In our awards-show glutted culture, theres nothing unusual about ceremonies that work tirelessly to convince us that they dont take themselvestooseriously.
Whats so wonderful about theTony Awards, by contrast, is how seamlessly it blends a celebration of the august and rarified art oftheaterwith the exuberant, zero-chill joy of being a theater geek.
With their winking, witty opening number entitled This Is for the People Who Lose, hosts Josh Groban and Sara Bareilles kicked off the 72nd annual Tony Awards with the mix of showmanship, self-deprecating humor, and good-natured egalitarianism that would continue throughout the night.
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Neither one of us has every won anything, the duo sang cheerfully, before inviting ensemble players from every Tony-nominated musical on stage to join them for a rare moment of spotlight glory.
Though the ceremony was flush with big stars Andrew Garfield, taking home Leading Actor in a Play forAngels in America; Tina Fey, introducing her new musicalMean Girls; Bruce Springsteen, accepting a special Tony Award forSpringsteen on Broadway on the Tonys stage, everyone is quick to embrace their inner underdog.
Whether it wasCrazy Ex-Girlfriendstar Rachel Bloom, who peppered her backstage commentary with pointed asides about her tortured inner life (If the mean girls from my youth could have sung and danced, maybe them calling me an ugly loser who would never find love would have been more palatable), or our charming hosts, who gamely rattled off a list of the many uncool places you’re able to hear their music (a hotel elevator, a romantic comedy starring Kate Hudson, your moms RAV4), we were reminded again and again that success is, in so many ways, a choice.
Perhaps Ariel Stachel winner of Best Performance by an Actor in a Featured Role in a Musical forThe Bands Visit said it best: I want any kid whos watching to know your biggest obstacle may turn into your purpose.
Its a sentiment that certainly applies to the kids from the Marjory Stoneman Douglas High School theater department, whose performance ofRents Seasons of Love earned the most genuine standing ovation of the night and left the A-list crowd wiping away tears.
The Tonys have always been the most democratic of all the awards show, bringing the best moments of pricey Broadway productions to the masses over the free airwaves of broadcast TV.
This years performances were varied and delightful: The playful razzle-dazzle of Squidwards four-footed tap dance inSpongeBob Squarepants: The MusicalsIm Not a Loser; the bounding, balletic beauty ofCarousels Blow High, Blow Low; and the immersive joy ofOnce On This Islandsshowstopper Mama Will Provide these toe-tapping numbers no doubt sent the hearts of aspiring young thespians across the country aflutter.
The winners and presenters mostly avoided making overtly political statements, preferring instead to keep their messages of tolerance and equality more muted and oblique like Garfields earnest plea to just bake a cake for everyone who wants a cake to be baked!
The exception, of course, was Robert De Niro, who prefaced his introduction of Bruce Springsteen witha profane message for our current White House occupant.
The quick CBS censors were able to mute the actors f-bomb in time, and honestly, it was kind of a relief.
Broadway is about entertainment and escape as Groban and Bareilles sang in their opening number, In a world that is scary and hard to endure, if you make art at all youre a part of the cure and this years Tonys delivered both, in restorative doses.Grade: B+
