"The Kid Stays in the Picture" and "The Ferryman" will each be co-produced by leading commercial theater producers, Barbara Broccoli ("The Kid") and Sonia Friedman ("The Ferryman").
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GREEN I liked "Ferryman" and thought the production was exceptional.
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I picked it up after seeing 'The Ferryman' on Broadway.
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The Ferryman is currently running at the Bernard B. Jacobs Theatre.
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What's remarkable about The Ferryman is how effortlessly it invites you in.
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Like everything else in "The Ferryman," those nonspeaking performers are indisputably alive.
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David Korins, Beetlejuice Best Costume Design of a Play Rob Howell, The Ferryman
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"The Ferryman," by the "Jerusalem" writer Jez Butterworth, will as well, the company said.
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On our glorious boat ride back from the glacier, our ruddy ferryman was beaming.
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"It's kind of like putting water in a rock and freezing it," Ferryman said.
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The Tate acquired William Stott of Oldham's "Le Passeur (The Ferryman)" (19513) for £1.5 million.
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In Ferryman, though, the interplay of history, lore, and contemporary lives isn't redemptive but troubling.
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But a majority of those surveyed are sticking with "The Ferryman," citing its scale and skill.
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"The Ferryman," about a family in Northern Ireland during the Troubles, was named best new play.
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I ran into a director on the subway this morning, and he saw the "Ferryman" vs.
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Another big winner of the night was Jez Butterworth's "The Ferryman," which picked up three awards.
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Todd Ferryman, superintendent of Access Limited Construction, and his men have been drilling holes into boulders.
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It's possible to read "The Ferryman" as a treatise on the tension between history and the family.
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With "The Ferryman," Mr. Butterworth is again assessing the chokehold of a nation's past on its present.
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"I couldn't call myself a producer if I didn't bring 'The Ferryman' to New York," she said.
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"Ferryman" has a lot to say about civil sectarianism and violence, and how storytelling can feed them.
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And you'll want to get tickets to "The Ferryman," I reckon, after reading this Ben Brantley rave.
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"The Ferryman" has the true Aeschylean tone, almost wallowing in the way violence tells an archetypal human story.
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Rob was stunned by Jez Butterworth's The Ferryman, a powerful family tragedy set in Northern Ireland in the 1980s.
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If that makes "The Ferryman" sound like the stage equivalent of a best-selling page turner, well, it is.
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Charon, named after the ferryman of the underworld's River Styx, will have features associated with fictional space voyagers and vessels.
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Behind his desk was a large poster for "The Ferryman": "This family can take care of its own," it read.
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A boat itself suggests the barge of Charon, the ferryman who carried dead souls across the river Styx to Hades.
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That's certainly the case with Jez Butterworth's "The Ferryman," which has been nominated for nine Tony Awards, including Best Play.
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Its teeming expansiveness rivals that of "The Ferryman," Jez Butterworth's Tony Award-winning portrait of rural Ireland during the Troubles.
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One of the "MoMA-owns-this?" surprises in "Outliers" is Dominique-Paul Peyronnet's "The Ferryman at Moselle," from around 1934.
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And Jez Butterworth, the "Ferryman" playwright, held court at a table strewn with glasses, a wine bottle and his trophy.
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The breakthrough comes in the aria "Possente spirito"—the plea for mercy that Orpheus delivers to Charon, the ferryman of Hades.
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Based on a nonscientific, but diligent, survey of voters, it looks like "Hadestown" and "The Ferryman" will take the top prizes.
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Take "The Ferryman," about the seemingly unending cycle of political violence in Northern Ireland as it affects one family in 1981.
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THE FERRYMAN It's harvest day in Northern Ireland in 1981, and the huge Carney family is celebrating, though a tragedy looms.
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"The Ferryman" employs both a live goose and rabbit for the show, keeping the animal handler Rochelle Scudder, left, very busy.
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With 21 actors, a baby, a bunny, and a goose, The Ferryman sports the kind of ensemble typically reserved for musicals.
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The Ferryman wonders whether violent revolution in pursuit of restorative justice is inevitable when the souls of the dead cannot rest.
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Go: Jez Butterworth's Tony-nominated family drama "The Ferryman" retains its fierce grip with a new cast led by Brian d'Arcy James.
