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Phantom of the Opera

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  • AWDubay
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    #1202608307

    So i have little to no knowledge of the theater but this past weekend i went and saw a touring production of Phantom and i looked back at its Original run to see how it did awards wise…. I was surprised to see that it not only lost best actress it wasn’t even nominated…. Was this a snub ? was it a surprise to lose book and score to Into the woods ?

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    Awardsfan1990
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    #1202608346

    No. Into The Woods was widely expected to win Best Actress, Score and Book.

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    Jeffrey Kare
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    #1202608350

    I’m not sure if Joanna Gleason was widely expected to win Lead Actress in a Musical for Into the Woods because she was apparently facing some competition from Patti LuPone in Anything Goes.

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    AWDubay
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    #1202608363

    No. Into The Woods was widely expected to win Best Actress, Score and Book.

    But was it a surprise the girl from Phantom didnt even get nominated ? And then was Into the woods also the fav to win musical .. was phantom the dark horse ?

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    Jeffrey Kare
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    #1202608393

    I believe the race that year was Into the Woods vs. The Phantom of the Opera all along. While the precursors don’t even matter to the Tonys given how they all have no shared voting unit, Phantom won the Outer Critics Circle Award while Into the Woods won the Drama Desk.

    As for Sarah Brightman’s snub for Lead Actress in a Musical, I believe her overall performance as Christine Daaé didn’t receive great reviews from critics.

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    AwardsConnect
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    #1202608396

    Brightman’s snub wasn’t a huge shock – it was between her (who didn’t earn great notices for her acting but whose production was a smash), Bernadette Peters (who would’ve been a shoo-in had she not exited Into the Woods four months prior to the Tonys), Lillas White (whose turn as Effie in the failed Dreamgirls revival didn’t quite match Jennifer Holliday’s) and ultimate nominee Judy Kuhn (who earned strong reviews but whose Chess was a flop) for the fourth slot. Cabaret‘s Allyson Reed ended up down in Featured – otherwise, she’d have probably taken it.

    Gleason vs. LuPone was a legit barn burner. Their reviews were comparably incredible but there was debate over whether Gleason was really Lead or Featured, while there wasn’t a ton of urgency to award LuPone again so soon after Evita, so each had their cons.

    THE OSCAR 100 (#15-11): Charlie Chaplin, Timothy Hutton, Mary Tyler Moore, Ida Kaminska and Gregory Peck

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    Jeffrey Kare
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    #1202608402

    It’s also worth noting that Gleason won the Drama Desk as a Featured Actress.

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    adamunc
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    #1202608404

    There was a jingoistic undercurrent that year–this was at the height of the “British invasion” of Broadway and there was considerable resentment among the American old guard. Therefore it was no surprise that hometown boy Sondheim took the score award, which had the added benefit of delivering a rebuke to ALW’s pretensions to grandeur. And there was no way Brightman was going to get the benefit of the doubt in that climate. There were lots of snide remarks about “the missus” and some controversy around her extra-high E in the title song being pre-recorded.

    To me, it’s actually a little surprising that Phantom took Best Musical. I’ve always suspected that was a very close vote. The respect for the beloved Hal Prince is most likely what took it over the top.

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    AWDubay
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    #1202608406

    Brightman’s snub wasn’t a huge shock – it was between her (who didn’t earn great notices for her acting but whose production was a smash), Bernadette Peters (who would’ve been a shoo-in had she not exited Into the Woods four months prior to the Tonys), Lillas White (whose turn as Effie in the failed Dreamgirls revival didn’t quite match Jennifer Holliday’s) and ultimate nominee Judy Kuhn (who earned strong reviews but whose Chess was a flop) for the fourth slot. Cabaret‘s Allyson Reed ended up down in Featured – otherwise, she’d have probably taken it.

