'Maybe Happy Ending' tops Broadway's Tony Awards
Cole Escola scooped their first Tony Award for best actor in a play for 'Oh, Mary!'
By Maggy DONALDSON
"Maybe Happy Ending," a South Korean musical adapted for Broadway about two robots who find connection, won big at Sunday's Tony Awards, scooping up six prizes at the gala celebrating the best in American theater.
Stars of the season Cole Escola and Nicole Scherzinger also won their first Tonys, on a night that celebrated Broadway's revival after a years-long pandemic slump.
Cynthia Erivo -- the Oscar-nominated "Wicked" star who herself boasts a Tony -- hosted the ceremony at Manhattan's Radio City Music Hall honoring this year's buzzy, diverse competitive slate .
It was Broadway's most financially lucrative year ever, she told the crowd.
"Broadway is officially back -- provided we don't run out of cast members from 'Succession,'" she joked, referring to the decorated TV dramedy about a family's media empire.
Sarah Snook -- who scored an Emmy for her role in "Succession" -- won the Tony for best leading actress in a play, taking on all 26 roles in the stage adaptation of Oscar Wilde's novel "The Picture of Dorian Gray."
A host of new shows and stars drew 14.7 million people to the Broadway performances this season, grossing $1.89 billion at the box office.
Some of showbiz's biggest names graced New York's stages, including George Clooney, Denzel Washington, Jake Gyllenhaal -- and Snook's "Succession" co-stars Kieran Culkin and Jeremy Strong.
"Please go to the theater, whether it's a Broadway show or a school play," said Michael Arden, who won a Tony for best direction of a musical for "Maybe Happy Ending."
Darren Criss of "Glee" fame -- already an Emmy winner for portraying killer Andrew Cunanan in "The Assassination of Gianni Versace: American Crime Story" -- won the Tony for lead actor in that musical.
"I have such immense pride to get to be part of this notably diverse exquisite Broadway season this year," he told the audience as he accepted his award.
Scherzinger bested a packed field including the legendary Audra McDonald -- the performer with the most Tonys in history -- for best actress in a musical for her role as faded star Norma Desmond in "Sunset Boulevard," which also won for best revival of a musical.
"If there's anyone out there who feels like they don't belong or your time hasn't come, don't give up," said an emotional Scherzinger, who once fronted the pop girl group The Pussycat Dolls.
"Just keep on giving and giving because the world needs your love and your light now more than ever. This is a testament that love always wins."
Even though Escola's hit dark comedy "Oh, Mary!" was the favorite for best new play, the award went to intense family portrait "Purpose" by Branden Jacobs-Jenkins, which also won the 2025 Pulitzer Prize for Drama.
But Escola still won big for their unhinged performance in the one-act reimagining of Abraham Lincoln's assassination through the eyes of his wife -- a raging alcoholic who dreams of life as a cabaret star.
Escola bested a stacked field that included Clooney.
"Oh, Mary!" also snagged the prize for best direction, won by Sam Pinkleton.
"You have taught me to make what you love and not what you think people want to see," Pinkleton said in his speech, speaking directly to a tearful Escola.
"We can bring joy to people at the end of a crappy day and that feels like a big deal to me," Pinkleton added to ardent applause.
The night's rollicking performances included a gripping rendition of "Rose's Turn" from McDonald, and a captivating performance of "As If We Never Said Goodbye" from Scherzinger.
The gala also featured a much-touted reunion of the original cast of "Hamilton," as that groundbreaking smash musical by Lin-Manuel Miranda celebrates its 10th anniversary.
A heartfelt segment honored those the theater community lost over the past year, with Erivo and Sara Bareilles delivering the classic "Tomorrow" from "Annie."
The song's composer, Charles Strouse, died last month.
Some acceptance speeches made oblique references to ongoing political turmoil across the United States, as President Donald Trump's immigration raids trigger protests. But Trump was not explicitly mentioned.
