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2017 Tony Races: Below the Line Categories

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  • Jeffrey Kare
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    #1202051421

    For the first time this year, the predictions center on Gold Derby is allowing us to predict nominations for more categories such as featured acting, directing, book, score, and choreography.

    However, what I’m interested in hearing opinions are the below the line categories (such as orchestrations and all the design awards).

    Here are my current predictions for those nominations…

    Best Orchestrations:
    August Eriksmoen-Come From Away
    Larry Hochman-Hello, Dolly!
    Alex Lacamoire-Dear Evan Hansen
    Dave Malloy-Natasha, Pierre, & the Great Comet of 1812

    Best Lighting Design of a Musical:
    Natasha Katz-Hello, Dolly!
    Bradley King-Natasha, Pierre, & the Great Comet of 1812
    Bruno Poet-Miss Saigon
    Japhy Weideman-Dear Evan Hansen

    Best Lighting Design of a Play:
    Christopher Akerlind-Indecent
    Mark Henderson-Les Liaisons Dangereuses
    Donald Holder-Oslo
    Justin Townsend-The Little Foxes

    Best Scenic Design of a Musical:
    Alexander Dodge & Aaron Rhyne-Anastasia
    Totie Driver & Matt Kinley-Miss Saigon
    Mimi Lien-Natasha, Pierre, & the Great Comet of 1812
    Santo Loquasto-Hello, Dolly!

    Best Scenic Design of a Play:
    John Lee Beatty-Sweat
    Scott Pask-The Little Foxes
    Tom Scutt-Les Liaisons Dangereuses
    Michael Yeargan-Oslo

    Best Costume Design of a Musical:
    Linda Cho-Anastasia
    Santo Loquasto-Hello, Dolly!
    Paloma Young-Natasha, Pierre, & the Great Comet of 1812
    Catherine Zuber-War Paint

    Best Costume Design of a Play:
    Jane Greenwood-The Little Foxes
    Emily Rebholz-Indecent
    Tom Scutt-Les Liaisons Dangereuses
    Roberto Surace-The Play That Goes Wrong

    What are your predictions?

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    SamEckmann
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    #1202051584

    Contenders to watch out for that you haven’t listed:

    Lighting Design – Play: “The Encounter”
    Much of the press was rightfully about McBurney and the sound elements, but the lighting was sheer magic, and just as essential in transporting the audience

    Lighting Design – Musical: “Groundhog Day”
    Really strong work, the lighting is more responsible for shifting the scene and tone from moment to moment than the set. Its all very vibrant and lush.

    Orchestrations: “Holiday Inn”
    not going to be a major Tony contender, but damn did that orchestra sound phenomenal. And Studio 54 presents the added challenge of creating a unified sound with musicians split across the mezz boxes. Larry Blank was also a Tony nominee in this category for “White Christmas”, another Irving Berlin show.

    Scenic Design – Musical: “Dear Evan Hansen”
    Its the frontrunner for everything else, so why not here? Its certainly unique enough. And don”t underestimate Beowulf Boritt making a surprise showing here for “A Bronx Tale”. He’s one of the biggest names in theater design right now.

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    Alex Meyer
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    #1202051892

    I wouldn’t be surprised if Charlie And The Chocolate Factory and Amelie get nominations for costume and scenic design as well.

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    Jeffrey Kare
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    #1202051932

    From having heard early preview reports, the sets for Charlie & the Chocolate Factory have been disappointing.

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    Djoko
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    #1202051958

    The two best orchestrations I have seen this season have been Sunset Boulevard and Come From Away (will see Hello, Dolly! in April). I think those two are locks.

    Charlie’s sets have been very bare compared to its run in London so I don’t think it will be nominated. Amelie is looking to be a dud from previews. It’s only nomination could be Philipa Soo. Loved Groundhog Day’s scenic design so that one could be nominated.

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    Jeffrey Kare
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    #1202052163

    What I’d like to know about the orchestrations in Sunset Boulevard is are they different enough from the original production? I’m asking because David Cullen & Andrew Lloyd Webber provided the orchestrations for both the original and the current revival. Of course, the award for Best Orchestrations wasn’t handed out until 1997, which was two years after Sunset Boulevard first competed.

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    SamEckmann
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    #1202052396

    I think Sunset will definitely be eligible. As you point out, it wasnt even eligible to compete for orchestrations for the original production. And there are different orchestrations in place to take advantage of the huge orchestra.

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    adamunc
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    #1202052819

    The Play That Goes Wrong has to be considered a contender for Scenic Design of a Play. So much of it is dependent on the set; the design is a crucial element of the play’s success.

