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Telegraph
11 hours ago
- Entertainment
- Telegraph
Zohran Mamdani offers a terrifying glimpse into the future of Left-wing politics
If it can happen in New York, it can happen anywhere. Last night, Democrats in the second most Jewish place on Earth, home to Isaac Bashevis Singer, Woody Allen and pastrami on rye, elected a Corbynite mayoral candidate who has defended the slogan 'globalise the intifada'. Zohran Mamdani, the proud 33-year-old socialist who was born in Uganda and worked as a rap music producer before turning to politics, pulled off a traumatic political upset when he beat the former state governor and moderate frontrunner Andrew Cuomo to win the nomination. Until recently, Mamdani, who only became an American citizen in 2018, was all but unknown to most New Yorkers. After all, this was the city of mayor Eric Adams, the pugnacious supporter of Israel whose popularity only collapsed after he was indicted on federal charges including bribery, fraud and soliciting illegal foreign campaign donations last year, all of which he denies. In hard-Left circles, however, the Mamdani was fast becoming a poster boy. The photogenic son of a professor of post-colonial studies at Columbia University ran on a platform of free universal childcare, free buses, a rent freeze and – you guessed it – condemning the Middle East's only democracy, which he has lavishly accused of 'genocide'. Predictably enough, the emetic Mamdani campaign has been fuelled by umpteen vacuous TikTok videos, together with endorsements from the usual coalition of socialist dinosaurs like Bernie Sanders and airhead celebrities like model and activist Emily Ratajkowski and comedian Bowen Yang (who once put his name to a 'queers for Palestine' letter). 'This is not just about New York, this is about the Democratic Party,' Ratajkowski said in a video with Mamdani. 'It's about the hope that we have that there is a belief that people can win elections, and not just money.' Pass the sick bag. Here was yet another expression of the unifying power of Palestine on the Left, which has somehow become the meeting-point of narcissistic progressive posturing, eyepopping sexual experimentation, race radicalism, petulant teenage rebellion, climate fanaticism, Cold-War era anti-capitalism, and amongst some the venomous cause of global jihad and the sheer hatred of Jews. With the murder of two Israeli diplomats in Washington DC in May, the adolescent rage turned deadly. With the invasion of RAF Brize Norton this month, it crept in the direction of terror. And on both sides of the Atlantic, from Leicester South to Manhattan, it is becoming increasingly political. There is no shortage of irony here. As one Jewish-American writer put it: 'I hope this puts to rest the notion that Jews control politics. We couldn't even elect a non-antisemite in the most Jewish city in America.' Clearly, if you thought the Democrats had begun to learn the lessons of their drubbing by Donald Trump last year, you were wrong. There could have been no louder howl of American rage at the ultra-progressive agenda than the 2024 presidential election. New York, that most liberal of cities, has turned itself into a battleground for the soul of the Democrats. Partly, of course, this is generational: many of Mamdani's voters were young zealots who took on the old guard and crucified them. But in the bigger picture, it is a battle between the ideologues and the pragmatists. And the ideologues are winning. Wherever you look in the West, the same pattern is playing out. A small number of hardened Islamists and their fellow travellers are reaching for the levers of power over the heads of the bovine silent majority. With the moderates on their own side unable to muster anything other than appeasement, the tide is turning by increments. History is not always written by the masses. It can be written by the fanatics. With our democratic traditions unable to compensate for the rampant radicalism and apathy muting our immune systems, we are watching our societies slip away.
