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Bruce Springsteen Surprises with “Western Stars,” His Best Album in 17 Years Since “The Rising”

Roger Friedman
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Bruce Springsteen Surprises with “Western Stars,” His Best Album in 17 Years Since “The Rising”

It’s been a long trip with Bruce Springsteen, hasn’t it? For some of us who were there at the start in 1973 we can  still remember buying “Greetings from Asbury Park, New Jersey” at Korvette’s. “Spirit in the Night” was just about the most unexpected, wonderfully mysterious thing, a little novel or short story that we couldn’t get enough of. Then “The Wild, the Innocent” cold cocked everyone with the whole second side and “Rosalita” was a fury that blew the first album away and ….

And here we are on June 14, 2019, a lifetime has passed, with “Western Stars” coming just months after Bruce’s magnificent Broadway show broke box office records and finally closed. Since the very peak of his career with “The Rising” in 2002, Bruce has released five albums of original music, all very satisfying, maybe not as iconic as the earlier releases, but all with their merits. “Magic” was my favorite and I always liked “Devil’s Arcade.”

But now we have “Western Stars,” which Bruce himself has called a jewel box, and he’s right as usual. I haven’t been able to stop listening to it. I already have favorite songs, particularly “The Wayfarer,” “Sundown,” “There Goes My Miracle” (which I wish Roy Orbison could come back for and cover), and “Stones.” The others are grade A, those are my A plus for now.

Lush and melodic, “Western Stars” is full of what we used to call singles. It’s a jukebox of hooks and catchy phases, music that will stick in your head for a long, long time. It’s obviously superior to almost everything else in rock these days.

I can’t go through all the lyrics now. But in “The Wayfarer,” we find Bruce restless as he was in 1973:

Same sad story, love and glory goin’ ’round and ’round/
Same old cliché, a wanderer on his way, slippin’ from town to town/
Some find peace here on the sweet streets, the sweet streets of home/
Where kindness falls and your heart calls for a permanent place of your own

What it really reminds me of is U2’s “All That You Can Leave Behind” album, the one with “Beautiful Day.” Bruce may not even realize this. At the time Bono declared that they’d just swung for the fences and made an album with all hits and no fillers. That’s what “Western Stars” sounds like to me. (The only other record that sounded like that in the last year was Elvis Costello’s “Look Now.”)

“Western Stars” worried me before I heard it. After all, Bruce had just finished the Broadway run. And some of this recent original songs like “Working on A Dream” or “Wrecking Ball” would be sensational for anyone else but not Bruce’s top work. But “Western Stars” is really inspired. There are melodic turns, and lyrical moments that are just stunning. Just when you think things are going to sound repetitive or Bruce-like, Springsteen avoids the cliche. He was obviously inspired, and it’s thrilling.

The album does have a ‘western’ sort of Jimmy Webb-John Hartford kind of thing going on, but really in the end, it’s very Springsteen. The lyrics tie back to the era of  “Spirit in the Night” in a way you won’t expect, they’re very evocative and intimate. A couple of plays and they’re in your head.  Listening to “Western Stars” is like trying on the most comfortable suit you can remember.

Springsteen is going to turn 7o on September 23rd. That he’s still in the game, and on top of it, is a miracle and a treasure. Like a few others– Sting, Elton, Paul McCartney– he’s just going to keep creating regardless of radio play, streaming, and so on. Bowie would have done it. Lennon and Harrison, obviously. It’s a legacy that’s being created, and it outlast all of us.

 

“Shaft” Gives the Shaft to Oscar Winning Composer, R&B Hero Isaac Hayes, Leaves Out Famous Music from New Film

Roger Friedman
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“Shaft” Gives the Shaft to Oscar Winning Composer, R&B Hero Isaac Hayes, Leaves Out Famous Music from New Film

Besides Richard Roundtree, the one thing that anyone remembers from the groundbreaking 1971 film “Shaft” is the music. The main theme became a number 1 hit instrumental single.  The following spring, Isaac Hayes was the first black person to win the music Oscars, Best Song and Best Score.

