2025 Tony Award winners: How to get tickets to 'Maybe Happy Ending,' 'Oh Mary!' and more
Maybe Happy Ending was the most awarded show at the 78th Tony Awards on Sunday, June 8, 2025. But the Best Musical-winning show about two robots and their faulty battery charger wasn't the only star of the evening. Cole Escola made history as the first non-binary actor to win Best Leading Actor in a Play for their performance in Oh Mary!, which won for Best Direction of a Play. Actor Kara Young made history as the first Black person to win two Tonys consecutively for Purpose, which won Best New Play. Sunset Blvd, Buena Vista Social Club, Death Becomes Her and Operation Mincemeat: A New Musical also took home awards.
Looking to finally check out some of the biggest shows on Broadway this season? While a few of the winning plays, including Yellow Face and Eureka Day, have already closed, you can get tickets to nearly all the 2025 Tony winners today. Here's what you need to know about how to get tickets on Broadway.
Maybe Happy Ending came away from the night with the most Tonys. Sunset Blvd, Buena Vista Social Club, Death Becomes Her and Operation Mincemeat also brought home awards.
Tony Awards: Best Musical, Best Performance by an Actor in a Leading Role in a Musical (Darren Criss), Best Direction of a Musical, Best Original Score (Music and/or Lyrics) Written for the Theater, Best Scenic Design of a Musical, Best Book of a Musical
Where to get tickets: You can get tickets to Maybe Happy Ending via Telecharge, TodayTix, or SeatGeek.
From $63 at TodayTix
Tony Awards: Best Performance by an Actress in a Leading Role in a Musical (Nicole Scherzinger), Best Revival of a Musical, Best Lighting Design of a Musical
Where to get tickets: You can get tickets to Sunset Blvd via TodayTix or directly through the St. James Theater
From $62 at TodayTix
Tony Awards: Best Performance by an Actress in a Featured Role in a Musical (Natalie Venetia Belcon), Best Choreography, Best Orchestrations, Best Sound Design of a Musical
Where to get tickets: You can get Buena Vista Social Club tickets via Telecharge, TodayTix or SeatGeek.
From $77 at TodayTix
Tony Awards: Best Costume Design of a Musical
Where to get tickets: You can get Death Becomes Her tickets via Broadway Direct, TodayTix or Vivid Seats.
From $61 at TodayTix
Tony Awards: Best Performance by an Actor in a Featured Role in a Musical (Jak Malone)
Where to get tickets: You can get Operation Mincemeat tickets via Telecharge or TodayTix.
From $53 at TodayTix
Stranger Things: The First Shadow: Best Scenic Design of a Play, Best Lighting Design of a Play, Best Sound Design of a Play — get tickets
Oh, Mary!: Best Performance by an Actor in a Leading Role in a Play (Cole Escola), Best Direction of a Play — get tickets
The Picture of Dorian Gray: Best Performance by an Actress in a Leading Role in a Play (Sarah Snook), Best Costume Design of a Play — get tickets
Purpose: Best Play, Best Performance by an Actress in a Featured Role in a Play (Kara Young) — get tickets
Yellow Face: Best Performance by an Actor in a Featured Role in a Play (Francis Jue) — show has closed
Eureka Day: Best Revival of a Play — show has closed
Best Performance by an Actor in a Leading Role in a Play
George Clooney, Good Night, and Good Luck
Cole Escola, Oh, Mary! (WINNER)
Jon Michael Hill, Purpose
Daniel Dae Kim, Yellow Face
Harry Lennix, Purpose
Louis McCartney, Stranger Things: The First Shadow
Best Performance by an Actress in a Leading Role 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 (WINNER)
Best Performance by an Actor in a Leading Role in a Musical
Darren Criss, Maybe Happy Ending (WINNER)
Andrew Durand, Dead Outlaw
Tom Francis, Sunset Blvd.
Jonathan Groff, Just in Time
James Monroe Iglehart, A Wonderful World: The Louis Armstrong Musical
Jeremy Jordan, Floyd Collins
Best Performance by an Actress in a Leading Role in a Musical
Megan Hilty, Death Becomes Her
Audra McDonald, Gypsy
Jasmine Amy Rogers, BOOP! The Musical
Nicole Scherzinger, Sunset Blvd. (WINNER)
Jennifer Simard, Death Becomes Her
Best Performance by an Actor in a Featured Role in a Play
Glenn Davis, Purpose
Gabriel Ebert, John Proctor is the Villain
Francis Jue, Yellow Face (WINNER)
Bob Odenkirk, Glengarry Glen Ross
Conrad Ricamora, Oh, Mary!
