2025 Tony Awards: See the full list of winners and nominees
The Tonys have always served as a way to raise Broadway's profile. On Saturday night, a big step in that direction was a performance of '
Advertisement
See the full list of 2025 Tony Awards nominees and winners below.
Advertisement
Best play
'English'
'The Hills of California'
'John Proctor is the Villain'
'Oh, Mary!'
'Purpose'
Best musical
'Buena Vista Social Club'
'Dead Outlaw'
'Death Becomes Her'
'Maybe Happy Ending'
'Operation Mincemeat: A New Musical'
Best 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 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 actress in a musical
Megan Hilty, 'Death Becomes Her'
Audra McDonald, 'Gypsy'
Jasmine Amy Rogers, 'BOOP! The Musical'
Nicole Scherzinger, 'Sunset Blvd.'
Jennifer Simard, 'Death Becomes Her'
Best actor in a musical
Darren Criss, 'Maybe Happy Ending'
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 revival of a play
'Eureka Day'
'Romeo + Juliet'
'Thorton Wilder's Our Town'
'Yellow Face'
Best revival of a musical
'Floyd Collins'
'Gypsy'
'Pirates! The Penzance Musical'
'Sunset Blvd.'
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 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 musical
Brooks Ashmanskas, 'Smash'
Jeb Brown, 'Dead Outlaw'
Danny Burstein, 'Gypsy'
Jak Malone, 'Operation Mincemeat: A New Musical'
Taylor Trensch, 'Floyd Collins'
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: The Musical'
Jay Woods, 'Gypsy'
Best direction in a play
Knud Adams, 'English'
Sam Mendes, 'The Hills of California'
Sam Pinkleton, 'Oh, Mary'
Advertisement
Danya Taymor, 'John Proctor is the Villain'
Kip Williams, 'The Picture of Dorian Gray'
Best direction in 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 Blvd.'
Best book of a musical
'Buena Vista Social Club'
'Dead Outlaw'
'Death Becomes Her'
'Maybe Happy Ending'
'Operation Mincemeat: A New Musical'
Best original score (music and/or lyrics) written for the theatre
'Dead Outlaw'
'Death Becomes Her'
'Maybe Happy Ending'
'Operation Mincemeat: A New Musical'
'Real Women Have Curves: The Musical'
Best scenic design of a play
Marsha Ginsberg, 'English'
Rob Howeel, '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 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 Rieffenstuel, 'Stranger Things: The First Shadow'
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'
Catherine Zuber, '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 Wasikeski, 'John Proctor is the Villain'
Nick Schlieper, 'The Picture of Dorian Gray'
Best lighting design of a musical
Jack Knowles, 'Sunset Blvd.'
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 play
Paul Arditti, 'Stranger Things: The First Shadow'
Palmer Hefferan, 'John Proctor is the Villain'
Daniel Kluger, 'Good Night, and Good Luck'
Advertisement
Nick Powell, 'The Hills of California'
Clemence Williams, 'The Picture of Dorian Gray'
Best sound design of a musical
Jonathan Deans, 'Buena Vista Social Club'
Adam Fischer, 'Sunset Blvd.'
Peter Hylenski, 'Just in Time'
Peter Hylenski, 'Maybe Happy Ending'
Dan Moses Schreier, 'Floyd Collins'
Best choreography
Joshua Bergasse, 'Smash'
Camille A. Brown, 'Gypsy'
Christopher Gatteli, 'Death Becomes Her'
Jerrey Mitchell, 'BOOP! The Musical'
Patricia Delgado and Justin Peck, 'Buena Vista Social Club'
Best orchestrations
Andrew Resnick and Michael Thuber, 'Justin Time'
Will Aronson, 'Maybe Happy Ending'
Bruce Coughlin, 'Floyd Collins'
Marco Paguia, 'Buena Vista Social Club'
David Cullen and Andrew Lloyd Webber, 'Sunset Blvd.'