Hayes, who’d previously been known as the hit composer at Stax Records for Sam & Dave, and Carla Thomas, launched a stellar solo career off “Shaft,” a record that has been played millions of times and was used in subsequent versions of the movie.

But when the newest “Shaft” movie opens tomorrow, you will not be hearing Isaac Hayes’s famous music. And I mean famous like the theme from “Mission Impossible” or “Star Wars.” When you hear those funky opening notes, you know it’s “Shaft” (shut your mouth).

The producers of the new movie, says Isaac’s son Isaac Hayes III on social media, refused to make a deal with him. This sounds a lot like what happened last year to the miserable reboot of “Superfly” without Curtis Mayfield’s signature score. You can hear what he has to say here:

Isaac Hayes was a musical genius, but he suffered financially when he was alive. For most of his career he lost the rights to his songs in bankruptcy. He was co-opted by Scientology, which in the end ruined his career and added to his ailing health. “Shaft” is the gem of his hits abundant catalog. Cutting him out of the movie is unforgivable. This would never happen with a white composer. Can you imagine “Mission Impossible” cutting out Lalo Schifrin’s theme music over a budget squabble? No. Never.

In the end, the Hayes estate may have dodged a bullet anyway. The new “Shaft” has a lowly 36 on Rotten Tomatoes. It’s going to flop at the box office. Better to watch the original and enjoy Isaac Hayes’s music separately.

 

Actress Sylvia Miles Remembered: A veteran of the Warhol years, when she lost a role she explained: “I’m too famous”

Regina Weinreich
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Actress Sylvia Miles Remembered: A veteran of the Warhol years, when she lost a role she explained: “I’m too famous”

Sylvia Miles passed away yesterday at 94. She always said she would not leave this earth without her Academy Award but sadly, she did. A two-time nominee for just minutes of screen time in “Midnight Cowboy” (1969) and “Farewell My Lovely” (1975), Sylvia was a New York actress who would not relocate to Hollywood for greater fame and fortune, or better roles.

Just last month MoMA featured the work of Abel Ferrara: in his “Go Go Tales”(2007), in which Sylvia Miles wears a Chanelesque jacket, as she performs opposite the late Burt Young. They play landlords to a downtown dance club run by Willem Dafoe. The movie ends with her sweet rendition of “Bed, Bath, and Beyond,” because the big store was going to replace the edgy pole dancing venue. Ah, gentrification.

Sylvia made much of that jacket and the way it defined her character. I am so happy that she urged me to the screening, so I could see her in action from a bygone time, even if only in a movie. She wanted me to report any press to her, in the event that attention was paid. (Sylvia, we’re paying it now.)

I knew her in 2007 when she ventured to Cinecitta in Rome to make that movie, all the way to Italy to be in a faux New York. But hey, that’s showbiz. That was the last time she left the country. In these last years, Sylvia turned down roles when she thought they’d be too much bother. And rued ones that went to other, younger actresses. “I’m too famous,” she would say. “I’d take away attention from the lead.”

A veteran of the Warhol years, she knew about fame, and would say society selects the ones it wants regardless of talent, or merit. A character actress in 80 movies including “Murder on the Orient” Express, Paul Morrissey’s “Heat,” both “Wall Street” films, she also starred onstage in Tennessee Williams’ “Sweet Bird of Youth,” “Night of the Iguana,” and others, even once playing Jack Kerouac’s mother. Being an actress was a state of consciousness. She was the real deal.

We became friends after a party for the poet Ira Cohen in the early ‘90’s. When I found out she played competitive chess, I invited her home to play with my husband. And she came. By that time she was working less, partying more. Over the decades I’d known her, sometimes she appeared on Page Six, often in unflattering ways because she had the untoward reputation of being everywhere. She loved to go out, and even when walking was a challenge, she’d make her way to a movie premiere or fashion show and sashay her way across a red carpet. She often wore a hat that screamed “Famous” in mirrored silver letters. Cab drivers kibitzed with her. Restaurants gave her food to take home, whole steak dinners in a doggy bag. Everyone seemed to know and love her. But sometimes she would say, you are lucky you can pass. Meaning no one could accuse you of being a freak, because sometimes tourists would attack her for her flamboyant looks.

