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Tony Awards: Reviewed

 I'm on board with the critic Adam Feldman, who has cited the songs from "Parade" and "Sweeney" as the highlights Sunday night.


The "Parade" choice was predictable (in fact, it's the same choice that the 1990s producers made) -- but it put a useful spotlight on Micaela Diamond, and it had a sense of momentum. An awards clip needs momentum.

The opening of "Sweeney" is among the four or five great openings in Broadway history; Sunday highlighted the "Sweeney" choreography and the "Sweeney" chorus (two things I love). Do you see how the dancers seem to be "quoting" Lady Gaga and Michael Jackson? I can't get enough of that! I might have tossed a few lines to Annaleigh Ashford, but maybe Ashford just wanted a quiet night in her aisle seat. Is it odd to omit Mrs. Lovett? She is *the* protagonist of the show; when Angela Lansbury bows, she bows last. Oh, well. It's just one number.

"Anagram" is a perfect piece of writing, and the various choices Victoria Clark and Justin Cooley make are brilliant. Still, "Anagram" is not how you pitch your show at the Tony Awards. The Tony performance is not about subtlety; it's about making an immediate connection with the audience, and using a high-voltage "tentpole" number. The "Kimberly" cast should have performed a few verses of "Great Adventure," highlighting Clark and Cooley, and then the room should have put its eyes on Bonnie Milligan (who had just won her Tony Award). The clip should have ended with Milligan belting the bridge and the finish of her Act One number, using a "bleep" for the "shits" and the "fucks." Milligan's belt has conquered Broadway; it's on par with the arrival of Cynthia Erivo, five or ten years ago. To omit Milligan is a crime.

Those are my thoughts. Curious to hear yours.
















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