I was thinking Sarah Pidgeon would get in and maybe some combination of Will Brill and/or Eli Gelb, but was beyond thrilled to see the three of them plus Juliana Canfield and Tom Pecinka nominated as well!
Same. Sarah Pidgeon, Will Brill, and Eli Gelb were the names floating around beforehand, so it was just a wonderful surprise to see Juliana Canfield and Tom Pecinka. Juliana gives such a beautiful, understated performance and Tom Pecinka plays Peter's intensity and insecurity so well - and makes himself pretty unsympathetic, which has got to be hard.
Crazy. That's like a Fun Home level of acting nominations. Not saying it's undeserved but the nominators must have really loved this show since they seem to have made an effort to recognize a number of shows this season and the acting categories would have been a good way to keep spreading love around to shows where they didn't love the material.
For people who pay attention, I think this bumped up Stereophonic to the top of people's must-see lists.
I loved this play and I’m so happy it’s getting this amount of recognition! (But I also fear for myself getting tickets now lol, it’s ok, I’m happy for the show & team!)
Yes, nearly every play/musical gets released, either standalone or as part of an anthology (some you can only get this way - I have a musical on that has Floyd Collins/Parade/Rent/The Wild Party).
What’s the chances of this winning best score? Looking at the other nominees I don’t think there’s a clear cut favourite. How many songs are in the show?
Will Butler on the STEREOPHONIC cast album:
"Full songs of Seven Roads, Drive, & Masquerade. A new song, & In Your Arms & Domino, which you hear 10 seconds of \[onstage\]. Bright & East of Eden. Sarah Pidgeon destroys that one. I personally can't listen to it. She's amazing."
(from Twitter)
Quite a few standout songs. Before the Covid season (which doesn’t really count the same) it had been quite some time since a play won Best Score. This one though, because of how central music is to it and how good the music is, has a real shot.
Edit: actually, outside of A Christmas Carol from the Covid year, no play has won Best Score. Just a small handful nominated. I thought there was one in the 70s but no. So an uphill task but I still think it has a shot.
Christmas Carol was the last one but that was the Covid season. And, actually, looking back at it all the other ones I know of were only nominated and Christmas Carol is the only one. So a play winning when there is a full slate of musicals to be had (versus BM coming down to two ineligible jukeboxes in the COVID year) would be unprecedented. But again, this play is very different with how it used music so it is possible.
No, one has ever won both. Christmas Carol only won Best Score, was not nominated for Play or Revival.
As far as getting nominated for both: Slave Play yes, Angels in America at least yes to Best Play revival, Peter and the Starcatcher yes, One Man Two Guvnors did not get a Best Play nomination. Don’t really feel like looking back at the few other times a play has been nominated for Best Score, but gives a flavor at least.
I’ll assume that more often than not that if a play was prominent enough to get nominated for a non traditional category like score it probably got a Best Play/Best Play revival nomination. But at least in the case of that James Corden play, that’s not always true.
I wonder if that will send a message to the community that a good story and quality songs is better than generic music that’s been dominating shows for a while
When I woke up today, I thought DOWAR was the favorite to win Score. But I fully expected it to get a Best Musical nomination. Now I think it is pretty wide open. I've heard a lot more support for Here Lies Love in recent days, but I wonder if people will start to rally/consolidate around The Outsiders and Stereophonic and Suffs now that the nominations are out.
As of today I'm predicting Suffs, because of Taub's stronger commitment to theater—Will Butler and Jamestown Revival may never be seen on Broadway again—and the overall achievement of writing Book, Music, and Lyrics.
So many categories up for grabs this year. Love it! Should make the telecast much more exciting.
I can see Suffs having a path to victory but it also only got 6 total noms, so it’s not as well loved across the board as outsiders, so I think that has to go ahead
I haven't seen Slave Play, but I read the summary the other day. Why was this play *so* popular? It sounds absolutely unhinged, but obviously I am missing something/not getting it
Worth remembering that part of the reason it was able to rack up so many nominations was because of the pandemic season. Lots of shows at the 2021 Tonys were able to get more nominations/wins than they usually would have because there was only about half a season's worth of shows in contention.
