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At The Tonys, ‘Dear Evan Hansen’ Has A Big Night In A Dark Season

Ben Platt and a expel of Dear Evan Hansen perform during a 71st annual Tony Awards on Sunday in New York.

Michael Zorn/Michael Zorn/Invision/AP


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Michael Zorn/Michael Zorn/Invision/AP

Ben Platt and a expel of Dear Evan Hansen perform during a 71st annual Tony Awards on Sunday in New York.

Michael Zorn/Michael Zorn/Invision/AP

The 2016 Tony Awards were fun, though certainly a small anticlimactic. By then, it was in vast partial a accession of Hamilton, a smoothness resource for a many, many awards we all knew it would win. (And did.)

Not so in 2017. On a musicals side, a top assignment count complacent with Natasha, Pierre The Great Comet of 1812, a low-pitched formed on a territory of War And Peace. There is many love for a Celtic-inflected Come From Away, about a issue of Sep 11. The bruising Dear Evan Hansen has seized a lot of a “cool ticket” buzz.

The nominated plays enclosed Sweat, that won a Pulitzer Prize; Oslo, a three-hour hearing of a Oslo Accords; A Doll’s House Part 2, that dares to extend a story of an memorable 19th-century play about gender; and Indecent, a play about a consequences of domestic and socially provocative museum that was adult for awards on a day when dual corporate sponsors reportedly withdrew some or all of their financial support from New York’s Public Theater over a party of Julius Caesar.

The closest thing to a close was substantially Ben Platt, whose physically transfixing opening in Dear Evan Hansen seemed rarely expected to move him a Tony for Best Lead Actor in a Musical — and it did. (In his speech, he thanked a earthy therapist he says is preventing him from henceforth adopting Evan’s hunched posture.)

Rachel Bay Jones, who plays Evan’s mother, won Best Featured Actress in a Musical (the Tonys’ homogeneous of a ancillary actress), and a uncover won for a book and measure (the measure is from Benj Pasek and Justin Paul, also a group behind a song in La La Land), as good as for a orchestration.

So it was no warn when Dear Evan Hansen was also a leader for Best Musical.

But there were other musicals that won awards: Hello, Dolly! for Best Revival of a Musical, and Bette Midler for her opening in it and Gavin Creel for his. Best Director of a Musical went to Christopher Ashley for Come From Away.

Best Play went to Oslo, with behaving awards in plays going to Kevin Kline in Present Laughter, Laurie Metcalf in A Doll’s House Part 2, Cynthia Nixon in Little Foxes and Michael Aronov in Oslo.

The reconstruction of Aug Wilson’s Jitney was named Best Revival of a Play, while Rebecca Taichman won Best Director of a Play for her work on Indecent.

It was an engaging museum deteriorate in a garland of ways.

American playwrights wrote new works that felt obligatory and pointed. More customary concepts like a low-pitched film instrumentation (this year of Groundhog Day) sat beside new musicals resting on new history, classical novel and a organisation grasp of a exile inlet of amicable media.

What did turn transparent as a night wore on is that it was a deteriorate with a satisfactory volume of heft. Racism, poverty, war, terrorism, a Holocaust — in both plays and musicals, a all-in-fun code of theatricality unequivocally usually seemed to power in Groundhog Day and Hello, Dolly!.

The other new musicals, in particular, could be called vigorous, energetic, vibrant, though they grow out of suicide, Sep 11 and Tolstoy. It’s not normal toe-tapping stuff. And a plays are, in each case, plucking during unprotected nerves that are as unprotected now as they’ve ever been.

Sweat is about a devastating, cascading effects of mercantile extinction in towns where people have singular options. Oslo is about a dispute that seems never to rest. A Doll’s House is about how group and women navigate their open and private lives together and apart. And Indecent is about a risks artists take when they plea and incite a societies in that they live.

Normally, a Tony Awards are a small conflicting from other awards shows for a unequivocally elementary reason: museum people know how to put on an evening’s party in front of a live audience.

The performers have a built-in advantage, since they’re in their healthy habitat, after all. The TV broadcasts have attempted a lot of ways to benefaction plays — scenes don’t unequivocally work — and this year’s solution, carrying a playwrights report their plays, wasn’t a good approach to get a season of a work, though it during slightest gave mostly different artists a possibility to be seen and heard, and to support their nominated pieces a approach they wanted to.

Having pronounced that, not all a low-pitched numbers seemed well-chosen to stress a strengths of a shows they came from.

Come From Away and The Great Comet put their many heated feet forward, Falsettos was fun and Dear Evan Hansen showcased Platt easily (and unsurprisingly).

But Hello, Dolly! went with David Hyde Pierce singing solo in front of a curtain, and Groundhog Day rather bafflingly chose a intense shutting series that doesn’t unequivocally indicate unless you’ve seen a rest of a show.

It all valid to be tough element to bucket into an awards uncover hosted by Kevin Spacey, not in his shining actor mode, though in his mugging goofball mode. Spacey non-stop with a strangely inside-baseball series that did a conflicting of what a Tony Awards are meant to do — it done museum seem ambiguous instead of accessible.

How many people examination during home were expected to get a joke, that wasn’t that humorous anyway, about Groundhog Day star Andy Karl carrying harm his knee?

And yes, Spacey is famous for impressions, though did we unequivocally need both his Johnny Carson and his Bill Clinton, in 2017? And if they had to move him on theatre in his Frank Underwood incarnation from House Of Cards, since move his co-star Robin Wright, who’s now appearing in Wonder Woman, a hottest film there is, and have her mount there wordlessly?

Couldn’t find a singular Amazon joke? Couldn’t find a singular anxiety to her sharpened a few arrows during him? It would have been improved than a prolonged method where Chazz Palminteri brought snacks. (Don’t ask.)

Rachel Bloom, of a CW’s Crazy Ex-Girlfriend, did unequivocally good on light avocation backstage — only adequate to make it seem like maybe she’d have been a some-more successful host.

There were other highlights: Mark Hamill introduced an In Memoriam shred that enclosed Carrie Fisher. Bette Midler simply refused to be played off … for quite a while, since she is Bette Midler and will pronounce as prolonged as she pleases. And if we skip Lin-Manuel Miranda, well, there was a glance of him, too.

The Tonys are fun; museum is fun. The winners are excited, a assembly isn’t too cloyed and we get to see people sing and dance. And if it felt like a complicated year thematically, well, maybe we’ve warranted that.