Boston Globe
3 days ago
- General
- Boston Globe
An astrophysicist's superpowers
Get The Gavel A weekly SCOTUS explainer newsletter by columnist Kimberly Atkins Stohr. Enter Email Sign Up My mother, the family scientist, had earned degrees in chemistry and biology in an era when few women ventured into such fields. To impart her love of these disciplines to my brothers and me, she wove science into our everyday lives. In our kitchen, for example, rather than write 'sugar,' 'salt,' or 'baking soda' on containers, she wrote the corresponding chemical formulas. The resulting mishaps were inevitable. For my 8th-grade graduation, I baked a chocolate cake, mistaking a dusting of baking soda for powdered sugar. Only the music teacher stoically consumed her portion without remark. The remainder of the cake found its way into the waste bin. Advertisement My aspirations for my future evolved with mercurial swiftness. At 15, I envisioned becoming an oceanographer. Subsequently, a journalist. After watching Woody Allen's 'Manhattan,' I briefly contemplated filmmaking. Upon learning that Marsili — Europe and the Mediterranean's largest submarine volcano — lay concealed within the Tyrrhenian Sea, volcanology beckoned. Advertisement So when the moment arrived to decide what to study at university, I felt unprepared. What kind of life did I envision for myself? A single physics lecture with a remarkable professor decided for me. To this day, my former classmates and I reminisce about how deeply this eccentric figure's lectures influenced us. His chalk appeared to move on its own across the emerald chalkboard, producing symbols that conveyed narratives and possibilities. In that moment, I recognized what I had been seeking: the practice of posing questions that transcend initial responses; experiencing the intellectual exhilaration that accompanies the pursuit of understanding; and occasionally — gloriously — achieving it. If I had worried that pursuing literature or philosophy would keep my focus too inward, I saw that physics offered me the opportunity to externalize my focus and establish a certain distance from myself. I was a diminutive and ephemeral point in an indifferent and silent cosmos — yet a cosmos I could endeavor to comprehend. This feeling gave me a profound sense of liberation. To immerse myself in the infinitely small, where quantum mechanics prevails, or in cosmic spaces governed by general relativity is to leave the reality we know behind, to learn the pleasure of speaking mathematics, and to become aware of the very thin line that separates the possible from the impossible. Advertisement Consider time. We perceive it as absolute, beating with a universal rhythm, identical everywhere, for all. Einstein comes and crashes this idea. Time becomes relative, flowing at different rates depending on motion and gravity. A famous example: If one twin travels close to the speed of light into space while the other stays on Earth, the traveling twin will return younger than the earthbound one, because for her time literally passed more slowly. And it is not just that. The closer you are to a gravitational field, the more slowly time will flow. Time therefore passes more slowly at sea level than on mountains or on an airplane or on the International Space Station. Time also dramatically slows down near massive objects like black holes. Hypothetically speaking, just one year spent orbiting 330 feet away from the horizon of Sagittarius A*, the black hole at the center of our Milky Way galaxy, translates to 11,000 years on Earth. Hard to believe, yet it's so. (This physicist's advice for anti-aging: better to run on the beach than sit enjoying the healthy air on the mountain.) The speed of light, finite and constant, also gives us the superpower to peer into the past. Magical . The red disk of the setting sun that you see on the horizon actually disappeared eight minutes ago; that's how long it takes light to travel the roughly 93 million miles that separate us from the sun. The twinkling lights that dot our starry skies are flashes of remote time that shine. They are many layers of time overlapping in a single darkness. And with the James Webb Space Telescope we can observe galaxies formed when the universe was just a toddler. Advertisement Believe it or not, sometimes we can also see into the future. For example, because space missions have measured the position and velocity of some two billion stars in our galaxy, we can predict how starry nights will look for the next 1.6 million years. My decision to study physics was, above all, this: it offers the opportunity for a journey into a wonderland of things that don't seem possible; privileged access to otherwise inaccessible worlds; and the profound sense of belonging to a reality that transcends yet encompasses us. In other words, a great adventure.
The Guardian
17-06-2025
- Entertainment
- The Guardian
Alfred Brendel obituary