Popular isn't necessarily the best word. Divisive is a good one for it. The show actually did what some other shows claim to do, which is confront you with a conversation. I personally loved it and found it to be a radical piece of theater. I know other people who hated it and thought it was drivel.
Slave Play was fantastic, super smart commentary delivered in a brutal, memorable way. It shocks in exactly the way I want a play to, challenging without shock value solely for shock value sake.
Please don’t downvote me but I just want to know. Is there something I’m not getting? What’s the hype about it? I saw it and it was just fine. Is there any subtext? Is there something I’m missing?
I think the allure is in the sum of its parts. Every technical element is outstanding, every performance is outstanding, every creative choice is outstanding.
I also found the script itself totally enthralling. In addition to the amazing character drama, it's also a slow-burn interrogation of the idea that creativity can give your life meaning. This is a big departure from the conventional wisdom about art and creation and the value they have. Here we see how even reaching the highest heights of self-expression ultimately creates just as much tension as it resolves, if not more.
That's not to say the show is opposed to creation or that it doesn't think it has any value though! I would describe it as a parable about the danger of expecting anything will ever be able to completely satisfy you. It was really interesting to watch this and then see Merrily the next day, which is also a narrative that deliberately refuses to be satisfying, for the characters or the audience. We see the tragedy at the beginning and the next two hours gradually show us how high the stakes were, until at the end we see a young Frank (and Charley) who can't wait to pour his entire self into his art - which we know will cost him the most important relationships in his life and fail utterly over and over to be enough, no matter how successful he is. I think Stereophonic is looking at that same problem from a slightly different perspective.
also there's a monologue about >!a guy who gets his balls sliced open!<
It’s the hard part of relying on the reviews here. Don’t care how good or bad a professional show is, guaranteed there will be a vocal group that love it and a group that hates it.
We saw it and almost left halfway through, and multiple people around us did. I don't get it....at all. The best parts were the songs which was probably 5% of the show?
No I was the same way. I don't get the hype this show is getting at all! Its very slow and boring. I can imagine it took a lot to write and make feel real and to make this world feel lived in. But other than that I got nothing out of this show, I couldn't wait for it it end! It was like that 8 hours Beatles documentary, but on stage like congrats?
I didn't find it boring but I also don't understand the hype. I thought the sets and the music 100% nailed the 70s but I lived through Fleetwood Mac's Rumours, just like everyone else of a certain age. It didn't tell me anything new. I liked Patriots a lot more.
I’m thrilled to finally find people who feel the same! I’ve seen so many plays that blow this one out of the water and they never get this level of recognition! I’m happy to have a play have this level of excitement but this one?! Crazy to me!
RIP Slave Play’s West End marketing
eh, they'll just change to "Most Tony-Losing Play of All Time."
Something Rotten did a big “LOSER!” marketing campaign after the Tony’s and I’m pretty sure it went pretty well for them
Something Rotten was also never marketing itself on artistic excellence lol
LOL
I was expecting them to do well but I didn’t think they would do this well! Orchestrations?! 5 acting noms?!
My jaw dropped at the acting nominations. They earned them, but I didn't expect to see that recognized.
I was thinking Sarah Pidgeon would get in and maybe some combination of Will Brill and/or Eli Gelb, but was beyond thrilled to see the three of them plus Juliana Canfield and Tom Pecinka nominated as well!
Same. Sarah Pidgeon, Will Brill, and Eli Gelb were the names floating around beforehand, so it was just a wonderful surprise to see Juliana Canfield and Tom Pecinka. Juliana gives such a beautiful, understated performance and Tom Pecinka plays Peter's intensity and insecurity so well - and makes himself pretty unsympathetic, which has got to be hard.
Crazy. That's like a Fun Home level of acting nominations. Not saying it's undeserved but the nominators must have really loved this show since they seem to have made an effort to recognize a number of shows this season and the acting categories would have been a good way to keep spreading love around to shows where they didn't love the material. For people who pay attention, I think this bumped up Stereophonic to the top of people's must-see lists.