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"The Ferryman," about a family in Northern Ireland during the Troubles, was named best new play, and "Oklahoma!" won best musical revival.
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For me, the miracle of "The Ferryman" isn't just its ability to make all those many component parts work in such suspenseful synchronicity.
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Featuring its excellent original stars, Laura Donnelly (whose family's history partly inspired the plot) and Paddy Considine, "The Ferryman" begins previews on Oct.
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I didn't want to die, don't get me wrong, but I was like, Well if the ferryman comes tonight, I got to pay him.
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I have turned off the engine, there are hardly any other cars on the ferry, I wave to the ferryman and he waves back.
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Tony Award predictions: Our annual survey of voters found support for "Hadestown" for best musical and "The Ferryman" in the race for best play.
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In Greek mythology, Charon is the ferryman of Hades, transporting the souls of people who've just died across the river Styx to the underworld.
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The original cast — Simon Russell Beale, Ben Miles and Adam Godley — will continue with the production as will the director, Sam Mendes ("The Ferryman").
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And "The Ferryman," a sprawling drama whose title alludes to the boatman who brings souls to Hades, is leading in the race for best play.
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Many cultures in antiquity have buried their dead with coins as a way to pay a mythical ferryman to take their souls into the afterlife.
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" But "The Ferryman" also feels as if it's a cousin to that other memorable melodrama about a big family under one roof, "August: Osage County.
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News. During a trip last week the two reportedly went on a date to see Sam Mendes' play Ferryman while Affleck was in London for work.
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That's where Jez Butterworth's thrilling new play "The Ferryman" opened on Sunday night, with a generosity of substance and spirit rarely seen on the stage anymore.
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If this sounds forbidding, rest assured that "The Ferryman," which stars the magnetic Paddy Considine as the head of a ginormous family, never feels remotely polemical.
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Go: On Broadway, the playwright Jez Butterworth's Tony-nominated family drama "The Ferryman" retains its fierce grip with a new cast led by Brian d'Arcy James.
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The three lead singers—Charon (the ferryman to the underworld), La Mort (Death) and Jean-Charles, the sailor—travelled between the worlds of the dead and living.
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The saddest wicker paint peeling nets and phlegm sound of that last anchor borne aloft hand over hand, dangling, the ferryman aware of what this might mean.
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Charon, the ferryman who's tasked with transporting the souls of the dead to the gates of Hades, appears stuck in place with no water to row in.
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The Ferryman clocks in at around three hours, and I easily would have sat for four, so rich are its characters and so engaging are its performances.
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Yet, like a James Joyce short story in which the everyday and the eternal live cheek by jowl, "The Ferryman" seems to sprawl over an entire, divided country.
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Mr. Villing, a lifelong ferryman who is 70, has spent the past 853 years helping people reach that sandy Shangri-La known as Fire Island, on summer weekends.
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The night belonged to "Ferryman," which considers Ireland's Troubles as refracted through a boisterous household that includes adults and children, plus a baby, a goose and a rabbit.
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He is also a devoted reader of Virgil, whose "Aeneid," and its account of its hero's visit to the shores of the underworld, gives "The Ferryman" its title.
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The sheltered port is now a marina for super-yachts, although a wizened ferryman shuttles humbler travellers from the Birgu quays to those of Senglea, directly across from them.
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The chief theater critics for The New York Times both think that Sam Mendes should and will win a Tony Award next month for directing "The Ferryman" on Broadway.
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After "The Ferryman" ends — probably well after — you may start to disassemble it in your mind, and realize how many of the conventions of old-fashioned melodrama it honors.
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But "The Ferryman," which opened at the Bernard M. Jacobs Theater in October after a London run, has presented extra logistical challenges for the multitudes working on the production.
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To his surprise, he found that Charon was the name of the mythological ferryman who carried souls across the river Acheron, one of the mythical rivers surrounding Pluto&aposs underworld.
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Best play frontrunner is British playwright Jez Butterworth's "The Ferryman," a wrenching examination of a family during the sectarian violence in Northern Ireland in the 1980s that garnered nine nods.
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Like "Jerusalem," which probed the British yearning for a lost mythic grandeur, "The Ferryman" portrays a people in thrall to millenniums of history, in ways they're not always aware of.