Don Aucoin can be reached at
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Buzz Feed
2 hours ago
- Buzz Feed
Why Millennials Love Subtitles
Fellow millennials, I need to get your honest opinion on something. How do you *really* feel about having the subtitles on when you watch TV? Reddit user Some_Kinda_Username recently posed this same question, and people couldn't help but rave endlessly about how great closed captions are. While I might not be a fan of reading while watching my favorite TV show or movie, others just can't get enough! Here's what they had to say on this polarizing topic: "I love me some subtitles! Warning, though, they are addictive. Once you get used to them, it's nearly impossible, or at least quite infuriating, to watch anything without them." "I was using subtitles before it was cool." "Sound mixing is a lost art. Gotta make sure everyone hears the explosions over the actors advancing the plot by whispering." "I love subtitles! Everyone in my house starts talking the second the shows we want to watch come on. I feel that subtitles are a nice compromise. They talk during the show, but I can still enjoy it by reading the captions. Problem solved!" "Subtitles are real-time spoilers." "My late wife was Romanian, and while her English was perfect and much better than mine (I'm British/Canadian), she always wanted subtitles to help her follow along. Something about her brain's ability to translate speech was more tiring than reading. Now I keep them on by default." "I can't watch anything without subtitles anymore. 😭" "I usually have my kids or wife trying to talk to me at the same time I'm watching anything, so if I want to know what's going on, I have to have them on." "How else am I supposed to hear my show over the crunching of this bowl of cereal I'm eating as my fourth meal?" "My husband got me into the whole 'subtitles or bust' thing, and now my anxiety levels elevate if someone is watching something and there are no subtitles." "I have a household of people, and it helps when they don't want to quiet down." "Having been hard of hearing my whole life, the fact that we now have captions on nearly all streaming media has been a godsend for me." "I want it on, and my wife wants it off. It's a real battle." "90% of the time I watch shows or movies, the kids are asleep. Subtitles are mandatory when playing at a low volume." "I feel like I miss too many things without captions." "It's like lowering the volume on your radio when you're lost driving around. I know I'm not the only one." "I've been using subtitles since the '90s. You can pry them from my cold, dead hands." "But like, why does the TV sound different when the subtitles are off?" OK, now I need to know what you feel about this:
3 hours ago
With the Bayeux Tapestry that tells of their long rivalry, France and Britain are making nice
BAYEUX, France -- For centuries, the storytelling masterpiece has been a source of wonder and fascination. In vivid and gruesome detail, the 70-meter (230-foot) embroidered cloth recounts how a fierce duke from France conquered England in 1066, reshaping British and European history. The Bayeux Tapestry, with its scenes of sword-wielding knights in ferocious combat and King Harold of England's famous death, pierced by an arrow to an eye, has since the 11th century served as a sobering parable of military might, vengeance, betrayal and the complexity of Anglo-French relations, long seeped with blood and rivalry but also affection and cooperation. Now, the medieval forerunner of today's comic strips, commissioned as propaganda for the Normandy duke William known as 'the Conqueror' after he took the English throne from Harold, is being readied for a new narrative mission. Next year, the fragile artistic and historic treasure will be gingerly transported from its museum in Bayeux, Normandy, to star in a blockbuster exhibition in London's British Museum, from September 2026 to July 2027. Its first U.K. outing in almost 1,000 years will testify to the warming latest chapter in ties across the English Channel that chilled with the U.K.'s acrimonous departure from the European Union in 2020. The loan was announced in July when French President Emmanuel Macron became the first EU head of state to pay a state visit to the U.K. since Brexit. Bayeux Museum curator Antoine Verney says the cross-Channel trip will be a home-coming of sorts for the tapestry, because historians widely believe that it was embroidered in England, using woolen threads on linen canvas, and because William's victory at the Battle of Hastings was such a major juncture in English history, seared into the U.K.'s collective consciousness. 'For the British, the date — the only date — that all of them know is 1066,' Verney said in an interview with The Associated Press. Moving an artwork so unwieldy — made from nine pieces of linen fabric stitched together and showing 626 characters, 37 buildings, 41 ships and 202 horses and mules in a total of 58 scenes — is further complicated by its great age and the wear-and-tear of time. 'There is always a risk. The goal is for those risks to be as carefully calculated as possible,' said Verney, the curator. Believed to have been commissioned by Bishop Odo, William the Conqueror's half-brother, to decorate a new cathedral in Bayeux in 1077, the treasure is thought to have remained there, mostly stored in a wooden chest and almost unknown, for seven centuries, surviving the French Revolution, fires and other perils. Since then, only twice is the embroidery known to have been exhibited outside of the Normandy city: Napoleon Bonaparte had it shown off in Paris' Louvre Museum from late 1803 to early 1804. During World War II, it was displayed again in the Louvre in late 1944, after Allied forces that had landed in Normandy on D-Day, June 6th, of that year had fought onward to Paris and liberated it. The work, seen by more than 15 million visitors in its Bayeux museum since 1983, 'has the unique characteristic of being both monumental and very fragile,' Verney said. 'The textile fibers are 900 years old. So they have naturally degraded simply due to age. But at the same time, this is a work that has already traveled extensively and been handled a great deal.' During the treasure's stay in the U.K., its museum in Bayeux will be getting a major facelift costing tens of millions of euros (dollars). The doors will close to visitors from Sept. 1 this year, with reopening planned for October 2027, when the embroidery will be re-housed in a new building, encased on an inclined 70-meter long table that Verney said will totally transform the viewing experience. How, exactly, the treasure will be transported to the U.K. isn't yet clear. 'The studies required to allow its transfer to London and its exhibition at the British Museum are not finished, are under discussion, and are being carried out between the two governments,' Verney said. But he expressed confidence that it will be in safe hands. 'How can one imagine, in my view, that the British Museum would risk damaging, through the exhibition, this work that is a major element of a shared heritage?' he asked. 'I don't believe that the British could take risks that would endanger this major element of art history and of world heritage.'
