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- [00:00]
Jeff Malone
Think of the prestige. Think of the respect. No, no, no. Think of the Tony.
- [00:11]
Matt Koplik
Hello all you theater lovers both out and proud and on the DL. And welcome back to Broadway Breakdown, a podcast discussing the history legacy of American theater's most exclusive address, Broadway. I am your host, Matt Koplik, the least famous and most opinionated of all the Broadway podcast hosts. And joining us again today are friends of the pod, friends of the bpn. You know them from their own podcast, half hour. Please welcome back Jeff Malone and Richie Grasso. Hi, guys. Hey.
- [00:38]
Jeff Malone
Good morning.
- [00:39]
Matt Koplik
Good morning. We were all saying before we were recording everyone how we all had very lovely nights the night before and our voices have taken the toll today for this recording. So. Yes, but yeah, these lovely, these lovely listeners get to hear very gravelly low tones today. Very manly from for me, anyway.
- [01:02]
Jeff Malone
Yes, well, by the end we'll be like chipper.
- [01:04]
Matt Koplik
Yes, exactly. Everything will have woken up and by the time we get to the end of it it's like, oh my God, we're up here. So we are doing Tony predictions. This is sort of the probably like the last Tony prediction episode that's like kind of anywhere near far fetched because after this, the next prediction episode is going to be closer to the actual nomination day. I'll have seen everything by then, or at least most of the things and everything will have opened so we'll have a better idea of stuff. But yeah, we're, we're. Today we are doing nominations in some major categories and combining our thoughts on shows that we've seen already, shows that we've gotten buzz about and just intuition on shows that haven't even started. So thank you for, for coming and showing us your butts, guys with this.
- [01:46]
Jeff Malone
Yeah, we're happy to be here.
- [01:48]
Richie Grasso
Early prediction.
- [01:49]
Jeff Malone
Yes.
- [01:51]
Matt Koplik
Let'S go at the tippity toppity and do best musical get like, get to get the big gun out of the way.
- [01:58]
Jeff Malone
Wow, that's a big one. All right, where.
- [02:00]
Matt Koplik
Well, so as is the case for every season, I think since 2016, it's five nominees because we have nine or more potential contenders. And so when it's less than nine, it can only be, it can be four with a possible fifth and when it's more than nine, it's five nominees with a possible six. So with that said, who are your guys's five and do you have any that you're feeling maybe weak about and what you might swap them out for?
- [02:29]
Jeff Malone
Oof. All right, you want to go first?
- [02:31]
Matt Koplik
Sure.
- [02:31]
Richie Grasso
I'm going with on this one. Definitely. Maybe happy ending. Definitely Dead Outlaw Just in time, I think is gonna get in there and.
- [02:47]
Matt Koplik
Then.
- [02:49]
Richie Grasso
I'm like, teeter tottering back and forth Buena Vista Social Club, and I'm gonna throw the random one in here and say they'll give Operation Mincemeat nomination.
- [03:03]
Jeff Malone
I would say I'm similar, except I do think that, listen, I think a lot of things, like, are going to be forgotten here, unfortunately. I think Wonderful World's going to be forgotten. I think Tammy Faye is going to be forgotten. But I do. I do creep swept away in there. So I kind of feel like swept away death becomes her. Maybe happy ending. Dead Outlaw Just in time. I'm kind of. But I can't forget when it's a social club. Although everyone. I keep hearing that it's like, amazing music and everything, but there's no, like, book plot. Really much to it I haven't seen yet. So I don't know how that holds as its own Best Musical nomination. But that's only what I'm hearing I haven't seen yet.
- [03:39]
Matt Koplik
Yeah, whenever it's a social club, it's. There is a book. Like, there is a story. There's actually two of them. I think the issue is more the, like, one. One story they tell is kind of weak sauce, which is like the making of the album and, like, there's not a lot of conflict. And then the other one, which is Cuba in the 1950s, there's actually quite a lot of conflict. It's just we don't spend as much time on it because we keep going back and forth. But it is. It is a good time. It also got very good reviews, and I would. I imagine it's probably going to get in there and it's. It's doing well. I agree with you, too, about maybe happy ending. Yeah, it sounded interesting in my head when Jeff said definitely, maybe. I was like, definitely. Like, that's. That's. I think that's a rom com. Like, definitely, maybe.
- [04:27]
Richie Grasso
Definitely.
- [04:28]
Matt Koplik
Yeah, maybe. Happy ending, for sure. I'm gonna say Dead Outlaw as well. Really enjoyed it off Broadway. People are excited for it to come to Broadway. I think Operation Mincemeat is probably a lock at this point. It's. It's. It was reviewed quite well. Not as well as I think some people were hoping, but about as well as I expected, which was like, it had a couple of raves and a couple of mixed. It had, like, one or two pans, so I don't consider it necessarily a front runner for the award, but I do think It's a lock to be nominated. So I think it's those three after that. I'm sort of on the fence of about a couple. I have one of its social club in here. My new, like, curveball for my fifth slot is Old Friends at Manhattan Theater Club.
- [05:14]
Jeff Malone
You know, I'm so confused on what the eligibility is for that, because. Is it a review? Is it not? Is it a original new musical? Is it not? There's, like, all this. I don't know exactly how the Tony committee is going to.
- [05:25]
Matt Koplik
Not, like, I think they're going to view it as a musical in the way that, like, eight Misbehaving was a musical like it is, or After Midnight. Like, it is a review, but it's an. It's a new review of stuff. So it's not a revival. It's.
- [05:37]
Jeff Malone
It's.
- [05:37]
Matt Koplik
They. It's a new perspective and all that. And I believe it was eligible for musical at the Oliviers as well. Yeah, but, like, yeah, they might deem it ineligible for some reason. There's been some weird choices this year with eligibility, but I'm gonna. I'm off of my gut that it's gonna be eligible for musical. And from the word I've heard about it, I'm gonna put it in there. Especially if one or two cast members get nominated, which I will get to in a second. But, yeah, that's my. Yeah, that's my curveball right now. I think that the other two sort of knocking on that door being like, hey, we might get in there. Our death becomes her and possibly Boop. Boop. I. By the time this episode comes out, I will have seen Boop. Okay, that review will not be coming out for a few more days, but there's. There's been a line drawn in the sand from people about boop. Of, like, how they feel about it. And it's. It's like. There's like. I think they're one or two, like, deal breakers for people about it.
- [06:34]
Jeff Malone
I feel like we haven't seen yet either. And most people have been saying, like, oh, this is actually surprisingly fun and enjoyable, and I'm liking this better than, like, Smash. And I don't know. That's a whole nother conversation because we didn't know. None of the three of us just mentioned no. So, like, that's very interesting to me, you know? Yes.
- [06:48]
Matt Koplik
Yes. I'll be seeing Smash the upcoming Saturday after this episode. Smash is another one. Like, it's probably. It's far less divided than Boop. But, like, I have had One or two people be like, I don't know what everyone's talking about. Smashes is so much fun. Boop is a little bit. A little more like, I've had some people be like, it's a blast. And some people be like, it makes absolutely no sense. But there's. There's one thing that everyone's in agreement on, and we'll get to that later. But, yeah, like, I don't know. I. Death becomes her, I think could happen just because it's a big musical. It was. It's been relatively well reviewed. It's doing well at the box office. It's not now. It's not such an undeniable hit that it's, like, going to win, but it's doing well enough that it could get nominated. And these things are just help. Like, a show doesn't have to be. Have to get a critics pick to be nominated for best musical. A show doesn't need a slew of great reviews to be nominated. Just look at, you know, Wicked. But yeah, when. When the critics kind of deem a musical or a play good, it kind of helps the Tony nominating community lean towards things sometimes. Like, it just helps with momentum. It helps with buzz, and some things that they might be sort of on the fence about. It's like, oh, we have permission to now. Like, it's. Oh, Mary was not a critical and commercial hit. I don't know if we'll look at this with play, but I don't know if it would have been the front runner that it is for best play, because the play itself, you know, is the quality it is. But the fact that the critics are all like, no, this is great. The nominators can be like, oh, we have permission now. Like, this is.
- [08:21]
Jeff Malone
That's another conversation. Because that's almost like a shame in the industry is like, we sit here wondering, well, if the box office is good and the critics are giving a great. I guess we should go nominated versus, like, why. Why do. Why did the industry become that? It's a whole nother podcast.
- [08:34]
Richie Grasso
Every industry.
- [08:35]
Jeff Malone
It's just a shame that.
- [08:37]
Matt Koplik
Yeah, it's not just the industry.
- [08:39]
Richie Grasso
It's every industry.
- [08:40]
Matt Koplik
Yeah, I think people want to. People want to have a popular thing in there, for sure. And I. With Broadway, I don't. I think it's a little less cynical with Broadway than it is with, say, like, Hollywood. Because with Broadway, we're all here or all here to experience it when. So when something's popular, you can feel the hype around it. You feel the buzz. And that kind of gives. Makes you, like, giddy in a way. We're like, oh, great. Like, down the board, like, all these nominations, and it's only until, like, six months later we all go. We have, like, buyer's remorse and a little bit of a hangover. And we're like, oh, did we have to nominate all those things? Hollywood. It's a bit more of like, well, we're. We must nominate Barbie and Oppenheimer because we want people to watch the fucking Oscars.
- [09:17]
Jeff Malone
Right, Right.
- [09:19]
Matt Koplik
But, yeah, I hear you. I hear you. I wish that we could just sort of acknowledge things that were good, whether they closed or weren't. But it's recency bias is such a thing and popularity is such a thing. It's like sometimes you can't. No matter how hard you try, you can't really compete with the energy a show has. Like, in the. In the present. You have to.
- [09:44]
Richie Grasso
I do agree that I think it might be a little bit harder with some of the stuff that's from the fall, though, because you do have some of the big musicals coming in at the end where you do have old friends. You do have Just In Time. You do have real women have curves, and you have Dead Outlaw all kind of in the, like, fresh off the market, saying for, like, voters to be like, oh, I just saw that.
- [10:03]
Matt Koplik
Yeah, fresh off the conveyor belt. And I was like, oh, my God. Yeah. And if. And if Head Outlaw works in the long anchor, that's super helpful for them. We'll see what happens with real women. I have no idea what to expect of that thing, but, yeah, I'm surprised both of you are so up on Just In Time. I know so little about it.
- [10:20]
Jeff Malone
I just know that I know a couple people that were. Or that posted or that were at the Invited Dress last night. Like, that's how early on we're in with this and are raving about it. But I don't know if those are, like, friends of cast and crew that, like, are going to now start, who knows, because it was an invited dress. So obviously those are, like, close people to the company. But I have heard that this is an extremely immersive. You know, I don't think this is your typical glossy jukebox musical from what I'm hearing through the. Through the interwebs. So who knows? I could be way off.
- [10:49]
Richie Grasso
You're getting that Alex Timbers at the right time, not when. Oh, God. Oh, Here Lies Love Opened. Yeah, you're getting this and you're getting Jonathan Groff also I think people are gonna be like, oh, yeah, love it.
- [11:02]
Matt Koplik
Yeah. I think the other thing about Just In Time is that not a lot of people know much about Bobby Darin. He's kind of like. He's kind of like the non equity Frank Sinatra kind of.
- [11:14]
Jeff Malone
But you know what's interesting is he, he had like a pretty short life and he was pretty famous for the life that he. And he has a couple huge hits. So that's why it's interesting to see like how they're going to tell the story, you know.
- [11:24]
Matt Koplik
Yeah. But I think because there's not a lot of expectation for a lot of people, like, oh my God, what are they going to say about Bobby Darren? It's a lot of people just going for Jonathan Groff. Yeah. They might have like a pleasant surprise of oh, like what interesting twists and turns.
- [11:35]
Jeff Malone
Right.
- [11:36]
Matt Koplik
The question is, of course, with this bio jukebox musical, how much of his life are they going to be honest about? Because the estates now produce these things. So it becomes sort of like he was a workaholic and fame made him not a mean husband but a bad husband. And you're like, okay, or, or he.
- [11:57]
Jeff Malone
Could take the Wonderful World approach and we could just talk about their five. His five wives for two and a half hours and barely about his career. Which is literally what Wonderful World was like. Which I don't see Wonderful World showing up anywhere, by the way, on these nominees, unfortunately. I really don't.
- [12:11]
Matt Koplik
I think there are three possible nominations that they could get. One is choreography, another is costumes, another is orchestrations. That's literally it. And even then, like, I'm not, I'm not sitting here being like, oh, it's gonna happen. I'm sitting here being like, it could, it could.
- [12:24]
Jeff Malone
Right.
- [12:25]
Matt Koplik
Which is a shame because they're like two of those wives I would put in featured actress.
- [12:28]
Jeff Malone
Oh, yes. They were amazed. I know who. Which to you're probably talking about. And I think James Monroe worked it hard too, but I think he might be forgotten now with all the leading men coming, you know.
- [12:38]
Matt Koplik
Yeah, I think he's absolutely going to get forgotten because it is an onslaught of leading men and the way that that show works, just his character was the least interesting one and that's not what you want. Yeah. So. And we'll move on to that in a second.
- [12:51]
Jeff Malone
Let's.
- [12:52]
Matt Koplik
Let's do. Okay. Let's keep it in the musical family. Best Musical Revival. Okay, I have Sunset Boulevard and Gypsy as you know, the two front runners. I'm going to then say Pirates The Penzance musical, because again, I don't know what's going to happen with this. If they could ultimately deem it original because apparently it's a pretty new book, they could keep it as a revival and make the book eligible, which they've done in the past with things like Cinderella and Flower Drum Song. So I'm going to. I'm going to say we're in a world where it gets deemed revival with a new book. So I'm saying that. And then I'm also going to say Floyd Collins or the possible from the things I've been hearing from the first preview or two. I have an asterisk next to that and could swap that out with Once Upon a Mattress, but we shall see.
- [13:42]
Jeff Malone
I said the same things and I thought there's a high chance that Once Upon a Mattress gets almost completely forgotten here because it's just. Was such a short run long ago. Yeah. But my question is, I guess, what do we usually have four.
- [13:56]
Matt Koplik
Yeah, this is going to be four because it's I think, six contenders, so it can't. Yeah, it can't be five unless there's a tie somewhere.
- [14:04]
Jeff Malone
And last five years and Floyd Collins having off Broadway runs deems them revival that.
- [14:10]
Matt Koplik
Yeah, they're both coming in under the classics rule.
- [14:12]
Jeff Malone
Yeah. Yeah. Right. So, I mean, I kind of agree with what you're saying with that. I mean, I definitely think obviously it's Sunset or Gypsy as sitting at the. The top.
- [14:20]
Matt Koplik
Yeah. Which is. Which is fine. I really wanted Floyd Collins and Pirates to really fuck shit up. I want, like, I wanted both of them to be incredible so we could just like.
- [14:30]
Jeff Malone
Yeah.
- [14:30]
Matt Koplik
Yeah. So this could really be a race. Because my thoughts on Sunset and Gypsy have been made very clear on this podcast. I have my pluses on both, my minuses on both. I'm more up on Sunset than Gypsy, but neither revival is one where I'm like, oh, my God. Revival of the century. I'm. I'm. I'm. I'm voting for Sunset for various reasons, but I'm like, I just. I would like. My friend Gunkle of the pod, Adam Ellsberg and I were talking about this the other day. We're like, wouldn't it be phenomenal if Pirates opened and it was incredible. Like. Like, wouldn't that be the best?
- [15:00]
Jeff Malone
And I'm seeing, like the. I'm sorry, but I don't know who is doing their marketing and stuff, but their posters and their costumes and their ads kind of look like. I don't. Not as polished As I thought we were going to get for this.
- [15:10]
Matt Koplik
I know. No, the posters and the film commercials they made have looked a little cheap, but they did like, they. They did a press rehearsal and they didn't really show full numbers, but they were showing, like, clips of things like. Yeah. And that's ultimately what made Adam and I go like, oh, this might actually be fun. And it's just possible that the marketing material has been bad and you have.