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"The Ferryman," a London import that picked up most best play awards on offer there, is largely set in a cozy Irish farmhouse overflowing with a multigenerational abundance of family.
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"The Ferryman," British playwright Jez Butterworth's wrenching examination of a family during the sectarian violence in Northern Ireland in the 1980s, won best play and best director for Sam Mendes.
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As steeped in politics as "The Ferryman" is, those emotional dynamics were what most compelled Mr. Butterworth, a big, bearded man with dark eyes and an almost Beckettian head of hair.
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But on my most recent visit to the Bernard B. Jacobs Theater, where "The Ferryman" runs through July 7, it was the three youngest Carney girls with whom I truly identified.
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The machinery of words and stagecraft that keep these stories in full spin is so meticulously assembled that I sometimes wonder if "The Ferryman" might succeed with even a mediocre cast.
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I saw "The Ferryman," which I loved, and it's so deeply intense, and I honestly think that if an actor broke out of character, I don't think I could handle it.
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But, under the supervision of Mr. Mendes (whose command of stagecraft is also on view in the Broadway hit "The Ferryman"), each is also, always the original Lehman brother he first portrays.
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GREEN That said, I think the best play contest is going to come down to "What the Constitution Means to Me" and "The Ferryman" (with maybe a bit of "Ink" spilled too).
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Named Charon, after the ferryman in Greek mythology who transits deceased souls to Hades, it resembled a mini offshore rig, with cables snaking around dense scaffolding and a jet engine on each corner.
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"The Ferryman," a British play about a sprawling family in rural Northern Ireland that starts to unravel in a crush of heartbreaking secrets, painful resentments and revelations of past crimes, is coming to Broadway.
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Hadestown was the big musical winner of the night, collecting best new musical and a slew of other awards, while The Ferryman led the plays, winning the Tony for best new play among other honors.
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"The Ferryman" is a celebration of the human — and classically Irish — urge to give life shape through narrative, and a lamentation for those who find themselves trapped in myths that assume the inevitability of fate.
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Roman author and natural historian Pliny the Elder described the phenomenon as the "sewer of Charon" -- the mythical ferryman who rowed souls across the River Styx and Acheron and into the depths of the underworld.
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At a moment when we are increasingly polarized into walled-off communities, both geographically and ideologically, The Ferryman asks if we can remember and honor the lost and the marginalized without losing ourselves to violence.
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"The Ferryman," as you may have inferred, is Mr. Butterworth's contribution to the literature of the conflict known as the Troubles, and on one level, it recalls Sean O'Casey's epochal dramas of civil war from the 1920s.
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Once a steadfast advocate of gun controls, the governor loosened state standards in time for his presidential quest, since the National Rifle Association was waiting like Charon, the ferryman of the underworld, to guide the candidates' passage.
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After a massively successful run in London, where it won the Olivier Award for Best New Play, The Ferryman opened on Broadway to rapturous reviews that underscored how easy it is to lose yourself in this rich, lyrical work.
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"The Ferryman," Jez Butterworth's terrific play about one family's experience of the trauma of I.R.A. violence, is a hit on Broadway, and "Milkman," Anna Burns's trancelike evocation of tension and predation during the Troubles, won the 2018 Booker Prize.
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Ben Power's English-language adaptation opened at the National Theater in London last summer, overseen by Mr. Mendes, the very busy stage and film director whose gripping production of Jez Butterworth's "The Ferryman" is a current hit on Broadway.
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It's pretty clear, he writes, that "Hadestown," the folk- and jazz-inflected journey to the underworld, seems to be a shoo-in for best musical; and that "The Ferryman," Jez Butterworth's sprawling drama, is leading in the race for best play.
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"The Ferryman," a sprawling Irish drama by the English writer Jez Butterworth, won the Tony for best new play, fueled by admiration for its sophisticated storytelling, which manages to be suspenseful and funny and romantic and eerie — all at once.
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That's the effect of "The Ferryman" as a whole, and I felt it afresh watching a new, largely American ensemble led by the excellent Brian d'Arcy James as a farmer and father of seven, whose family is disastrously overtaken by its past.
