Top 10 Tony Categories That Should Exist
#10: Separate Awards for Music & Lyrics
We think it’s great that the Tonys already recognize the Best Original Score of the season – but wouldn’t it make sense to actually split this up into two separate categories, Best Music and Best Lyrics? They actually did this once, back in 1971, and it makes sense. After all, sometimes a show can have really enthralling music but really boring lyrics – or vice versa. Splitting the award into two categories would rectify that problem. They could even keep the Best Original Score category, perhaps awarding it for the score whose music and lyrics work together to best fulfill the dramatic requirements of a musical.
#9: Best Hair/Makeup
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It’s actually hard to believe that there isn’t a separate Tony Award for hair and make-up. Technically, the hair and makeup design is already considered and lumped into Best Costume Design. Really? And how many voters actually take that into consideration when voting in that category? How many of them even know they’re supposed to? Hair and makeup are such an incredibly vital part of delineating a character – especially onstage, where actors often play several different characters in one play. The special artistry involved in this branch deserves to be recognized apart from the costumes.
#8: Best Special Effects
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The stage has always had a place for shows with visual flourishes. Now more than ever, with special effects having advanced so far, it’s time that they were recognized with their own special award. What would “Harry Potter and the Cursed Child” be without its spells and levitating objects? Or “Peter Pan” without its flying? And would anyone have gone to see “Spider-Man: Turn Off the Dark” if they had talked about all the action instead of showing it? Projections are becoming more and more common as part of a show’s overall design. The Oscars have recognized technical wizardry for years. Come on, Tonys, catch up!
#7: Best Stage Manager
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Without the stage manager, there is no show – period. They meticulously take notes during rehearsals to make sure every element of the show is in place when performances start. While the show is on, they are in charge of making sure that every technical cue comes at the correct time. At least once a week, they may rehearse the understudies so they can be prepared to go on. And they take over from the director after a show opens, giving the cast notes on how the performances are and what changes need to be made. The work they do is basically invisible, so how one could determine who is “best” is a question. But there’s no question they deserve an award.
#6: Best Replacement
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Taking over a role in a show that has been running for a while is a huge challenge. Yet, replacements often manage to equal or even outshine the actors they are following, making a part entirely their own. Reba McEntire, for example, was considered by many a better Annie Oakley than Bernadette Peters, who first starred in the revival of “Annie, Get Your Gun.” The same has been said of Emma Stone replacing Michelle Williams in “Cabaret,” and goodness knows people have their favorite Glinda and Elphaba. And Judy Kaye became a star by replacing Madeline Kahn in “On the Twentieth Century.” Why no regular Tony to recognize these and similar achievements - or (x-ref) one for the understudy who must go on at a moment’s notice?
#5: Best Playwright
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Tony does have a Best Play award, which goes to the author and the producer. But that award should really be for the producer, and should recognize the production in which all the elements – writing, acting, directing, technical, etc. – come together to create the best straight play theatrical experience. At several points in its history, there has been a separate Best Author Tony, which went strictly to the playwright. It was last awarded in 1965, when Neil Simon won for “The Odd Couple” and Best Play went to Frank D. Gilroy’s “The Subject Was Roses.” A separate Best Playwright award would recognize first class writing that might go unrecognized due to a poor production.
#4: Breakout Blowout
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In 1948, at the second Tony Award ceremony, June Lockhart and James Whitmore won the only Tonys for Best Newcomer. A regular Breakout Blowout category is way past due. Without it, incredible recent breakouts by the likes of Sydney Lucas in “Fun Home” and Alex Brightman in “School of Rock” didn’t get Tony recognition. This category would be especially welcome in years when there is fierce competition in certain acting categories. Hey, the Grammys have been honoring Best New Artist for years; Tony, get with the beat.
#3: Best Conductor & Musical Director
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This is another discontinued category – and it’s kind of mystifying why. From 1948 through 1964, conductors and music directors were lauded for their incredible contributions. Without good people in these slots, the musical values of a show can diminish to the point where the quality of the score is impossible to determine. They help create the original “shape” and tone of the score during rehearsals – and then make sure it stays crisp and precise during a long run. Believe us, with sloppy music direction and conducting, audience enjoyment of a show is severely impacted.
#2: Best Song
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Some people may argue that Best Song is unnecessary, since the Best Score is already recognized. But it’s undeniably true that the overall best score may not contain the song that was truly the most outstanding of the year. By the same token, many inferior scores have boasted one or more dazzling songs. “Hamilton” had the most impressive score of its year, but some consider “She Used to Be Mine” from “Waitress” to deserve recognition. Ditto “Me and the Sky” from “Come from Away,” despite “Dear Evan Hansen” winning Best Score. And who knows? Maybe they should also recognize the Best Musical Number and the Act One Finale of the year, both of which award how production values add to a single musical moment. Before we unveil our top pick, here are a few honorable mentions. Best Dancer Most Impressive Vocal Performance Best Orchestra
#1: Best Ensemble
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Although some could argue for Tonys for Ensemble Casts of (x-ref) Plays and Musicals – meaning entire casts that have a significant impact – this award is designed to recognize the outstanding contributions of a singing and dancing ensemble in a musical. Think of “Hello, Dolly!” with lackluster waiters or “Fiddler on the Roof” with unconvincing citizens of Anatevka. And how stirring would “Les Miserables” be if the great unwashed weren’t so great? Truth to tell, though the stars tend to get all the acclaim, in most musicals it’s the ladies and gentlemen of the ensemble who do the most – and the hardest – work. It’s long past time they got their due on the Tonys!
