyone blew a line, or the house was invaded by heckling MAGA hats, or simply disrupted by audience members who regarded the enormous price they paid for a ticket as a license to chatter through the show, it would presumably have been part of the broadcast. None of that happened — but, it could have! (Clooney did stumble over 'simple,' but that's all I caught.) And, it offered the groundlings at home the chance to see a much-discussed, well-reviewed production only a relatively few were able to see in person — which I applaud on principal and enjoyed in practice — and which will very probably not come again, not counting the next day's final performance. The film, directed by Clooney and co-written with Grant Heslov (who co-wrote the stage version as well), featured the actor as producer and ally Fred W. Friendly to David Strathairn's memorable Murrow. Here, a more aggressive Clooney takes the Murrow role, while Glenn Fleshler plays Friendly. Released during the second term of the Bush administration, the movie was a meditation on the state of things through the prism of 1954 (and a famous framing speech from 1958 about the possibilities and potential failures of television), the fear-fueled demagoguery of Wisconsin Sen. Joseph McCarthy, and Murrow's determination to take him on. (The 1954 'See It Now' episode, 'A Report on Sen. Joseph McCarthy,' helped bring about his end.) As in the film, McCarthy is represented entirely through projected film clips, echoing the way that Murrow impeached the senator with his own words. It's a combination of political and backstage drama — with a soupcon of office romance, represented by the secretly married Wershbas (Ilana Glazer and Carter Hudson) — even more hermetically set within the confines of CBS News than was the film. It felt relevant in 2005, before the influence of network news was dissolved in the acid of the internet and an administration began assaulting the legitimate press with threats and lawsuits; but the play's discussions of habeas corpus, due process, self-censoring media and the both-sides-ism that seems increasingly to afflict modern media feel queasily contemporary. 'I simply cannot accept that there are, on every story two equal and logical sides to an argument,' says Clooney's Murrow to his boss, William F. Paley (an excellent Paul Gross, from the great 'Slings & Arrows'). As was shown here, Murrow offered McCarthy equal time on 'See It Now' — which he hosted alongside the celebrity-focused 'Person to Person,' represented by an interview with Liberace — but it proved largely a rope for the senator to hang himself. Though modern stage productions, with their computer-controlled modular parts, can replicate the rhythms and scene changes of a film, there are obvious differences between a movie, where camera angles and editing drive the story. It's an illusion of life, stitched together from bits and pieces. A stage play proceeds in real time and offers a single view (differing, of course, depending on where one sits), within which you direct your attention as you will. What illusions it offers are, as it were, stage magic. It's choreographed, like a dance, which actors must repeat night after night, putting feeling into lines they may speak to one another, but send out to the farthest corners of the theater. Clooney, whose furrowed brow is a good match for Murrow's, did not attempt to imitate him, or perhaps did within the limits of theatrical delivery; he was serious and effective in the role if not achieving the quiet perfection of Strathairn's performance. Scott Pask's set was an ingenious moving modular arrangement of office spaces, backed by a control room, highlighted or darkened as needs be; a raised platform stage left supported the jazz group and vocalist, which, as in the movie, performed songs whose lyrics at times commented slyly on the action. Though television squashed the production into two dimensions, the broadcast nevertheless felt real and exciting; director David Comer let the camera play on the players, rather than trying for a cinematic effect through an excess of close-ups and cutaways. While the play generally followed the lines of the film, there was some rearrangement of scenes, reassignment of dialogue — it was a streamlined cast — and interpolations to make a point, or more directly pitch to 2025. New York news anchor Don Hollenbeck (Clark Gregg, very moving in the only role with an emotional arc) described feeling 'hijacked … as if all the reasonable people went to Europe and left us behind,' getting a big reaction. One character wondered about opening 'the door to news with a dash of commentary — what happens when it isn't Edward R. Murrow minding the store?' A rapid montage of clips tracking the decay of TV news and politics — including Obama's tan suit kerfuffle and the barring of AP for not bowing to Trump's Gulf of America edit and ending with Elon Musk's notorious straight-arm gesture, looking like nothing so much as a Nazi salute — was flown into Clooney's final speech. Last but not least, there is the audience, your stand-ins at the Winter Garden Theatre, which laughed at the jokes and applauded the big speeches, transcribed from Murrow's own. And then, the curtain call, to remind you that whatever came before, the actors are fine, drinking in your appreciation and sending you out happy and exhilarated and perhaps full of hope. A CNN roundtable followed to bring you back to Earth.