Best Performance by an Actress in a Featured Role in a Play
Tala Ashe, English
Jessica Hecht, Eureka Day
Marjan Neshat, English
Fina Strazza, John Proctor is the Villain
Kara Young, Purpose (WINNER)
Best Performance by an Actor in a Featured Role in a Musical
Brooks Ashmanskas, SMASH
Jeb Brown, Dead Outlaw
Danny Burstein, Gypsy
Jak Malone, Operation Mincemeat: A New Musical (WINNER)
Taylor Trensch, Floyd Collins
Best Performance by an Actress in a Featured Role in a Musical
Natalie Venetia Belcon, Buena Vista Social Club (WINNER)
Julia Knitel, Dead Outlaw
Gracie Lawrence, Just in Time
Justina Machado, Real Women Have Curves: The Musical
Joy Woods, Gypsy
Best Play
English
The Hills of California
John Proctor is the Villain
Oh, Mary!
Purpose (WINNER)
Best Musical
Buena Vista Social Club
Dead Outlaw
Death Becomes Her
Maybe Happy Ending (WINNER)
Operation Mincemeat: A New Musical
Best Revival of a Play
Eureka Day (WINNER)
Romeo + Juliet
Thornton Wilder's Our Town
Yellow Face
Best Revival of a Musical
Floyd Collins
Gypsy
Pirates! The Penzance Musical
Sunset Blvd. (WINNER)
Best Direction of a Play
Knud Adams, English
Sam Mendes, The Hills of California
Sam Pinkleton, Oh, Mary! (WINNER)
Danya Taymor, John Proctor is the Villain
Kip Williams, The Picture of Dorian Gray
Best Direction of a Musical
Saheem Ali, Buena Vista Social Club
Michael Arden, Maybe Happy Ending (WINNER)
David Cromer, Dead Outlaw
Christopher Gattelli, Death Becomes Her
Jamie Lloyd, Sunset Blvd.
Best Original Score (Music and/or Lyrics) Written for the Theater
Dead Outlaw Music & Lyrics: David Yazbek and Erik Della Penna
Death Becomes Her Music & Lyrics: Julia Mattison and Noel Carey
Maybe Happy Ending (WINNER) Music: Will Aronson, Lyrics: Will Aronson and Hue Park
Operation Mincemeat: A New Musical Music & Lyrics: David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts
Real Women Have Curves: The Musical Music & Lyrics: Joy Huerta and Benjamin Velez
Best Costume Design of a Musical
Dede Ayite, Buena Vista Social Club
Gregg Barnes, BOOP! The Musical
Clint Ramos, Maybe Happy Ending
Paul Tazewell, Death Becomes Her (WINNER)
Catherine Zuber, Just in Time
Best Costume Design of a Play
Brenda Abbandandolo, Good Night, and Good Luck
Marg Horwell, The Picture of Dorian Gray (WINNER)
Rob Howell, The Hills of California
Holly Pierson, Oh, Mary!
Brigitte Reiffenstuel, Stranger Things: The First Shadow
Best Scenic Design of a Musical
Rachel Hauck, Swept Away
Dane Laffrey and George Reeve, Maybe Happy Ending (WINNER)
Arnulfo Maldonado, Buena Vista Social Club
Derek McLane, Death Becomes Her
Derek McLane, Just in Time
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 (WINNER)
Scott Pask, Good Night, and Good Luck
Best Lighting Design of a Musical
Jack Knowles, Sunset Blvd. (WINNER)
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 Lighting Design of a Play
Natasha Chivers, The Hills of California
Jon Clark, Stranger Things: The First Shadow (WINNER)
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 Choreography
Joshua Bergasse, SMASH
Camille A. Brown, Gypsy
Christopher Gattelli, Death Becomes Her
Jerry Mitchell, BOOP! The Musical
Patricia Delgado and Justin Peck, Buena Vista Social Club (WINNER)
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 (WINNER)
David Cullen and Andrew Lloyd Webber, Sunset Blvd.
Best Sound Design of a Musical
Jonathan Deans, Buena Vista Social Club (WINNER)
Adam Fisher, Sunset Blvd.