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Brantley in Britain LONDON — It's a mighty full house that's presided over by Quinn Carney, the divided Irish hero of Jez Butterworth's "The Ferryman," which burst open at the Royal Court Theater here on Wednesday night, where its run is already sold out.
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In Italy, there is a word for the manager who is called in when the warning lights are flashing and the fans are in revolt: traghettatore – the ferryman, the person who guides you through choppy waters to the safety of the bank.
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CreditCreditSasha Arutyunova for The New York Times Onstage the other night at "The Ferryman," Jez Butterworth's wrenching play about an extended family in 1980s Northern Ireland, nearly two dozen people were embarking on another evening of love, lust, dancing, drinking, politics and violence.
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He likes to frame the small-scale events of his plays as great epics; in his most successful play, 2009's Jerusalem, and again in Ferryman, he pairs distinct class and regional consciousness with references to mythology and great works of poetry and literature.
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" Des McAnuff, "Ain't Too Proud: The Life and Times of the Temptations" Casey Nicholaw, "The Prom" Best Leading Actor in a Play Bryan Cranston, "Network" Paddy Considine, "The Ferryman" Jeff Daniels, "To Kill a Mockingbird" Adam Driver, "Burn This" Jeremy Pope, "Choir Boy" Best Leading Actress in a Play Annette Bening, "All My Sons" Laura Donnelly, "The Ferryman" Elaine May, "The Waverly Gallery" Janet McTeer, "Bernhardt/Hamlet" Laurie Metcalf, "Hillary and Clinton" Heidi Schreck, "What the Constitution Means to Me" Best Leading Actor in a Musical Brooks Ashmanskas, "The Prom" Derrick Baskin, "Ain't Too Proud: The Life and Times of the Temptations" Alex Brightman, "Beetlejuice" Damon Daunno, "Oklahoma!
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Kevin will meet the ferryman Charon, the transporter of souls from the world of the living to the world of the dead and upon his boat, Kevin will make a deal with the noble Charon to live out his eternity in the King of Queens universe.
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"The Ferryman," written by Jez Butterworth and directed by Sam Mendes , also up on Broadway (at the Bernard B. Jacobs), after a highly praised run in London, depicts another family—one just as close and just as verbose as Gladys's, but about five times the size.
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Yet Jez Butterworth, the author of "The Ferryman," wasted his minute with a uxorious tribute to his partner and star, Laura Donnelly — sweet, I guess, but useless as a way of letting viewers know what his play, which later took home the big prize, is really about.
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Ah, scale — that inevitably brings me to the battle for best play, which by many accounts will be a face-off between "The Ferryman," with its three acts and 21-person cast, and "What the Constitution Means to Me," a three-person, one set, quasi-monologue.
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But the most lauded play of the past season here, Jez Butterworth's "The Ferryman," which is scheduled to open in New York in October, fielded three casts during its London run — a testament to the title being the box-office draw, as opposed to a specific individual.
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Factor in the focus on the Troubles that courses through the West End's reigning hit play, "The Ferryman" by Jez Butterworth, and you have a renewed theatrical interest in Irish sectarian politics, with "Continuity" acting as a small-scale complement to Mr. Butterworth's more far-ranging drama.
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The first thing you'll notice about Jez Butterworth's play The Ferryman, once you get past the hype — an Olivier Award-winning Best New Play, staged by celebrity director Sam Mendes, making its Broadway bow with nearly the entire original British cast intact — is just how big that cast is.
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" David Korins, "Beetlejuice" Best scenic design of a play Miriam Buether, "To Kill a Mockingbird" Bunny Christie, "Ink" Rob Howell, "The Ferryman" *WINNER Santo Loquasto, "Gary: A Sequel to Titus Andronicus" Jan Versweyveld, "Network" Best costume design of a musical Michael Krass, "Hadestown" William Ivey Long, "Beetlejuice" William Ivey Long, "Tootsie" Bob Mackie, "The Cher Show" *WINNER Paul Tazewell, "Ain't Too Proud" Best costume design of a play Rob Howell, "The Ferryman" *WINNER Toni-Leslie James, "Bernhardt/Hamlet" Clint Ramos, "Torch Song" Ann Roth, "Gary: A Sequel to Titus Andronicus" Ann Roth, "To Kill a Mockingbird" Best sound design of a musical Peter Hylenski, "Beetlejuice" Peter Hylenski, "King Kong" Steve Canyon Kennedy, "Ain't Too Proud" Drew Levy, "Oklahoma!