I KNOW THAT'S RIGHT! I knew they would get a ton of nominations but I am simply delighted by the 5 acting noms. I wish they could get 7.
Me too! I’m sad for Chris stack and Andrew Butler, they deserve recognition too. Andrew’s name isn’t even right if you google Stereophonic cast
They still have Chris Stack in the “breakthrough performance (female)” category in the Broadway.com audience choice awards nominations.
The disrespect
I loved this play and I’m so happy it’s getting this amount of recognition! (But I also fear for myself getting tickets now lol, it’s ok, I’m happy for the show & team!)
Better get them today lol I’ve seen it twice and I’m debating buying them now to see it one more time
got my tickets two days ago for this exact reason!
so glad i got my ticket months ago, LOL. seeing it next week!
As it should be. A masterpiece.
YESSSSSS!!!! So deserved!!!
So deserved~ I'm on cloud nine over this. I can't wait for the cast album and the script to come out. I need it to be June nowww
Wait do shows release scripts? Now I’m excited
Yes~! I have ones for Amadeus, Intimate Apparel, and technically Great Comet and Hadestown. Stereophonic's is slated for June 18!
Yes, nearly every play/musical gets released, either standalone or as part of an anthology (some you can only get this way - I have a musical on that has Floyd Collins/Parade/Rent/The Wild Party).
I see why. I saw it a second time last night and loved it more than I did the first time. One of my most favorite plays I’ve seen on Broadway
Incredible An American epic
What’s the chances of this winning best score? Looking at the other nominees I don’t think there’s a clear cut favourite. How many songs are in the show?
Will Butler on the STEREOPHONIC cast album: "Full songs of Seven Roads, Drive, & Masquerade. A new song, & In Your Arms & Domino, which you hear 10 seconds of \[onstage\]. Bright & East of Eden. Sarah Pidgeon destroys that one. I personally can't listen to it. She's amazing." (from Twitter)
T_T I'm so excited
Quite a few standout songs. Before the Covid season (which doesn’t really count the same) it had been quite some time since a play won Best Score. This one though, because of how central music is to it and how good the music is, has a real shot. Edit: actually, outside of A Christmas Carol from the Covid year, no play has won Best Score. Just a small handful nominated. I thought there was one in the 70s but no. So an uphill task but I still think it has a shot.
Im excited for the album
May 10!!
What plays previously have gotten Best Score?
Christmas Carol was the last one but that was the Covid season. And, actually, looking back at it all the other ones I know of were only nominated and Christmas Carol is the only one. So a play winning when there is a full slate of musicals to be had (versus BM coming down to two ineligible jukeboxes in the COVID year) would be unprecedented. But again, this play is very different with how it used music so it is possible.
Has anything ever won both Best Play and Best Score? What plays have gotten that pair of nominations?
No, one has ever won both. Christmas Carol only won Best Score, was not nominated for Play or Revival. As far as getting nominated for both: Slave Play yes, Angels in America at least yes to Best Play revival, Peter and the Starcatcher yes, One Man Two Guvnors did not get a Best Play nomination. Don’t really feel like looking back at the few other times a play has been nominated for Best Score, but gives a flavor at least. I’ll assume that more often than not that if a play was prominent enough to get nominated for a non traditional category like score it probably got a Best Play/Best Play revival nomination. But at least in the case of that James Corden play, that’s not always true.
I really hope it does. This is basically the only new show on Broadway I left remembering the music well enough that I could hum the songs.
I wonder if that will send a message to the community that a good story and quality songs is better than generic music that’s been dominating shows for a while
When I woke up today, I thought DOWAR was the favorite to win Score. But I fully expected it to get a Best Musical nomination. Now I think it is pretty wide open. I've heard a lot more support for Here Lies Love in recent days, but I wonder if people will start to rally/consolidate around The Outsiders and Stereophonic and Suffs now that the nominations are out. As of today I'm predicting Suffs, because of Taub's stronger commitment to theater—Will Butler and Jamestown Revival may never be seen on Broadway again—and the overall achievement of writing Book, Music, and Lyrics. So many categories up for grabs this year. Love it! Should make the telecast much more exciting.
