So the Tonys just need to give that audience what they want: a dozen performances, a dozen tear-filled, fiercely individualistic speeches and a precise three-hour running time.Īriana DeBose was a solid host last year and she may have been even better suited for this year’s cheekily “unwritten” show. The Tonys have their audience, and even if that audience is small, it’s DEVOTED. The Tonys, however, don’t care, and CBS - God bless ’em in this one particular case, though not for the needless muting of Michael Arden’s acceptance speech - only seems to care a little. Hosts and big-name presenters improve ratings and improve viability. Or at least they think they do, which the diminishing returns for the recent wave of un-hosted awards shows confirmed. Other shows require a host and presenters to deliver written or written-adjacent bits in order to set and maintain a tone. Sunday’s Tonys telecast was the first major awards show mounted in our current moment of labor unrest, and the show, produced by Ricky Kirshner and Glenn Weiss, succeeded with a formula that no other gala can reproduce. Well, let’s just say that I’m on Expedia trying to price a trip to the Big Apple for some theatrical catch-up. So when the WGA and the show’s organizers reached a compromise - the WGA wouldn’t picket, but no writers could work on the Tonys telecast - it felt honorable and, beyond that, imperative for maintaining Broadway’s still-fragile equilibrium coming out of the pandemic. The Tonys keep Broadway going and, with it, the entire theatrical craft. But if those other industries get a boost or general infusion from their respective kudos-fests, Broadway gets full-on dialysis. Tom Cruise's 'Mission: Impossible - Dead Reckoning, Part One' Sprinting Toward Franchise-Best $90M OpeningĮvery award show is, by nature, half a commercial for the industry being honored and half a nice chance to honor talented people.
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