- [15:34]
Jeff Malone
Jinx, Ramin and David. I. Pierce. Those are three, like, huge, big names. And so they should sell in and of itself. But the talent among the three of them should carry that show with a good ensemble. I would think that no problem, but.
- [15:49]
Matt Koplik
We hope it's just Scott Ellis, for me is definitely a hit and miss director. He's not really a visionary for me as much as, like, if the material is good, he tends to not fuck it up. And Pirates is good material, but also they're doing some new shit with it. So I'm like, okay, look around and find out. Jeff. What? Jeff, is that the same for you that you have, or do you have something else?
- [16:08]
Richie Grasso
Yeah, I'm going with the same four because I'm not hearing great things about last five years. And I said from the beginning, I don't think once upon a mattress is sliding in there. So I'm definitely going, probably sunset's gonna take it, but we'll see if Floyd Collins or Pirates.
- [16:25]
Matt Koplik
Yeah, yeah, I think Floyd, Floyd and Pirates. One of them has to be so disappointing for mattress to get in there because mattress is. Was ultimately a well liked revival, but it wasn't like, it wasn't a ginormous hit. Not the one that encores wanted it to be.
- [16:40]
Jeff Malone
Right.
- [16:40]
Matt Koplik
And I think them doing the extra month in L. A then releasing the cast album now, that's them trying to say, yeah, say in people's minds. But, like, again, you can't. It's hard to compete with shows that are about to open and, like, just play in front of people. Right?
- [16:52]
Jeff Malone
So other than Gypsy, that's the only other golden age. And I always think sometimes how. I don't know how Tony voters think. Like, usually there's. Usually we have a lot more golden age, and usually there's a big golden age Lincoln center revival sitting in there too. So other than Gypsy and then this short mattress and I guess Pirates is. I don't even know where you put that. But there's not like a ton of the rnh learner and low. There's not a lot of that this year. And Actually not even really looking like that's coming much next year too, which I could have a whole nother podcast on about Golden Age revivals. We'll talk about that.
- [17:23]
Matt Koplik
Listen, as we, as we continue heading into the 21st century, shows from the 80s and 90s become the revival market. So I get it.
- [17:31]
Jeff Malone
We had like the Love Life this weekend, which I know it's not eligible here, but that was a nice glimmer of Golden Age moment.
- [17:37]
Matt Koplik
Yeah. My review for Love Life will, will be up at this point, but yeah, I mean, I Love Life at Encores was not a perfect production or show by any means, but it's exactly what I want Encores to be doing more of.
- [17:49]
Jeff Malone
Yes. Which is like that glorious score that we haven't heard in 77 years with Brian Stokes Mitchell and Kate Baldwin's glorious vocals. Like, that's what Encores, I always think is. Yes. Instead of like, you know, the. Let's just revive Wonderful Town for the sixth time. I think it's the fifth or sixth time Wonderful Town. So, like, who doesn't love Wonderful? I mean, I like it. It's not like the best show, but it's, I guess throw that in every.
- [18:13]
Matt Koplik
10 years, you know, and we know that it works. I think, like Love Life, it's a fun experiment because we watch and we're like, oh, Love Life doesn't really work, but it's fun to see. There was moments, but exactly. Let's go with Play Revival. I currently have Glengarry Glen Ross, Eureka Day, Yellowface, and Our Town with a possible Othello upset. Not because Othello has been getting such glorious reviews, but because everyone's been saying, like, Othello is aggressively fine and they might shun it because of the ticket price situation, but they're trying to redeem themselves right now because the moment all the reviews came out, they're like, oh, by the way, like, 10,000 New York City school kids are going to come see Othello now. Oh, like, we now have announced a new lottery. Oh, by the way, like, we actually dropped the ticket prices for June. It's like, we know you guys are trying to make it seem a little less cash grabby, but it doesn't super help your case. But that's, yeah, those are my four right now.
- [19:14]
Jeff Malone
I would say, I mean, I would put Glenn, Glengarry Glen Ross, definitely. I would put Othello, definitely. It just seems like an easy shoe in right now. I would, I would slot that, you know, I, I, Our Town.
- [19:28]
Matt Koplik
Sure.
- [19:30]
Jeff Malone
Maybe I, I was, I Love that place so much.
- [19:35]
Matt Koplik
Richie. I just. I did not like this revival. I know, but I. I have to think about other people right now.
- [19:42]
Jeff Malone
No, I. Right. And then I think of.
- [19:43]
Richie Grasso
If you think about other people.
- [19:44]
Matt Koplik
Sure.
- [19:45]
Richie Grasso
But I'll just put since I know you didn't like it either and I did enjoy it. Romeo and Juliet. Sure.
- [19:51]
Jeff Malone
Oh, I guess anything could happen.
- [19:53]
Matt Koplik
Jeff.
- [19:54]
Jeff Malone
Yeah, I could. I also, like, not rule out Cult of Love. Only because I thought that was good.
- [20:00]
Matt Koplik
I think that's in play. Eureka Day is the only surprise revival nominee for me.
- [20:05]
Jeff Malone
Oh. Cult of Love is a new play. Oh my gosh. Right. So Eureka Day. Yes. Eureka Day was great.
- [20:09]
Richie Grasso
And English is a revival too.
- [20:10]
Matt Koplik
No, English is. I think. I think English is original. Yellow Face. Yeah. No, because I think, I think Glengarry, Eureka and Yellowface are our three locks for revival. And then it's just the fourth of like, okay, are we going to go with the still running, not panned, but not raved about Othello? Are we going to go with like the Romeo and Juliet that kind of was panned but was a big hit? Are we going to go with Our Town that a lot of people really didn't like? But Jesse Green's like the one outlier yet again with Redwood.
- [20:40]
Jeff Malone
Same thing. It's like he's. Or. And it was. And he was the only one that didn't like Dorian Gray, which I don't get that.
- [20:46]
Matt Koplik
Well, I, which will take his review of Dorian Gray. And I, I agreed with it a bit. Like, I'm, I'm. I was more up on the show than he was. But like, everything he said, I was like, I agree with you. I like it a little more than you did. But like, you're not wrong. But this is the problem with him doing things like giving critics picks to Redwood and Our Town. And like, people don't take his Dorian Gray review seriously anymore because he wasted two critics picks on those pieces of.
- [21:11]
Jeff Malone
Right.
- [21:11]
Matt Koplik
And I'm like, like, if you didn't. Like, if you did not give Redwood a critics pick, people would actually read your Dorian Gray review with a little more insight.
- [21:18]
Jeff Malone
Correct, Correct.
- [21:19]
Matt Koplik
And I'm hoping, I hope he has such buyer's fucking remorse about that critics pick for Redwood. I hope he gets shit for it every day because he needs to know that that was such a fuck up.
- [21:28]
Jeff Malone
I don't think I watched the same show he did. Truly, I've never seen a more opposite. I sometimes I can read his reviews and say, oh, yeah, I don't really agree, but I Get a little bit of that. No, I was like, not one sentence of this review makes any sense.
- [21:41]
Matt Koplik
I read it too. I was like, what show did you see? I felt. But I felt the fucking same way about oh, no, Our Town. I understood how he felt, how the way he felt. Because I was like, oh, this is a production that Absolutely nothing with the text. They had, like, one idea, which was casting and, like, everyone doing prayers at the beginning of the show, but everyone. Everyone in that cast was in a different style and. And production of Our Town. So clash like a motherfucker. And Jesse Green was like, never before has it felt so current. I was like, you're seeing what you want to see. Like, what are we doing? Yeah, but that's. That's.
- [22:11]
Jeff Malone
And that was a shame.
- [22:12]
Richie Grasso
It's like Kenny always starts with an idea, and then he doesn't finish the idea.
- [22:16]
Jeff Malone
It's like, yeah, but he's got three plays this season, so the odds are in his favor that he'll get nominated for something here.
- [22:22]
Matt Koplik
I don't. I don't know if Kenny's gonna get nominated, but he definitely has our production. Who will get nominated? Like, it's between Othello and Our Town, I thought. I think Our Town might be the best bet. But. Well, see, I'm supposed to see Othello at sometime in April, so we'll see what happens with that.
- [22:37]
Jeff Malone
We're going to that in a couple weeks.
- [22:38]
Matt Koplik
Yeah, I've said it before. Like, my thing with Kenny's. I think Kenny's really good at casting and sort of lets his. And then knows how to, like, hone them in to the production. But I don't find him, again a visionary director. And what was so crazy about Our Town was I was like, oh, I actually think you cast this incredibly poorly. And it's the first time I felt that way. So I. But yeah, I know. We'll see. We'll see what happens. So I say Our Town. You guys say Othello. The Kenny Lee onslaught. We're seeing what's happening.
- [23:06]
Jeff Malone
And he'll probably have three more shows next year, too.
- [23:09]
Matt Koplik
Yeah, whatever. It's fine.
- [23:10]
Richie Grasso
Romeo and Juliet.
- [23:11]
Jeff Malone
Oh, you said Romeo and Juliet.
- [23:12]
Matt Koplik
Oh, yeah. Just said Romeo and Juliet. Okay, so let's do play, and then we'll go into all the performance and other shit in just a second. Okay, so best play I have at the top, I have Omari Purpose and English. I have those sort of locked in and unmoving. A new one I have is John Proctor. Is the Villain. A play that I Have said multiple times on Mike. Sounds like my biggest nightmare. The premise of that show sounds awful to me.
- [23:37]
Jeff Malone
Yeah, yeah.
- [23:39]
Matt Koplik
Bunch of Gen Zers slash Gen Alpha in a classroom talking about how the Crucible is problematic. I'm like, shooting me in the face.
- [23:45]
Jeff Malone
Right, right, right. But you have Donya Taymor directing, which to me saves it because I think that's one of the greatest directors we have right now. And so I think there's this. There's a saving grace there, I think.
- [23:56]
Matt Koplik
Well, that was ultimately what made me go, like, maybe this won't be terrible. I really like Danya. This will be my third Daniel show at this point. And if this works for me, then I'll be locked in for Danya forever. Correct. Like, I will. She'll obviously have a flop in the future. We all do. But, like, I will. I will always come back to her. But the word of mouth on it, even before it came to Broadway from Friends, was like, no, no, no. I attended a workshop. I attended a small production, regional production. It's really good. And then word from previews has been that it's really fantastic. So I am looking. By the time this episode comes out, I will have seen it. The review will be coming later. I'm now officially intrigued by it. I'm no longer hateful towards it, so I'm putting it in here. And then my fifth one is Hills of California with an asterisk on it and could be swapped out for Cult of Love, which two months ago I would have thought Hills of California was a lock, but I don't know. I think maybe that could be vulnerable to Cult of Love, but ultimately giving the edge to Hills, because Jez Butterworth is very well liked. He's a Tony winner. Former Tony nominee as well. This will be his third nomination, I think. Fourth, maybe people like Sam Mendez. It was well received. It's a British import and British imports tend to get a nomination in musical, musical revival and play, even if it's just the one slot. So that's. That's my five.
- [25:13]
Jeff Malone
So to me, oh, Mary. Hills of California. English Sit at the top. I do throw Cult of Love in there. And I'm going to say something I'm not hearing. Good night, Good night and Good Luck is based on a movie, but it would be considered new play, right?
- [25:28]
Matt Koplik
Yes.
- [25:29]
Jeff Malone
Okay. So I'm hearing not great things about the actual play, although I don't know if, because it's so starry that they'll throw it in, or maybe they'll just throw Georgia nomination. I Don't really. They're going to throw it something I think I don't really know where that sits per se. Also, I don't know this is going to be unpopular opinion. I really liked McNeil, but I know a lot of people didn't and so I don't know if that gets. It's such. It might be forgotten at this point. I just thought it was something really different and who knows. I don't know If Robert Downey Jr. Is even getting a nomination for that. But I don't know.
- [25:59]
Matt Koplik
We'll talk. I'll talk about that with actor because I'm glad you bring that up because I. Yes, I have discussions about McNeil and where it could possibly pop up because the word on McNeil that I keep getting, it's sort of like a herpes outbreak where it's like everyone mostly feels one way about it. And then like every couple of weeks two or three people are like, you know what? I kind of liked McNeil and I'm like, oh, that might happen with nominators. Where it's like just enough people are like, I kind of liked it. I'm going to throw it a bone here. And we'll. So we'll see like some surprise nominations for it.
- [26:29]
Jeff Malone
And one other thing I'll say before I go to Jeff's is it's in the history of Tony wins. It's. It is rare for a comedy to invest new play. We just know that from history. Most of the times it's a drama. Comedies have won before, obviously, but it's mostly dramas. So for O Mary to. To me, I just think Omari should win. This is the year for Omari to win. Let's just stop with all these star studded. Let's just put Omari as the win. I. That would be a bold thing and a great thing and I think that would be great for just playwriting in general that we have this like absurdist comedy winning the best Tony Award for best play.
- [27:03]
Matt Koplik
Yeah. You know, so absolutely he's like, I.
- [27:06]
Richie Grasso
Have an opinion and that's me. But anyway, I'm definitely also going with O Mary. I'm going with Hills of California and English. I don't know if Purpose is going to get nominated. I would like to see it get nominated, but I don't think. I think Purpose starts off really strong and then it doesn't fully end as strong as it started. With the buzz that I'm also hearing with John Proctor, I think it could get nominated and I also think that stranger things is going to get.
- [27:35]
Jeff Malone
Oh yeah.
- [27:36]
Matt Koplik
Interesting. Yeah. I've. I've heard really amazing things about Stranger Things is production value. I've heard less good things about the script, but that could be like sort of a Harry Potter situation and a War Horse situation was like, we're nominating the production.
- [27:49]
Richie Grasso
If I had my way, I would also put Job in here. But I know it's not going to get nominated.
- [27:53]
Matt Koplik
Yeah. I think Job has a chance for two nominations and only one of them is even really possible. But yeah, I think, I think oh Mary and English are absolutely locked. Both of which are, by the way, like they are genuine comedies. English is a much more like humane and nuanced comedy. But it is ultimately a comedy. And I hear you, Richie. Like I. It has been a long time since like I just. General comedy has won. I think the last time was probably God of Carnage and. And there's always like a little bit of backlash when it happens. Like what, like what's the importance of it? What's the messaging of it? And I think. But I think oh Mary's weirdness and queerness is really. It's. It's importance and it's not necessarily the play itself. And the fact that it's also like such a ginormous hit, like objectively the biggest commercial hit of the season. Musical or play.
- [28:43]
Jeff Malone
Right.
- [28:44]
Matt Koplik
I think that really helps it and I think. Yeah, I just have no doubt of it winning at this point. I just. The question for me with Omari is rather what else might it win and what might, you know, usurp it in other categories. But I think that I think play an actor, spoiler alert are pretty much like blocks for it to be nominated and probably win. Yeah. I think what was. I'm. I will have seen purpose again by the time this comes out. And similar to you, Jeff, I've had a lot of people say, like, the first half is great, the second half is fascinating but kind of messy. And I think the question is like, do we nominate the effort or do we not nominate the final execution? And it'll be interesting to see how people think about that because what I also tell people a lot is there's a difference between what people say online and then how they actually feel. And especially when you're hiding behind an anonymous ballot and no one can know exactly what you voted for nominated, you'll say, do different things. I keep pointing back to things like Slave Play, which had like 14 nominations and granted it was the COVID gas leak year, but still people like, oh, it's going to win like a bunch of awards. They're going to announce that they're coming back on the stage and then it goose egged because the truth was that a lot of people in the community really didn't like that play. And they would say online, oh my God, so important, so brilliant. And then go to their ballots and be like, I just, I can't, I didn't like it. And I think people are gonna be very surprised how some nominations happen this year. What certain things might win or not win. I was gonna say something else. Fuck. Oh, star studdedness of it all. Yeah. I don't know. This might be because there's been so many star studded productions. Some people will get nominated, but it also can sort of be a concentrated effort from nominators. Like we are going to reward the who put their money and their, and their merit behind actual gambles and not George Clooney at the winter garden charging $500 a ticket.