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A London hit that this year won three Olivier Awards, including best play and best director, for Sam Mendes, "The Ferryman" is a blackly comic tragedy set in rural Northern Ireland the very week that Ms. Donnelly was born — a time when republican prisoners were capturing global headlines with a fatal hunger strike.
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You can see it on Broadway in "The Ferryman," when the gentle Tom Kettle plucks a rabbit (real name Pierce) from his coat pocket — a trick that may have grown old to his neighbors in the play but is electric for the audience: this tiny, darling, pulsing presence, all fur and vulnerability.
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" David Korins, "Beetlejuice" Best Costume Design of a Play Rob Howell, "The Ferryman" Toni-Leslie James, "Bernhardt/Hamlet" Clint Ramos, "Torch Song" Ann Roth, "To Kill a Mockingbird" Ann Roth, "Gary: A Sequel to Titus Andronicus" Best Costume Design of a Musical Michael Krass, "Hadestown" William Ivey Long, "Tootsie" William Ivey Long, "Beetlejuice" Bob Mackie, "The Cher Show" Paul Tazewell, "Ain't Too Proud: The Life and Times of the Temptations" Best Lighting Design of a Play Neil Austin, "Ink" Jules Fisher and Peggy Eisenhauer, "Gary: A Sequel to Titus Andronicus" Peter Mumford, "The Ferryman" Jennifer Tipton, "To Kill a Mockingbird" Jan Versweyveld and Tal Yarden, "Network" Best Lighting Design of a Musical Kevin Adams, "The Cher Show" Howell Binkley, "Ain't Too Proud: The Life and Times of the Temptations" Bradley King, "Hadestown" Peter Mumford, "King Kong" Kenneth Posner and Peter Nigrini, "Beetlejuice" Best Sound Design in a Play Adam Cork, "Ink" Scott Lehrer, "To Kill a Mockingbird" Fitz Patton, "Choir Boy" Nick Powell, "The Ferryman" Eric Sleichim, "Network" Best Sound Design in a Musical Peter Hylenski, "King Kong" Peter Hylenski, "Beetlejuice" Steve Canyon Kennedy, "Ain't Too Proud: The Life and Times of the Temptations" Drew Levy, "Oklahoma!
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Along with being the name of the progressive rock band that visits your local outdoor music venue every summer, Styx is the mythological (well, depending on your point of view,) river that separates the world of the living from Hades, where the ferryman Charon brings the souls of the dead who can afford the fare.
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" The Irish actress Dearbhla Molloy, who is one of the stars of "The Ferryman," recalls being directed by Mendes in Gorky's "Summerfolk": "I was playing Maria Lvovna, and I had this long speech, which I had no idea how to get into, and I thought, I'll eat an apple while I do the speech.
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" SHOULD WIN: Ali Stroker SHOULD HAVE BEEN NOMINATED: Bonnie Milligan, "Head Over Heels" BEST DIRECTOR OF A PLAY WILL WIN: Sam Mendes, "The Ferryman" SHOULD WIN: Sam Mendes SHOULD HAVE BEEN NOMINATED: Joe Mantello, "Hillary and Clinton"; Sarah Benson, "Fairview"* BEST DIRECTOR OF A MUSICAL WILL WIN: Rachel Chavkin, "Hadestown" SHOULD WIN: Daniel Fish, "Oklahoma!
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Aside from pop, his curiosity has taken him on a journey through avant garde theatre, film, photography, design, soundtracks, lauded books about music and psychogeographic cycling, art curation and other areas we just don't have the space to cover—not when he's straddled so many genres and crossed over more times than the ferryman of Hades.
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" SHOULD WIN: Ali Stroker SHOULD HAVE BEEN NOMINATED: Mare Winningham, "Girl From the North Country"* BEST DIRECTOR OF A PLAY WILL WIN: Sam Mendes, "The Ferryman" SHOULD WIN: Sam Mendes SHOULD HAVE BEEN NOMINATED: Joe Mantello, "Hillary and Clinton"; Richard Nelson, "Uncle Vanya"* BEST DIRECTOR OF A MUSICAL WILL WIN: Rachel Chavkin, "Hadestown" SHOULD WIN: Daniel Fish, "Oklahoma!
