What did you think about this year’s Tony Awards? Survey says . . .

The survey results are in, and here’s your report card on this year’s Tony Awards telecast.

  • 98. 66% of Producer’s Perspective readers watched the Awards
  • On a scale of 1 to 10, here’s how you rated the show:
    • 24.03% gave it a 10
    • 27.62% gave it a 9
    • 16.57% gave it an 8
    • That’s a 68.22% “8 or better” rating, compared to last year’s “8 or better” rating of 44.01%
  • Compared to last year’s telecast:
    • 51.7% said it was much better
    • 38.35% said it was better
    •  8.5% said it was the same
    • 1.14% said it was worse
    • .28% said it was much worse
  • Your favorite part of the telecast was:
    • The opening number – 48.34%
    • Production numbers – 16.76%
    • The host – 16.19%
    • Finding out who wins – 5.97%
    • Acceptance speeches – 1.42%
    •  The presenters – .28%
    • Other – 9.38%
  • Your least favorite part of the telecast was . . .
    • By far it was . . . The performance by The Rascals.
  • Your favorite musical number was . . . (Note from Ken:  This is my favorite question as it tells you who had the biggest and best “commercial” that night)
    • Pippin – 30.11% (!)
    • Kinky Boots – 17.40%
    • Matilda – 17.13%
    • Cinderella – 12.71%
    • A Christmas Story– 11.33%
    • Bring It On – 3.04%
    • Annie – 2.49%
    • Motown – 1.38%
    • Phantom of the Opera – .83% (Been there, done that, I guess.)
  • We asked what you would suggest to the Tony Producers to make it a more exciting evening.  Here are some quotes that represent the most common themes I heard:
    • “Include actual scenes from the Best Play and Best Play revival nominees”
    • “Put the tech awards & special awards back on prime-time broadcast!” (We heard this last year as well, which is expected from a theater crowd like you – but since you love the Production Numbers so much, maybe the question I should have asked was, “Would you sacrifice two production numbers from Musicals to hear the tech awards?”  
    • “Bring NPH back again next year!” (Shocking.)

So, overall, a whopping improvement from last year says you (and you liked last year’s as well – here’s a link to those results).  Now, let’s see if we can build on that foundation and keep making the show better and better.

Did any of your comments get left out of the above?  Use the comments below to air your thoughts.  I do know that several people associated with the production of the show read the blog, so now’s your chance to let ’em know how you feel!


(Got a comment? I love ‘em, so comment below! Email Subscribers, click here then scroll down to say what’s on your mind!)
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  • Becca says:

    Is it really 98.66% of Producers Perspective readers who watched the show, or is it 98.66% of survey respondents?

  • Susan says:

    Is there any way to get the PBS coverage of the first hour of the Tony broadcast back?

  • More numbers by famous replacements like Jane Lynch. And I agree with you Ken, there should be a Tony for male and female replacements, at least in a musical. Think of what this category would have been like in the 60s, with David Merrick bringing in Pearl Bailey, Ginger Rogers, and Ethel Merman among others as Dolly Levi.

  • Stephen Marmon says:

    I think it was outrageous that each of the Best Play nominees were limited to just 35 seconds or so, while each musical got at least three minutes.
    If it’s too much to present the actors from each play, then we and America deserve a fuller presentation from each play.

    And I would also urge the creation of a two-hour show on Bravo or some other cable network before the Tonys with an hour of the red carpet arrivals followed by an hour of the technical awards (I think that should work out time-wise; adjust it to less or more as needed).

  • KswindellNC says:

    More Ken D. on the broadcast! 😉

    Agree with most of the statements, especially the return of the technical design awards. These show scannot succeed without these design partners: give them fair credit. Yes, even the PBS broadcast prior to network broadcast. And the Best Play and Best Play Revival deserve more exposure and a “production number” besides peeks at the set.

    Enjoy your blog, Ken: always full of insight and humor.

  • I think the best replacement award is a grand idea, but “Best Replacement” is a clunky title. Call it the “Sutton” since most theater fans know that Sutton Foster was a last minute replacement to play Millie in “Thoroughly Modern Millie,” won the Tony that year, and has built a solid career from there (which I think will continue for many decades to come).

    This way there could be a Sutton for leading ladies AND for men (unless there’s a great story about a male replacement that I don’t know about that could be the name of the guy’s award).

    Let Sutton Foster present the first ones, then in subsequent years, let winners of the previous year’s Sutton be the presenters, giving them another sweet moment in the spotlight.

    After Sutton left “The Drowsy Chaperone,” there were a number of replacements, the best one (in my opinion) was Mara Davi. If there was a ‘best replacement’ category that year I would have nominated her.

    When Laura Osnes replaced Kelli O’Hara in “South Pacific,” her performance was worthy of an award, too.

    Just being nominated for such an award would be a great thing for an actor to have on his/her resume.

  • Ezgi Eren says:

    Great round-up of the show! My notes for the broadcast were:

    – In my opinion the “Best Choreography” award deserves the same weight as “Best Book” and “Best Score” in the broadcast

    – The logic behind ‘who gets to perform’ was uncomfortably random. I’d say feature all long-running shows in opening number + award presentations, let the contenders perform.

    – I think there’s something special about giving Tonys to those who originate a role rather than replace another actor, but I agree that the replacements should be honored one way or another. It’s kind of ridiculous that the only acknowledgement they get is the Broadway.com audience choice awards, which often ends up being a popularity contest more than anything.

  • George Matusek says:

    Does Broadway really need Andrew Lloyd Webber when it has Stephen Schwartz, composer of TWO big current Broadway hits, “Wicked” and “Pippin”? Schwartz does not create just one big tune and repeat it a dozen times within each show — he’s capable of melodic variety along with interesting orchestration. I find Schwartz musically more interesting, almost as interesting as Sondheim — and I wish I collected even a small fraction of 1% of his royalties!

  • James says:

    As a first time Tony’s Award attendee, I would have been happy to pass on the Rascal Flatts number. While I understand the comments about presenting scenes from Best Play(s), the problem of course is that it is harder to take a scene out of context than it is a (usually self contained) musical number.

    As for the tech awards, let’s face it, the Tony’s are an infomercial. They are designed to market for the good of all of the Broadway community. As such, they are intended for the occasional audience member, not the Broadway working community. The award should be sufficient if this is really about the peer recognition. If the awards are purely about the work then there is no need to televise them at all. They are an excuse to get your work in front of a broader audience and you don’t perform rehearsal moments or tech week on stage each night just so that the audience can “appreciate” the other professionals who made this whole production what it is. I’m sorry, but if you want a television audience to see your work, go into TV.

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  • whole of the UK but of course most of our work is in London .

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Tony Award-Winning Broadway Producer

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