George Clooney, Sarah Snook, Nicole Scherzinger and More Stun on the Red Carpet Ahead of the 78th Tony Awards
It couldn't rain on anyone's parade ahead of the 78th Tony Awards.
On Sunday evening, Broadway's finest, including George Clooney, Mia Farrow, Lea Michele and Tonys host Cynthia Erivo, gathered outside of Radio City Music Hall under a covered red carpet, avoiding the dreary New York City weather. Additional attendees included Sarah Paulson, Keanu Reeves, Sadie Sink, Katie Holmes and Michelle Williams.
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Throughout the evening, there was one word on nearly everyone's lips: 'Hamilton,' as the original Broadway cast would be performing during the event to celebrate the show's 10th anniversary on Broadway. Much of the cast, including creator Lin Manuel Miranda, Jonathan Groff, Daveed Diggs, Christopher Jackson, Phillipa Soo, Leslie Odom Jr. and Reneé Elise Goldsberry, walked the carpet embracing other stars who were buzzing with excitement for what the performance could be.
'This is a reunion of sorts, but so many of us see each other regularly,' said original cast member Emmy Raver-Lampman. 'It hasn't been this capacity of all 28 of us being in a room together [so] that is something really special.'
Of the night ahead, Diggs said: '[It's] strong turn-up vibes. Wherever these cats are afterward is where you're going to want to be.'
Attendees were equally as excited to see Erivo host the award show for the first time.
'I am very excited to just watch her sing her face off,' said James Monroe Iglehart, who donned Dolce & Gabana sneakers and is nominated for his role in 'A Wonderful World: The Louis Armstrong Musical.'
Meanwhile, many were eager to see Groff from 'Just in Time,' who also took home the Tony award for best actor in a musical for his role in 'Merrily We Roll Along' last season.
Michele, who most recently starred in the revival of 'Funny Girl' walked with her costars Nicholas Christopher and Aaron Tveit from the upcoming product of 'Chess.' While walking the carpet, Michele gushed about her two friends, former 'Glee' costars and nominees Groff and Darren Criss, who she called 'family.'
On the carpet, Farrow, who was nominated for her role in 'The Roommate' alongside Patti Lupone, gushed: 'I hope Jonathan Groff is singing.'
Farrow also discussed how honored she was to be in the presence of so many Broadway legends.
'I'm in a zone where I have met some really wonderful people in the Broadway community, and that's been exhilarating for me,' she said. 'People I admire so much I get weak-kneed, they're so good and they've been so kind to welcome me, because I'm really not of the community.…I hope to do another play soon. I want to stay [and] keep doing plays.'
Actors' Equity Association president Brooke Shields was similarly excited to celebrate all the works from this season.
'It's just nice to see people feeling celebrated. I love this night,' she said.
In true Broadway fashion, the carpet included a few surprise moments, most notably a visit from 'The Phantom of the Opera,' who is returning to the New York City theater scene via a top secret immersive experience opening later this summer. Similarly, theater and film fans alike were surprised to learn last week that Tom Felton, who played Draco Malfoy in the 'Harry Potter' series, would be reprising his role in 'Harry Potter and the Cursed Child' on Broadway.
'It's all a bit daunting,' the actor said, adding that he plans to lean on costar and now Broadway regular Daniel Radcliffe for advice. 'I thought it was an elaborate prank when they asked me to do this, and it turns out it's not. I've missed him. Last time I saw him was 16 years ago, and now I get to pick up exactly where we left off, but now Draco is an adult.'
He added: 'I know it's familiar. I know how to pronounce the word Potter, but other than that, it's a completely new set of shoes I'm stepping into.'
Eager to celebrate Broadway history, many attendees donned looks inspired by current shows and iconic moments in theater history.
