The 2024 Tony Awards, held at Lincoln Center’s David H. Koch Theater, were a night of glitz, glamour, and unexpected turns. Hosted by Ariana DeBose for the third time, the ceremony was a masterclass in how to run an awards show smoothly. DeBose, who announced this would be her last time hosting for a while, kicked off the night with a musical number, though some felt a performance from one of the Broadway shows might have been a better choice.
The night was filled with memorable performances, including a rousing rendition of “Empire State of Mind” by Alicia Keys and Jay-Z. However, Jay-Z’s appearance seemed pre-taped and possibly filmed outside Lincoln Center, which might have confused some viewers. Nonetheless, it was a high-energy start to the evening.
Jeremy Strong, who won for his leading role in “An Enemy of the People,” gave a heartfelt speech thanking the ushers and staff at Circle in the Square. His win was expected, but it left Leslie Odom Jr., who had significant industry support for his role in “Purlie Victorious,” without a trophy.
One of the night’s biggest surprises was Will Brill’s win for Featured Actor in a Play for “Stereophonic,” beating out his castmates Eli Gelb and Tom Pecinka. Brill graciously shared the moment with his fellow nominees, highlighting the ensemble’s strength. Kara Young made history as the first actress of color to receive Tony nominations in three consecutive years, winning for her role in “Purlie Victorious.” Her acceptance speech was a touching tribute to her family and the late Ossie Davis and Ruby Dee.
The tribute to Chita Rivera and the In Memoriam segment were beautifully executed. Brian Stokes Mitchell, Bebe Neuwirth, and Audra McDonald joined DeBose in honoring Rivera, while Nicole Scherzinger’s performance of “What I Did For Love” from “A Chorus Line” accompanied the In Memoriam segment, which featured clear, unobscured images of those being honored.
“Stereophonic” playwright David Adjmi acknowledged Playwrights Horizons, the Off-Broadway theater that first staged the play. The night was a celebration of New York’s non-profit theaters, with many nominees coming from Playwrights Horizons, Second Stage, and Manhattan Theatre Club.
The musical numbers were mostly well-received, with performances from “The Outsiders,” “The Who’s Tommy,” “Suffs,” “Merrily We Roll Along,” and “Illinoise” giving viewers a taste of what’s been captivating theatergoers. However, “Stereophonic’s” “Masquerade” felt too abbreviated, and Pete Townshend’s brief appearance in “Pinball Wizard” left some wanting more.
Sarah Paulson, nominated for her role in “Appropriate,” gave a gracious nod to her competitor Jessica Lange from “Mother Play.” Maria Friedman, director of “Merrily We Roll Along,” addressed the late Stephen Sondheim, celebrating the show’s newfound popularity.
The night’s youngest nominee, 21-year-old Maleah Joi Moon, won for Lead Actress in a Musical for “Hell’s Kitchen,” marking one of the evening’s biggest surprises. Jonathan Groff and Daniel Radcliffe, both expected winners for their roles in “Merrily We Roll Along,” delivered tearful acceptance speeches that highlighted their mutual affection.
However, the night wasn’t without its low points. The Pluto TV pre-show was marred by technical issues, including a censoring mishap during Cody Spencer’s acceptance speech for musical sound design. The opening number, despite DeBose’s talent, felt generic and failed to set the tone for the evening.
The performance from “Cabaret” was another low point. Eddie Redmayne’s portrayal of the Emcee in “Willkommen” came off as overly eccentric, and Gayle Rankin, who plays Sally Bowles, was notably absent from the mic. The camera angles during “Stereophonic’s” performance also failed to capture the play’s visual appeal, focusing too much on close-ups.
In terms of snubs, Maria Friedman’s loss for Best Direction of a Musical was surprising, given her role in reviving “Merrily We Roll Along.” “Hell’s Kitchen,” despite its 13 nominations, only took home two awards, though they were significant wins for Maleah Joi Moon and Kecia Lewis.
“Illinoise” also deserved more recognition, with its sole win for choreography announced during the pre-show. The show’s presence on the broadcast was a triumph in itself, given its dialogue-free, dance-centric format.
The night’s biggest snub was “The Wiz,” which received no nominations despite its popularity and star power. This could pose a challenge for the Tony telecast producers, who will want to feature such a well-known title.
“Stereophonic” exceeded expectations, earning 13 nominations and becoming the most-nominated play in Tony history. The show’s ensemble cast received multiple acting nominations, and Will Butler’s original score was recognized, despite the play not being a musical.
Michael Imperioli, expected to be nominated for his role in “An Enemy of the People,” was another notable snub. His performance was well-received, but the category was dominated by “Stereophonic” actors.
Overall, the 2024 Tony Awards were a night of high drama, unexpected wins, and a few disappointments, reflecting the vibrant and unpredictable nature of Broadway itself.