© 2025 AFP
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Japan Today
a day ago
- Japan Today
'Maybe Happy Ending' tops Broadway's Tony Awards
Cole Escola scooped their first Tony Award for best actor in a play for 'Oh, Mary!' By Maggy DONALDSON "Maybe Happy Ending," a South Korean musical adapted for Broadway about two robots who find connection, won big at Sunday's Tony Awards, scooping up six prizes at the gala celebrating the best in American theater. Stars of the season Cole Escola and Nicole Scherzinger also won their first Tonys, on a night that celebrated Broadway's revival after a years-long pandemic slump. Cynthia Erivo -- the Oscar-nominated "Wicked" star who herself boasts a Tony -- hosted the ceremony at Manhattan's Radio City Music Hall honoring this year's buzzy, diverse competitive slate . It was Broadway's most financially lucrative year ever, she told the crowd. "Broadway is officially back -- provided we don't run out of cast members from 'Succession,'" she joked, referring to the decorated TV dramedy about a family's media empire. Sarah Snook -- who scored an Emmy for her role in "Succession" -- won the Tony for best leading actress in a play, taking on all 26 roles in the stage adaptation of Oscar Wilde's novel "The Picture of Dorian Gray." A host of new shows and stars drew 14.7 million people to the Broadway performances this season, grossing $1.89 billion at the box office. Some of showbiz's biggest names graced New York's stages, including George Clooney, Denzel Washington, Jake Gyllenhaal -- and Snook's "Succession" co-stars Kieran Culkin and Jeremy Strong. "Please go to the theater, whether it's a Broadway show or a school play," said Michael Arden, who won a Tony for best direction of a musical for "Maybe Happy Ending." Darren Criss of "Glee" fame -- already an Emmy winner for portraying killer Andrew Cunanan in "The Assassination of Gianni Versace: American Crime Story" -- won the Tony for lead actor in that musical. "I have such immense pride to get to be part of this notably diverse exquisite Broadway season this year," he told the audience as he accepted his award. Scherzinger bested a packed field including the legendary Audra McDonald -- the performer with the most Tonys in history -- for best actress in a musical for her role as faded star Norma Desmond in "Sunset Boulevard," which also won for best revival of a musical. "If there's anyone out there who feels like they don't belong or your time hasn't come, don't give up," said an emotional Scherzinger, who once fronted the pop girl group The Pussycat Dolls. "Just keep on giving and giving because the world needs your love and your light now more than ever. This is a testament that love always wins." Even though Escola's hit dark comedy "Oh, Mary!" was the favorite for best new play, the award went to intense family portrait "Purpose" by Branden Jacobs-Jenkins, which also won the 2025 Pulitzer Prize for Drama. But Escola still won big for their unhinged performance in the one-act reimagining of Abraham Lincoln's assassination through the eyes of his wife -- a raging alcoholic who dreams of life as a cabaret star. Escola bested a stacked field that included Clooney. "Oh, Mary!" also snagged the prize for best direction, won by Sam Pinkleton. "You have taught me to make what you love and not what you think people want to see," Pinkleton said in his speech, speaking directly to a tearful Escola. "We can bring joy to people at the end of a crappy day and that feels like a big deal to me," Pinkleton added to ardent applause. The night's rollicking performances included a gripping rendition of "Rose's Turn" from McDonald, and a captivating performance of "As If We Never Said Goodbye" from Scherzinger. The gala also featured a much-touted reunion of the original cast of "Hamilton," as that groundbreaking smash musical by Lin-Manuel Miranda celebrates its 10th anniversary. A heartfelt segment honored those the theater community lost over the past year, with Erivo and Sara Bareilles delivering the classic "Tomorrow" from "Annie." The song's composer, Charles Strouse, died last month. Some acceptance speeches made oblique references to ongoing political turmoil across the United States, as President Donald Trump's immigration raids trigger protests. But Trump was not explicitly mentioned. © 2025 AFP
Japan Today
2 days ago
- Japan Today
Tony Awards offer many intriguing matchups in a star-studded season
Joy Woods, left, and Audra McDonald appear during a performance of the Broadway musical "Gypsy" in New York. (Julieta Cervantes via AP) By MARK KENNEDY 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. © Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
Japan Today
5 days ago
- Japan Today
Broadway has found its Gen Z audience — by telling Gen Z stories
This image shows Rachel Zegler as Juliet, right, and Kit Connor as Romeo, during a performance of "Romeo + Juliet" in New York. By ELISE RYAN Kimberly Belflower knew 'John Proctor is the Villain' needed its final cathartic scene to work — and, for that, it needed Lorde's 'Green Light.' 'I literally told my agent, 'I would rather the play just not get done if it can't use that song,'' the playwright laughed. She wrote Lorde a letter, explaining what the song meant, and got her green light. Starring Sadie Sink, the staggering play about high schoolers studying 'The Crucible' as the #MeToo movement arrives in their small Georgia town, earned seven Tony nominations, including best new play — the most of any this season. It's among a group of Broadway shows that have centered the stories of young people and attracted audiences to match. Sam Gold's Brooklyn-rave take on 'Romeo + Juliet,' nominated for best revival of a play and led by Kit Connor and Rachel Zegler with music from Jack Antonoff, drew the youngest ticket-buying audience recorded on Broadway, producers reported, with 14% of ticket purchasers aged 18-24, compared to the industry average of 3%. The shows share some DNA: pop music (specifically the stylings of Antonoff, who also produced 'Green Light'), Hollywood stars with established fanbases and stories that reflect the complexity of young adulthood. 'It was very clear that young people found our show because it was doing what theater's supposed to do,' Gold said. 