In the postscript to his 1998 book of poetry One Finger Too Many, the pianist Alfred Brendel cites among his muses an elderly woman who stopped in front of the bench on which he was sitting at New York's Museum of Modern Art, pointed at him and asked: 'Are you Woody Allen?' The fact that he could be confused with the American actor and director is not in itself surprising: with his puckish face, quizzically raised eyebrows and thick-rimmed Eric Morecambe glasses, Brendel, who has died aged 94, did have the air of a comedian. It was an aura he relished and cultivated in his quirky poetry and it goes to the heart of his personality. For Brendel's art was characterised by a paradox. On the one hand lay an intellectual discipline, academic rigour and search for perfection; on the other a delight in the absurd. He once listed 'laughing' as his favourite occupation and was fond of observing that 'humour is the sublime in reverse'. In a performing career that spanned six decades Brendel commanded a respect that came, especially in the later years, to border on reverence. His authoritative interpretations of the classical repertoire – primarily Haydn, Mozart, Beethoven and Schubert – were second to none, though in his earlier years he was also a fine Lisztian and helped to establish Schoenberg's Piano Concerto in the concert repertoire. But for a sense that he would not be able to do it justice and that it would draw him away from his beloved classical repertoire, he might have been an active advocate for contemporary music, for it interested him keenly and he was a familiar sight at avant-garde events. In 2007 Brendel announced his intention to retire following a year-long series of concerts and recitals. The final London recital, at the Royal Festival Hall in June 2008, was representative of his last years in that, while lacking something of the flair and muscularity that had so impressed in his prime, his playing of Mozart and Beethoven had all the nuanced subtlety and consummate artistry we had come to expect. Schubert's valedictory Sonata in B flat, D960, was delivered with inspirational insight, while encores by Bach and Liszt paid tribute to masters recently neglected by him. The last appearance of all came in December 2008 in Vienna, where Brendel chose to bow out with Mozart's youthful Piano Concerto No 9 in E flat, K271, the 'Jeunehomme'. Born in Wiesenberg, Moravia (now the Czech Republic), Alfred was the son of Ida (nee Wieltschnig) and Albert Brendel. He had a somewhat itinerant childhood on account of his father's diverse occupations (architectural engineer, businessman and manager of resort hotels). It was when his father became a cinema director in Zagreb, Croatia, that he had his first piano lessons, at the age of six, from Sofia Dezelic, followed after the second world war by study with Ludovika von Kaan at the conservatoire in Graz, Austria, and private composition lessons with Artur Michl, a local organist and composer. His relative lack of formal training in music was, Brendel later considered, a blessing, for it encouraged him to be self-critical: 'A teacher can be too influential,' he once said. It was entirely characteristic that his first public recital, in Graz at the age of 17, should have consisted of works by Bach, Brahms, Liszt and himself, but only works that included fugues. Even the four encores contained fugues. It was an early manifestation of the intellectual streak that was to define him; also evident was his interest in literature and the visual arts – he held a one-man exhibition of paintings in a Graz gallery in conjunction with his recital. After taking fourth prize at the prestigious Busoni competition in Bolzano, northern Italy, in 1949 he began to tour Europe, taking part in masterclasses by Paul Baumgartner, Eduard Steuermann (a pupil of Busoni and Schoenberg) and, crucially, Edwin Fischer, to whom (along with Alfred Cortot and Wilhelm Kempff) he believed he owed the most. He made his first recordings in the 1950s, and became the first pianist to record the entire piano works of Beethoven, a memorable and highly praised issue on the Vox–Turnabout label (1958-64). His Queen Elizabeth Hall debut in London led to offers from three record companies, and having been signed by Philips as an exclusive artist, he recorded a Beethoven sonata cycle in the 70s. His complete Philips recordings (114 CDs) were reissued by Decca in 2016. Beethoven was always to loom large on his musical horizon: in the 1982–83 season, for example, he gave the complete cycle of 32 sonatas in 77 recitals in 11 cities across Europe and America, and further similar tours were made in the 90s, with a third recorded cycle completed in 1996. Inevitably, perhaps, some of the fire and spontaneity present in the first of those recorded cycles was no longer evident in the third, but in its place was a spiritual profundity, the product of a lifetime's experience. Alongside Beethoven, it was Mozart and Schubert who had pride of place. Clues to Brendel's approach to Mozart can be gleaned from a revealing essay entitled A Mozart Player Gives Himself Advice, in which he proclaims that: 'Mozart is made neither of porcelain, nor of marble, nor of sugar.' The 'touch-me-not' Mozart and the 'sentimentally bloated' Mozart were to be avoided at all costs. Neither was Mozart a 'flower child' with weak or vague rhythms and dreamy tone, Brendel asserted. Rather it was the duty of the interpreter to find the ideal balance between freshness and urbanity, unaffectedness and irony, aloofness and intimacy. Playing Schubert, on the other hand, was, according to Brendel, akin to 'walking on the edge of a