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Showing posts from June, 2016

Awesome. Wow.

I guess I should do a brief summary of my thoughts on last night's Tony Awards.

Hamilton won best musical. To quote King George III, "Awesome. Wow."

As I predicted from a couple blog posts ago, Hamilton did not break the record for most Tony award-winning show. It came close, but The Producers holds the title. The places where Hamilton lost were for scenic design (which went to, as I predicted, She Loves Me) and lead actress (which, as everyone else predicted, went to Cynthia Erivo). I thought American Psycho might have won lighting design, based on hype, but evidently hype was wrong.

Hamilton also lost two awards early in the evening, both for best featured actor in a musical. That also happened to be at the same moment it won one award for best featured actor in a musical. Later, Hamilton lost best lead actor in a musical, and lost it to Hamilton.

Clearly the Tonys last night resolved this question, but I think there could be some argument as to how an actor playing two …

Dramaturgy vs. Dialogue

With the Tony Awards coming up on Sunday, I thought I'd clear up a question that seems to be confusing a lot of people. Specifically the matter of why Hamilton is eligible for the award for best book of a musical. The confusion stems from the fact that people read "book," are told it means "script," and immediately think "dialogue." Hamilton, being almost entirely sung, has minimal spoken dialogue, and so logic dictates that its "book" should really be considered as "lyrics," which are covered under the award for best score. (Which is also flawed -- it should really be two separate awards for music and lyrics, as the Drama Desk awards do. I assume the reason it isn't done is because the one year they tried it, Stephen Sondheim won both awards for Company.)

But the book of a musical is not just the dialogue. It also concerns the pacing, the dramatic structure, and the plot itself if original, and the adaptation from the source i…