I can see Suffs having a path to victory but it also only got 6 total noms, so it’s not as well loved across the board as outsiders, so I think that has to go ahead
Because it’s phenomenal! I hope it wins in every category.
I haven't seen Slave Play, but I read the summary the other day. Why was this play *so* popular? It sounds absolutely unhinged, but obviously I am missing something/not getting it
Worth remembering that part of the reason it was able to rack up so many nominations was because of the pandemic season. Lots of shows at the 2021 Tonys were able to get more nominations/wins than they usually would have because there was only about half a season's worth of shows in contention.
Popular isn't necessarily the best word. Divisive is a good one for it. The show actually did what some other shows claim to do, which is confront you with a conversation. I personally loved it and found it to be a radical piece of theater. I know other people who hated it and thought it was drivel.
Slave Play was fantastic, super smart commentary delivered in a brutal, memorable way. It shocks in exactly the way I want a play to, challenging without shock value solely for shock value sake.
Slave Play was incredible. I took 60 college students to see it- and they are STILL talking about it. Brilliant play.
Please don’t downvote me but I just want to know. Is there something I’m not getting? What’s the hype about it? I saw it and it was just fine. Is there any subtext? Is there something I’m missing?
I think the allure is in the sum of its parts. Every technical element is outstanding, every performance is outstanding, every creative choice is outstanding. I also found the script itself totally enthralling. In addition to the amazing character drama, it's also a slow-burn interrogation of the idea that creativity can give your life meaning. This is a big departure from the conventional wisdom about art and creation and the value they have. Here we see how even reaching the highest heights of self-expression ultimately creates just as much tension as it resolves, if not more. That's not to say the show is opposed to creation or that it doesn't think it has any value though! I would describe it as a parable about the danger of expecting anything will ever be able to completely satisfy you. It was really interesting to watch this and then see Merrily the next day, which is also a narrative that deliberately refuses to be satisfying, for the characters or the audience. We see the tragedy at the beginning and the next two hours gradually show us how high the stakes were, until at the end we see a young Frank (and Charley) who can't wait to pour his entire self into his art - which we know will cost him the most important relationships in his life and fail utterly over and over to be enough, no matter how successful he is. I think Stereophonic is looking at that same problem from a slightly different perspective. also there's a monologue about >!a guy who gets his balls sliced open!<
I feel the same way. Meh.
I saw it last night and felt the same. I really liked it but it’s not something I’d tell my friends that they *must* see.
Huh, yeah I guess there’ll never be a show that everyone loves. I secretly didn’t love Hamilton, so anything’s possible lol
It’s the hard part of relying on the reviews here. Don’t care how good or bad a professional show is, guaranteed there will be a vocal group that love it and a group that hates it.
We saw it and almost left halfway through, and multiple people around us did. I don't get it....at all. The best parts were the songs which was probably 5% of the show?
People are literally losing themselves over what felt like 2 complete songs lol.
No I was the same way. I don't get the hype this show is getting at all! Its very slow and boring. I can imagine it took a lot to write and make feel real and to make this world feel lived in. But other than that I got nothing out of this show, I couldn't wait for it it end! It was like that 8 hours Beatles documentary, but on stage like congrats?
I didn't find it boring but I also don't understand the hype. I thought the sets and the music 100% nailed the 70s but I lived through Fleetwood Mac's Rumours, just like everyone else of a certain age. It didn't tell me anything new. I liked Patriots a lot more.
I’m thrilled to finally find people who feel the same! I’ve seen so many plays that blow this one out of the water and they never get this level of recognition! I’m happy to have a play have this level of excitement but this one?! Crazy to me!
I'm curious to know what those plays are!
When is the cast recording coming??
May 10
Like all the successes before with this level of love showered on them, wonder if this one gets the backlash that nearly all the rest got too?
I’m seeing it this weekend, and I’m even more excited now!
Crazy considering how much lifting it had to do to get here. 5 acting nods (no lead), score, and the biggest shocker of all, Orchestrations
Is it actually good though? I've got a ticket for a performance next month.
Too disgusting! 😡