Peter Hylenski, Just in Time
Peter Hylenski, Maybe Happy Ending
Dan Moses Schreier, Floyd Collins
Best Sound Design of a Play
Paul Arditti, Stranger Things: The First Shadow (WINNER)
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 Book of a Musical
Marco Ramirez, Buena Vista Social Club
Itamar Moses, Dead Outlaw
Marco Pennette, Death Becomes Her
Will Aronson and Hue Park, Maybe Happy Ending (WINNER)
David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts, Operation Mincemeat: A New Musical
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Washington Post
4 days ago
- Washington Post
75 years after its screen debut, what ‘Sunset Blvd.' says about stardom
It was January 1950, and a new motion picture had just finished its first preview screening for a select Hollywood audience. The movie wouldn't open to the public until Aug. 10, but 300 of the industry's most important studio executives, producers, directors and stars were crowded into the theater. The movie was called 'Sunset Blvd.,' and the word was that it was nitroglycerin. As the end credits came up over the final image of silent film has-been Norma Desmond advancing on the camera, her fingers curled in a demented come-hither dance for the audience, the assembled glitterati staggered out, astonished at what they'd seen: a Hollywood movie that pulled back the tinseled illusion of their company town, revealing the decay. Many of the guests clustered around the movie's star, Gloria Swanson, a legend of silent cinema making an unparalleled comeback. Actress Barbara Stanwyck got down and literally kissed the hem of Swanson's gown, a wonderful we're-not-worthy moment that briefly reinstated the old order. Over in a corner, however, MGM head Louis B. Mayer — arguably the most powerful man in town — fumed to a group of yes-men, fulminating about 'that lowdown scum Wilder.' According to Sam Staggs's 2002 book, 'Close-Up on Sunset Boulevard,' Mayer spied the director of 'Sunset Blvd.,' the Austrian-born Billy Wilder, crossing the lobby and stalked over, red in the face, screaming, 'You befouled your own nest! You should be kicked out of the country, tarred and feathered …' Wilder's response has been variously reported as 'Go f--- yourself' and 'Go s--- in your hat,' but Mayer's rage is understandable. The man helped create the system that 'Sunset Blvd.' exposed as a sham — a star system in which human beings were tweaked and polished and remade until they were gods of the screen. But the thing about gods is that they never age. Film is eternal; a movie is always experienced in the present tense. Humphrey Bogart and Ingrid Bergman are still on that tarmac at the end of 'Casablanca,' and they always will be. The sin of 'Sunset Blvd.' — and for the Mayers of Hollywood, the unspeakable heresy — is that it was the first movie to admit that stars get old. Well, of course they do. Everyone knows that now. There are second acts and third acts and sometimes even fourth acts in popular culture, as actors and other celebrities reinvent themselves into fresh personas and new mediums, aging with grace or plastic surgery. In 1950, though, this was shocking news, and it's worth asking why. The answer turns out to be disarmingly simple: There were movie stars of an earlier generation, but an industrial revolution had banished them from sight. The coming of talking pictures in the late 1920s was a comet that killed off dozens of dinosaurs, internationally known and adored performers whose value was suddenly nil. A handful survived — Greta Garbo, Charlie Chaplin, a newly minted ingenue named Joan Crawford. Most vanished into ostentatious mansions or dwindling roles; some threw in the towel and walked away; some took their own lives. The point is that no one ever saw them age, and so the town's secret, the big lie, was safe. By the late 1940s, though, there were rumblings. The new stars of the talkies — Bette Davis and Mae West and James Cagney and Katharine Hepburn, actors who sounded like no one but themselves — were edging into their 40s. The men were allowed to get older, with Bogart proving that some actors are best left to age like firewood or Scotch. The women saw nullification on the horizon. The 1950s would be an era when a youthful new star like Audrey Hepburn would be paired with old goats like Bogart (30 years Hepburn's senior) in 'Sabrina' and Gary Cooper (28 years) in 'Love in the Afternoon.' (The only two stars to get away with co-starring with Hepburn were Fred Astaire, who was never old or young but always just Fred Astaire, and Cary Grant, whose elegant aplomb was timeless.) 