precipice'. In this music, happiness was always on the verge of tragedy and Schubert's brooding moods were projected as harbingers of the phantasmagorical visions of Schumann. It was also the case that Brendel revelled in the romantic, Sturm und Drang – storm and stress – aspects of Haydn and Mozart, which similarly looked forward, in his hands, to the emotionalism of Beethoven. With regard to Liszt's music, Brendel drew attention to its fragmentary nature, and amply fulfilled what he saw as the interpreter's responsibility to 'show us how a general pause may connect rather than separate two paragraphs, how a transition may mysteriously transform the musical argument'. He claimed it was 'a magical art' and therefore, one might assume, a particular challenge for a man so ruled by his intellect. But in his performances of such works as Vallée d'Obermann and Sposalizio it was precisely the otherworldly, transcendental quality of the music he captured so well, not least by his perfect calibration of their silences. The aim was to integrate passion and introspection, and while it goes almost without saying that the cult of the self-advertising virtuoso held little appeal for him, he was also, in his prime, able to surmount the fearsome technical demands of such a work as the Rákóczy March, deploying a rock-steady rhythmic control to generate its expressive force. A similar intensity characterised his rendering of Busoni's formidable Toccata, while his knowledge of the spooky world of German romanticism informed his response to the enigmatic aspects of Schumann's fantasy pieces. In the last decade or so of his career, physical problems with his back and his arm prevented Brendel from essaying the big virtuoso works, though it has to be said that this was all of a piece with his concentration in these years on the inner essence of things: a striving after truth. In some of these late recitals, the repertoire for which focused increasingly on the classical period, Brendel's playing often lacked the inspirational quality of his earlier years, but there was more than adequate compensation in the authoritative, penetrating readings he delivered. Such an evolution in his style may well have been related to a psychological development: inner emotional conflicts were perhaps reflected in the more volatile interpretations of his earlier period, while the sublime revelations of his late maturity were the product of a more reconciled, integrated personality. Beyond the solo piano repertoire his recordings likewise reflected his predilections: major releases included four complete sets of the Beethoven concertos (most memorably with Simon Rattle), complete Mozart concertos with Neville Marriner (together with a further eight in conjunction with Charles Mackerras), the two Brahms Piano Concertos with Claudio Abbado and the Schumann with Kurt Sanderling. He collaborated also with Dietrich Fischer-Dieskau on a Winterreise and with Matthias Goerne on lieder by Schubert and Beethoven. Chamber recordings included the complete works of Beethoven for cello and piano with his son, Adrian. His literary abilities and incisive mind resulted in two collections of immensely rewarding essays on music: Musical Thoughts & Afterthoughts and Music Sounded Out (both 1990). A third collection, Alfred Brendel on Music (2001), gathered together both published and previously unpublished essays. A further collection of essays and lectures – Music, Sense and Nonsense – distilling his thoughts on music over the decades, appeared in 2015. If those collections amply demonstrated his erudition on musicological matters, his two volumes of poetry, One Finger Too Many and Cursing Bagels (2004), attested to a dadaist sense of humour and a florid imagination. In one poem an extra index finger was developed by a pianist 'to expose an obstinate cougher in the hall' or to indicate the theme in retrospect in a complicated fugue. Other poems mused on Brahms, beards and the Buddha. After his retirement from the concert platform, Brendel continued to give lectures, in which he often attempted to distance himself from what he regarded as the self-indulgent excesses of the historically informed movement. Seeking his own authenticity in a balance between fidelity and interpretation, he evinced little patience with exaggerated phrasing and accentuation, and even less with over-brisk tempi: 'There is a reductionist theory that all music is dance,' he wearily intoned, 'and what a treat to hear an Agnus Dei or Miserere skipping along.' All forms of the absurd fascinated Brendel: kitsch and masks (of each of which he had amassed collections), nonsense verse and cartoons. But his extra-musical enthusiasms embraced also Romanesque churches, baroque architecture, literature, film and much more. The sum total was an artist who relished eccentricity yet focused on the inner essence, who countered a cerebral image with a delight in the whimsical, and above all who never ceased in his search for musical truth. In 1960 he married Iris Heymann-Gonzala, and they had a daughter, Doris. They divorced in 1972, and three years later he married Irene Semler. They lived in Hampstead, north London, and had three children: two daughters, Katharina and Sophie, in addition to Adrian. They divorced in 2012, and he is survived by his partner, Maria Majno, his four children and four grandchildren. Alfred Brendel, pianist, born 5 January 1931; died 17 June 2025