'Be a mirror.' The themes 'John Proctor' investigates aren't danced around (until they literally are). The girls are quick to discuss #MeToo's impact, intersectional feminism and sexual autonomy. Their conversations, true to teenage girlhood, are laced with comedy and pop culture references — Taylor Swift, Beyoncé, 'Twilight,' and, of course, Lorde. Fina Strazza, 19, portrays Beth, a leader who is whip-smart and well-intentioned — but whose friendships and belief system are shaken by the play's revelations. 'You have so much empathy and are so invested in her, but she still has these mishaps and slip-ups that young people often have,' said Strazza, nominated for best featured actor in a play. Some audience members have given her letters detailing how Beth helped them forgive themselves for how they handled similar experiences. The script is written in prose, with frequent line breaks and infrequent capital letters. Director Danya Taymor, nominated for best direction of a play a year after winning a Tony for another teenage canon classic, 'The Outsiders, ' was drawn to that rhythm — and how Belflower's depiction of adolescence captured its intensity, just as S.E. Hinton had. 'There's something about the teenage years that is so raw,' Taymor said. 'None of us can escape it.' During his Tony-winning production of 'An Enemy of the People,' Gold found himself having conversations with young actors and theatergoers about climate change, politics and how 'theater was something that people their age and younger really need in a different way, as the world is becoming so addicted to technology,' he said. That conjured 'Romeo and Juliet.' The original text 'has it all in terms of what it means to inherit the future that people older than you have created,' Gold said. Building the world of this show, with an ensemble under 30, was not unlike building 'An Enemy of the People,' set in 19th century Norway, Gold said: 'I think the difference is that the world that I made for this show is something that a very hungry audience had not gotten to see.' Fans, Gold correctly predicted, were ravenous. Demand ahead of the first preview prompted a preemptive extension. Word (and bootleg video) of Connor doing a pullup to kiss Zegler made the rounds. 'Man of the House,' an Antonoff-produced ballad sung by Zegler mid-show, was released as a single. With the show premiering just before the U.S. presidential election, Voters of Tomorrow even registered new voters in the lobby. Audiences proved willing to pay: Average ticket prices hovered around $150. Cheaper rush and lottery tickets drew lines hours before the box office opened. Every week but one sold out. 'The show was initially really well sold because we had a cast that appealed to a really specific audience,' said producer Greg Nobile of Seaview Productions. 'We continued to see the houses sell out because these audiences came, and they were all over online talking about the ways in which they actually felt seen.' Thomas Laub, 28, and Alyah Chanelle Scott, 27, started Runyonland Productions for that very reason. 'We both felt a lot of frustration with the industry, and the ways that we were boxed out of it as students in Michigan who were able to come to New York sparingly,' Laub said. Runyonland was launched in 2018 with the premise that highlighting new, bold voices would bring change. This spring, Scott, known for playing Whitney in HBO's 'Sex Lives of College Girls,' acted off-Broadway in Natalie Margolin's 'All Nighter.' 'I was standing onstage and looking out and seeing the college kids that I was playing,' Scott said. 'I was like, 'I respect you so much. I want to do you proud. I want to show you a story that represents you in a way that doesn't belittle or demean you, but uplifts you.'' Producing 'John Proctor,' Scott said, gave Runyonland the opportunity to target that audience on a Broadway scale. Belflower developed the show with students as part of a The Farm College Collaboration Project. It's been licensed over 100 times for high school and college productions. The Broadway production's social and influencer marketing is run by 20-somethings, too. Previews attracted fans with a $29 ticket lottery. While average prices jumped to over $100 last week (still below the Broadway-wide average), $40 rush, lottery and standing room tickets have sold out most nights, pushing capacity over 100%. The success is validating Runyonland's mission, Laub said. 'Alyah doesn't believe me that I cry every time at the end,' Laub said. Scott laughs. 'I just want to assure you, on the record, that I do indeed cry every time.' The final scene of 'John Proctor' is a reclamation fueled by rage and 'Green Light.' Capturing that electricity has been key to the show's marketing. 'The pullup (in 'Romeo + Juliet') is so impactful because it's so real. It's like so exactly what a teenage boy would do,' Taymor said. 'I think when you see the girls in 'John Proctor' screaming ... it hits you in a visceral way.' That screaming made the Playbill cover. 'In my opinion, the look and feel of that campaign feels different from a traditional theatrical campaign, and it feels a lot closer to a film campaign,' Laub said. The show's team indeed considered the zeitgeist-infiltrating work of their sister industries, specifically studios like Neon and A24. In May, 'John Proctor is the Villain' finished its second 'spirit week' with a school spirit day. Earlier events included an ice cream social — actors served Van Leeuwen — a silent disco and a banned book giveaway. For those not in their own school's colors, the merch stand offered T-shirts, including one printed with the Walt Whitman-channeling line said by Sink's Shelby: 'I contain frickin' multitudes.' Julia Lawrence, 26, designed the shirt after the show's team saw her TikTok video reimagining their traditional merch into something more like a concert tee. 'It's just so incredible to bring Gen Z into the theater that way, especially at a time when theater has never been more important,' Lawrence said. 'In a world that's overpowered by screens, live art can be such a powerful way to find understanding.' © Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