Sylvia was coy about her age, only admitting she was 90 a few years ago to a few friends, as if it were a big secret. Married three times before she was 25, she was the daughter of a furniture maker and a homemaker, and one of two sisters considered great neighborhood beauties. One of her mailing addresses was above Raoul’s on Prince Street. She kept most of this history to herself.

She did not want a documentary made about her with talking heads, although in her last year she sat for a film about aging. My daughter Nina, upon hearing of Sylvia’s death, summed her up: “She was a real character. Definitely an Oscar-worthy life.”

 

photo c2019 Eric Smith

The Great Sylvia Miles, Two Time Oscar Nominee, New York Landmark, Leaves Us At Age 94

Roger Friedman
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The Great Sylvia Miles, Two Time Oscar Nominee, New York Landmark, Leaves Us At Age 94

A big light went out in New York on Wednesday. Sylvia Miles– twice an Oscar nominee, a woman to be reckoned with — died at age 94.

Sylvia was just about the New Yorkiest New Yorker you could meet in the entertainment  business. She was fiercely independent, didn’t take no for answer, and was radiant in her confidence.

Her two Oscar nominations were for “Midnight Cowboy” and “Farewell My Lovely,” both in the supporting actress category. She was also known and loved in her later years for roles in “Crossing Delancey,” “Wall Street,” and its sequel, “Wall Street: Money Never Sleeps.”

She was terrific as well in TV roles in “Sex and the City,” “One Life to Live,” and “All My Children.” Her career began in television, in fact, and she played the part of Sally Rogers in the pilot for “The Dick van Dyke Show.” (The role was played in the series by Rose Marie.)

Sylvia was also part of the Andy Warhol crowd. She was a regular at the Factory (the building that was the clubhouse for all of Andy’s pals). She was there at Studio 54, and anywhere there was action, i.e. life. The New York in crowd was her family, and she loved them.

Sylvia was never an ingenue, but she was a siren, and she knew how to get attention. In later years, as she became lovingly eccentric, she wanted to be on the front lines of New York night life. And she was. Accompanied by her many close friends, Sylvia didn’t like to miss a premiere, an opening, a dinner party. She was welcome at all of them. More than anyone ever in the history of New York nightlife, she epitomized the opening lines of “Cabaret”: What good is sitting alone in your room/Come hear the music play,

Sylvia has a 99 year old sister, and a niece in Berlin, I am told by her good friend, Regina Weinreich. (Regina will give us a remembrance later today.) But she also had an extraordinary circle of friends who took care of her at her Central Park South apartment, all of whom loved her very much. Condolences to all of them, especially Geraldine Smith, who was Sylvia’s “date” at so many events and her great, great pal.

 

Martin Scorsese on Bob Dylan, and Their Magnificent Rolling Thunder Revue Documentary: “I don’t think he’s seen any of it”

Paula Schwartz
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Martin Scorsese on Bob Dylan, and Their Magnificent Rolling Thunder Revue Documentary: “I don’t think he’s seen any of it”

Martin Scorsese captures the spirit of everything that’s great about Dylan in his phenomenal documentary, “Rolling Thunder Revue.” The Netflix film premiered Monday evening at Alice Tully Hall, and the director was on the red carpet in a good mood talking to journalists about the rambling carnival of a concert tour Dylan launched in the fall of 1975 in small venues for the love of performance and not the money.

The film features sublime footage of Dylan singing complete songs with Joan Baez, including guest artists Joni Mitchell (her rendition of “Coyote” which she introduced on the tour), country singer Ramblin’ Jack Elliot (actually a Brooklyn Jewish dentist’s son), Patti Smith, Ronee Blakley, the former Byrd Roger McGuinn, plus Allen Ginsberg, Sam Shepard, Sharon Stone and other counter-culture figures.