Daily Mail
09-06-2025
- Entertainment
- Daily Mail
Australian actress Natasha Andrews packs on the PDA with her partner Pierre Niney as they attend the French Open at Roland Garros in Paris
Natasha Andrews and Pierre Niney couldn't keep their hands off of each other as they attended the French Open over the weekend. The Aussie actress, who rose to fame in Woody Allen 's Magic in the Moonlight, was pictured court-side at Roland Garros with her French beau on Sunday as the pair put on a loved-up display in the stands. The couple watched on as Spain 's Carlos Alcaraz and Italy 's Jannik Sinner battled it out on the court, a match which saw Alcaraz claim victory. In the pictures, Natasha could be seen showing off her long, trim pins in a summery romper, which featured a button-up front, cinched waist and collar. The play-suit was decorated in a quirky black and white circle pattern. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz newsletter to stay in the loop. The Aussie actress, who rose to fame in Woody Allen's Magic in the Moonlight, was pictured court-side at Roland Garros with her French beau on Sunday as the pair put on a loved up display in the stands The Aussie star opted for a pair of Lacoste sneakers for the occasion, paired with slim-lensed Gucci sunnies as she caught some sun rays in the grandstands. Slicking her hair back in a messy ponytail, Natasha looked fresh faced as she attended the annual tennis event, wearing a big smile alongside her longtime partner Pierre. She later threw on an oversized, black Lacoste blazer as the weather got chillier. Her French boyfriend, who has starred in the likes of The Count of Monte Cristo and Yves Saint Laurent, kept things casual as he layered a yellow and white striped Lacoste button-up over a simple white tee. He finished off the ensemble with an impressively clean pair of white jeans and white sneakers. His brunette locks hung over his face, which was shaded with a pair of wide-framed sunglasses. The loved-up couple could be seen cuddling in the stands, sharing cheek kisses and giggles throughout the match. Seated next to the touchy couple was none other than French actor and director Guillaume Canet, whose partner is Hollywood heavyweight Marion Cotillard. In the pictures, Natasha could be seen showing off her long, trim pins in a summery romper, which featured a button-up front, cinched waist and collar Pierre's brunette locks hung over his face, which was shaded with a pair of wide-framed sunglasses Her French boyfriend, who has starred in the likes of The Count of Monte Cristo and Yves Saint Laurent, kept things casual as he layered a yellow and white striped Lacoste button-up over a simple white tee Slicking her hair back in a messy ponytail, Natasha looked fresh faced as she attended the annual tennis event, wearing a big smile alongside her longtime partner Pierre The loved-up couple could be seen cuddling in the stands, sharing cheek kisses and giggles throughout the match Guillaume wore a navy blue polo shirt, trousers and zip-up jacket as he sat front row for the heated tennis match. This isn't the first time Natasha and Pierre have packed on the PDA. Last year, the couple couldn't get enough of each other as they arrived to the screening of Le Comte de Monte-Cristo at Cannes Film Festival. While on the red carpet, Natasha shared a passionate kiss with Pierre for all to see, making headlines thanks to her revealing dress and clear chemistry with her longtime boyfriend. Natasha grew up in Brisbane before moving to Paris at the age of 18 to study acting at The Cours Florent drama school. She met Pierre while at the drama school and they fell in love. The couple started dating in 2008 and eventually welcomed two children together, daughter Lola and son Billy.
Daily Mail
09-06-2025
- Entertainment
- Daily Mail
Mia Farrow supported by 'very proud' son Ronan as she lands first Tony Awards nod at 80
First-time nominee Mia Farrow brought along her lucky charm - son Ronan Farrow - to the 78th Annual Tony Awards, which were held at Radio City Music Hall in Midtown Manhattan on Sunday. The 80-year-old actress beamed while glammed up in a cream-colored, three-piece white pantsuit with matching platform boots and a golden clutch purse. The 37-year-old Pulitzer Prize winner contrasted his famous mother by donning an all-black silk suit with buckled dress shoes. Mia (born Maria) welcomed Ronan (born Satchel) during her 11-year relationship with estranged ex-partner Woody Allen, but he's long been rumored to be the biological son of Frank Sinatra. Joining the Farrow mother-son duo was his partner Hamer Morgenstern dressed in a classic tuxedo. 