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| re: If you think the Tonys are all Moishe Kapoyr | |
| Last Edit: Chazwaza 06:36 pm EDT 08/29/20 | |
| Posted by: Chazwaza 06:26 pm EDT 08/29/20 | |
| In reply to: re: If you think the Tonys are all Moishe Kapoyr - BroadwayTonyJ 11:43 am EDT 08/29/20 | |
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| But how could anyone have given the Tony to Orbach for Promises Promises over Daniels in 1776?! Beyond the level of challenge of the roles, not only is John Adams the indisputable lead of 1776, he is the ONLY lead. Everyone else is supporting or featured in 1776... but Promises at least has 2 lead roles. AND 1776 is a much better and more impactful/memorable musical, if you ask me (and history/culture, as it would seem). And it WON Best Musical! That year baffles me... for this reason AND the criminal and bizarre exclusion of a BEST SCORE category when the eligible scores included: 1776, Hair, Zorba, Promises Promises, AND Dear World!! It was one of the best years for a Best Score category... ever? And I don't know why they'd not want the chance to give 1776 the top prize but give Hair best score, and show the awards are down with new styles and young audiences and progress etc. And Hair deserves a Best Score Tony (any of those aforementioned shows deserves one honestly - Zorba is one of K&E's finest scores, top 4 for me even now when there are 9 other scores to pick from (for me it's Cabaret, KOTSW, Chicago, Zorba) and Dear World is one of Herman's finest scores too even if the show failed... either score is Tony worthy, as are the others, including 1776 even if the book outshines it). I'm sure i've asked this before and if anyone answered i didn't retain it... why did this happen? There's nothing about it on the wiki page for that year or the award in general. |
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| re: If you think the Tonys are all Moishe Kapoyr | |
| Last Edit: WaymanWong 12:23 am EDT 08/30/20 | |
| Posted by: WaymanWong 12:15 am EDT 08/30/20 | |
| In reply to: re: If you think the Tonys are all Moishe Kapoyr - Chazwaza 06:26 pm EDT 08/29/20 | |
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| Chazwaza, I don't know why the Tonys dropped the categories of Best Book and Best Score in 1969 (and 1970), but the Tony for Best Musical then included the librettist, lyricist and composer. So when ''1776'' won Best Musical, the prize not only went to the producer, Stuart Ostrow, but also to Peter Stone and Sherman Edwards. And the following year (1970), Best Musical went to ''Applause,'' so the prize went to the producers (Joseph Kipness and Lawrence Kasha), librettists Betty Comden and Adolph Green, composer Charles Strouse and lyricist Lee Adams. In 1971, the Tonys would revert to form, where Best Musical went to the producers and there were separate Tonys for the book writer and composer and lyricist. Perhaps the change in 1969 and 1970 was implemented to reflect the Tony for Best Play (which usually goes to the producer and playwright). Oddly enough, between 1966 and 1968, the Tonys also didn't give out Best Book. The Best Musical winner also incorporated the producer, the book writer and the composer and lyricist. And yet, the Tonys still gave out a Best Score during those years. So, for 1966's ''Man of La Mancha,'' Mitch Leigh and Joe Darion won 2 Tonys: for Best Musical and Best Score. In 1967, Freb Ebb and John Kander would win 2 Tonys for ''Cabaret'': for Best Musical and Best Score. ... Maybe the Tonys dropped the Best Score in 1969 and 1970 to avoid this kind of double-dipping. I'm glad the Tonys separate Best Musical and Best Score; they don't always go hand-in-hand, and nowadays with all the jukebox shows ... |
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| re: If you think the Tonys are all Moishe Kapoyr | |
| Posted by: BroadwayTonyJ 09:15 pm EDT 08/29/20 | |
| In reply to: re: If you think the Tonys are all Moishe Kapoyr - Chazwaza 06:26 pm EDT 08/29/20 | |
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| I agree with everything you are saying. However, I'm pretty sure Orbach won most of the pre-Tony awards that season and might have won the Best Musical Actor Tony even if Daniels had been nominated in his category. I believe there was considerable sentiment that it was Orbach's year. | |
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