Describing Dylan’s artistry, Scorsese told a reporter on the red carpet, “The power of the lyrics and the elasticity of the performance are something. And the look on his face and his eyes.” First there are the words enthused Scorsese. “He shapes the words, like a sculptor or a painter. Fantastic!”

He added, “They touch us. And also, every time he sings it’s slightly different. The phrasing of something, the intonation, his own voice, the pitch, I don’t know, it’s always new. We don’t know what rhythm it’s going to be in, you know?”

The best part of the documentary are the interviews with the legend himself.

“He was just outrageous,” Scorsese told me. “He denies everything. It’s again Dylan the provocateur and also the sense of humor that he has. And he does it so wonderfully I think, the deadpan humor.”

I asked Scorsese if he have a favorite moment in the interview?

“I like him talking about all these people wanting to sing songs with him and he says, ‘I don’t see the point of it.’ But it’s your tour, but you put them all on the tour (someone told him). They want to sing with you. ‘I don’t see the point of it.’ And that other thing too in the beginning — and I don’t want to give it away — when he says, ‘Oh, Bullshit.’ He disrupts the interview itself, which is fascinating.”

Here’s Dylan’s description of the Rolling Thunder Revue at the opening of the film:

“A traditional revue, but it was in the traditional form of a revue…”

Then Dylan pauses, “(What) klutzy bullshit…I’m trying to get to the core of what this Rolling Thunder thing is all about. And I don’t have a clue. Because it’s about nothing. It’s just something that happened 40 years ago. That’s the truth of it…I don’t remember a thing about Rolling Thunder. It happened so long ago I wasn’t even born. So what do you want to know?”

During one interview, Dylan says of Allen Ginsberg, who was on the tour reciting his poetry: “He was an incredible dancer, his steps were so unusual and exciting.”

Then there’s a clip of Ginsberg dancing but he’s awful, jerky movements, jumps up and down like a demented rabbit.

“Yeah, yeah,” Scorsese told me, recounting some of his favorite moments. “Ginsberg wanted to be a great dancer and he also wanted to be a singer. He thought he was great. And also Ramblin’ Jack (Elliott.) He had Ramblin’ Jack on a boat.’ (His) Singing he wasn’t so happy with, but the boat, okay,’ You know, he was a great sailor.”

Asked by a reporter on the red carpet how Dylan’s myth shifted from the first documentary he made in 2005, “No Direction Home,” Scorsese said, “I think it’s jelling on the same trajectory in a way, redefining himself, recreating himself, to find another facet of the artist.”

He added, “When you say the word artist everybody feels, oh, it’s pretentious. That’s what he is! He’s a great artist. So he’s gonna, Let me try this. Let me go here. Let me do this. Where do you get the inspiration from? Can you still write at the age of 77?’ Not necessarily the way you wrote at 21 because you’re a different person. Can you still write? Can you still perform? You have to pull it from somewhere. It doesn’t come out of the air.”

Asked how this related to his own life, Scorsese dodged.

“I don’t know. Me? Talk about Dylan.”

So has Dylan seen the documentary I asked?

“I don’t think he’d seen any of it.” Scorsese started walking away, “I’m going to find out and I’ll get back to you.”

I had some loopy, fun moments with Ronee Blakely, who’s in the film. She was a back up singer in the memorable group scenes.

Commenting it was good to see her at the premiere, told me, “I came into town on Highway 61 in the pouring rain, and it was a hard rain that was gonna fall.”

How do you feel being at the premiere I asked?

“I feel just like a woman,” she told me.

You’re quoting Dylan.

“And I do know how it feels to live in a land where justice is just a game,” she replied.

Fran Lebowitz, the subject of another Scorsese documentary, was also on the red carpet.
I told her I was surprised what a sense of humor Bob Dylan has gotten late in life.

She wasn’t surprised. “He’s Jewish,” she said.

I told her there’s a hilarious scene in the film of Allen Ginsberg dancing, badly.

“Not a great dancer. Jewish,” cracked Lebowitz.