- [30:45]
Jeff Malone
Right. And that's why I think the diversity of the Tony voters being from all aspects of the industry is really important. Not just producers, not just investors, but designers and actors and, and people who are semi retired from the industry and younger people and older people. And just the diversity of y' all is, is important. And I always say this too, speaking of Tony before we go to the next. The Tony voters are the Tony voters. Right. But I would always say, I always say it's the people that decide what the nominations are, which is a much smaller pool of people. That's the room I want to be in. I want to know what those. I think it's 20 people or something. It's not a lot of people compared to like the 100 or whatever of Tony voter, but it's a small group of people that decide. Like, like, did you all go see home last year in June? And are you talking about home or are you just one of the 20 people that's only talking about the George Clooney? Like that's really where I think a lot of decisions come down to. I don't know.
- [31:44]
Matt Koplik
Yeah, no, it's, it. Listen, I, I have known Tony nominators of, of yesteryear and obviously like everyone has different methods. But the one who I like, my step grandmother used to be a Tony nominator and she was, she took it very seriously.
- [32:02]
Jeff Malone
Yeah.
- [32:03]
Matt Koplik
And I would sometimes see things with her and like we, she's like, you can tell me what you thought. I will not tell you what I thought. But she like would go home and write down all of her thoughts in, like, a word doc. And sometimes she would come back to it throughout the season. But that way, you know, come April, if she needed sort of a refresher on things that she saw in September, she would go to the doc and be like, oh, right, I thought this. This is what this was about. And she kind of would write down the elements of the. Of the production that stood out to her. So she would remember it come April, like, oh, maybe, like I did. I did really love that performance in that play. I'm going to make sure to give it a nomination. And we see that sometimes things like Cost of Living getting, like, three acting nominations even though it had closed in February. Right, right. And I just. Yeah, I think when something's super far away early in the season, it is easy to forget about it, but also only if it's forgettable. Like, Here Lies Love did get a fair share of nominations when it. When the Tonys happened last year. It would have had more if it was still running, but I think the fact that it got what it did show that it had some staying power. Home, most likely, not getting nominations is not because it was so early in the season. It's because it was home.
- [33:13]
Jeff Malone
Right, right. And I'd say. But then, like, Gray House last year got, like, two nominations out of nowhere, and that was a random summer run. So. Yeah, like.
- [33:22]
Matt Koplik
But. But I think the nominations for Gray House also, if you saw it, like, it made sense because that was a show where it was the technical feats that were the most impressive. And so then I think it was lighting and sound.
- [33:31]
Jeff Malone
Yeah.
- [33:31]
Matt Koplik
And I was like, yeah, that. Like, that makes sense. So, yeah. Yeah, I think we could see something with Job on a technical level of it getting maybe a lighting and sound design nomination. And I would. That would make a lot of sense. But. Yeah, well, we'll see. We'll see. Let's take a quick break, and then we'll be back with some more categories. So quick break with you.
- [33:53]
Jeff Malone
How do you mean? You're the top? Yeah, you're an arrow collar. You're the top. You're a Coolidge dollar.
- [34:02]
Matt Koplik
You're the nimble tread of the feet of Fred.
- [34:05]
Jeff Malone
As.
- [34:08]
Matt Koplik
We'Re back. Before we continue, I forgot I was going to do this at the top of the episode because I like to give people their flowers early in the episodes. We. Guys, we have a new review that I want to read for y', all, so forgive me, Jeff and Richie. I gotta. I gotta give our listeners their flowers here. Cue the lightning The Piazza Overture, please. Still going through withdrawals since I binged every episode. I told myself I'd leave a review when I got caught up with the whole series, but have been putting it off. So here goes. A year and a half ago, I was having a bad day and needed a distraction on a long drive. Yay. I pulled up Broadway Breakdown and saw an episode titled Sutton Foster made me gay and thought, oh yes, this is for me. That's an old episode. That's something like breakdown 1.0. I lived in New York City until the pandemic sent me home and had been trying to find a way back to the city. Matt's spicy, intelligent and warm hearted discourse welcomed me like a familiar friend that also challenged me to learn more and jump back into this world. I am happy to report I've been back in New York for a year. Yay. And the POD has evolved from road trip Buddy to subway Companion. Accompanying me to the Lincoln center archives.
- [35:14]
Jeff Malone
Woo.
- [35:15]
Matt Koplik
Rush lines and rehearsals for my own shows. Yeah, your own shows. What a treat it is to be consistently educated and entertained while also getting to participate in the analysis of the current Broadway season. Matt, you're a gem. And I can say from experience that the POD is touching people's lives. Keep spreading your smile slash Sally Murphy Judy Kuhn inspired gospel and the disciples will keep following the theater rabbi that you are. Is it because I'm Jewish? Is that why we're saying theater Rabbi? Thank you for the hard work you put in, for the humble honesty and for making us theater nerds feel seen heart emoji. I will always spread Judy Kuhn gospel. That and Sally Murphy gospel. That needs to be heard from everyone. Thank you so much for that one, guys. I really appreciate it.
- [35:52]
Jeff Malone
That's.
- [35:53]
Matt Koplik
Yes, they write nice reviews. I. Yes, Jeff has has to be blamed though for many new onslaught of reviews because I told them, I said, guys, I'm going to be submitting to the Theater Guild to try to be or the Broadway League to be an official press person on their list and I need more reviews so they take me seriously. And I only knew about this because of Jeff. I knew that the Broadway League was something you could apply to. So thank you Jeff for my onslaught of new reviews.
- [36:18]
Jeff Malone
Everyone come review us too.
- [36:20]
Matt Koplik
Yeah, but only if Jeff. Only if Jeff and Richie deserve it. You guys. All right, yeah, no, go. Go listen to their podcast and give them reviews too. Okay, so we done play musical, play revival, Musical revival. You guys pick next. Do you want to do actor, actress, featured actor, actress, play musical.
- [36:38]
Jeff Malone
Oh, let's do. Should we just go right into leading ladies of musical theater?
- [36:44]
Matt Koplik
Let's do it. Let's do it.
- [36:45]
Jeff Malone
A really tough one. So, okay. The best leading actress in a musical. Okay, where this is tough because these categories, like what it was supporting last year, eight women in the supporting.
- [36:57]
Matt Koplik
Like, I think seven. But yeah, it was. It was a lot.
- [37:00]
Jeff Malone
But we averaging four to five.
- [37:02]
Matt Koplik
It's. We have. So it's minimum five. And then there can be ties. So we'll see. There might be some ties this. This category.
- [37:12]
Jeff Malone
All right, so there's so many in no particular order because I'll tell you who I think should win, but in no particular order of the nominees. It's Nicole scherzinger. It's Audra McDonne. It's Jasmine, Amy Rogers and boop. It's Idina Menzel and Megan Millet. Oh, my God. Megan Hilty. Megan Hiltzi. I throw Sutton in as the asterisks because I do feel like it will be a forgotten, unfortunately forgotten performance of Once Upon a Mattress, even though I loved her performance. But I just don't think that's sitting with how stacked this category is right now. I don't know if she's going to be remembered there in a way. And I did not enjoy Idina Menzel's performance at all in Redwood, but I do think she's. I actually do think she'll get nominated and I think I'm not putting any of the smash women in here because I don't know why. I feel like maybe this show may not even last. I don't. I just am not hearing many good things about it. But I mean, to me, it's obviously between Nicole and Audra and it's going to be neck and neck down to the minute with those two. I really think it's going to be a very close call. And personally, I think Nicole could come out over Audrey on top for it. Yeah, just. Just irking by at the top. And that's kind of my thoughts on that.
- [38:26]
Richie Grasso
I agree with most of those, but I think that Adrian Warren's getting nominated over Idina Menzel and I did not write her name down. But who is in maybe happy ending again?
- [38:35]
Matt Koplik
Helen J. Shen.
- [38:37]
Richie Grasso
I think she could also slide in with a nomination if we're going over five. But I don't know who is leading in Buena Vista Social Club or Real Women have Curves. But I also like, would Bernadette and Lea Salonga and would they be leading? I don't know what they're going to get put in for.
- [38:56]
Matt Koplik
Yeah, that's the question. Because Bernadette and Leia are both above the title in Old Friends, but from what I understand, it is very much an ensemble piece and Bernadette and Leia have the most material, but they're not, like, from what I understand, they're not lead. Lead performances. So we'll see what happens there. If the. If the Tonys continue to put all of these women in lead, and it not only overstuffs leading actress to the point that, like, who the fudge knows who's going to get nominated, it then makes featured actress a desert I know, which will annoy the shit out of me. I think that Natalie Venetia Balcon is absolutely a featured performance in Buena Vista Social Club. It's. It is. Her character is central to the story, but I described it as like the Notebook movie where, yes, Ally is the main character, but Gina Rollins in the movie is supporting to Rachel McAdams is leading. Very different from the stage show version of Notebook, but that is how I view the stage version of Buena Vista Social Club where, like, Natalie is supporting to her younger self. In my humble opinion, the producers might want to put her in lead. Everyone's like, well, she's on the poster and all this other stuff. I'm like, yeah, like, she's central to the story, but she's on stage less than half the time. She doesn't even get the final moments of the show. That goes to somebody else. So I would love to have Natalie in featured. My five are Nicole and Audra, Jasmine, Amy Rogers. I think those three are just like, those are locked in. And that's the thing about Boop is like, everyone has said, even those who don't, who haven't cared for it, everyone has said that Jasmine is an absolute star. Yeah. And like, yeah, she, like, she. The whole reason to see it is to see her and. And to witness a star being born. So that's exciting. And the Tonys love Angenous.
- [40:34]
Jeff Malone
I mean, who won last year?
- [40:36]
Matt Koplik
Yeah, Malaya, Joy Moon. Yeah, it's. I mean, it goes back and forth. Like, it goes back and forth between ingenues that were, like, investing in. To have, like, long careers, like a Sutton in Thoroughly Modern Millie, Malaya, Joy Moon in Hell's Kitchen, Heather Headley and Aida, things like that.
- [40:51]
Jeff Malone
Even like Miles Frost and mj. I mean, look at that. I mean.
- [40:54]
Matt Koplik
Yeah, well, leading actor, it's a little trickier. They. Similar to the Oscars. It's rare that they give the young boy in town the Tony for it. And when they do, it's usually for something like a bio musical like MJ or Jersey Boys, but they'll also be. They do also love an established star giving an established performance. And in a lot of ways, like, Nicole's kind of both of those things because it's her first time on Broadway, but she is an established name at this point doing an established role. So she is both like, welcome to Broadway, Nicole. And also like, you're finally here. So it's that. It's got a lot of that. My final five. If I had to lock it down to five. This is where it gets tricky because Jen Simard and Megan Hilty are both considered leads for Death Becomes her as they should both.
- [41:41]
Jeff Malone
Are they both. I was wondering if Jen would be supporting, but I guess they would both be leading. Right.
- [41:45]
Matt Koplik
I know that the producers of Death Becomes her petitioned her for featured and the Tonys decided. No, the Tony said they're both lead, artistically speaking. That is correct. They are both leads, but they're trying.
- [41:57]
Jeff Malone
To get the money nominated.
- [41:59]
Matt Koplik
Exactly. Like we went from both of them being locks in separate categories to like, they could both not get in now for lead, which is unfortunate because, like, Jen would have fucking won. She wasn't featured. But whatever.
- [42:10]
Jeff Malone
Yeah, right, right.
- [42:12]
Matt Koplik
It's fine. It's fine, Richie. It's fine. I'm not mad about it.
- [42:14]
Jeff Malone
It's fine. It's time for her. When we've been waiting for her win.
- [42:18]
Matt Koplik
Yeah.
- [42:18]
Jeff Malone
It's also time for Jeremy Jordan's When I think. But that's the next.
- [42:21]
Matt Koplik
Well, yeah, we'll discuss that in a second. But the question is if. If Death becomes or gets nominated for Best Musical. I think they're both getting in here. It's in the same way where I think there are people who say, oh, it could be that Sunset wins revival and Audra wins actress. I think whoever's revival wins is who wins actress. It's. Especially with these productions, it's so hard for me to have people watch Sunset and vote for it and then not vote for Nicole and for people to watch Gypsy and not vote for Gypsy, but vote for Audra. It's like if the. If these, These productions are centered around their lead performances and if you think that the production doesn't work, I don't understand how you can then vote for the performance that it's living off of, or to think that the production works, but then not vote for the. The. The blood vessel that's giving it life. So that's why I. I'M giving the edge to Nicole. Just. I have found more people have enjoyed Sunset, have found that it works because of Nicole. More people I've spoken to have not enjoyed Gypsy. Some have enjoyed Audra, but it's more sort of been like, didn't like the show, liked her or, or loved her. But that winners we discuss closer to actual Tony.
- [43:36]
Jeff Malone
And you also wonder if Tony voters are sitting here saying, you know, Audra's got a ton of Tony Awards. Does she really need another here's an opportunity to give someone else? Not that it's about that, but I wonder if Tony voters are sitting there pondering that.
- [43:48]
Matt Koplik
Yeah, it's, it's. I think people are questioning what is historic here because it's the Audra's doing Gypsy that is something for the record books, whether you like the performance or not. Just that happening is for the record books. So are we going to acknowledge that a seventh Tony win is extraordinary? That would be a moment, but we've already broken the record. So it's not like it's technically speaking a new record, but it's not as big as like, oh, she's officially the most Tony winning actress of all time. She's already, she already is. So now we're just like adding to the pile. And so then you also ask yourself, like, is it, is this performance fantastic enough to warrant giving her that? And some people think, yes. And some people think, I don't know, like, Nicole is really kind of doing something special. And I hate to say this, but there's also been some attendance stuff with Audra with Gypsy, nothing so detrimental that we're like, oh, she's never in. She's in. She's in a lot. But this is where doubt can creep in for anyone. Similar to Orpheus heading out of Hadestown, Doubt creeps in orever. That song is called People who Are like, well, can she handle it? Is she right for it? And then anytime Audra calls out, it's a double standard. But anytime Audra calls out and she's called out a few times, people go, well, we all kind of thought this role was, was out of her depth and she's kind of proving it to us. And yes, it's double standard, but also like. And Nicole has, has an alternate every Tuesday, but Nicole has yet to actually call out of Sunset.
- [45:18]
Jeff Malone
True. That is true. She's not yet called out. And Audra has, I wonder, just added.
- [45:22]
Richie Grasso
The alternate dates back in. Like, I think.
- [45:24]
Matt Koplik
Well, they, they, they switched up some of the dates for the end of Mandy's run because I think they're trying to get more Nicole performances in before the Tony so everyone can see her. So we'll see. We'll see about that. But I think that's smart of them. Of, like, you know, we don't want to limit the opportunities to see Nicole before the Tonys because we need. We need 800 people to see her.
- [45:47]
Richie Grasso
I feel like with Audra, though, I put this out there that I don't think compared to her other work, this is on par with what she's won the Tonys for.
