Welcome to the 2015-2016 Broadway season! Ever since the 2015 Tony Awards aired on June 7, the Great White Way has been crackling with excitement about which new show ("Hamilton") will be the next big hit ("Hamilton") and will win big at both the box office and at the 2016 Tony Awards (Hint: it’s going to be "Hamilton"). For those of us who love theatre, the summer is usually a dead period. Last season’s holdovers are either still running or closing, and many new shows are preparing to occupy the newly emptied theaters. So, for those of us who have only Hamilton to tide us over until the big rush of openings in September, let us reminisce on Tony Awards ceremonies of yore. Or, at least, the ceremonies that aired since 1967, when the Tony Awards were first televised nationally.
Selecting the greatest Tony Awards performances ever is a daunting task, due to both its subjectivity and its breadth. Fortunately, several media outlets have already jumped on the task. Time Out New York, Buzzfeed, Vogue, and Backstage all have compiled lists of varying length of the performances they consider to be truly outstanding. The methodology for the list below is this: After cross-indexing the performances named by each site, I have compiled the overlaps into one list to represent “popular opinion”, per se.
Hopefully this list will avoid the subjectivity that would have led me to put all of my favorites in and ignore the rest.
And the winners are…"Dreamgirls," "It's All Over"/"And I Am Telling You I'm Not Going" (1982)
Let's face it. Jennifer Holliday's powerful voice, wrought with emotion and defiance, steals the show in "And I'm Telling You". She demands respect and the audience willingly gives it to her. The show itself was nominated for 13 Tony Awards and won six, including Outstanding Actress in a Musical to none other than Holliday herself.
"A Chorus Line," "I Hope I Get It" (1976)
"A Chorus Line" is largely considered to be one of the greatest musicals of all time, and this performance (opening the 1976 Tony Awards, no less) shows why. A show about chorus dancers struggling to make it on Broadway, it drew raucous applause at the beginning, and the iconic ending of the dancers standing in line with their head shots cemented its place in Broadway history. The energetic dancing and impassioned singing of this tightly-knit ensemble remains largely unmatched, and it snagged nine Tonys that year.
"Spring Awakening," "Mama Who Bore Me"/"The Bitch of Living"/"Totally F***d" (2007)
"Spring Awakening" was a completely different animal from really anything else that had been on Broadway at that point, with its angsty, explicit pop-rock score and thoroughly depressing book. Its uniqueness as a show reflected in its rebellious performance, and it quickly became an audience favorite, winning eight Tony Awards. Oh, yes, and it launched Lea Michele and Jonathan Groff into the spotlight.
"Hairspray," "You Can't Stop the Beat" (2003)
A successful Tony Awards performance is energetic, which this performance of Hairspray has in leaps and bounds. Jerry Mitchell's high-octane choreography has everyone on stage dancing with every ounce of energy they have to the non-stop, legendary "You Can't Stop the Beat". With powerhouse vocals from each member of the cast (yes, even Harvey Fierstein owns the number), the number runs away with itself. Also, Matthew Morrison in that white suit.
"Gypsy," “Rose’s Turn” (2003)
Bernadette Peters is a legend, frankly. Her résumé spans forty-odd years of film, television and stage stardom, so it's no surprise that she has no issues with the legendary "Gypsy," arguably one of the greatest musicals of all time. The role has been played by the luminaries Ethel Merman, Angela Lansbury, Tyne Daly and Patti LuPone, but Bernadette's Mama Rose steals the show. Just watch her declare that she is going after her dreams. You'll want to get out of the way, lest you be run over.
"Promises, Promises," "She Likes Basketball"/“Turkey Lurkey Time” (1969)
"Promises, Promises" is one of those eclectic birds of Broadway that despite its age and its dated score and pitiful attempts at revival still manages to be great. One of the author's favorite musicals, it reeks of the '60s but boasts formidable talent in just one Tonys performance. The opening half is an effusive and excited celebration of love from a pre-Law & Order Jerry Orbach (who snagged the Tony for this role), and as great as it is, it's nearly overshadowed by the nonsensical number "Turkey Lurkey Time" that is notable only for its jerky, gyrating and explosive choreography. Note Donna McKechnie in her pre-Chorus Line days owning the stage in that red dress.