Photo c2019 Showbiz411 by Paula Schwartz

“The Dead Don’t Die,” They Just Party on as Jim Jarmusch Film Premieres at MoMA

Regina Weinreich
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“The Dead Don’t Die,” They Just Party on as Jim Jarmusch Film Premieres at MoMA

Jim Jarmsuch’s opening night film from Cannes, “The Dead Don’t Die,” landed in New York Monday night with a swank premiere at the Museum of Modern Art and a party at Kingside, on West 57th St. Everyone from the cast was there including Adam Driver, fresh off his Tony nomination Sunday night, on an off night from “Burn This” with Keri Russell.

In the movie, Steve Buscemi wears a red hat that says “Keep America White Again.” A farmer disdained by the sheriff of this small town, USA, Bill Murray, his house is adorned with rifles. Buscemi noted at the afterparty at Kingside, a diner where guests posed with zombies, that he often says his costumes help inform character, and this hat said it all. But Jarmusch goes one farther when you see Buscemi sitting on a diner stool next to Danny Glover; cue the casual way that in America a racist can sit side by side with a black person, converse, as if nothing is awry. The reveal is hilarious.

Continuing his fascination with the undead (vampires in “Only Lovers Left Alive,” now zombies) Jim Jarmusch’s “The Dead Don’t Die” is a hoot. At MoMA where guests included Ruth Wilson, Gina Gershon, Bob Gruen, Jarmusch’s high profile cast and crew, and many downtown denizens, the laughs came hard and fast.

Borrowing from “Night of the Living Dead” and other genre classics, Jarmusch– with his stable of actors including Bill Murray, Tom Waits, Ezster Balint, Adam Driver and others including Rosie Perez, Selena Gomez, Chloe Sevigny, Caleb Landry Jones — are all on a wicked playdate munching on each other’s flesh. But don’t miss the movie’s satire, perhaps completely over the heads of the French who dismissed it at Cannes.

Bill Murray’s sidekick is Adam Driver who keeps saying, “Things are not going to end well,” and, needless to say, they don’t. How is Driver so woke? Jim showed him the script, he told me. That’s how far this movie’s tongue is crammed into its proverbial cheek. Brilliant visuals include the undead frightful Carol Kane, a visually take from “Young Frankenstein,” Tilda Swinton wielding a samurai sword and driving a smart car, and a dynamic duo, Sara Driver and Iggy Pop, in a gruesome bit dining out, so to speak, at the diner.

So how do you direct an actor to be a zombie? Jim simply told actors, just find something broken in your self. Danny Glover said he copied what the others’ spastic movements. I thought Sara Driver evoked a character out of “Beetlejuice,” but she demurred, inspired instead by Blue Oyster Cult. Their big hit, you know, was “Don’t fear the reaper.”

“The Dead Don’t Die” is a nice hit for Focus Features, and a perfect early summer recommendation.

Exclusive: Setting the Record Straight on Cuba Gooding Jr. and Ironic “Rush to Judgment” on Groping Charge

Roger Friedman
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Exclusive: Setting the Record Straight on Cuba Gooding Jr. and Ironic “Rush to Judgment” on Groping Charge

Tomorrow Cuba Gooding Jr. will “surrender” to the police peaceably on a charge that he groped a woman i.e. touched her breast, at a midtown nightclub on Saturday night.

I’m told the charges are not going to stick. First of all there’s no video tape from the club that shows this ever happened. It’s going to be nearly impossible to prove.

Gooding has been partying for the last couple of years, having a swell time, but always in a light-hearted way. But putting his hands where they shouldn’t be? That’s one thing that doesn’t sound like him at all.

Ironically, Gooding played OJ Simpson in the famed TV series a couple of years ago. Simpson’s lawyers always warned against a ‘rush to judgment.’ Of course, Simpson was guilty. But there should not be a rush to judgment here, please. Let cooler heads prevail.

Celebrities are vulnerable to these kinds of complaints. I sure hope the NYPD and sex crimes unit remember that another Oscar winner, Geoffrey Rush. won $2 million from a woman who went to court in Australia with a similar complaint against him. She lost, big time.