- [45:58]
Matt Koplik
I agree. But there are people who disagree, who think this is, like, the best thing she's ever done. And I don't want to take that away from them. I just did. Not the two times I've seen it. And I did see, guys, I saw it twice. I went and saw it, and then I went back as people guilted me into giving her a second chance. And I watched. I was like, I love a lot of what she's doing, but I don't love all the things she's doing. And that's okay. We, our divas are people, and they are artists, and they're gonna. If they're great artists, they're gonna take big swings, and sometimes they're not gonna hit the ball. Sometimes they're going to miss, and that's okay. Or they're going to, like, skim it, and that's okay. Yeah, but we're not even talking. We're not even talking about winners here. Like, I just think that Audra, Nicole and Jasmine Locks, Meghan and Hill and Jen, I'm putting them in right now. But also my asterisks are like, Helen J. Shen could get in there. It's. Well, she is the female lead of the front runner for Best Musical right now. And again, it's tricky to nominate Darren and not her when they are so dependent on each other. In that show. I think Sutton is pretty much out of this running. I think the show was too long ago and isn't so beloved. I do also think Idina's out of the running, but, yes, she could absolutely pop up. People like her. She's carrying that show. People just don't like that show. Yeah, yeah.
- [47:13]
Jeff Malone
And then just announced, like, extended till the end of mid August or something. So I was like, oh, she must really think she's gonna be in this marketing darling.
- [47:20]
Matt Koplik
Yeah, yeah, yeah, yeah. No, she's. She is the only reason that show is running. And as long as she's in, they will sell tickets. But there's I'm also curious to see what happens with Operation Mincemeat because there's an actress who was put in lead at the Oliviers and I'll be interested to see if they put her in featured here. I don't view her as a co lead at the show. Like, I mean, I think that there are two central characters in Mincemeat, but because everyone plays a million roles, it does feel very much ensemble driven. So we'll. We'll see what happens. But I think it's. Natasha Hodgson was put in lead at the Olivier, so she might get put lead here. And I think if she's put lead, I do think she gets forgotten if she's put in featured. We'll talk about that in a second. Yeah. So I have. So we all have Nicole, we all have Audra, we have Jasmine, and then we're all sort of divided on the final two possible final three.
- [48:10]
Jeff Malone
And Robin and Caroline and Smash. I don't know who's leading, who's supporting. I don't know what's going on there.
- [48:16]
Matt Koplik
From what I understand, Robin is the only lead and that is who the producers are going to put forward. But also like Robin is. It's like not such a star turn for Robin that she's guaranteed either. I think the Smash could get in and sort of some below the line stuff. We'll get that to that in a second. But yeah, and then also, like, apparently Brooks is kind of weirdly like the lead of that show from what I hear.
- [48:42]
Jeff Malone
I never know with him if he's supporting or not. He's also someone who could. I don't know. I don't know. I don't like it said. We're in the early stages still. It's hard to see what's going to be put up for what's nominated.
- [48:51]
Matt Koplik
Yeah. Let's do actor in a musical. Now. I have at the tippity toppity. I think we've got four locks here. We have Darren Criss, who I also think could possibly win again. He's the male lead of the best musical front runner. I think his performance is also fantastic. It's not like a super showy performance, but everything he's doing is very specific and intricate and very well done. Tom Francis for Sunset Boulevard.
- [49:16]
Jeff Malone
Yeah.
- [49:17]
Matt Koplik
J Groff for Just In Time and then Jeremy for Floyd Collins. The fifth slot is tricky.
- [49:25]
Jeff Malone
It is tricky because I have the same fours you and then my fifth is still. Yep.
- [49:29]
Matt Koplik
Yeah. There could be a world in which Andrew Durant gets in there for Dead Outlaw, totally. Which, if anyone has seen it, knows. That's hard to necessarily say because the second half of that show, he is on stage the entire time, but he doesn't. He's there.
- [49:44]
Jeff Malone
But that could be honorable in and of itself.
- [49:47]
Matt Koplik
Absolutely. And, and, and it's. It is incredibly impressive physically, what he's able to say.
- [49:53]
Jeff Malone
I know. And I'm telling everyone to run and buy their tickets to the show because I love that so much. Downtown, I guess, so much.
- [49:58]
Matt Koplik
Yeah. I honestly think that is more of competition for maybe happy ending than Operation Mincemeat, but. Yeah, well, yeah, so I think Andrew Durant could be in there. I think David Cummings could be in there for Operation Mincemeat, which you guys are seeing today after we record this. My hope, my absolute hope it's not going to happen, but I'm going to keep saying it and hope that it does. Is Gray Hansen for Elf?
- [50:24]
Jeff Malone
I keep being like, yes, yes, yes.
- [50:26]
Matt Koplik
Yeah, Wouldn't it be. Wouldn't it be a fucking dream if Elf got in for revival? Wouldn't we love that?
- [50:31]
Jeff Malone
It would be great. And, you know, holiday shows very rarely, but Christmas Story was nominated for Best Musical and they performed at the Tony Awards. They did that. You'll shoot your eye out number at the Tony six months later or whatever that was. And so it is possible. And I thought that Elf revival was very good. It was a very polished, wonderful revival and he was great. So I.
- [50:51]
Matt Koplik
And that's sort of why I'm like, don't, guys, let's not sleep on Elf. Listen, like, if we're being pragmatic here. Yes, yes, yes. We're kind of. It's a pie in the sky dreams, but similar to when I talk to people about Gypsy and it's a lot of, like, underwhelmed reactions. Whenever Elf comes up, everyone's like, that was better than it had any right to be. And I imagine enough nominators sitting down and being like, you know what? Floyd Collins underwhelmed me just a little too much. And Elf was kind of super delightful. I'm going to give the edge to Elf or like, you know, Gray really held that shit together. We haven't nominated him since Mean Girls, let's fudgeing. Give him that. That blue chip. And so, like, if any Tony nominators are listening to this, not to influence your voting process, but if part of you is going, I really did enjoy Elf, do I give it a vote? I sit here going, like, by all means, like, I'm giving you guys permission to do it. Yeah. Just saying.
- [51:49]
Richie Grasso
Put elephant over Once Upon a Mattress, put.
- [51:51]
Matt Koplik
Put Elven over Once Upon a Mattress, put gray in over all of them. In my opinion, he's my vote to win.
- [51:57]
Jeff Malone
I will say this because I know it's early on. I haven't said this yet, but I don't know if Ramin works his way in here at all. I have no. I think Jinx is supporting, and I think David Hyde Pier supporting, but I think he's leading. If I know Pirates as well, I think I might, and I don't. He's a Tony nominee, and he's a Jean Valjean and Phantom, and he's a big name, and so I wonder if they throw him in there in a way. I don't know.
- [52:21]
Richie Grasso
I mean, I would wiggle in John Gallagher Jr. Too, because I loved his performance.
- [52:26]
Matt Koplik
Oh, Jeff, get ready to be upset, babe.
- [52:31]
Jeff Malone
I know, I know.
- [52:32]
Matt Koplik
I said if it was my way.
- [52:33]
Richie Grasso
I would wiggle him in, but, you.
- [52:34]
Jeff Malone
Know, are you not supporting for that?
- [52:37]
Matt Koplik
No, he's. He's. He was considered lead. Yeah. It's, I think, Swept Away. I think there are a couple of tech things that Swept Away could get in for. I think also orchestrations and choreography are possible, but overall, I think Swept Away fans need to be prepared for disappointment on that one. The thing about Pirates is it's Pirates is such a question mark for me right now.
- [52:55]
Jeff Malone
I know, I know.
- [52:56]
Matt Koplik
Especially with how they have been talking about, like, oh, we beefed up Jinx's role because she's so incredible, and I'm sitting here worried. I'm like, please don't tell me you beefed her up so much that she's now the lead because, again, like, leading actress is so fucking packed. Make her a really prominent featured role so she can win, like, what are we doing?
- [53:13]
Jeff Malone
Nomination at the least, because it's her time for me. Yeah, we'll get to that category.
- [53:17]
Matt Koplik
We'll get to that.
- [53:18]
Jeff Malone
But I think Ramin thrown in there could be just, like, the random wild card.
- [53:22]
Matt Koplik
The thing about Ramin is I've yet to see Ramin be funny. And this is a show where he has, like, he has to bring shit to the table. Now, this could be a really good use of him where maybe they very intelligently direct him. And it's not such that he has to be kooky, but he can play it straight and thus is funny that way. But, like, I think about Kevin Klein in this role in the 80s and just, like, the buffoonery that he did and it is a kind of, it's a kind of role that you, you, you can't just sort of be dreamy through and, and get away with it. So I think if, if Ramin sells it. Absolutely. But I also don't know, like, maybe he is ultimately considered featured because David I Pierce, his role was ultimately considered lead in the 80s when it was George Rose. But I think with George Rose, he was such a theater star and was such a towering presence and did such an amazing job with Modern Major General. Everyone was like, well, that's the impression we get from the show. So, like, David could be put in featured, he could be put in lead. Who's to say? I'm. I'm. I keep sort of like thinking about them at bay and I just, I can't commit to predicting either of them because that show just hasn't started performances and nobody knows.
- [54:31]
Jeff Malone
No one knows. And had to have out of town and whatever.
- [54:34]
Matt Koplik
Yeah, but we'll see. We'll see. Yeah, I hear you. Let's look at. You know, I'm going to throw you guys a curveball. Featured actress in a play.
- [54:44]
Jeff Malone
Oh, gosh, these featured actresses are so hard for me because I don't really know what's qualifying yet as an as featured actress and featured actor in plays and musicals because it's like we just had the Meg and Jennifer talk, like, what's going on? Right. So you go first on this.
- [55:02]
Matt Koplik
So based off of what I've heard from Purpose, Saint Latonya, Richardson, Jackson for Purpose, I'm going to say Jessica Hecht for Eureka Day.
- [55:13]
Jeff Malone
Oh, I hope. I thought she was so good.
- [55:15]
Matt Koplik
Yeah, yeah. Then this is where it gets tricky because I don't know John Proctor yet. And there might be a character in that, an actress in that who really has like a shining moment. Bianca Lee for Omari also can happen. I. But there are two productions that I. Where I sit here and I go. There are so many opportunities to nominate women here and will it happen for any of them? Or is it. Is it just too crowded? And that's Hills of California and that's English, because Hills of California. Laura Donnelly is lead and she will be nominated.
- [55:54]
Jeff Malone
Of course she will. Of course.
- [55:56]
Matt Koplik
Of course she will. But I think all three, all three other sisters were fantastic and I wouldn't be mad about it. Leanne Best, Ophelia Levy, Bond, Helena Wilson, I think they're all incredible and I would love to see any of them get in. The question is like, will that happen? And I think Helena Wilson might is the best shot that she plays the youngest sister, Jill.
- [56:16]
Jeff Malone
Yeah.
- [56:17]
Matt Koplik
And has the most. Has like the most complete arc of the show after Laura Donnelly. But then English. English is interesting because Talia. Tala Ash, I believe, was considered lead Off Broadway. And that she played. She played the. What's her face. She played Alarm, the student who's. Who is having trouble with English. Yeah. So if she's considered lead, I think she's in lead for sure. If she's featured. She. I think she'll be featured for sure. Ever. Tala Ash is eligible. That's where she goes. But also, like, I loved. I'm not gonna be able to say her name correctly, but I think it's Ava. Sorry. Sorry, Ava. But she played Goalie, the. The teenager who loved the Ricky Martin song, and I loved her monologue about that Ricky Martin song. And I'm like, fucking nominate that today. Yeah. So, like. But you know what I mean? Like, both of those plays have so many opportunities for featured actress, and I'm like, are they all just gonna cancel each other out? And. And we get nothing and.
- [57:25]
Jeff Malone
And they're on. We're all saying names of the other, you know, Latonya. Richard Jackson's a little bit more of a name. But I. I mean, they're all kind of.
- [57:31]
Richie Grasso
It's also Future. I think Carry on would be considered.
- [57:33]
Jeff Malone
Oh, Carry Young would be featured in Purpose for sure. She's. I don't think she's not leading in that. I do see Carry on getting nominated for that.
- [57:39]
Matt Koplik
Oh, yeah.
- [57:40]
Jeff Malone
I forgot to say that there was Alana Arenas. She in Purpose is also great. There's a lot of supporting potential for the women in Purpose. I will say that. Bianca Lee, totally agree with that. Talia Ash, totally agree with that. Jessica Hecht, totally agree with that.
- [57:56]
Richie Grasso
What about Cult of Love?
- [57:57]
Jeff Malone
Cult of Love, Yeah. I don't know if anyone really stood out for me.
- [58:01]
Matt Koplik
Yeah. Cult of Love. I actually. I really enjoyed Cult of Love, and I thought that was a really strong ensemble. And it's. It was one of those cases where I was like, oh, I could nominate a few people here, but because the show has closed and there are other plays I liked a bit more. Will that happen? I don't know. I don't think so. The person who I loved the most in Cult of Love was Molly Bernard, who played Zachary Quinto's wife, the one who's just drinking the entire time. But I don't.
- [58:30]
Jeff Malone
I don't.
- [58:30]
Matt Koplik
I don't know. I see a world in which Cult of Love kind of gets shut out. Completely.
- [58:36]
Jeff Malone
Yeah, I do. Unfortunately, too, I think it was just a short middle of the season run. And also, we can't forget. I know a lot of us don't know this yet, but I don't know what's going on in Stranger Things, so I don't know if there is a female supporting character somewhere in there that could just come out. Because right now, what's so tough about Stranger Things, it's like all about the tech and it's all, oh, I literally couldn't tell you one character name one plot point yet. And it had a run in London, so it'll be interesting to see where that slots, if any of them slots.
- [59:06]
Matt Koplik
Yeah. Imagine if, like, Stranger Things comes out with four acting nominations out of the blue and we're like, oh, okay, right.
- [59:12]
Jeff Malone
We never know. I don't know we're going to see that this week. So excited to see that.
- [59:15]
Matt Koplik
Oh, very exciting. I. Yeah, I need to. Who's the. Who's the press team for that?
- [59:20]
Jeff Malone
Oh, my gosh.
- [59:21]
Matt Koplik
That dk. Com. Okay. I gotta reach out to them. Yeah, it's as Jeff. Jeff and Richie and I have all bonded over, like, scheduling and figuring out, like, how. How and when to reach out to all of these and the timing of.
- [59:36]
Jeff Malone
Reaching out and who.
- [59:38]
Richie Grasso
Our week is insane. We have minced me today, last five years, Tuesday, Stranger Things, Wednesday, boop.
- [59:42]
Matt Koplik
Thursday, I have last. I have a John Proctor, Tuesday, last five years and boop. On Wednesday. Thursday is purpose, and then Saturday is Smash. It's.
- [59:53]
Jeff Malone
Oh, my gosh, you're busy too. It's April of our life, y'. All. Yeah.
- [59:57]
Matt Koplik
Yeah. This is how it goes. And listen, as I said on earlier episodes, like, this isn't all press tickets. Like, some of these are. And some of these are my own.
- [60:05]
Jeff Malone
Right, Right.
- [60:06]
Matt Koplik
Tickets. Because not all these shows were offering. So I had to. I had to act fast and be.
- [60:11]
Jeff Malone
Like, okay, you have to.
- [60:12]
Matt Koplik
I have to. Like, I can't because. Because there. There were two shows where I had to pay, like, genuinely big prices to see, otherwise I wasn't going to see them.
- [60:20]
Jeff Malone
And then it comes also down to scheduling, like, when you can get all these in, because obviously you can see the. In May. We just like to see as much as we can before the nominations go out. So then I have an idea, like in this podcast world of what you can talk about. You know, there's always one or two shows we wind up seeing in May just because of schedule. Almost to get 40, 30 something shows before the Tonys, before the Tony's. Right. That's the goal.
- [60:42]
Matt Koplik
I do try to see everything before nomination day, but yes, as long as I get everything in before the actual Tony Awards, I am good because I do my own fake Tony nomination before the Tony Awards, and I can only do that if I've seen everything. So, anyway, okay. Featured actress. We didn't get much out of featured actress, but we. Yeah, we. In a way, it's the inverse of featured actress in a musical where I actually think this category, featured actress in a play has so many possibilities and like, almost absolutely no front runners. But, like, everyone in here has such potential to get nominated. Whereas featured actress, musical. Let's actually go over to that now.
- [61:18]
Jeff Malone
Yeah.