1950 also saw Davis star in 'All About Eve' as a kind of Hail Mary career pass, playing a Broadway legend fretting whether fame had a built-in shelf date. But 'Sunset Blvd.' was something else entirely to the actors of Hollywood: proof that a star could come back from the dark side of the moon — the silent era! — to be relevant again. No wonder Stanwyck knelt before Swanson that night: She saw an almost certain career obsolescence disappear (and went on to act in movies and TV until she was in her late 70s). The grand irony, of course, is that while 'Sunset Blvd.' was feted in the movie industry as a triumph for Swanson, the message to audiences and the future was the opposite: that movie stars continue on even after we're done with them, turning in on themselves to gnaw on the adoration they once received from the world. That applause gone silent leads to insanity, scandal, monkey funerals and dead screenwriters in the swimming pool. (Among other things, 'Sunset Blvd.' was arguably the first movie to be narrated by a corpse, Norma's kept man, Joe Gillis, played by William Holden.) Look no further than last year's horror hit 'The Substance,' with Demi Moore playing a modern Norma, for confirmation of this story line's tenacity. Even without Andrew Lloyd Webber's 1993 Broadway musical adaptation (whose Tony Award-winning 2024 revival just closed), 'Sunset Blvd.' lives on for audiences that have never seen the movie but can quote 'I'm ready for my close-up, Mr. DeMille' with the proper delusional fervor. Interestingly, Wilder and co-writer Charles Brackett initially wrote the script as a comedy rather than a horror show and thought about approaching West for the lead. But West was unthinkable as a silent star — you had to hear that do-me-big-boy drawl for her persona to work. They tried offering it to the unofficially retired Garbo — no sale. Most deliciously, there are stories of Wilder pitching the plot to Mary Pickford, not only the biggest star of the silent era but the first megastar ever. Realizing that the role of Joe Gillis was positioned as equally important, Pickford insisted on being the clear main character. Sensing that he was closer to Norma Desmond than he wanted to be, Wilder diplomatically cut the meeting short. Swanson had been almost as big as Pickford in the silent era, a melodramatic fashion plate whose life offscreen was as glamorous as the romantic fantasies she made with director Cecil B. DeMille at Paramount. (She had three marriages by 1931, including one to a French count.) But by 1949, when Wilder approached her to play Norma, Swanson was earning $350 a week as a television talk show host in New York. She promptly divorced her fifth husband and got on the first train west, and she hadn't even read the script. Give her credit, though. When she did read the script and realized this sordid tale of a forgotten silent-film star was a brilliantly cruel parody of her own career and most of her peers', she recognized it as both true and a hell of a part. Swanson looked much younger than her 52 years and bristled at the idea of making a screen test (for Paramount, the studio she had helped build). But she got the irony of the thing, and the horror, and the many levels of its daring. Inside Norma's Hollywood haunted house is a brutal concordance of Wilder fiction with wilder reality. Norma's butler, Max — her former husband and director — is played by the director Erich von Stroheim, and the film they screen one night is 'Queen Kelly,' a notorious, unfinished 1928 fiasco that von Stroheim made with Swanson. Using the film was von Stroheim's idea; he got the joke, too, and all too well. So did the 'waxworks' Wilder hired to play Norma's bridge group: Anna Q. Nilsson and H.B. Warner, both major draws during the silent era, and Buster Keaton, at that point an alcoholic wreck several years away from rediscovery. Swanson designed a hat for Norma's meeting with DeMille (playing himself) that consciously echoed one she had worn in 1919's 'Male and Female,' directed by DeMille. The actress later described 'Sunset Blvd.' as 'a modern extension of Pirandello, or some sort of living exercise in science fiction.' In the end, though, the triumph was short-lived. Swanson got work but not enough to sustain a second film career, and she realized too late that the role had eclipsed the actress in the public's eyes. Nominated for a 1951 best actress Oscar, she lost to Judy Holliday in 'Born Yesterday,' and as the reporters clustered around her afterward, 'it slowly dawned on me that they were unconsciously asking for a bigger-than-life scene, or, better still, a mad scene. More accurately, they were trying to flush out Norma Desmond.' The quote is from her 1981 memoir, 'Swanson on Swanson,' which remains a great read for its clarity, honesty and colossal star vanity. No matter how much she played the diva, Swanson understood the game and her part in it. 'I may not have got an Academy Award,' she writes, 'but I had somehow convinced the world once again of that corniest of all theatrical clichés — that on very rare artistic occasions the actor actually becomes the part. Barrymore is Hamlet. Garbo is Camille. Swanson is Norma Desmond.' And so, for most people, she remains. Norma was Swanson's last major role, the one that embodied all those aspects of celebrity the culture avoids until it's time to feed on the bones. 'Sunset Blvd.' is about the quiet after the acclaim and the madness that can accompany it. It's about the absolute egotism necessary to sustain stardom. Most subversive of all — and here, I think, is the source of Louis B. Mayer's rage — is the idea that famous people need us more than we need them. The moral of 'Sunset Blvd.' is that fame is a drug, but it's the withdrawal that kills.