'Hey, I'm here at the Tony Awards with my mom, Mia Farrow, who is nominated. Very proud of her!' The New Yorker investigative journalist gushed via Instagram while crossing his fingers. Indeed, the Beverly Hills-born nepo baby scored her first-ever Tony nomination for best performance by a leading actress in a play for her role as Iowa homeowner Sharon in The Roommate, which marked her fourth Broadway play. Ironically, Mia's Roommate castmate Patti LuPone from Jen Silverman's two-person play was snubbed for a nomination following the scandal over her saying Broadway rival Audra McDonald was 'not a friend.' But Farrow did reveal in Interview last week that her character does most of the heavy lifting: 'Mostly it was me, because if you read the script, I initiate just about every conversation.' In the end, the Rosemary's Baby alum lost the Tony Award to Succession alum Sarah Snook, who made her Broadway debut as the titular role in The Picture of Dorian Gray. Ronan helped fuel the #MeToo movement by creating Catch and Kill (book, podcast, and HBO series) on disgraced movie mogul Harvey Weinstein. Farrow published similar sexual harassment/assault take-downs on Governor Andrew M. Cuomo, Supreme Court associate justice Brett Kavanaugh, Matt Lauer, Les Moonves, and more. It all likely stemmed from the Surveilled star's real-life estrangement from his 89-year-old famous father after Mia accused the disgraced filmmaker of molesting their adopted daughter Dylan at age seven in 1992. But Farrow did reveal in Interview last week that her character does most of the heavy lifting: 'Mostly it was me, because if you read the script, I initiate just about every conversation' In the end, the Rosemary's Baby alum lost the Tony Award to Succession alum Sarah Snook, who made her Broadway debut as the titular role in The Picture of Dorian Gray One week later, Allen - who was never charged or prosecuted - sued Mia for full custody of Ronan and her adopted children Dylan and Moses. In his 33-page decision in 1993, Justice Elliott Wilk rejected Woody's (born Allan Konigsberg) bid for custody of all three children and called his behavior toward Dylan 'grossly inappropriate' while also rejecting the sexual abuse allegations. And while 39-year-old Dylan still stands by the allegations, her 47-year-old brother Moses publicly denied she was ever abused and alleged Farrow had abused him in a 2018 WordPress post. In 1997, the four-time Oscar winner married the Golden Globe winner's adopted daughter Soon-Yi Previn - with whom he had a secret affair in 1992 - and they later adopted 25-year-old daughter Bechet Allen and 24-year-old daughter Manzie Tio Allen. Tony Awards 2025 nominees Best Musical Buena Vista Social Club Dead Outlaw Death Becomes Her Maybe Happy Ending Operation Mincemeat: A New Musical Best Revival of a Play Eureka Day — Author: Jonathan Spector Romeo + Juliet Thornton Wilder's Our Town Yellow Face — Author: David Henry Hwang Best Performance by an Actor in a Leading Role 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 Performance by an Actor in a Leading Role 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 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 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 Direction of a Play Knud Adams — English Sam Mendes — The Hills Of California Sam Pinkleton — Oh, Mary! Danya Taymor — John Proctor Is The Villain Kip Williams — The Picture Of Dorian Gray Best Book of a Musical Buena Vista Social Club — Marco Ramirez Dead Outlaw — Itamar Moses Death Becomes Her — Marco Pennette Maybe Happy Ending — Will Aronson and Hue Park Operation Mincemeat: A New Musical — David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts 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 Scott Pask — Good Night, and Good Luck 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 Reiffenstuel — Stranger Things: The First Shadow 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 Wasileski — John Proctor Is The Villain Nick Schlieper — The Picture Of Dorian Gray 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 Nick Powell — The Hills Of California Clemence Williams — 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 Best Play English — Author: Sanaz Toossi The Hills of California — Author: Jez Butterworth John Proctor Is The Villain — Author: Kimberly Belflower Oh, Mary! — Author: Cole Escola Purpose — Author: Branden Jacobs-Jenkins Best Revival of a Musical Floyd Collins — Book/Additional Lyrics: Tina Landau; Music & Lyrics: Adam Guettel Gypsy Pirates! The Penzance Musical Sunset Blvd. 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 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. Jennifer Simard — Death Becomes Her 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 Best Performance by an Actress in a Featured Role 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 Joy Woods — Gypsy Best Direction of 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 Original Score (Music and/or Lyrics) Written for the Theatre Dead Outlaw — Music & Lyrics: David Yazbek and Erik Della Penna Death Becomes Her — Music & Lyrics: Julia Mattison and Noel Carey Maybe Happy Ending —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 Orchestrations Andrew Resnick and Michael Thurber — Just in Time Will Aronson — Maybe Happy Ending Bruce Coughlin — Floyd Collins Marco Paguia — Buena Vista Social Club David Cullen and Andrew Lloyd Webber — Sunset Blvd. 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 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 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 Musical Jonathan Deans — Buena Vista Social Club Adam Fisher — Sunset Blvd. Peter Hylenski — Just In Time Peter Hylenski — Maybe Happy Ending Dan Moses Schreier — Floyd Collins