- [61:19]
Matt Koplik
I find. I just find that to be such a desert, especially because there's. There's so many.
- [61:24]
Jeff Malone
And last year wasn't. It was so not a desert last year when you had Shoshana and. Oh, my gosh, who won it? Who won in Hell's Kitchen? Keisha Lewis.
- [61:36]
Matt Koplik
Keisha Lewis. Yeah.
- [61:37]
Jeff Malone
You had like, I mean, two people from the same show. I mean, seven women in that category was so stacked. And it's interesting. Every year it can be so different.
- [61:44]
Matt Koplik
It could be so different. So this year I'm gonna say that Natalie Venetia Belcone, Jinx Monsoon. I think Natasha Hodgson. Yeah. And then Leia Slanga, Bernadette Peters. I'm gonna say all of them are deemed featured. That's that. I'm just. I'm going to eat my words in about two days when I'm sure they announced all of what I said is incorrect. And with that in mind, I'm going to say that feature actress in a musical. My predictions with all that is Natalie Venetia Belcon for Buena Vista Social Club. Jinx Monsoon for Pirates. Joy woods for Gypsy. Natasha Hodgson for Operation Mincemeat. And then Lea Salonga for Old Friends with the possible asterisk for Bernadette Peters for Old Friends getting in there over Natasha Hodgson or over Joy Woods. And then what's her face from Sunset. I think she. I don't think she's a lock, but I think she's sort of like a wandering upset nomination for that show.
- [62:42]
Jeff Malone
The Betty. I can't remember her name, but yes, yes, totally agree with all that. I haven't seen mentioning yet. Or Buena Vista to give that way. And I will throw in Caroline Bowman for Smash only because I think she does have a pretty big 11 o' clock number. Right.
- [62:55]
Matt Koplik
So sorry. Grace Hodgett Young is Betty Schaefer.
- [62:58]
Jeff Malone
Right.
- [62:58]
Matt Koplik
Caroline Bowman, from what I Understand, She. She gets to do, I think, two, three big songs.
- [63:03]
Jeff Malone
Okay.
- [63:05]
Matt Koplik
I. Again, I'm trying to go into this little knowledge of it as possible, but I think the one what ends up happening with Caroline is, from what I understand is representative of one of the issues of Smash or just sort of. It's all kind of spread out and. And very. People really get to stick out because of it. But we'll see because there's how they're marketing it, which is like it's Robin v. Caroline all the time. And apparently even Caroline doesn't get to do let me be your star like someone else gets to do let me be your star. It's like, it's. Yes, it's very. It's very scattered.
- [63:36]
Jeff Malone
I. Part of me thinks maybe Bombshell, the Marilyn Monroe musical, should have just been the thing that came.
- [63:42]
Matt Koplik
But those people keep saying. I'm not sure if I buy that either. Because, like, yeah, first of all, if we were to do just like a genuine Bombshell musical, whoever plays Marilyn would be dead by Tuesday.
- [63:53]
Jeff Malone
Because that's the craziest, demanding.
- [63:55]
Matt Koplik
It's the craziest demanding saying of the world. Like, because Shaman and Whitman didn't write it. They claim they wrote it, like, for a musical to happen. But I hear those songs. I'm like, no, every Single song's an 11 o' clock number.
- [64:07]
Jeff Malone
Right.
- [64:07]
Matt Koplik
Like, you're actually playing. Marilyn is dead by intermission. Like, you're killing women with this. Tell me what you guys have.
- [64:15]
Richie Grasso
Mostly all the same.
- [64:15]
Jeff Malone
Yeah.
- [64:16]
Richie Grasso
I mean, I don't know for some of the later musicals, if Floyd Collins. Just in time. Real women have curves are going to have more featured. I think Real women have curves is probably going to have more featured. Women potentially could slide in there. But I don't know anything about that show really.
- [64:31]
Matt Koplik
So there was an actress and Real women have curves who got nominated out. Out of town in Boston. Let me find her name. Whoever got nominated in Boston for featured actress in a musical could maybe get nominated here just because, you know, there's a precedent. Someone. Someone saw her performance and said, you. And maybe someone will say the same thing here.
- [64:50]
Jeff Malone
And the other thing about. And the thing with Joy woods and Gypsy is it's. It's a clear slot. I mean, Laura Benanti was nominated and then won for it. To me, I'm not trying to compare Laura and Joy, but no one does that. It is very hard. Patty and Audrey is another conversation. But to know what Laura did in that role and I. And to see it and to have Been blown away. But I don't think Joy Matt hit that in this performance. We saw it pretty early on, so maybe she's grown into the role more. I wasn't a huge Joy woods fan of Gypsy, but I'm sure she'll still be nominated.
- [65:20]
Matt Koplik
Yeah, that's the thing is like, I'm not, I do not. I'm not a champion of, of this production in general, including most of the performances in it. But the thing about Louise is that Louise has been nominated every single time Gypsy has been on Broadway. So that's what again, I just sort of feel like. And people like Joy. She's very nice person. She's. She's a hard worker. She's been around. I think people really want to champion her like leg up. So that could happen. It could also. Not again. The problem with this being such a weird category is like anyone could get in, anyone could get left out. There's no real frontrunner. So anyone who you thought might have been a lot could absolutely fall by the wayside. It's. It's absolutely possible. And this is to say there are like two or three women from fucking Wonderful World who I would love to see in here and it's not going to happen.
- [66:07]
Jeff Malone
And it's not going to. I know, like, or even Nikki, Renee Daniels or someone like that. But I don't think that's really how. Again, I don't think that's really happening here.
- [66:13]
Matt Koplik
If I were, if, if I had to stick my neck out for anyone in Mattress, it would be Michael Urie and featured actor.
- [66:18]
Jeff Malone
I, we just talked about that recently. I said because he was so funny.
- [66:21]
Matt Koplik
In that role, Y. I, he was for me was the MVP of that production. And I don't. And he could get in for feature actor. Actually. Let's, let's do featured actor, musical and then let's move on to a break and then finish this thing out. But featured actor, musical. I currently have at the top two Jack Malone for Operation Mincemeat. You guys will see Jack in Mincemeat today. Jack has the big song of that show and I think in my opinion does the best job of grounded work with high functioning comedy. Something that I had issues with. Mincemeat is kind of a tonal whiplash about it, but I think Jack is able to marry the two in the way where you're like, oh, this is what the show should be the entire time. David Thaxton for Sunset Boulevard. Danny Burstein for Gypsy. Again, I'm not in love with his performance, but everyone Loves Danny. Herbie gets nominated most of the time. After that, it gets a little weird. And that's where I think possibly Tom Sesma for Dead Outlaw, who has. Who has a. He has, like, the last big number of the show.
- [67:20]
Jeff Malone
And.
- [67:21]
Matt Koplik
And we love Tom. I think Tom's awesome. I'm hearing a lot of really great shit about Taylor Trench and Floyd Collins. I hear that he kind of steals it. I'm also interested about David Hyde, Pearson Pirates. Or maybe our beloved Michael Urie does finally get that nomination for Once Upon An Address.
- [67:40]
Jeff Malone
Right. I had all those people. And then I just also threw in on the bottom of the list, Brooks, because I think Brooks. I could. If he is supporting in Smash. And Brooks is great. I mean, Brooks, I guess, was technically supporting a mattress, too. I don't think that's happening there, but that's not happening. Yeah. I think I also just feel like it's his time. Maybe not a win yet right now, but to give him another nomination, I think is maybe time for Brooks. He was pretty. Pretty good, I thought, in the Prom, and I think he's working his way to some more nominations. So I. All the others I totally see in terms of winning. I don't know. I mean, it could be David. It could be Danny. It could be David Baxter. I mean, Danny. I did. I actually did like Danny and Gypsy. Although, again, not to compare it to Boy Gaines, but I just.
- [68:25]
Matt Koplik
To me.
- [68:25]
Jeff Malone
And the one thing I'll say about Gypsy, and we don't have to keep talking about Gypsy, it is very, very, very, very, very hard for me to get the 2008 revival out of my head. And, I mean, we talked about this, and I know. So when I see these other roles, I'm like, maybe when I'm 80 years old and there's like, the 18th Gypsy Revival finally, like, I don't know. But yes, Danny Shore, Michael, David, all these people make sense in that there's.
- [68:47]
Richie Grasso
Not really many more in there. Maybe the Chris Sieber.
- [68:50]
Jeff Malone
Oh, yeah.
- [68:51]
Matt Koplik
People keep bringing up Chris Sieber, and death becomes her. And I'm like. I feel like we're just sort of saying that because we. Because we all like Chris and we all had a fun enough time at. Death becomes her, but he really has nothing to do.
- [69:02]
Richie Grasso
And it's not even like that.
- [69:04]
Matt Koplik
No. Yeah, yeah, yeah. The biggest joke of the song comes from the set and not from him or the material. There's someone else. Oh, there. There's a possibility for someone from Buena Vista Social Club getting in there, but, like, that's Kind of. I feel like that would be an Elizabeth Davis in one situation where it's like, oh, you're the, like, representative for the male actors of what? If it's a social club, congrats, like, they picked you. But I don't think it's necessarily anyone who will win.
- [69:31]
Richie Grasso
They're swept away, boys.
- [69:33]
Matt Koplik
Yeah. I mean, listen, if I had my way, I would put in Stark Sands for Swept Away. But yeah, yeah, yeah, like, maybe I'll do an episode after the nominations come out of like, who would have been my nominees of like, if I had my way. And I. And I didn't worry about this shit, like, what would I do? But.
- [69:48]
Jeff Malone
And going back really quick to the featured actress in a musical, I don't know if Michelle Williams, because she's a star name. I mean, it doesn't make it. No, I know, I know. No, listen, I don't think she's the strongest part of the show at all. But I'm just saying we have another pop star here. I don't know, because I think she was on Kelly Clarkson or one of the shows and they're like, you could be nominated for this. And she was like, yeah. And I was like, wait, why are you talking about. Like, they're not. But I think because it's this pops. I don't know. But then again, Jennifer Hudson didn't get nominated for Color Purple.
- [70:19]
Richie Grasso
They're not nominated.
- [70:20]
Jeff Malone
So, I mean, they don't. Pop stars don't always get the nomination.
- [70:23]
Matt Koplik
But if they're not nominating Jennifer Hudson in Color Purple, which, granted, I agree with that, no nomination, but like, a better performance with better material. They're not nominating Michelle. They might nominate her shoes for best supporting Actress for supporting her on that stage.
- [70:37]
Jeff Malone
Nothing surprises me at all there. You know, out of all these nominations, there's going to be one that's like, why? Like, you know that. So, like, that could be the one. Who knows? Oh, yeah.
- [70:46]
Matt Koplik
Every. Every year there's like at least five nominations where we go.
- [70:49]
Richie Grasso
Excuse you.
- [70:50]
Jeff Malone
Where did that come from? Who's the.
- [70:52]
Richie Grasso
The sun in Redwood?
- [70:54]
Matt Koplik
Oh, Zachary Noah Pizer.
- [70:56]
Jeff Malone
Yeah, he's great.
- [70:57]
Richie Grasso
And if there was anything redeeming in that show was him right at the end.
- [71:01]
Matt Koplik
Yeah, maybe.
- [71:03]
Jeff Malone
Right.
- [71:04]
Matt Koplik
That could. That could be a surprise. I know a lot of people. People felt the same way where they're like, that scene. That song was the best song in the show. And I agree. My issue with that song is it also is in one of my least favorite scenes of the show, which is when she and he, like, have that reconcile moment also, because, like, that whole scene is him being like, you did nothing wrong. You are a perfect mother. You have no blame. It was an accident. I. I overdosed by accident, and everything is fine. Go back to the world. I'm like, this is her subconscious telling her this, not the actual ghost of her son. So this is Idina Menzel waking up, being like, I'm not to blame. The world is for me. Instagram, like, it's. It's just.
- [71:41]
Jeff Malone
Oh, my God.
- [71:42]
Matt Koplik
She's like, Karen. And I can't. I can't. I don't like it. I don't like any of it.
- [71:47]
Jeff Malone
I know. No.
- [71:47]
Matt Koplik
Terrible, but yes. No, I mean, Zach did a very lovely job. I think that cast overall does a very lovely job. I even think Adina does what she can. I think she's. I think she's a very underrated actress. But, yeah, I mean, I don't know.
- [72:01]
Jeff Malone
The. The driving song in the beginning where she's already out of range. She was very flat on many notes the night we were there, and I couldn't believe that. And then they have separate. I think there's a separate choreographer build for the treeography. And, like, I'm just not understanding that, because whatever they gave her, she didn't really keep eight times a week because she looks like she's just aimlessly swinging. Nothing makes any sense of that show. So I'm sorry.
- [72:24]
Matt Koplik
Yeah, it's. It's. It's. It's. She messy. She messy for short. I listen, maybe Stella the tree will get nominated for future actress in a musical. God bless Stella. Let us take another break.
- [72:34]
Jeff Malone
Really?
- [72:34]
Matt Koplik
I beg to differ with you.
- [72:36]
Jeff Malone
How do you mean? You're the top.
- [72:37]
Matt Koplik
Yeah, you're an arrow collar.
- [72:40]
Jeff Malone
You're the top.
- [72:43]
Matt Koplik
You're a Coolidge dollar. You're the nimble tread of the feet of Fred Est. And we're back. Okay, let's do featured actor in a play, and then we got to do the lead actor and actress in plays as well.
- [73:01]
Jeff Malone
Yeah. Yep, yep.
- [73:02]
Matt Koplik
Feature, accident, play. The only things I have right now are Conrad Rick Amora for Omari. I'm throwing it out there because I want it to happen. Francis Jew for Yellowface. Yeah. And I'm hearing really amazing things about Burr and Odenkirk for Glengarry Glen Ross. I hear that they are giving the most memorable and defined performances in that, and I think they'll probably come in and then I just. I have no idea for a fifth. So I look to you too.
- [73:31]
Jeff Malone
I love Frances, I did not have for Yellow Fist and I love that idea and I think that would be wonderful. And the Glengarry guys. Yes, there's a lot. It's a big male heavy show with a ton of supporting that I haven't seen it yet, but somewhere in there, of course, there's nominations. And then. Yes, Conrad makes complete sense for me for. Oh, Mary, I totally agree with you.
- [73:51]
Richie Grasso
And then.
- [73:53]
Matt Koplik
Oh, the.
- [73:54]
Richie Grasso
Lee Harry Lennox would probably be featured in Purpose.
- [73:57]
Jeff Malone
Purpose. Yeah. Yeah.
- [73:59]
Richie Grasso
Well, there would be.
- [74:00]
Jeff Malone
Or the lead. Could the lead guy, the narrator be Lead.
- [74:04]
Richie Grasso
Well, probably leave. Well, for featured right now.
- [74:07]
Matt Koplik
Glenn.
- [74:07]
Richie Grasso
Glenn, the other son.
- [74:08]
Jeff Malone
Yeah. There's the son and the father in that place.
- [74:10]
Richie Grasso
They probably could get in there if there's not a ton of competition with anything else.
- [74:15]
Matt Koplik
What about the Holy Ghost? You guys said the Father, the Son, and I'm like, oh, yeah, Is there a Holy Ghost on purpose?
- [74:22]
Jeff Malone
I. I don't know. I don't. Oh, again, Stranger Things. I don't know. There could be someone doing something there. Who knows.
- [74:29]
Matt Koplik
It's true. Somebody online said something about one of the actors in Stranger Things being nominated, and I don't remember who, but I just remember it was a very positive review on the production. And then they're like, and watch out for this actor. I was like, oh, we're. We're thinking about the actress for this one. Okay.
- [74:43]
Jeff Malone
Yeah.
- [74:44]
Richie Grasso
Or what about from like, would Zachary Quinto or some of the other guys and Cult of Love?
- [74:51]
Jeff Malone
Maybe.