Evita, “A New Argentina” (1980)
This is the role that catapulted Patti LuPone into the spotlight, and for good reason. The acting is on point, the vocals are on point (Patti has got range for days), and we are left with a stunning and strong portrayal of Eva Perón that overshadows everyone else on stage. Basically: Patti LuPone.
"The Lion King," "Circle of Life" (1998)
Where do you start? The costumes, the puppetry, the scenic design, the booming voice of Tsidii Le Loka and the ensemble singing. It's an audiovisual delight that doesn't need flashy choreography to keep the audience's eyes riveted on the stage. It's worth mentioning that this show is still running, 17 years later.
"The Book of Mormon," "I Believe" (2011)
The creators of "South Park" ventured to Broadway with their mega-smash hit, "The Book of Mormon." Andrew Rannells shows why he was a Tony nominee that year (he should have won) with his spot-on comedic timing and his blissfully enraptured delivery of (controversial) Mormon doctrine.
In the Heights, "96,000" (2008)
Lin-Manuel Miranda is another genius who revolutionized the American musical by introducing rap as a viable score. Here in "96,000" he and the people of Washington Heights lay down what they would do with $96,000. It's catchy, it's fluid, it's contemporary, it's dynamic, and it's honest about the realities of life in the barrio.
You're a Good Man, Charlie Brown, "My New Philosophy" (1999)
It's Kristin Chenoweth making a splash (as usual) as Sally Brown in a perplexing musical about Charlie Brown. Yet, the 4'11" Chenoweth brings out for full display her sonorous voice and wins the Tony. This song is a master class on how to stuff charisma, power and acting skills into one song.
Wicked, "Defying Gravity" (2003)
There are no words. Kristin Chenoweth and Idina Menzel are electric, and don't lie. You got chills when Idina starts to fly.
Rent, "Seasons of Love"/"La Vie Boheme" (1996)
Pretty much everyone's favorite musical, Rent was one of the early game-changers, talking about AIDS when nobody else wanted to. Here, the colorful ensemble contrasts the poignant (a powerful "Seasons of Love") with the boisterous (the rebellious "La Vie Boheme") for a powerhouse performance.
Thoroughly Modern Millie, "Forget About the Boy" (2002)
Sutton Foster shows the world why she's a star as she and the chorus shrug off men in an assertive cry of independence, followed by a pounding, angry tap dance number. Your heart rate went up watching, I know.
Cats, "Jellicle Songs for Jellicle Cats"/"Memory" (1983)
Skip the first part. There is little to redeem the confusion that is Cats; actually, the only thing is Betty Buckley's soaring, plaintive "Memory". It's literally the only good part of this show.
Annie, "Tomorrow"/"You're Never Fully Dressed Without a Smile"/"Easy Street" (1977)
You wish you were this talented when you were a kid. While Peter Gennaro's choreography borders on cutesy, Andrea McArdle's rendition of "Tomorrow" avoids any notion of "cutesy". Of course, the incomparable Dorothy Loudon slinks and sleazes her way through the sinister, slick "Easy Street". Sorry, Carol Burnett: THIS is the definitive version.
Company, "Being Alive" (2007)
Although the author prefers Dean Jones' powerful 1970 version to this one, there is something to be said for the raw emotion and loss of control in Raúl Esparza's version.
Pippin, "Magic To Do" (1973)
Fosse all day. The opening shot of illuminated hands in darkness is just one of the highlights of this glorious number; Ben Vereen's slick Leading Player is another. Darker and less garish than its 2013 revival, the emphasis rightfully remains on the waving arms and unusual costumes (and Ben Vereen).
Chicago, "All That Jazz"/"Hot Honey Rag" (1997)
Anything Goes, "Anything Goes" (1988, 2011) | Cabaret, "Wilkommen" (1967, 1998)*
*The lists made it clear that the numbers from Anything Goes and Cabaret were outstanding. They just couldn't come to a consensus on which version. This is a rare occurrence.
Anything Goes, 1988
Do you choose Patti?
Anything Goes, 2011
Or Sutton?
Cabaret, 1967
Joel Grey, whose performance won him the Tony and the Oscar in the movie version?
Cabaret, 1998
Or Alan Cumming, who also won the Tony Award for his (completely different) portrayal?