Cuba, by the way, is doing great career-wise right now. Contrary to a another report, he is still very much working with ICM Partners, but on a freelance basis. I can tell you exclusively that they’ve represented him signing a deal for a new Netflix series with yet another Oscar winner, Octavia Spencer, called “Mrs. Walker.” Gooding is the male lead.  He’s also looking for more writing and directing gigs.

So don’t count Cuba Gooding Jr. out at all, please. Those who do will wind up singing his father’s hit song, “Everybody Plays the Fool.”

Dark Phoenix Rises: Failed Movie’s Star Sophie Turner Sells Exclusive Rights to Wedding to Joe Jonas to Vogue

Roger Friedman
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Dark Phoenix Rises: Failed Movie’s Star Sophie Turner Sells Exclusive Rights to Wedding to Joe Jonas to Vogue

“Dark Phoenix” may be dead at the box office, but its star is about to rise from the ashes.

I’m told that Sophie Turner– better know to us as Sansa Stark from Game of Thrones– will have her wedding to Joe Jonas featured in Vogue magazine.

The wedding– which I told you exclusively will happen the weekend of June 28 in Carpentras, Provence, France–will get the full Anna Wintour splash in the fashion mag’s fabled pages. It could be the centerpiece of Anna’s important September issue.

This would be a coup for Wintour as US Magazine is reporting that British Vogue has hot new popular Princess Mom Meghan Markle guest editing their September issue. Meghan will be on their cover, and her imprimatur will be all over the magazine.

For British Vogue editor Edward Enninful this is a coup. He apparently really wants Anna’s job in the US, and has no doubt been looking to draw attention from the sunglassed Queen of Mean. Markle could do that. But Anna’s chess move– the Game of Thrones-Jonas wedding — is a very clever counterattack.

How much did Vogue pay for the exclusive photos and story? A million? And will it go to charity? And who gets the tax deduction? And does the contract include video footage of the Jonas brothers and pals jamming at the after party?

Stay tuned…

Canadian Kangaroo Court Continues: Clock is Winding Down Unless Top Attorneys General Step In

Roger Friedman
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Canadian Kangaroo Court Continues: Clock is Winding Down Unless Top Attorneys General Step In

Here’s some more about the case I’ve been following in Canada’s federal court in Toronto, called the Ontario Superior Court. The story feels like an HBO or Netflix drama, with touches of John Grisham.

Last week, the judge who previously revoked the defendant’s bail in this crazy proceeding issued a decision in which he refused to grant the defendant bail on a charter application. There were clear, flagrant violations of the defendant’s Charter Rights. The defendant had injuries and serious health risks caused to the defendant by the Toronto Police Service.

Most seriously and potentially a criminal act in and of itself, the judge  in his decision, is said to have fabricated evidence of and for the Toronto Police Service to support his decision.

Two people in Canada  can now order the release of the defendant, if they conclude that there has been judicial or prosecutorial and or police misconduct or criminal acts. My sources say they are David Lametti, the Attorney general of Canada, and Carolyn Mulroney the Attorney general of Ontario, whose father was the former Prime Minister of Canada, Brian Mulroney.

I’ve have seen the evidence in this case and it suggests the complicity of the judge, the prosecutor, and the police. I’m very surprised that things have gotten so out of hand.

It appears that even the evidence of the injury the defendant suffered has been tampered with; and the judge appears to be accepting of this, and that may be the least serious of his acts of abdication of the law.

This will be the last time I get into this case without using names. I’ve done so to the point just to give the government– which they call The Crown– a chance to resolve this matter. But if it doesn’t happen this week, I may have to start presenting the evidence that’s been shown to me. So hold on, and let’s hope for the best.

 

Tony Awards Go to “Hadestown,” “The Ferryman,” But Without Stars, Ratings Crash

Roger Friedman
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Tony Awards Go to “Hadestown,” “The Ferryman,” But Without Stars, Ratings Crash

Sunday night’s Tony Awards crashed in the ratings. This should not have come as a surprise to anyone. Going in we knew that would happen. The reason is there was no break out show, or star this year. There were plenty of good shows but no spectacular ones. “Hadestown” won Best Musical and “The Ferryman” won Best Play, but neither one — which excellent– has caused excitement beyond Broadway.