Yahoo
5 days ago
- Yahoo
Soap Opera Legend Susan Lucci Stuns in Strapless Dress During Special Moment With Fan
Soap Opera Legend Susan Lucci Stuns in Strapless Dress During Special Moment With Fan originally appeared on Parade. Soap opera star was enjoying a nice night out at the theater when she ran into a fan, with the actress sharing the special meeting on social media. The 78-year-old took to Instagram on July 30 to post the meaningful update, beginning the caption by saying, "Leaving—or should I say Dancing out—after the fabulous Buena Vista Social Club on Broadway last night!!!" 🎬 The All My Children legend went on, "To add to the joy of the evening—this lovely woman celebrating her birthday stopped to tell me that she and her husband had just seen me in 'My First Ex Husband' in Sag Harbor last week—and how much they loved it and all the laughs!!!" The photo showed Lucci looking lovely in a strapless dress with a floral pattern all over as she posed with her arm around a woman in a black dress, with both women smiling brightly at the camera. Lucci concluded in the caption, "What we all need now—music and dancing and laughter!!! Run, dance or fly to see BUENA VISTA—and if you're in Westhampton this Saturday night August 2–come see me and our amazing Off-Broadway cast onstage at WHPAC theatre for the smash hit MY FIRST EX-HUSBAND!!!💃🏽💃🏽💃🏽🎉🎉🎉." "You are so incredibly gracious," shared one fan, while more referenced the fan interaction as they wrote, "What a lucky fan and love your smile!😍," and "Fun! I bet you made her day! Looking fabulous as usual!" "That woman must have been thrilled and what a lovely photo she has to remember it by! You are always so gracious. ❤️," read a similar comment. Others complimented Lucci's beauty, commenting, "you never age 😘," "look stunning susan🔥🔥," and "Gorgeous as ever Susan!! 💖."Soap Opera Legend Susan Lucci Stuns in Strapless Dress During Special Moment With Fan first appeared on Parade on Jul 30, 2025 This story was originally reported by Parade on Jul 30, 2025, where it first appeared. Solve the daily Crossword
UPI
6 days ago
- UPI
Watch: Cynthia Erivo says 'Wicked: For Good' is 'wild,' 'really epic'
1 of 5 | Cynthia Erivo arrives on the red carpet at the Tony Awards in June. She stars in a "Wicked: For Good" featurette. File Photo by Angelina Katsanis/UPI | License Photo Aug. 7 (UPI) -- Cynthia Erivo says the Wicked sequel, Wicked: For Good, is "wild" and "really, really epic" in a "First Look" video released Wednesday. The clip includes commentary from film stars Erivo and Ariana Grande, who portray Elphaba and Glinda, respectively, and director Jon M. Chu. Erivo and Grande discussed the evolving friendship between their characters. "They realize that what they had in film 1 can never come back again and what they have to move into is something very different," Erivo says. "I believe that their bond is unbreakable, but it is deeply challenged by the distance that they have to navigate.... It's wild, it's unbridled, and it feels really, really epic." "We really just get to see how far we can push this friendship," Grande says. Chu describes the film as a "more mature, emotional journey about the consequences of the hard choices you make." The musical fantasy film will also explore the overlap of the Wicked universe, and the 1939 feature Wizard of Oz, which was inspired by the Frank L. Baum book. The Wicked films take their inspiration from the 1995 book written by Gregory Maguire and the 2003 Broadway adaptation, and they explore the "Wicked Witch of the West" and "Glinda the Good" as they are presented in Wizard of Oz. Wicked: For Good arrives in theaters Nov. 21. Grande and Erivo will host an NBC special Nov. 6, which will air on the network at 8. p.m. EDT, arriving on Peacock the next day. Ariana Grande turns 32: a look back Ariana Grande arrives for the Nickelodeon Kids' Choice Awards in Los Angeles on March 31, 2012. Grande starred in multiple Nickelodeon shows , including "Victorious" and "Sam & Cat." Photo by Jonathan Alcorn/UPI | License Photo
