Some Plucky Thoughts on the Tony Award Nominations

After seeing nearly the full slate off Broadway shows this season, some thoughts on the Tony Award nominations that were announced on Tuesday:

— She was robbed. I am shocked that Laura Linney was not nominated for her masterful performance in "Summer, 1976," though very happy her co-star Jessica Hecht (of West Hartford) was recognized in this two-actor play.

There were just four nominations allowed for the women actors compared to the five  slots for the male actors. It had to do with the number of leading women roles eligible. Still…It's not that the Tony folks haven't twisted themselves into pretzels to alter the rules when it suited them. If this doesn't

make the case for gender-less categories I don't know what does. (BTW: I'm still pissed Linney wasn't sufficiently awards-recognized for her stunning performance over the years in  TV's "Ozark.")

— She was robbed, Part 2: Equally shocked that Susan Stroman, whose fluid, constantly inventive and heartfelt direction in "New York, New York" was overlooked. She is hands-down the best director of musical theater around and what she did with "New York, New York" is nothing short of miraculous. That show — a risky venture from the start — triumphed principally because of the vision of  its director.

— A big yahoo for the easily derided (at first) but enormously entertaining "Shucked." Up until "New York, New York," I though this delightful cornball show had a great chance of nudging a win over the very good "Some Like It Hot," pulling an "Avenue Q" (when that outliner show famously stole the Tony from "Wicked" — and what an 'Oops' that was in retrospect). But "New York, New York" opened and gave me that sense of Broadway wow, reminding me a little of "Moulin Rouge"'s less-than-great book and predictable characters — but dazzling in its overall theatrical impact.

—'Mo is More: I'm very happy that "Ain't No Mo" recveived so many nominations despite its short run and long-ago closing It's a terrific play and production, and as they say, it's an honor to be nominated (and remembered) and this will greatly help the play being done elsewhere.

— Disappointed that Gavin Creel wasn't nominated for his doubly-delicious tastes there Wolf and the Prince in "Into the Woods" at the very start of the season. Granted it was a very competitive category: Kevin Cahoon ("Shucked"),Justin Cooley ("Kimberly Akimbo"), Kevin Del Aguila ("Some Like It Hot"), Jordan Donica ("Camelot") and Alex Newell, "Shucked")  — but I would have added Creel or replaced Donica (who I found bland and a bit of a bore as Lancelot) with the  hysterical performance by Creel.

—  Pulitzerarama: I'm surprised that so few writers are mentioning that THREE Pulitzer Prize winners are in competition for best new play: "Fat Ham," "Cost of Living" and "Between Riverside and Crazy," all worthy of a Tony. No doubt they will all nudge out the seriously playful "Ain't No Mo'" and the almost-good "Leopoldstadt." (It's the first time I ever wished a Tom Stoppard play was LONGER so I could get to know some of his sketchily drawn characters — or at least time to figure who everyone was in each act.) Who will win among the three? I loved them all but also wonder if voters will be swayed by sentiment over excellence and give the trophy to Stoppard who turns 86 in July.

A few no-brainers for me for several categories: The Tony should go to directly to Donna Zakowska (costumes), Ken Billington (lighting),  Beowulf Boritt (sets), Susan Stroman (choreography), all for "New York, New York," my favorite and most satisfying new musical of the year. (I also had a great time at "Some Like It Hot" and "Shucked" and greatly admired "Parade" and much of "Kimberly Akimbo.")

— Pissing in the pool: I'm not surprised that Sara Porkalob (playing Edward Rutledge) was not nominated for the all-women "1776" revival following her careless and hurtful comments about her own performance, her director and the show itself. True the production received mixed reviews but it wasn't entirely without merit, including, ironically,  Porkalob's own very good performance.

— A close shave: Happy to see that Josh Groban — after several critics sniffed at his performance — received a well-deserved nomination for his magnificently sung and wonderfully acted Sweeney Todd. Annaleigh Ashford deserves top honors as lead actress in that musical. But I was surprised that Gaten Matarazzo wasn't nominated for his role as Tobias in that packed-to-the-gills category of featured Actir in a musical. He was terrific.

Wonderkid: If there were a Tony for "best find of new find of the season, " I'd give it to Justin Cooley from "Kimberly Akimbo," who not too long ago was performing in high school musicals and this season gave one of the freshest performances on stage I've seen in ages. A natural — and a keeper.

New categories — And while Im inventing new categories let me add one for solo work — and another for ensemble. Something to recognize the special talents of Mike Birbiglia? I wish Lea Michele could get a special Tony for saving “Funny Girl.”

Tony Show Tips — The Tony Awards telecast should  be terrific this year. I just hope the nominated musicals don't try to cram their entire show into a three-minute meaningless collage that diffuses their shows. Pick one great number and do it well. ("The Band's Visit" and "Fun Home" as memorable examples from the past telecasts and whose moments I still fondly recalls, and not the musical hodgepodges that are so often presented). And maybe a special moment for the late great Dame Edna.

Just a few of my favorite moments of the season — The charming and super-talented  Colton Ryan bringing the entire audience to a hush as he sings my favorite Kander and Ebb song "A Quiet Thing," exquisitely, quietly. J. Harrison Ghee's song of self-discovery  in "Some Like It Hot." Alex Newell simply stopping the show in "Shucked." Annaleigh Ashford’s stair-slide in "Sweeney Todd." So many great turns not only by the leads but by the extensive featured cast in "Parade,"  including those by Sean Allan Krill, Jay Armstrong Johnson, Douglas Lyons, Courtnee Carter and Alex Joseph Grayson  .Ken Billington’s magical lighting moment on “New York/New York” that Manhattanites can take to heart. And I'll not soon forget Marchánt Davis; extraordinary fired-up preacher riff which gets "Ain't No Mo'"off to a helluva start. ("Can I get a Chaka Khan?")