    Gleason vs. LuPone was a legit barn burner. Their reviews were comparably incredible but there was debate over whether Gleason was really Lead or Featured, while there wasn’t a ton of urgency to award LuPone again so soon after Evita, so each had their cons.

    THE OSCAR 100 (#15-11): Charlie Chaplin, Timothy Hutton, Mary Tyler Moore, Ida Kaminska and Gregory Peck

    was there any other contenders for featured or lead actor .. both of which phantom won ?

    Andrewsart.etsy.com

    Check out my online store 🙂

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    AWDubay
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    #1202608407

    There was a jingoistic undercurrent that year–this was at the height of the “British invasion” of Broadway and there was considerable resentment among the American old guard. Therefore it was no surprise that hometown boy Sondheim took the score award, which had the added benefit of delivering a rebuke to ALW’s pretensions to grandeur. And there was no way Brightman was going to get the benefit of the doubt in that climate.

    To me, it’s actually a little surprising that Phantom took Best Musical. I’ve always suspected that was a very close vote. The respect for the beloved Hal Prince is most likely what took it over the top.

    Was this Webbers First thing in the US ?

    Sorry i have no knowledge of the theater

    Andrewsart.etsy.com

    Check out my online store 🙂

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    adamunc
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    #1202608412

    No, he had already won for Cats and Evita. He’d also had Jesus Christ Superstar and Joseph and the Amazing Technicolor Dreamcoat on Broadway earlier, plus Starlight Express and the Bernadette Peters vehicle (which finally allowed her to win a Tony) Song and Dance.

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    Awardsfan1990
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    #1202608417

    Brightman’s snub wasn’t a huge shock – it was between her (who didn’t earn great notices for her acting but whose production was a smash), Bernadette Peters (who would’ve been a shoo-in had she not exited Into the Woods four months prior to the Tonys), Lillas White (whose turn as Effie in the failed Dreamgirls revival didn’t quite match Jennifer Holliday’s) and ultimate nominee Judy Kuhn (who earned strong reviews but whose Chess was a flop) for the fourth slot. Cabaret‘s Allyson Reed ended up down in Featured – otherwise, she’d have probably taken it.

    Gleason vs. LuPone was a legit barn burner. Their reviews were comparably incredible but there was debate over whether Gleason was really Lead or Featured, while there wasn’t a ton of urgency to award LuPone again so soon after Evita, so each had their cons.

    THE OSCAR 100 (#15-11): Charlie Chaplin, Timothy Hutton, Mary Tyler Moore, Ida Kaminska and Gregory Peck

    was there any other contenders for featured or lead actor .. both of which phantom won ?

    Phantom won both of its acting nominations at the Tonys. Michael Crawford won Lead Actor In A Musical for playing the Phantom, while Judy Kaye won Featured Actress In A Musical for playing Carlotta Guidicelli.

    • This reply was modified 1 month, 1 week ago by  Alex Meyer.
    • This reply was modified 1 month, 1 week ago by  Alex Meyer.
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    AWDubay
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    #1202608428

    No, he had already won for Cats and Evita. He’d also had Jesus Christ Superstar and Joseph and the Amazing Technicolor Dreamcoat on Broadway earlier, plus Starlight Express and the Bernadette Peters vehicle (which finally allowed her to win a Tony) Song and Dance.

    wow thats cool, so then are him or Sodenhiem bigger ? I would think it would be webber

    Andrewsart.etsy.com

    Check out my online store 🙂

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    AWDubay
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    #1202608429

    Phantom won both of its acting nominations at the Tonys. Michael Crawford won Lead Actor In A Musical for playing the Phantom, while Judy Kaye won Featured Actress In A Musical for playing Carlotta Guidicelli.

    I wondered if they were the front runners or was it a tight race

    Andrewsart.etsy.com

    Check out my online store 🙂

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    adamunc
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    #1202608445

    There was no competition for Michael Crawford; he was the obvious winner from the word go. I don’t remember about the Featured Actress race.

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