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    Jeffrey Kare
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    #1202058363

    Sunset Boulevard will be eligible for Best Orchestrations…http://www.tonyawards.com/en_US/news/articles/2017-04-06/201704061491489663479.html

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    KyleBailey
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    #1202070684

    Do you think Holiday Inn can get into Choreography? From their Macy’s Day Parade performance I was wowed by the dancing. Could that be the only place Paramour shows up or is that just not going to do anything at all

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    Lindsayisagoddess
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    Anastasia will also be a contender for Lighting Design, I think. It got a lot of praise in Hartford for its projection design. Still waiting for Broadway reviews, however. I hadn’t heard any chatter about Miss Saigon for lighting – scenic design, certainly – but I had Natasha, Evan Hansen, Anastasia, and Hello, Dolly! for lighting.

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    Lindsayisagoddess
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    #1202070722

    Do you think Holiday Inn can get into Choreography? From their Macy’s Day Parade performance I was wowed by the dancing. Could that be the only place Paramour shows up or is that just not going to do anything at all

    There’s not much buzz for Paramour. Choreographer for Holiday Inn doesn’t really have much of an existing reputation to draw on, and some critics did find it boring/unoriginal. I’m gonna look at the reviews again, though, before making my decision.

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    SamEckmann
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    #1202070758

    Regarding Anastasia’s projections: Projection designers are more and more frequently eligible alongside the set designer for Best Scenic Design, NOT Best Lighting Design.

    This has already happened this season: Will Duke projections will be eligible alongside Michael Levine’s set design for “The Encounter.”

    I’m currently predicting Holiday Inn for choreo. Denis Jones worked primarily as a performer on Broadway before segueing into choreography. The show has the type of large dance numbers that tend to show up in that category. And he managed to make the small Studio 54 stage look enormous, but not crowded.
    The Tonys made no special rulings for Paramour, so it would seem the circus bits are not eligible for choreography. So I have a hard time seeing it breaking through there.

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    Jeffrey Kare
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    #1202077678

    Since we’re now about 5 days away from nomination announcements, here’s some updated predictions I’ve made…

    Best Orchestrations:
    August Eriksmoen-Come From Away
    Larry Hochman-Hello, Dolly!
    Alex Lacamoire-Dear Evan Hansen
    Dave Malloy-Natasha, Pierre, & the Great Comet of 1812

    What Could Sneak In?: Bill Elliott & Greg Anthony Rassen-Bandstand

    Best Lighting Design of a Musical:
    Natasha Katz-Hello, Dolly!
    Bradley King-Natasha, Pierre, & the Great Comet of 1812
    Hugh Vanstone-Groundhog Day
    Japhy Weideman-Dear Evan Hansen

    What Could Sneak In?: Donald Holder-Anastasia

    Best Lighting Design of a Play:
    Christopher Akerlind-Indecent
    Donald Holder-Oslo
    Ben Stanton-Six Degrees of Separation
    Justin Townsend-The Little Foxes

    What Could Sneak In?: Mark Henderson-Les Liaisons Dangereuses

    Best Scenic Design of a Musical:
    Alexander Dodge & Aaron Rhyne-Anastasia
    David Korins-Dear Evan Hansen
    Mimi Lien-Natasha, Pierre, & the Great Comet of 1812
    Santo Loquasto-Hello, Dolly!

    What Could Sneak In?: David Korins-War Paint

    Best Scenic Design of a Play:
    Nigel Hook-The Play That Goes Wrong
    Scott Pask-The Little Foxes
    Mark Wendland-Six Degrees of Separation
    David Zinn-Present Laughter

    What Could Sneak In?: Douglas W. Schmidt-The Front Page

    Best Costume Design of a Musical:
    Linda Cho-Anastasia
    Santo Loquasto-Hello, Dolly!
    Paloma Young-Natasha, Pierre, & the Great Comet of 1812
    Catherine Zuber-War Paint

    What Could Sneak In?: Alejo Vietti-Holiday Inn, The New Irving Berlin Musical

    Best Costume Design of a Play:
    Jane Greenwood-The Little Foxes
    Susan Hilferty-Present Laughter
    Emily Rebholz-Indecent
    David Zinn-A Doll’s House, Part 2

    What Could Sneak In?: Tom Scutt-Les Liaisons Dangereuses

    What do you think?

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    adamunc
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    #1202077811

    I’m kind of hoping David Korins sneaks in for his War Paint set. I loved the way he layered the stage with set pieces front to back–it was a very elegant way to define playing areas and utilize the entire stage. It was also beautiful to look at (which was a help when the show itself was dull, which was often). I think his work there (or for Dear Evan Hansen) would get in before Saigon, which is very similar to the original in concept–and a couple of those backdrops… well, Mama said if you can’t say something nice…

    Groundhog Day‘s set is technically impressive but ultimately too busy and overwhelming, so I would agree it will be left out. Come From Away‘s set is lovely and incredibly functional for the material, but probably doesn’t have enough elements or variety to score a nomination. But all these other shows are most likely just vying for the opportunity to lose to Natasha anyway.

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