- [74:53]
Matt Koplik
I think. I think if there's any actor from Cult of Love, it will be Zach. But again, it's sort of. I see a world in which Cult of Love goose eggs on nomination morning. And if it. If it does get nominated for anything, I think Zach and probably Mayor winning. Him of all the people. Because, like, the Tonys love to nominate Mayor winning.
- [75:11]
Jeff Malone
I know, and I don't. And I like Mayor, but I don't know what she was doing in Cult of Love. That was nomination worth. She was just like the mom that was trying to ringlead her family, but she didn't seem to have, like a moment for me. But.
- [75:21]
Matt Koplik
No, no. But you know, that also doesn't mean anything anymore. That's just sometimes they're just like. But it's mayor, right? Yeah. I mean, I still have. When I see purpose, I'll have a better idea. When I see John Proctor as the villain, I'll have a better idea. But I feel good about Burr Odenkirk and Rick Amora after that, it's possibly Kieran Culkin. Unless they deem him lead. But that role's never been considered lead in the past. It would just be because Kieran is now an Oscar Emmy winner and, well.
- [75:52]
Jeff Malone
What does he have a better chance of Tony, maybe supporting? I don't.
- [75:55]
Matt Koplik
I would. I really do want, I want Francis Drew to get in there for Yellow Face and I think it could happen, especially if Yellowface gets a revival nomination. I hope enough nominators go. And yet he was great in that. And let's, let's do it. Lead actor in a play. I think we have two full blown locks here. Cola Scoliffer, o' Mary, who's just Cole, is winning, especially because Cole Conrad and James Scully are coming back at the end of April, I believe, to play out through the Tonys. So, yep, yep, easy peasy. And then I think Jake Gyllenhaal for Othello is also a lock now, even though critics that didn't love it all say, like, he's the thing in the show to see. After that, it gets a little tricky because there could be space for Denzel, there could be space for George Clooney. This could also be where Robert Downey Jr gets nominated because I think that, I think that McNeil will be considered, will be nominated for things like set and, and sound, but I think enough people will have been positive on McNeil like Richie here, that they'll go, I'm.
- [76:59]
Jeff Malone
Trying to be a little optimistic about.
- [77:01]
Richie Grasso
I'm not hearing great things about George Clooney, but I, I think that Robert Downey was pretty great in the show.
- [77:07]
Matt Koplik
Yeah, I think with George, what everyone is saying is that like, he's not bad. It's just not a performance where you go, oh my God, what a debut. And people were found, Robert Downey Jr. To be a charming enough presence in McNeil even if they didn't like the play. So I think that could happen.
- [77:22]
Jeff Malone
And it becomes with Hollywood stars making Broadway debuts, I feel like it's a lose, lose situation. If you nominate them, people are like, oh, well, they just got nominated because they're a star. And if you don't nominate, it's like they're not welcome on Broadway. You didn't welcome George Clooney with open arms. And it's like, lose, lose. So at this point, I mean, I had Robert Downey Jr. George Clooney, Cole Escola and Cole winning. Makes complete sense to me. Assuming Cole is going in this category.
- [77:46]
Matt Koplik
Yes, Cole, Cole said so. The one thing about the Tonys that I like, that they're doing because people ask about gender with this stuff is, well, how do you determine it? And the Tony nominating committee now goes to the performer and says, where would you like to be considered? And Cole said, I would like to be put in lead actor.
- [78:06]
Jeff Malone
Okay.
- [78:07]
Matt Koplik
And I. And so that's where they're. That's where they're being nominated.
- [78:09]
Jeff Malone
Yep. And so that makes sense.
- [78:11]
Matt Koplik
And Cole.
- [78:12]
Jeff Malone
Cole should totally win it. Also, Jake and Denzel in there. Yeah, I think it would be one of them. I don't know.
- [78:17]
Matt Koplik
Yeah, I think it's. I think Jake is for sure. Denzel could happen. I think. I think Robert Downey Jr. Is more likely than Denzel. The three that I would like us to acknowledge, two of whom I would like to have in there, but we'll see Daniel Day Kim for yellowface, Kid Connor for Romeo and Juliet.
- [78:38]
Jeff Malone
Yeah.
- [78:38]
Matt Koplik
And then I don't. I think we shouldn't sleep on the possibility of Jim Parsons getting in for Our Town. Not because I liked Jim Parsons, but because I think enough people will be up on that Our Town that if Our Town gets a revival nomination. I see Parsons getting in for actor now. Again, I don't want it to happen. I did not like Jim in the show, but Jim finally kind of broke through with Mother Play last year, and it's sort of like, oh, well, now he's. The dam is broken and people will not be so skeptical about nominating these days.
- [79:14]
Richie Grasso
Well, I think the lead in purpose is. Is going to actually get nominated.
- [79:17]
Matt Koplik
Is there a male lead in Purpose?
- [79:18]
Jeff Malone
It's not the narrator, John Michael Hill.
- [79:20]
Richie Grasso
I think he will get nominated for leading, definitely.
- [79:24]
Matt Koplik
Okay, great. Then. Then replace Jim Parsons and put him in there.
- [79:26]
Jeff Malone
Right. I think that makes more.
- [79:28]
Richie Grasso
But also, what about.
- [79:30]
Jeff Malone
Or for.
- [79:31]
Matt Koplik
From Job.
- [79:32]
Richie Grasso
What was.
- [79:33]
Jeff Malone
Oh, Job. Peter Friedman. Yeah. Good.
- [79:35]
Richie Grasso
Also.
- [79:36]
Matt Koplik
Yeah.
- [79:36]
Jeff Malone
So that's the thing about Sydney in that either.
- [79:38]
Matt Koplik
And I mean, well, that's. As we go to leading actual person to play. Yes, I think Peter has a chance, but as we go into leading actress of play, I think Sidney has the better chance.
- [79:49]
Jeff Malone
She had more to do maybe in.
- [79:51]
Matt Koplik
The play more to do. And she has a slightly weaker field to compete in because I think so for lead actress in the play, as far as I understand it, the people who are eligible are Sarah Snook, Laura Donnelly, Sidney Lemon, mia Farrow, Patti LuPone, Rachel Zegler, Juliana Margulies, and then possibly Tala Ash or Tala Ash, however you say her name for English. And if that's the case, like, we still haven't hit nine contenders and I don't know if Stranger Things has a leading actress contender. I don't know if Sadie Sink is going to be considered the lead of John Proctor as the villain. But we're already like we're slightly bumping up to nine but. But not even then because there's no lead actress for Eureka Day, there's no lead actress for Cult of Love.
- [80:38]
Jeff Malone
Right. And to me, I mean I agree with all those. I think Sidney getting in there makes sense. It's the set it. If, if the Pictures of Dorian Gray was not on Broadway, it would be Laura Donnelly's win. And now it's clearly in my opinion Sarah Snooks win. So at this point it doesn't even, it's not even close to me, I think. And Laura, it should have been Laura but Laura will obviously be nominated. But I think it's Sarah taking it by a landslide.
- [81:03]
Matt Koplik
Yeah, I think it helps that Sarah's show is running recently opened. So again the recency bias of it all. But similar to Prima Facie or Fashi, the show is centered around Sarah. The thing about Dorian Gray is it is such an impressive achievement and how they use Sarah is really impressive. There's a lot of pre record with Sarah in the show and, and so I can, if, if Laura is able to quote unquote steal any votes, it'll be people who liked her like that play and also like. And she didn't have pre recorded segments like Sarah did. But no, I think Sarah is ultimately she's doing just so much that there's, it's, I think it's undeniable and I think Sarah is winning. But yeah, I think, I think Sarah and Laura are just like our two locks. And then I could see Sydney getting in there for sure. And then like probably Mia Farrow for the roommate who people really enjoyed. I did not like that play at all, but I would, I thought, I thought Mia did a nice enough job and then if Sadie Sink is considered the lead of John Proctor, she could get in there too.
- [82:08]
Jeff Malone
I could see that. Yeah, I don't know if she's top built or not, but yeah, I don't.
- [82:13]
Richie Grasso
Have many different opinions in this category.
- [82:15]
Matt Koplik
Well then my drag and call me a maybe.
- [82:19]
Richie Grasso
Rachel Zegler.
- [82:20]
Matt Koplik
No girl. No, just like let her, let the girl rest, let her sleep, let her go on vacation, make her go to the Tonys, right. Have her prepare for Evita and like let's call it a day. Let's go to what is left. We've got score book director. I wanted to do Choreography. We may not have time for it, but score. I think we have three locks here, which are maybe Happy Ending, Mincemeat, and Dead Outlaw. After that, it gets a little trickier because Buena Vista Social Club isn't eligible. I don't think Smash is going to be eligible.
- [82:53]
Jeff Malone
Oh, it's mostly written for tv.
- [82:55]
Matt Koplik
Yeah, Right. This leaves us with Boop. Death becomes her redwood. This leaves us with Real Women have curves. It leaves us with the musical scores for things like Stranger Things and For Good Night and Good Luck and like, you know, like, just plays. But I. And also Tammy Faye. Never forget Tammy Faye.
- [83:18]
Jeff Malone
No, but I also think Swept Away could actually come through here.
- [83:21]
Matt Koplik
No, Swept Away is. It can. It's a. It's a jukebox.
- [83:23]
Jeff Malone
Oh, my gosh.
- [83:24]
Matt Koplik
Oh, that's right. That's why I feel like an orchestration situation. But not a. Not a skewer.
- [83:30]
Jeff Malone
Darn, darn, darn.
- [83:31]
Matt Koplik
I know, I know, I know. Ain't it. Ain't it shitty. But because. Yeah. So I think I'm gonna go on a limb and say maybe Happy Ending mints me. Dead Outlaw. I'm gonna say Boop. Just for the. It's an original score. It's old school, people like that.
- [83:46]
Jeff Malone
Yep, yep, yep. And I think David Foster kind of star ish. If they're gonna kind of give him a moment. I don't know.
- [83:53]
Matt Koplik
Yeah. And then maybe Stranger Things sne there with a play nomination, which, you know, like a Stereophonic or a Harry Potter or something. Oh, Harry Potter wasn't nominated. But Angels in America, unless they just go in for Death Becomes. Or because it is. It is a traditional musical theater score. That is the thing that has probably come under the most scrutiny of this show is people finding the score not up to par with the book. But listen, we've had scores that have come under scrutiny, nominated in the past. So if Paradise Square can get nominated, so can fucking Death becomes her. That's what I'm saying.
- [84:24]
Jeff Malone
Yes. This is. Yeah. And also, I think I agree with all that, too. I think. I think maybe happy ending could probably.
- [84:29]
Richie Grasso
I think it's just coming down to.
- [84:30]
Jeff Malone
Maybe happy ending up to. For that. Yeah.
- [84:33]
Matt Koplik
I'm gonna say maybe happy ending is winning this. But yes, Dead Outlaws is definitely on its heels, and they should not be. If the producers of maybe Happy Ending are smart, and they've been very smart so far.
- [84:43]
Jeff Malone
Yeah, they have.
- [84:44]
Matt Koplik
They cannot go into Tony season confident. They have to go in still with the narrative of we are the underdog. We are the underdog. Remember, that you like us.
- [84:53]
Jeff Malone
In the first couple of weeks, those grosses were very bad. And I was like, oh, my God, this won't make it past Christmas Day. And now all of a sudden, here we are and it's $900,000 a week. So it's.
- [85:02]
Matt Koplik
Yeah, it's. It's. It's a genuine success story. I mean, they. They have everything in their corner to win and even possibly sweep. But the only way to do that is I think everyone always needs to look at the 2013 Tonys and take a lesson from Matilda of what not to do. The producers of Matilda came in being like, it's us. It's us. We're the moment. And everyone said, fuck you came through.
- [85:23]
Jeff Malone
And I thought Matilda could have won some things over. Kinky Boots. I remember that year and then Kinky Boots.
- [85:28]
Matt Koplik
I think if the producers of Matilda were not so cocky and came in with the like, we're really good and you like us and blah, blah, it would have been. It would have done a lot better. But alas, okay book. I have almost the exact same lineup, except instead of Boop, I have Buena Vista Social Club for book, which is ironic because I think that book is just sort of okay. But a week year. So it's like, I don't know what would go in its place.
- [85:54]
Jeff Malone
Right. I mean, boop. Death becomes her Dead outlaw. Maybe at the end of the same thing. I mean, I don't really see. I don't know what the book of this Real Woman have Curves is doing. Also, can Pirates of Penzance be considered now for a book? If they really doctored that.
- [86:09]
Matt Koplik
Exactly.
- [86:10]
Jeff Malone
And straight. Oh, not Strange thing explained Just in time.
- [86:13]
Matt Koplik
As I say. I think. I think just in Time and Pirates are the two spoilers here. That could happen again. I think maybe Happy Ending Minsmen and Dead Outlaw are pretty much locks. And then it becomes if just. If Just In Time is as incredible as your friends say from rehearsal. Could totally go in there. Won't win. Biochibox musicals don't win best book, but if it's solid enough, they get nominated. And especially if a best musical nomination is in the cards for them, like, they have to get that with a book nomination. And then. Yeah. What was the other one we said? Pirates. Yeah. If. If Pirates is delightful and that book is. Is new enough, then, yeah, they'll. I think that could happen too.
- [86:55]
Jeff Malone
Yep. Yep. Yeah, you have the same.
- [86:57]
Richie Grasso
Same. Probably real Women have Curves is going to sneak in here for some of these things we're talking about.
- [87:02]
Matt Koplik
Yeah.
- [87:02]
Jeff Malone
And I also think, like, I believe.
- [87:03]
Richie Grasso
That score or m book.
- [87:05]
Jeff Malone
And yeah, I think there's something that's good. Like these last couple of shows that no one knows anything about yet. We're gonna get like the. Everyone's loving it or you're gonna get the. Oh, God.
- [87:14]
Richie Grasso
Talking about the underdog being maybe happy ending, but I feel like real women have curves and Dead Outlaw are going to come with the same narrative saying, we're the underdogs.
- [87:22]
Jeff Malone
But don't forget, very late last year, Heart of Rock and Roll came and look what happened there.
- [87:26]
Richie Grasso
So, yeah, like, two shows that are going to be like, like, oh, no, we're the underdogs now. Like, come see us. And I think that's where maybe happy ending and Dead Outlaw are really gonna go head to head with saying, no, we're the underdog. No, I am. No, I am. So it's like, it's a vicious fight of the underdogs.
- [87:44]
Jeff Malone
I. I tell whenever some. Someone comes to me, like, what is this dead out. I said, listen, I. You can research it or you cannot. I actually think there's pros and cons to both. But I tell people, just remember when you walk out of there that the whole thing is based on a true story. And when you remember that, you say, oh, this sits deeper for me because it's so crazy. And that's what I just. I can't believe it's based on so much truth.
- [88:06]
Matt Koplik
So, yeah, I. Because I. When I saw it, I remember thinking I knew it was based on a true story and I knew the basic premise, but that was. Start. The show starts off a little slow. Like the first 10 minutes I found to be a little slow. After that I was pretty locked in though. But also, I just feel that way about so many shows now. It's hard for many shows to lock me in. Even, like, even maybe happy ending. I loved the. The beginning and then it took a minute when the plot started going for me to get back on board. But like, yeah, it's. I think if you can. If you can withstand 10 minutes of just sort of like, okay, I gotta pay attention, then you get rewarded with an hour and 40 of entertainment.
- [88:46]
Jeff Malone
And which is why, like, you know, musicals, I don't know, it's different. You look at so many huge hit musicals, the opening number is usually a big deal. Cats, look at that opening number. I mean, you think of some big shows that have huge, even wicked. I mean, like the big opening numbers grab you in the beginning. I was just saying recently, I was like, oh, like ragtime. Like, what an opening number that is. Right. And you don't really always see that now at these shows. I wonder if that's not on purpose or. It's just not. We're not getting the huge spectacle, first 10 minutes of a show anymore.