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"Harry Potter and the Cursed Child" grossed $2.5 million last week — the most ever brought in by a play on Broadway — followed by Aaron Sorkin's new adaptation of "To Kill a Mockingbird," at $18.63 million; the Bryan Cranston-led "Network," at $1.4 million; and "The Lifespan of a Fact" and "The Ferryman," each of which grossed $1 million.
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Yet where a dramatic opera traditionally announces itself with bombast, The Ferryman — about a family living under the cyclical sway of political violence in Northern Ireland — is infused throughout with a deliberate lightness, a joyous humanism that attempts to counterbalance all the weight it's carrying: the weight of history, of life under oppression, of personal and communal secrets.
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" Best Scenic Design of a Play Miriam Buether, "To Kill a Mockingbird" Bunny Christie, "Ink" Rob Howell, "The Ferryman" Santo Loquasto, "Gary: A Sequel to Titus Andronicus" Jan Versweyveld, "Network" Best Scenic Design of a Musical Robert Brill and Peter Nigrini, "Ain't Too Proud: The Life and Times of the Temptations" Peter England, "King Kong" Rachel Hauck, "Hadestown" Laura Jellinek, "Oklahoma!
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It was a hit last fall at the Old Vic in London, where Matt Wolf, reviewing for The New York Times, called Foy and Smith "irresistible," and even higher-wattage live than on TV. And a spare set by Rob Howell (a Tony winner for "The Ferryman") puts the focus squarely on the acting — exactly where we want it to be.
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Though the most obvious parallel in "The Ferryman" is with her family's history, Mr. Butterworth layered in some from his own: a fierce republican whose anti-Thatcher rant is "a verbatim regular aria that my father would go into every time he saw her on the television," a gaggle of boys who are essentially his brothers, a group of girls who have the names of his mother's sisters, an old woman with a wandering mind who's a stand-in for his grandmother.
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" Santino Fontana, "Tootsie" Best performance by an actress in a leading role in a musical Stephanie J. Block, "The Cher Show" Caitlin Kinnunen, "The Prom" Beth Leavel, "The Prom" Eva Noblezada, "Hadestown" Kelli O'Hara, "Kiss Me, Kate" Best performance by an actor in a leading role in a play Paddy Considine, "The Ferryman" Bryan Cranston, "Network" Jeff Daniels, "To Kill a Mockingbird" Adam Driver, "Burn This" Jeremy Pope, "Choir Boy" Best performance by an actress in a leading role in a play Annette Bening, "All My Sons" Laura Donnelly, "The Ferryman" Elaine May, "The Waverly Gallery" Janet McTeer, "Bernhardt/Hamlet" Laurie Metcalf, "Hillary and Clinton" Heidi Schreck, "What the Constitution Means to Me" Best book of a musical "Ain't Too Proud," Dominique Morisseau "Beetlejuice," Scott Brown and Anthony King "Hadestown," Anaïs Mitchell "The Prom," Bob Martin and Chad Beguelin "Tootsie," Robert Horn Best original score (music and/or lyrics) written for the theater "Be More Chill," Joe Iconis "Beetlejuice," Eddie Perfect "Hadestown," Anaïs Mitchell "The Prom," Matthew Sklar and Chad Beguelin "To Kill a Mockingbird," Adam Guettel "Tootsie," David Yazbek Best direction of a musical Rachel Chavkin, "Hadestown" Scott Ellis, "Tootsie" Daniel Fish, "Oklahoma!
