| re: A major new play from 2017 | |
| Posted by: Chazwaza 04:52 pm EDT 04/27/24 | |
| In reply to: re: A major new play from 2017 - theaterisok 02:11 pm EDT 04/27/24 | |
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| My pleasure. Now watch me be wrong and Mary Jane is a revival. The difficulty in getting new work on Broadway, even if produced in a non-profit off-broadway season of a subscriber based company in nyc, should really dictate new ways of seeing what is considered a revival. How unfair for plays and musicals that were never eligible for Tonys to be considered "revivals" and not eligible for writing awards or Best Play / Musical. I think it's a much more complicated discussion when you have a show like Little Shop, Assassins, or Hedwig, which were performed very very often around the world for over a decade each before being done on Broadway, two getting an incredible film versions years before broadway too. Hard to argue that those are actually eligible as "new", except for what should possibly be the foundational element... that they never competed for Tony awards before. Harder to say with something like Violet, deemed a revival, but much less popular and only unknown especially compared to Little Shop, Assassins and Hedwig, and never eligible for writing Tonys. Then it's a debate of zeitgeist and exposure to the script/score/premise ... and how many productions, and in what kinds of theaters, constitute it being considered in the repertoire of produced plays in America. I wonder if there's a middle ground where a musical that's never been on Broadway gets to be eligible for Best Score and Best Book, but not Best Musical. (they could literally change it to Best New Musical, and Best Score (not previously eligible for Tony consideration) if they want)... but that does nothing for plays. Though I would be interested in having Best Play and Best Production of a Play. And then you have something like the play Fortune's Fool which was nominated for Best Play at the Tonys over 150 years after it was written, but it was the first production. I'm sure it's a conversation they'll continue having as we see more situations like this, with plays like Cost of Living, Appropriate, Mary Jane, making it to broadway years after premiering in NYC off-broadway, but with various levels of popularity since. |
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