- [89:16]
Matt Koplik
Yeah. I talked about this when I was at the Florida State Thespian Festival and did my workshop on analyzing musicals. We talked about, like, the first 10 minutes of musicals and why it's important and what it does. And it's both. Like, it's gotta engage you, it's gotta grab you, but it's also gonna tell you who the characters are that you're following, what tone the show is gonna be, what musical vocabulary we're gonna be using. And I. I feel like that is something that a lot of musicals. You're right. In the last couple of years have struggled with doing, because musicals are really hard to make work.
- [89:49]
Jeff Malone
Of course. Of course.
- [89:50]
Richie Grasso
Actually, when you talk about something like that, I feel like Death Becomes Actually does start off strong song with a big opening and deflates.
- [89:57]
Matt Koplik
Yeah.
- [89:58]
Jeff Malone
And it's funny because a lot of people put emphasis on the Act 1 finale, Act 2 finale. We actually have, like, playlists of Act 1. We'll. We'll be driving on road trips, and we'll just play a playlist of Act 1 finales. We'll be like, did that work? And this is our life. And so I'll be like, well, this is us. And so we're basically like, wait, that's an. Actually an amazing end to Act One. And then I'm like, oh, this is how they ended Act One.
- [90:17]
Richie Grasso
Wait, why are they talking?
- [90:18]
Jeff Malone
Yeah, so we, like. That's a. This is what we do in our free time. Because, you know.
- [90:23]
Matt Koplik
Yeah. I. I would talk to someone about Death Becomes where they felt that they should have. They should still open with, you know, Michelle Williams being like, I have a secret. But that. But actually holding off on that song until Madeline shows up to the mansion and using that as her, like, Take the Potion song. But pluses and minuses to both. But, yes, I think. I think Death Becomes her has a very fun first 10 minutes, and then it kind of slowly starts deflating after that.
- [90:49]
Jeff Malone
That.
- [90:51]
Matt Koplik
Okay, director is playing musical.
- [90:53]
Jeff Malone
Let's.
- [90:53]
Matt Koplik
Let's get these guys in.
- [90:55]
Jeff Malone
Okay. Which one should we do first?
- [90:57]
Richie Grasso
Well, I can really only go based on what we've seen.
- [90:59]
Jeff Malone
Okay.
- [90:59]
Richie Grasso
At this point.
- [91:00]
Matt Koplik
Right. I can't.
- [91:01]
Richie Grasso
I can't say someone's directing something.
- [91:03]
Matt Koplik
Well, Right.
- [91:04]
Jeff Malone
What are you gonna. What do you want to Start with.
- [91:08]
Richie Grasso
Musicals first.
- [91:09]
Jeff Malone
Sure.
- [91:09]
Richie Grasso
Sunset Boulevard, Jamie Lloyd, obviously Michael Arden, maybe Happy Ending.
- [91:18]
Jeff Malone
I had those two. And I also will throw Alex Timbers in for Just In Time because I think that what I'm hearing again, don't know yet, but I think it makes a very immersive experience. So I think that'll make sense. And also David Cromer, Dead Outlaw. Yeah, that makes complete sense.
- [91:32]
Richie Grasso
Maybe Michael Mayor Force Swept Away.
- [91:35]
Matt Koplik
No, stop it.
- [91:39]
Jeff Malone
There was something else. Wait. Oh, I don't. I'm forgetting his name. And completely forget his name. For the Gypsy director, I think they'll give it to him even though George C. Wolf. I don't think because it's George C. Wolf. I don't think it's doing anything like groundbreaking. But I think because it's George and I think the ending will throw it to him. I do.
- [91:56]
Matt Koplik
I think George is actually kind of vulnerable. I think he's. I have him down right now, but I don't buy it because I think. I think Jamie first for Sunset, Michael for maybe Happy Ending, and David for Dead Outlaw. I think those three are absolute locks. I think that the director, Robert Hassell for Operation Mincemeat. I think that's probably going to happen. You'll see. Like, it's just. It's. I don't think that Operation Mincemeat always works and I don't think that it's always super inventive with its staging, but there's enough of it in there to impress nominators. Like, of. You're doing a lot and you're making a scene out of very little. It's like. And there's the whole Act 1 finale is like. Takes place in nine different locations. And so it's about how they set that up. And that's very well done. So I think that's something that nominators will lean into the sort of 39 steps of it all. So that's already four. So then we've got a fifth slot. And that could go to George for Gypsy. It could go to the director of Buena Vista Social Club. It could go to Alex Timbers for Just In Time. It could go to Scott Ellis for Pirates, or it could go to Tina Landau for Floyd Collins.
- [93:03]
Jeff Malone
Could go to Sergio Trullo for Real Women of Curves because he's a pretty. I don't know what he's doing with it. It could be more choreo. Same thing with Jerry Mitchell. Is it more choreo for Boop or over Direction? Because. Yeah, same person doing both. I don't know.
- [93:14]
Matt Koplik
You know, I think Boop. And real women really have to land hard with Tony nominators for them to get in there, because I do think we have a little bit more time. Like, I think Boop is and Buena Vista Social Club are like, absolute locks for choreography. And I think that Buena Vista Social Club has probably a better shot at director over something like Boo. Because with Boop, it's. It's. It's core. It's all about the glamorous, about the spectacle. And it has to really be right and tight for it to get nominated for things like book and director. Because if. When you're going for musical comedy, traditional theater stuff, especially now, you have to be so precise and good at it for it to get acknowledged in the categories when it's getting acknowledged. And like, I. I've said, I found Some Like It Hot to be somewhat underwhelming, but that worked for enough people. We're like, this is a big musical comedy, but they do a really fascinating thing with it. And it's so on the. On, on, on point that it all works. And that. That is an example of that kind of show getting recognized. But Boop. Or like Smash or Death becomes Her. It's It Nominators have to really think highly of the show in order for that to come in.
- [94:34]
Jeff Malone
And speaking of Smash, it's just a shame what's happening with Susan Stroman lately, because what a. What a grand slam producers was for her. And then to see New York. New York kind of failing here, to see this kind of getting mixed thoughts, and it's. I'm so sorry, Susan Stroman. So I don't know what's going on there. I just don't. I don't. I would love to find. And then she did left on 10th. And I'm like, what's going on here? I just don't understand. This is the Susan Stroman. I don't know. I don't get it. I don't know.
- [95:01]
Matt Koplik
What I don't understand is why. I guess I understand why Josh Bergace's choreographing Smash because he did the TV show. But I was like, oh, Stroh's not choreographing.
- [95:08]
Jeff Malone
Right, Right.
- [95:10]
Matt Koplik
Like, she's hired her for that.
- [95:12]
Jeff Malone
And then. And people will argue with the producers. People have argued with me. Well, it's Mel on the producer.
- [95:17]
Matt Koplik
Yeah. And.
- [95:17]
Jeff Malone
And Susan just kind of carried cereal that you. Susan carried Mel's work?
- [95:22]
Matt Koplik
I mean, yes.
- [95:23]
Jeff Malone
Really was all Mel Brooks.
- [95:24]
Matt Koplik
And I mean. And also Susan's Husband Mike had sort of helped shape that musical before he passed. But Susan has done some great directing work. I thought her work on Contact was brilliant. I loved what she did with Scott's Roboys and even, you know, I thought I saw her Music Man In 2000. I thought that was super delightful. Like she, she has tasty, has creativity, inventiveness. But yeah, like it's the. The 2000s has not been her era because it's. It's New York, New York. It's left on 10th, it's smash. I thought I did not enjoy POTUS. I thought POTUS was a fun time, but not a good time. I, you know, Young Frankenstein I thought was a miss and I was at opening night of Big Fish. I thought that was a mess. Didn't see how Shelton. Everyone talks about what a giant bomb that was. Yeah, I just, I don't know. I don't know if she's.
- [96:11]
Jeff Malone
I don't.
- [96:12]
Matt Koplik
It's possible that she is unable to identify material in workshops of what's going to work or not. And, and she might be one of the people with like luck of the draw. With good material, she can sell it. With bad material, she can't lift it. But I don't know because there are plenty of directors like that where it's. They, they do a good job of not fucking up good material, but they can't elevate bad. And that's something that I think actually Alex Timbers is good at is. I think Alex Timbers is very good at elevating mediocre material, let's say in this category.
- [96:41]
Jeff Malone
I don't, I don't think Lear de Resonates is getting a nomination for that Once Upon a Mattress. So walking on and off stage and just being two dimensional for two and a half hours. Because I loved Once Upon a Matches, but that direction was such a mess.
- [96:54]
Matt Koplik
Yes, I, I, Yes, I did not care for a mattress. Again, someone like Kenny, like, I think Lear is a really good caster and I think Lear. I think Lear also has very good taste about material. She knows what shows are good.
- [97:04]
Jeff Malone
She chose the encore season really well. She's good. About to go now choose Lincoln center seasons. And I actually think that may be the one feather in her cap there is that she chooses the right shows strategically in a season. I think that. But whether she's actually directing. Just don't direct them. Yeah, just don't direct them. Right.
- [97:19]
Matt Koplik
Yeah, that's. That's right.
- [97:21]
Jeff Malone
Yeah.
- [97:23]
Matt Koplik
But, yeah, no, she's. I don't think she's getting nominated here. I think. Think if any. If there are any women who could get nominated here, it would be Tina for Floyd Collins. But I'm also hearing a little underwhelming things about Floyd that she doesn't really make much use of the space at the Beaumont, which is unfortunate for me.
- [97:42]
Jeff Malone
I know. And that's a huge hearing.
- [97:44]
Richie Grasso
Anything about Whitney's direction for last five years?
- [97:47]
Jeff Malone
I don't know.
- [97:48]
Matt Koplik
I've heard very mixed things about Whitney's direction for last five years.
- [97:52]
Jeff Malone
And someone said, for the last five years, if you don't know. I mean, I guess typically, if you don't know the premise of that show, you can be lost. But someone said no with this. They said, they. I know someone who saw it, you know, 10 years ago @ Off Broadway and, like, didn't really know much about it, but kind of got it. And they're saying there are people just completely confused and lost in this because it's over. I don't want to say overproduced, but there's more costumes and scenery and choreography. So people are like, where are we? Who is when and what part of time? And the simplicity of that piece just works when it's just two people on a stage. And so it'll be interesting. But, yeah, I do like Whitney as a director, so I'll be interesting.
- [98:25]
Matt Koplik
I mean, like, I love. I love Jaja so much. I'm also going to say we'll see what happens with it. But, like, what if Matthew Bourne gets nominated for direction and choreography for Old Friends? Like, the word I keep hearing about Old Friends is how what delightful night of theater it is. And that is something that, you know, death becomes. Is trying to sell. That's something that Smash is trying to sell. Boob is trying to sell. And supposedly Old Friends is succeeding at that. And it's. It's so easy to. Since you can't recognize, book and score for a show like Old Friends, it's like, well, we can recognize the person who sort of shaped this evening for us. So, like, you did a great job with this review. It's got a structure. It's got a bill. It's so inventive. Here you go, Matthew Bourne. Here's a director nomination for you. We also haven't nominated Matthew Bourne in years, so, like, maybe it's time.
- [99:16]
Richie Grasso
Good way to look at it, right?
- [99:17]
Matt Koplik
All right. I mean, but also, I'm talking out of my butt, so. Well, I see Old Friends, and I think, like, three, two, three weeks, so I'll let you know. But yeah, the. The Buzz on it is strong and people really are enjoying it. So I have heard that.
- [99:30]
Jeff Malone
And in la they did, too. Yeah.
- [99:31]
Matt Koplik
Yeah.
- [99:32]
Jeff Malone
All right. So director of a play.
- [99:34]
Matt Koplik
Yes.
- [99:35]
Jeff Malone
All right. I have some.
- [99:36]
Richie Grasso
That's the final category.
- [99:37]
Jeff Malone
This is. Yeah. Well, we talked Choreo a little, but a little bit.
- [99:40]
Matt Koplik
Yeah. I think the only thing my else if Aquario right now I have Boo Smash, Buena Vista Social Club, Wonderful World and Pirates.
- [99:47]
Jeff Malone
I do not becomes her in for Choreo.
- [99:49]
Matt Koplik
I don't have it in for Choreo. I think that death becomes her could replace Wonderful World very easily.
- [99:54]
Jeff Malone
Yeah.
- [99:55]
Matt Koplik
I do not. I do not stand firm with that Wonderful World nomination. I also don't know what the choreography situation is going to be like for Just In Time or real women have curves. Those could end up being real. Like Dancy Dance.
- [100:08]
Jeff Malone
Yeah. Did you put the. Who's choreographing Bonavis Social Club?
- [100:12]
Matt Koplik
That is. It's Patricia Delgado and Justin Peck.
- [100:16]
Jeff Malone
So Justin Peck's name on that, I would think means that he could get a nomination, right? I haven't seen it yet. But is the Choreo.
- [100:23]
Matt Koplik
The Choreo is the thing. The Choreo and the music is the thing for Buena Vista Social Club. So, yes, I think they are the front runners for choreography right now. It's also. I said this in my review, but, like, this is Justin Peck's third Broadway show, and he's so far 2 for 2 in not only nominations, but winning.
- [100:39]
Jeff Malone
Yeah, it was Carousel, right? He won.
- [100:42]
Matt Koplik
It was Carousel, Illinois, and now Buena Vista. And this is, I think, his best work in theater to date. And I. And I credit a lot of that.
- [100:51]
Jeff Malone
Illinois.
- [100:52]
Matt Koplik
Yeah, Illinois for me, was similar. Of the first 15 minutes of Illinois did not capture me. And then it was. Or maybe even the first 20, if I'm being honest. It was around. It was like whatever number was before Chicago that locked me in, and then I was locked in for the rest of the show. And so, like, that last, like 45 minutes to an hour of Illinois did it so much for me that I forgave the first 20 to 30 minutes. Not doing it. But, yeah, I think this is even better because it's. It is the whole time I'm enjoying the work. And also I think it has more personality, has more flavor. It's not perfect. It's still not a 10 out of 10. But, like, each show he's done on Broadway, I've warmed to him more so.
- [101:34]
Jeff Malone
And I would also say with revivals, I mean, Camilla Brown's got her name On Gypsy, I don't think the choreo there is. I mean, it's not really doing it for me, but she always seems to get nominated for everything, so I don't know if they'll throw that to her. And also, I did like the Sunset Boulevard choreo. There's not a ton of it, but I think in the few ensemble numbers that there are, I think there's some really cool stuff happening there. So I don't know.
- [101:57]
Matt Koplik
I could. I can see either revival getting nominated. I don't think either one is a lock. But, yes, I'm not. I'm not throwing shade your way like I did Jeff with Michael Mayer and Swept Away. Although choreography for Swept Away could happen.
- [102:11]
Jeff Malone
There we go.
- [102:11]
Matt Koplik
I mean, that's the one where you'll put a nomination. That's that Shipwrecked, baby. When they were shipwrecking. The shipwrecking was shipwrecking.
- [102:20]
Richie Grasso
Will Stranger Things have choreo in it?
- [102:23]
Jeff Malone
I don't.
- [102:23]
Matt Koplik
I don't know. This could be a Harry Potter sitch.
- [102:26]
Jeff Malone
Right, Right.
- [102:27]
Richie Grasso
Like, what do they classify?
- [102:29]
Jeff Malone
And. And also, the choreographers who just won for the Outsiders are choreographing the last five years. Am I right? But that I'm pretty sure. And so when I saw their names, I think it's a duo. When I saw their names on last year's, I'm like, oh, are we getting, like, really inventive out of the box kind of process here? Because they just literally won a choreo Tony award last year for Outsiders, and now they're on last five years.