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" Santino Fontana, "Tootsie" *WINNER Best performance by an actress in a leading role in a musical Stephanie J. Block, "The Cher Show" *WINNER Caitlin Kinnunen, "The Prom" Beth Leavel, "The Prom" Eva Noblezada, "Hadestown" Kelli O'Hara, "Kiss Me, Kate" Best performance by an actor in a leading role in a play Paddy Considine, "The Ferryman" Bryan Cranston, "Network" *WINNER Jeff Daniels, "To Kill a Mockingbird" Adam Driver, "Burn This" Jeremy Pope, "Choir Boy" Best performance by an actress in a leading role in a play Annette Bening, "All My Sons" Laura Donnelly, "The Ferryman" Elaine May, "The Waverly Gallery" *WINNER Janet McTeer, "Bernhardt/Hamlet" Laurie Metcalf, "Hillary and Clinton" Heidi Schreck, "What the Constitution Means to Me" Best book of a musical "Ain't Too Proud," Dominique Morisseau "Beetlejuice," Scott Brown and Anthony King "Hadestown," Anaïs Mitchell "The Prom," Bob Martin and Chad Beguelin "Tootsie," Robert Horn *WINNER Best original score (music and/or lyrics) written for the theater "Be More Chill," Joe Iconis "Beetlejuice," Eddie Perfect "Hadestown," Anaïs Mitchell *WINNER "The Prom," Matthew Sklar and Chad Beguelin "To Kill a Mockingbird," Adam Guettel "Tootsie," David Yazbek Best direction of a musical Rachel Chavkin, "Hadestown" *WINNER Scott Ellis, "Tootsie" Daniel Fish, "Oklahoma!
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" Des McAnuff, "Ain't Too Proud" Casey Nicholaw, "The Prom" Best direction of a play Rupert Goold, "Ink" Sam Mendes, "The Ferryman" Bartlett Sher, "To Kill a Mockingbird" Ivo van Hove, "Network" George C. Wolfe, "Gary: A Sequel to Titus Andronicus" Best performance by an actor in a featured role in a musical André De Shields, "Hadestown" Andy Grotelueschen, "Tootsie" Patrick Page, "Hadestown" Jeremy Pope, "Ain't Too Proud" Ephraim Sykes, "Ain't Too Proud" Best performance by an actress in a featured role in a musical Lilli Cooper, "Tootsie" Amber Gray, "Hadestown" Sarah Stiles, "Tootsie" Ali Stroker, "Oklahoma!
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" Des McAnuff, "Ain't Too Proud" Casey Nicholaw, "The Prom" Best direction of a play Rupert Goold, "Ink" Sam Mendes, "The Ferryman" *WINNER Bartlett Sher, "To Kill a Mockingbird" Ivo van Hove, "Network" George C. Wolfe, "Gary: A Sequel to Titus Andronicus" Best performance by an actor in a featured role in a musical André De Shields, "Hadestown" *WINNER Andy Grotelueschen, "Tootsie" Patrick Page, "Hadestown" Jeremy Pope, "Ain't Too Proud" Ephraim Sykes, "Ain't Too Proud" Best performance by an actress in a featured role in a musical Lilli Cooper, "Tootsie" Amber Gray, "Hadestown" Sarah Stiles, "Tootsie" Ali Stroker, "Oklahoma!
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" Best performance by an actor in a featured role in a play Bertie Carvel, "Ink" Robin De Jesús, "The Boys in the Band" Gideon Glick, "To Kill a Mockingbird" Brandon Uranowitz, "Burn This" Benjamin Walker, "All My Sons" Best performance by an actress in a featured role in a play Fionnula Flanagan, "The Ferryman" Celia Keenan-Bolger, "To Kill a Mockingbird" Kristine Nielsen, "Gary: A Sequel to Titus Andronicus" Julie White, "Gary: A Sequel to Titus Andronicus" Ruth Wilson, "King Lear" Best choreography Camille A. Brown, "Choir Boy" Warren Carlyle, "Kiss Me, Kate" Denis Jones, "Tootsie" David Neumann, "Hadestown" Sergio Trujillo, "Ain't Too Proud" Best orchestrations Michael Chorney and Todd Sickafoose, "Hadestown" Larry Hochman, "Kiss Me, Kate" Daniel Kluger, "Oklahoma!