The highlight of the show was Elaine May winning Best Actress at age 87 for “The Waverly Gallery”– even though it’s been closed for months. Bryan Cranston won Best Actor for “Network,” which closed over the weekend.

The Tony Awards totally rebuffed the mega money spent by producer Scott Rudin on “To Kill a Mockingbird.” It should have been called “To Overkill a Mockingbird.” Rudin has spent zillions on full page and double truck ads in the newspapers, on buses, everywhere. Then he launched an onslaught campaign on Jeff Daniels, the nicest guy in the world. The combination effect was too too much. Daniels lost Best Actor to Bryan Cranston. I wasn’t surprised. They should have each gotten awards.

A lot of shows will close now without Tony Awards. I’m sure “The Prom” is in jeopardy. “Tootsie” and “Beetlejuice,” however, each very very good productions, with strong box office, should survive for quite a while.

And so ends the 2018-19 theater season. The ratings? Well, where was Cher? She might have helped. Where was Hugh Jackman, who’s coming next season in “The Music Man”?

At least CBS has a long term deal to keep the Tonys on the air. And next year, the show will have more to offer the passive viewer. We can only hope.

Best play
“Choir Boy” by Tarell Alvin McCraney
“The Ferryman” by Jez Butterworth *WINNER
“Gary: A Sequel to Titus Andronicus” by Taylor Mac
“Ink” by James Graham
“What the Constitution Means to Me” by Heidi Schreck

Best revival of a musical
“Kiss Me, Kate”
Rodgers and Hammerstein’s “Oklahoma!” *WINNER

Best musical
“Ain’t Too Proud to Beg”
“Beetlejuice”
“Hadestown” *WINNER
“The Prom”
“Tootsie”

Best revival of a play
Arthur Miller’s “All My Sons”
“The Boys in the Band” by Mart Crowley *WINNER
“Burn This” by Lanford Wilson
“Torch Song” by Harvey Fierstein
“The Waverly Gallery” by Kenneth Lonergan

Best performance by an actor in a leading role in a musical
Brooks Ashmanskas, “The Prom”
Derrick Baskin, “Ain’t Too Proud”
Alex Brightman, “Beetlejuice”
Damon Daunno, “Oklahoma!”
Santino Fontana, “Tootsie” *WINNER

Best performance by an actress in a leading role in a musical
Stephanie J. Block, “The Cher Show” *WINNER
Caitlin Kinnunen, “The Prom”
Beth Leavel, “The Prom”
Eva Noblezada, “Hadestown”
Kelli O’Hara, “Kiss Me, Kate”

Best performance by an actor in a leading role in a play
Paddy Considine, “The Ferryman”
Bryan Cranston, “Network” *WINNER
Jeff Daniels, “To Kill a Mockingbird”
Adam Driver, “Burn This”
Jeremy Pope, “Choir Boy”

Best performance by an actress in a leading role in a play
Annette Bening, “All My Sons”
Laura Donnelly, “The Ferryman”
Elaine May, “The Waverly Gallery” *WINNER
Janet McTeer, “Bernhardt/Hamlet”
Laurie Metcalf, “Hillary and Clinton”
Heidi Schreck, “What the Constitution Means to Me”

Best book of a musical
“Ain’t Too Proud,” Dominique Morisseau
“Beetlejuice,” Scott Brown and Anthony King
“Hadestown,” Anaïs Mitchell
“The Prom,” Bob Martin and Chad Beguelin
“Tootsie,” Robert Horn *WINNER

Best original score (music and/or lyrics) written for the theater
“Be More Chill,” Joe Iconis
“Beetlejuice,” Eddie Perfect
“Hadestown,” Anaïs Mitchell *WINNER
“The Prom,” Matthew Sklar and Chad Beguelin
“To Kill a Mockingbird,” Adam Guettel
“Tootsie,” David Yazbek