San Francisco Chronicle
4 hours ago
- San Francisco Chronicle
With the Bayeux Tapestry that tells of their long rivalry, France and Britain are making nice
BAYEUX, France (AP) — For centuries, the storytelling masterpiece has been a source of wonder and fascination. In vivid and gruesome detail, the 70-meter (230-foot) embroidered cloth recounts how a fierce duke from France conquered England in 1066, reshaping British and European history. The Bayeux Tapestry, with its scenes of sword-wielding knights in ferocious combat and King Harold of England's famous death, pierced by an arrow to an eye, has since the 11th century served as a sobering parable of military might, vengeance, betrayal and the complexity of Anglo-French relations, long seeped with blood and rivalry but also affection and cooperation. Now, the medieval forerunner of today's comic strips, commissioned as propaganda for the Normandy duke William known as 'the Conqueror' after he took the English throne from Harold, is being readied for a new narrative mission. A homecoming for the tapestry Next year, the fragile artistic and historic treasure will be gingerly transported from its museum in Bayeux, Normandy, to star in a blockbuster exhibition in London's British Museum, from September 2026 to July 2027. Its first U.K. outing in almost 1,000 years will testify to the warming latest chapter in ties across the English Channel that chilled with the U.K.'s acrimonous departure from the European Union in 2020. The loan was announced in July when French President Emmanuel Macron became the first EU head of state to pay a state visit to the U.K. since Brexit. Bayeux Museum curator Antoine Verney says the cross-Channel trip will be a home-coming of sorts for the tapestry, because historians widely believe that it was embroidered in England, using woolen threads on linen canvas, and because William's victory at the Battle of Hastings was such a major juncture in English history, seared into the U.K.'s collective consciousness. 'For the British, the date — the only date — that all of them know is 1066,' Verney said in an interview with The Associated Press. A trip not without risks Moving an artwork so unwieldy — made from nine pieces of linen fabric stitched together and showing 626 characters, 37 buildings, 41 ships and 202 horses and mules in a total of 58 scenes — is further complicated by its great age and the wear-and-tear of time. 'There is always a risk. The goal is for those risks to be as carefully calculated as possible,' said Verney, the curator. Believed to have been commissioned by Bishop Odo, William the Conqueror's half-brother, to decorate a new cathedral in Bayeux in 1077, the treasure is thought to have remained there, mostly stored in a wooden chest and almost unknown, for seven centuries, surviving the French Revolution, fires and other perils. Since then, only twice is the embroidery known to have been exhibited outside of the Normandy city: Napoleon Bonaparte had it shown off in Paris' Louvre Museum from late 1803 to early 1804. During World War II, it was displayed again in the Louvre in late 1944, after Allied forces that had landed in Normandy on D-Day, June 6th, of that year had fought onward to Paris and liberated it. The work, seen by more than 15 million visitors in its Bayeux museum since 1983, 'has the unique characteristic of being both monumental and very fragile,' Verney said. 'The textile fibers are 900 years old. So they have naturally degraded simply due to age. But at the same time, this is a work that has already traveled extensively and been handled a great deal.' A renovated museum During the treasure's stay in the U.K., its museum in Bayeux will be getting a major facelift costing tens of millions of euros (dollars). The doors will close to visitors from Sept. 1 this year, with reopening planned for October 2027, when the embroidery will be re-housed in a new building, encased on an inclined 70-meter long table that Verney said will totally transform the viewing experience. How, exactly, the treasure will be transported to the U.K. isn't yet clear. 'The studies required to allow its transfer to London and its exhibition at the British Museum are not finished, are under discussion, and are being carried out between the two governments,' Verney said. But he expressed confidence that it will be in safe hands. 'How can one imagine, in my view, that the British Museum would risk damaging, through the exhibition, this work that is a major element of a shared heritage?' he asked. 'I don't believe that the British could take risks that would endanger this major element of art history and of world heritage.' ___ Leicester reported from Paris.
