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I told you it would be OK!” said the “Modern Family” star. “Mom, Dad, thank you for letting me move to New York when I was 17 years old. Jesse Tyler Ferguson, winning best featured actor in a play for “Take Me Out,” made sure to thank the ‘rents for letting him find his dreams in the Big Apple. But the crowd seemed to love it when Jackman started crooning the famous “Seventy-Six Trombones” number with smiling young cast members marching through the audience and then Foster arriving to tap up a storm with her costar - two of the best triple threats in any Broadway season.Įveryone thanks Mom and their Dad at awards shows - well, almost everyone - but some are more specific than others.
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Despite six nominations, it failed to win any Tonys on Sunday. “The Music Man” revival is one of the biggest current hits on Broadway, regularly pulling in more than $3 million a week, in no small part due to beloved and charismatic leads Sutton Foster and Jackman. “Never settle for anything less than the best you can do.” His cast seemed as overjoyed as he was when they finished their Tony number, they jumped up and down wildly with joy. “I’m all about representation but let’s make sure we are staying on our grind,” he said. Jackson, cutting a striking figure with his hot pink coat over a tuxedo, explained how he took 18 years to complete “A Strange Loop,” which he wrote as he was feeling “unseen, unheard, misunderstood.” He added: “I just wanted to create a little bit of a life raft for myself as a Black gay man to get through the day.” And he noted that while representation is crucial, also crucial was doing one’s best possible work. And she quipped that she sees the phrase “The Great White Way,” as Broadway has long been called, to be a nickname - “as opposed to a how-to guide.”
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Later in the show after a number from “Six,” DeBose made sure to mention that Mallory Maedke, the show’s dance captain and alternate, “was put into this number 12 hours ago,” drawing cheers from the crowd.īroaching the subject of diversity and representation, DeBose hailed the fact that Broadway was becoming “more reflective of the community that adores it.” She noted the season was full of Black creative voices both on and offstage, and that two Broadway theaters were being renamed for the great Black performers James Earl Jones and Lena Horne. With Broadway casts sometimes decimated by virus cases, hardworking understudies and swings have been recognized all season as saviors, and heralded by stars like Hugh Jackman, who has praised them as “superheroes.” Host DeBose noted that she herself was an understudy early in her career, and some winners also made sure to pay respect: “I bow to you,” said “MJ” director and choreographer Christopher Wheeldon.
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The somewhat jarring juxtaposition showed this is still by far not a “normal” Broadway season. While nominees and guests in the orchestra were maskless (having submitted COVID-19 tests), those in the balconies were all masked - including a group of COVID-19 safety managers being honored - just as Broadway theater audiences are still required to be. But a quick glance around the room at Radio City Music Hall showed that challenges remain. The night was hosted by a supremely confident and versatile (and recent Oscar winner) Ariana DeBose, who declared at the beginning that Broadway had gotten its groove back. This advertisement has not loaded yet, but your article continues below. Manage Print Subscription / Tax Receipt.