Shields, who also wore a diamond ring gifted to her by Michael Jackson, sported a bag made out of red curtains from Radio City Music Hall before it was renovated. 'Oh, Mary' creator and star Cole Escola wore a custom Wiederhoeft gown, inspired by Bernadette Peters' look from the 1999 Tony awards. Harry Lennix wore a custom brooch featuring the logo of 'Purpose,' the nominated play which he currently stars in. Meanwhile, Adam Lambert, who recently finished their Broadway run in 'Cabaret,' donned a silver Alexander McQueen suit completed with silver hair, body glitter, silver nails and metallic accessories. Of the inspiration behind the look, they said, 'I was inspired by a Tony award. Literally that was my inspo.' Lambert also said they planned to 'cram in' as many after parties as possible.
While many stars, including Groff and Felton, lingered on the carpet mingling with friends, reporters and photographers, many were ushered across quickly. 'Death Becomes Her' stars Megan Hilty and Jennifer Simard hustled across the carpet within minutes of each other. Erivo was similarly rushed in to get ready for her hosting duties.
Just as the red carpet was closing down, three of the most talked about stars of the night, Nicole Scherzinger of 'Sunset Blvd.,' Sarah Snook of 'The Picture of Dorian Gray' and George Clooney of 'Good Night, and Good Luck,' who walked hand-in-hand with wife Amal Clooney, quickly scurried in waving hi to all the cameras. Scherzinger closed out the carpet by blowing a kiss as she ran in for a jam-packed night at Radio City Music Hall.
Here, a look at all the stars at the 2025 Tony Awards red carpet:
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Launch Gallery: Tony Awards 2025 Red Carpet Arrivals, Live Updates
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And Kara Young, who won last year in the featured actress in a play category, repeated for her heightened artistry in 'Purpose,' the kind of extravagant performance no screen could do justice to. Nicole Scherzinger, who was honored as best lead actress in a musical for her portrayal of Norma Desmond in a bracing revival of Andrew Lloyd Webber's 'Sunset Boulevard,' demonstrated the power of theater to seize hold of us when she performed 'As If We Never Said Goodbye' on the telecast. In her Broadway debut, Scherzinger, who came to fame with the Pussycat Dolls, faced stiff competition from Audra McDonald, the six-time Tony winner starring in 'Gypsy.' No performance moved me more this season than McDonald's harrowing portrayal of Rose. In George C. Wolfe's revival, the character is a Black woman struggling not just with her frustrated dreams of stardom displaced onto her children but with the injustice of history itself. McDonald was given the impossible task of performing 'Rose's Turn' on the telecast, her character's Lear-like cri de cœur in song. She delivered, as she always does, but again I wish audiences at home could experience the broken majesty of this number in context at the Majestic Theatre, where theatergoers have been rising up in unison, wiping away tears, to express their gratitude for McDonald's sacrificial generosity. Darren Criss, an alum of 'Glee,' received his first Tony for endowing an outdated robot with a sophisticated taste for jazz with a deft physical life and diffident (yet unmistakable) humanity. His lead performance in 'Maybe Happy Ending' (perfectly in sync with that of his impressive co-star, Helen J Shen) is as responsible for the musical's unexpected success as Arden's staging and Dane Laffrey and George Reeve's Tony-winning scenic design. Natalie Venetia Belcon, the heart and soul of 'Buena Vista Social Club' along with the band, was honored for her featured performance in the musical that tells the story of Cuban musical style that defied history to seduce the world. And Jak Malone, who was responsible for the evening's second most riveting speech, won for his gender-blurring featured performance in'Operation Mincemeat: A New Musical.' These performances, by names you probably don't know all that well, embraced the special properties of an art form that is larger than life and all the more acutely exposed for being so. It takes enormous skill and dedication to find the delicacy in such theatrical grandeur. These artists know that flamboyance needn't preclude subtlety, and that stardom neither guarantees nor bars revelation. Actors from all ranks are clearly hungering for the kind of substance and freedom that the stage can uniquely provide. 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The politics are implicit, and this year Broadway reminded us that our humanity depends upon this ancient, timeless art.
