I loved Here Lies Love and the score was wonderful and fun, but the show felt a little too straight-forward and surface level in its exploration of the subject and character. It was an awesome theatrical experience and the score was the key part of it, with the staging and cast as the other two parts. But I never think about it beyond that, and I wish it made me think more. And honestly, for some weird reason, I think it's one of the few original musicals I've seen and loved and not listened to the cast album of since I saw it.
Had it been on Broadway the year it was off-broadway, it would have competed against either the 2013 group: Kinky Boots (winner), Matilda, Hands On a Hardbody, A Christmas Story OR 2014 group: Bridges of Madison County (winner), Aladdin, Gentleman's Guide, If/Then.
I think you're right... in either year, it deserved Best Score, and would probably have easily won it. (Kinky Boots, to me, is one of the laziest and least interesting scores to ever win a Tony - so I'd have happily seen Bryne take it that year instead... and I say that as a definitely Lauper fan, for the record)
I also dare day it would have won Best Musical either year as well. More easily in 2014 but still.
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