- [102:50]
Matt Koplik
So they were. They were nominated. They didn't win for Outsiders because Justin Peck won for Illinois.
- [102:54]
Jeff Malone
Oh, my gosh. Okay, so.
- [102:55]
Matt Koplik
But I. But yes. No. The Cooperman brothers.
- [102:58]
Jeff Malone
So I was like, okay, I loved the Outsiders Choreo. So it'll be interesting.
- [103:01]
Matt Koplik
As do I. As do I. Imagine if they're not. They are listed as choreographers, and then we all go see it, and we're like, oh, the 10 seconds of the next 10 minutes where they dance, like, that's what they're credited for.
- [103:14]
Jeff Malone
Right? Who knows? Right?
- [103:15]
Matt Koplik
Yeah.
- [103:16]
Jeff Malone
Okay. Directors of a play. This is what I think. I do think that Sam Mendez for Hills of California will be nominee.
- [103:24]
Matt Koplik
Okay.
- [103:25]
Jeff Malone
I do think that. I think they're going to throw Kenny something. I just think they are. I don't know if it's Othello or Our Town. I just think they're going to throw Kenny Lee on something also. I'm sure the Stranger Things director is going to get a nomination. I don't remember who that person's name is.
- [103:39]
Matt Koplik
I think it's Stephen Daldry.
- [103:41]
Jeff Malone
Oh, Stephen Daltry. Right. So that kind of makes sense to me. Also, Felicia Rashad For Purpose will be a nomination. I do think that she does some cool stuff with purpose. Nothing groundbreaking, but I think that she led that ensemble pretty well. I probably missing one or two people.
- [103:57]
Matt Koplik
But you're missing Sam Pinkleton for Aloe Mary, Correct, Right.
- [104:02]
Richie Grasso
Yeah, I think that's going to happen.
- [104:04]
Matt Koplik
Oh, I think so. I think if. Oh, Mary's got such a lock for play, they will nominate Sam Pinkleton for director. I think he kind of have to. It's. But, I mean, listen, it could be a snoob, but I just. Yeah, I think it's. It's a comedy. He does. I think he does a lot of really great work with it. But, yeah, I mean, someone could. Could kick him out, I guess. I think.
- [104:28]
Richie Grasso
Because the director for English, because I wonder.
- [104:30]
Jeff Malone
Yes. I forget that person's name. But that was a really cool direction, too.
- [104:34]
Matt Koplik
Very, very nuanced and intimate work on English, which I very much enjoyed. I think we could have. So I think that Sam Mendes is a possibility. I don't know if I think Sam is a lock just yet. I think Felicia for Rashad For Purpose is a lock.
- [104:51]
Jeff Malone
Yeah.
- [104:51]
Matt Koplik
I would argue Sam Pinkleton for Omari is a lock at this point. Kip Williams for Dorian Gray is possible.
- [104:58]
Jeff Malone
Yes. Yes.
- [104:58]
Matt Koplik
I wonder if. Because again, it's so impressive what they do, but then the question is, is it going to be Sarah and all the tech categories and then they don't nominate direction. Especially when you have things like Stephen Daldry for Stranger Things doing also really huge work when it comes to director. Like, do we want to maybe reward the people who are shaping the material and the cast and doing this intimate actor work? Because then we have Donya Taymor for John Proctor as the villain.
- [105:26]
Jeff Malone
And isn't David Cromer also on. Is it Glengarry?
- [105:30]
Matt Koplik
No, David Cromer is Good Night and Good Luck.
- [105:32]
Jeff Malone
Good luck. And Glengarry is Patrick Marber. Oh, Patrick, who just did Tammy Faye.
- [105:38]
Matt Koplik
No, that's Patrick Marber. Did Leia Postat the. Oh, Leopold, who did Tammy Fab was, I think Rupert Gould.
- [105:47]
Jeff Malone
Oh, Rupert Gould.
- [105:48]
Matt Koplik
Yeah, yeah, yeah.
- [105:51]
Jeff Malone
Yes. David Comer is up for two potentials this year. Yeah, he's.
- [105:54]
Matt Koplik
Yeah, I think. I think Cromer's probably just gonna get Dead Outlaw. So where I kind of have to start with Big and then work My way back is like, I go, okay, what are our locks for play? And what are our locks for play? Revival. And then, like, who will get in where for that? Right. Because it's very rare to be nominated as a director for a play, and the play itself is not nominated. You can sometimes get that for musicals, which is why I'm like, okay, yes, Dorian Gray is very impressive. Like, I don't think Dorian Gray is getting in for play. So, like, Kid Williams could get shut out. Stranger things may not get play. So Stephen Daltrey might get shut out. So, like. Because I think Omari is a lock. That's why I'm saying Sam Pinkleton. I think purpose is a lock. That's why I'm saying Felicia Rashad. I think Glengarry Glen Ross is a lock for revival. And so I'll say Patrick Marbur's. That's three. And then who was the director of English? Because I agree with you. I thought that the work on that was so good. Yeah, I'm looking. I'm looking this up, please. The director of English nud, Adams. So, yes, so I will say Adams for that.
- [107:04]
Jeff Malone
And I was gonna say, didn't BARTLETT Share Direct McNeil?
- [107:10]
Matt Koplik
He did.
- [107:11]
Jeff Malone
I don't know if that's gonna really.
- [107:13]
Richie Grasso
People just like, why are you picking up meal again?
- [107:16]
Jeff Malone
I'm saying, that's a big name in the Tony Award world. I don't know, you know, people.
- [107:20]
Matt Koplik
So this is where I'm throwing my swept away shade to you, Richie. No, Bart didn't get nominated for Camelot, so he didn't get nominated for Fiddler or Bridges. Like, he's not in. He's not such an undeniable presence in the Tonys anymore that people seem to say about him. Like, he won for South Pacific after, you know, Piazza and all this other stuff. He had, like, a really good run. Yeah. And then he started to fumble a bit and. And, like, came back with King, and I came back with My Fair lady and To Kill a Mockingbird, but he. I don't think he's found his footing post Covet again.
- [107:52]
Jeff Malone
Yeah. And actually, speaking of McNeil, I'll throw this random name out. I would love to see supporting actress in a play, Andrea Martin McNeil. Because I loved her in that. And I know no one's gonna remember that, but I just want to throw that out there on the pod.
- [108:05]
Matt Koplik
You're allowed. You're allowed. I. I enjoy Andrea Martin a great deal, and I totally. I'm never angry to see her on my stage ever.
- [108:14]
Jeff Malone
Right. Correct. She was hilarious. Hilarious. But anyway, I digress.
- [108:18]
Matt Koplik
Yeah. So I'm gonna. It's. This one's tricky because there are so many possible.
- [108:22]
Jeff Malone
I know.
- [108:23]
Matt Koplik
Yeah.
- [108:24]
Richie Grasso
I'm really backtrack and go back to how much I loved Job off Broadway and still liked it on Broadway, and it wiggled its way in for a best play. And Michael Hurwitz also gets nominated. I mean, that's. I feel like an underdog, actually, in this season, but we'll see.
- [108:40]
Matt Koplik
Yeah. I do ultimately think that. That if Job gets in anywhere, it'll be with Sidney Lemon, and then after that, you know, is just sort of gravy. But I, I thought that Michael's work on it was really impressive, and I hope that he's doing something new very shortly, because I, I, I will follow artists I find are fascinating and smart. Yeah. I think. I also think director of a play is just too crowded for Michael to get in there. And Job happened so long ago and wasn't. It didn't make quite the impression I think they were hoping it was gonna make, considering how well it did off Broadway. But, yeah, I mean, because I'm going to. I'm going to stick with Not Adams for English, Sam Pinkleton for Omari, Felicia Rashad for Purpose. Patrick Marber for Glengarry Glen Ross, and.
- [109:27]
Richie Grasso
Go for it.
- [109:28]
Matt Koplik
Sam Mendes for Hills. Those are. Those are you my five?
- [109:30]
Jeff Malone
Oh, yeah. Sam for Hills makes.
- [109:31]
Matt Koplik
Yeah. And those would be my five. I think that Kip Williams for Dorian Gray, Donya Taymor for John Proctor is the villain, and Stephen Daldry for Stranger Things or Total. Like, they're. I don't think they're upsets. Those three, I think, are right on the bubble, like, waiting for a moment to pounce.
- [109:46]
Jeff Malone
Totally, totally agreed.
- [109:47]
Matt Koplik
Yeah. Okay. I think that's what we got. We. We did a lot, and we didn't do any of the tech stuff, but it's all good.
- [109:54]
Jeff Malone
That's okay. That could be a whole nother day and another time. And. And, like, so funny, because in, like, two weeks, like, half of this could completely change. You know, we could be like, whoa, why don't they say that two weeks ago?
- [110:03]
Richie Grasso
After this week, we're gonna all be right.
- [110:04]
Jeff Malone
Because we're all.
- [110:05]
Matt Koplik
Oh, my God. Yeah.
- [110:06]
Jeff Malone
Four plays each year, so.
- [110:07]
Matt Koplik
Yeah. Yeah. Oh, God. Yeah. I. This is. Again, this is coming out the day I'm seeing purpose, but after I've seen last five years, John Proctor is the villain and Boop. And right before Smash. So, like, everything that we said, it's gonna be Thrown out the window.
- [110:19]
Jeff Malone
Very soon we'll be doing daily check ins. Like, hey, so what did you think? You're like, oh, yeah, no, that locked.
- [110:24]
Matt Koplik
Oh yeah. Oh yeah. This week is gonna be so many group chats.
- [110:27]
Jeff Malone
We've been getting home from the shows and just recording. Right. We're trying to get into the habit of like, well, it's fresh. Just getting even if it's late at night, just getting home and recording it when you're on the energy of it. And then there's some shows where like, I can. Could sleep on this and record this in a day or two.
- [110:38]
Richie Grasso
Dorian Gray were like, let's sleep on this.
- [110:40]
Jeff Malone
Because that was so much to process. It was great.
- [110:42]
Matt Koplik
So much to process. Dorian Gray. Actually, I do want to ask you this though. With Dorian Gray. Do you see? I mean, I think sound and lighting are obvious for that one. For nominations. I would even say costumes because of how they, you know, do that set is one where I'm like kind of on the fence about for Dorian Gray.
- [110:59]
Jeff Malone
If you're going to include the video design, then 100%, yes, if that. It's very unclear still where video designers fit in the space. Unfortunately.
- [111:06]
Richie Grasso
Unfortunately, I'm not sure it's gonna like, come out for scenic.
- [111:09]
Matt Koplik
It's like it doesn't because I'd be bare bones.
- [111:11]
Jeff Malone
But there's a lot of videos.
- [111:12]
Matt Koplik
Yeah. And like there, there are scenic elements to it. Like.
- [111:16]
Jeff Malone
Right.
- [111:16]
Matt Koplik
It's not just the screens.
- [111:18]
Jeff Malone
No. There's like set pieces that come in and out.
- [111:20]
Richie Grasso
And that's just why I think like, it could maybe get best play and his direction, like Kip there. I mean, I don't.
- [111:28]
Jeff Malone
I know it's hard.
- [111:28]
Matt Koplik
I. I think Kip is a. Has a better shot of getting nominated for director and it. And it not getting nominated for play than getting both.
- [111:37]
Jeff Malone
I think you're right.
- [111:38]
Matt Koplik
Yeah. Well, just because again, you got to think about what we have for plays with Omari Purpose English and then on top of that, Hills of California, maybe John Proctor, unless, like John Proctor is the villain, ends up opening and all the critics, like, I don't know what audiences are talking about. This thing blows. I just, I feel like when we have all these more like traditional text based, actory plays, nominators are more interested in that than like watching Sarah Snook on a screen for two hours and like doing a really lovely job. But it's like, it's this. We're. We're still figuring out how much video is too much video in a play, you know?
- [112:17]
Richie Grasso
Well, it's definitely, I think, ahead of, let's call it ahead of its time, but maybe it's like right on the nose because, like, I found it to be some of the most like, innovative tech use that we. I've ever seen.
- [112:29]
Matt Koplik
Yeah. And I think all connects to the point of view that this production has on the material. So it's not for nothing, but it is. I, I think that's ultimately what kind of kept me at arm's length emotionally or even super invested in it. While I was impressed the entire time, I was never moved. And I'll talk about this in my review as well. But like, like, I don't, when I say moved, I don't mean like, oh, I was crying by the end, but just rather like I, I didn't sit there being like engaged completely as so much as I was just like always impressed. But that, but that is, that's different for every, every person. Right.
- [113:07]
Richie Grasso
And I feel like that's why I think it's ahead of its time because, like, it's so new for us, we don't really know how to process it yet.
- [113:14]
Matt Koplik
Yeah.
- [113:15]
Richie Grasso
Where we're like, oh, okay, wait, like, this was the show for me, like the first maybe 20 minutes I was like, wait, I have to totally change the way I'm going to view this show.
- [113:25]
Matt Koplik
Yeah.
- [113:26]
Richie Grasso
Actually paying attention to some of the stuff that was being said until like it clicked and then I said, okay, now I get this.
- [113:33]
Matt Koplik
Well, in fairness, Sarah does talk very fast.
- [113:36]
Jeff Malone
Yeah.
- [113:37]
Matt Koplik
There's a lot of text that goes by.
- [113:38]
Jeff Malone
And when you're doing these high tech shows like Sunset, like this that are based on source material that people either already know or are somewhat familiar with, if they were doing this high tech stuff with a brand new play called like the Dog in the Meadow. And I would have to figure out the plot of the Dog in the Meadow on top of all of this. Do you know what I'm saying? Versus like, oh, I know the Sunset play. I know the Oscar Wilde piece. Okay. Like. Or vaguely at least. Yeah, that helps a little.
- [114:00]
Matt Koplik
Absolutely. Absolutely. No, I'll be interested to see what happens. I think that play and musical, I think half of the category is predictable now. In a good way of like, this is good stuff. And then when we got like two slots where it could really, it could go anyway. And that's the fun of it. Yeah, that's the fun. Jeff Richie, this has been delightful. Thank you for coming on. Where can people find you if you want them to find you?
- [114:24]
Richie Grasso
Jeffrey R. Half hour with Jeff and Richie on the Broadway podcast network and we are also on all the major platforms.
- [114:30]
Jeff Malone
Spotify, Apple music podcast, it's called at half hour podcast on all our socials.
- [114:37]
Matt Koplik
Phenomenal. If you guys want to follow me, I'm on Instagram only at Matt Koplik usual spelling. If you like the podcast, give us a nice 5 star rating or review. This last one was really fantastic. I've got some other ones that I got to read in future episodes. Make sure to join the Broadway Breakdown Discord channel. The link for that will be in the episode description. Jeff, Richie, as you know, we close out every episode with a big Broadway diva. Who would you like to close us out today?
- [115:01]
Jeff Malone
Well, I think I did Patty last.
- [115:03]
Matt Koplik
Time, so I won't Broadway diva this.
- [115:05]
Jeff Malone
You know what we should do, Bernadette, in honor of old friend, Maybe we do burn it out.
- [115:08]
Richie Grasso
No, I think because we just saw love life, we're gonna go with Kate Baldwin.
- [115:12]
Matt Koplik
Oh, Kate Baldwin it is. All right.
- [115:15]
Jeff Malone
I love that idea.
- [115:16]
Matt Koplik
J. Yeah, we love the life of Kate Baldwin. She gives us life. She gives us love. All right, thank you so much, guys for listening for. Thank you, Jeff and Richie for coming on. Thank you all for listening. We'll catch you next week with some more Tony Award stuff and also with the announcement of what shows we'll be doing deep dives on after the Tony Awards. All very good stuff. And yeah, that'll be it. Thank you so much for listening and take it away, Kate.
- [115:38]
Richie Grasso
Bye.
- [115:38]
Jeff Malone
That handy handy dreamy streamy man.
- [115:47]
Matt Koplik
Mister.