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" Best performance by an actor in a featured role in a play Bertie Carvel, "Ink" *WINNER Robin De Jesús, "The Boys in the Band" Gideon Glick, "To Kill a Mockingbird" Brandon Uranowitz, "Burn This" Benjamin Walker, "All My Sons" Best performance by an actress in a featured role in a play Fionnula Flanagan, "The Ferryman" Celia Keenan-Bolger, "To Kill a Mockingbird" *WINNER Kristine Nielsen, "Gary: A Sequel to Titus Andronicus" Julie White, "Gary: A Sequel to Titus Andronicus" Ruth Wilson, "King Lear" Best choreography Camille A. Brown, "Choir Boy" Warren Carlyle, "Kiss Me, Kate" Denis Jones, "Tootsie" David Neumann, "Hadestown" Sergio Trujillo, "Ain't Too Proud" *WINNER Best orchestrations Michael Chorney and Todd Sickafoose, "Hadestown" *WINNER Larry Hochman, "Kiss Me, Kate" Daniel Kluger, "Oklahoma!
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" Best Revival of a Play: "The Boys in the Band" Best Book of a Musical: "Tootsie," Robert Horn Best Original Score: "Hadestown," music and lyrics: Anaïs Mitchell Best Direction of a Play: Sam Mendes, "The Ferryman" Best Direction of a Musical: Rachel Chavkin, "Hadestown" Best Leading Actor in a Play: Bryan Cranston, "Network" Best Leading Actress in a Play: Elaine May, "The Waverly Gallery" Best Leading Actor in a Musical: Santino Fontana, "Tootsie" Best Leading Actress in a Musical: Stephanie J. Block, "The Cher Show" Best Featured Actor in a Play: Bertie Carvel, "Ink" Best Featured Actress in a Play: Celia Keenan-Bolger, "To Kill a Mockingbird" Best Featured Actor in a Musical: André De Shields, "Hadestown" Best Featured Actress in a Musical: Ali Stroker, "Oklahoma!
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" SHOULD HAVE BEEN NOMINATED: John Doyle, "Carmen Jones"* BEST BOOK OF A MUSICAL WILL WIN: Robert Horn, "Tootsie" SHOULD WIN: Dominique Morisseau, "Ain't Too Proud" SHOULD HAVE BEEN NOMINATED: Rick Elice, "The Cher Show" BEST SCORE OF A MUSICAL WILL WIN: David Yazbek, "Tootsie" SHOULD WIN: Matthew Sklar and Chad Beguelin, "The Prom" SHOULD HAVE BEEN NOMINATED: Alex Bechtel, "The Appointment"* BEST PLAY WILL WIN: "The Ferryman" SHOULD WIN: "What the Constitution Means to Me" SHOULD HAVE BEEN NOMINATED: "Fairview,"* "Slave Play"* BEST MUSICAL WILL WIN: "Hadestown" SHOULD WIN: "The Prom" SHOULD HAVE BEEN NOMINATED: "Girl From the North Country"* BEST PLAY REVIVAL WILL WIN: "The Waverly Gallery" SHOULD WIN: "The Boys in the Band" SHOULD HAVE BEEN NOMINATED: "Uncle Vanya,"* "Boesman and Lena"* BEST MUSICAL REVIVAL WILL WIN: "Oklahoma!
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" Santino Fontana, "Tootsie" Best Leading Actress in a Musical Stephanie J. Block, "The Cher Show" Caitlin Kinnunen, "The Prom" Beth Leavel, "The Prom" Eva Noblezada, "Hadestown" Kelli O'Hara, "Kiss Me, Kate" Best Featured Actor in a Play Bertie Carvel, "Ink" Robin de Jesús, "The Boys in the Band" Gideon Glick, "To Kill a Mockingbird" Brandon Uranowitz, "Burn This" Benjamin Walker, "All My Sons" Best Featured Actress in a Play Fionnula Flanagan, "The Ferryman" Celia Keenan-Bolger, "To Kill a Mockingbird" Kristine Nielsen, "Gary: A Sequel to Titus Andronicus" Julie White, "Gary: A Sequel to Titus Andronicus" Ruth Wilson, "King Lear" Best Featured Actor in a Musical André De Shields, "Hadestown" Andy Grotelueschen, "Tootsie" Patrick Page, "Hadestown" Jeremy Pope, "Ain't Too Proud: The Life and Times of the Temptations" Ephraim Sykes, "Ain't Too Proud: The Life and Times of the Temptations" Best Featured Actress in a Musical Lilli Cooper, "Tootsie" Amber Gray, "Hadestown" Sarah Stiles, "Tootsie" Ali Stroker, "Oklahoma!
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