Best direction of a musical
Rachel Chavkin, “Hadestown” *WINNER
Scott Ellis, “Tootsie”
Daniel Fish, “Oklahoma!”
Des McAnuff, “Ain’t Too Proud”
Casey Nicholaw, “The Prom”

Best direction of a play
Rupert Goold, “Ink”
Sam Mendes, “The Ferryman” *WINNER
Bartlett Sher, “To Kill a Mockingbird”
Ivo van Hove, “Network”
George C. Wolfe, “Gary: A Sequel to Titus Andronicus”

Best performance by an actor in a featured role in a musical
André De Shields, “Hadestown” *WINNER
Andy Grotelueschen, “Tootsie”
Patrick Page, “Hadestown”
Jeremy Pope, “Ain’t Too Proud”
Ephraim Sykes, “Ain’t Too Proud”

Best performance by an actress in a featured role in a musical
Lilli Cooper, “Tootsie”
Amber Gray, “Hadestown”
Sarah Stiles, “Tootsie”
Ali Stroker, “Oklahoma!” *WINNER
Mary Testa, “Oklahoma!”

Best performance by an actor in a featured role in a play
Bertie Carvel, “Ink” *WINNER
Robin De Jesús, “The Boys in the Band”
Gideon Glick, “To Kill a Mockingbird”
Brandon Uranowitz, “Burn This”
Benjamin Walker, “All My Sons”

Best performance by an actress in a featured role in a play
Fionnula Flanagan, “The Ferryman”
Celia Keenan-Bolger, “To Kill a Mockingbird” *WINNER
Kristine Nielsen, “Gary: A Sequel to Titus Andronicus”
Julie White, “Gary: A Sequel to Titus Andronicus”
Ruth Wilson, “King Lear”

Best choreography
Camille A. Brown, “Choir Boy”
Warren Carlyle, “Kiss Me, Kate”
Denis Jones, “Tootsie”
David Neumann, “Hadestown”
Sergio Trujillo, “Ain’t Too Proud” *WINNER

Best orchestrations
Michael Chorney and Todd Sickafoose, “Hadestown” *WINNER
Larry Hochman, “Kiss Me, Kate”
Daniel Kluger, “Oklahoma!”
Simon Hale, “Tootsie”
Harold Wheeler, “Ain’t Too Proud”

Best scenic design of a musical
Robert Brill and Peter Nigrini, ‘Ain’t Too Proud”
Peter England, “King Kong”
Rachel Hauck, “Hadestown” *WINNER
Laura Jellinek, “Oklahoma!”
David Korins, “Beetlejuice”

Best scenic design of a play
Miriam Buether, “To Kill a Mockingbird”
Bunny Christie, “Ink”
Rob Howell, “The Ferryman” *WINNER
Santo Loquasto, “Gary: A Sequel to Titus Andronicus”
Jan Versweyveld, “Network”

Best costume design of a musical
Michael Krass, “Hadestown”
William Ivey Long, “Beetlejuice”
William Ivey Long, “Tootsie”
Bob Mackie, “The Cher Show” *WINNER
Paul Tazewell, “Ain’t Too Proud”

Best costume design of a play
Rob Howell, “The Ferryman” *WINNER
Toni-Leslie James, “Bernhardt/Hamlet”
Clint Ramos, “Torch Song”
Ann Roth, “Gary: A Sequel to Titus Andronicus”
Ann Roth, “To Kill a Mockingbird”

Best sound design of a musical
Peter Hylenski, “Beetlejuice”
Peter Hylenski, “King Kong”
Steve Canyon Kennedy, “Ain’t Too Proud”
Drew Levy, “Oklahoma!”
Nevin Steinberg and Jessica Paz, “Hadestown” *WINNER

Best sound design of a play
Adam Cork, “Ink”
Scott Lehrer, “To Kill a Mockingbird”
Fitz Patton, “Choir Boy” *WINNER
Nick Powell, “The Ferryman”
Eric Sleichim, “Network”

Best lighting design of a musical
Kevin Adams, “The Cher Show”
Howell Binkley, “Ain’t Too Proud”
Bradley King, “Hadestown” *WINNER
Peter Mumford, “King Kong”
Kenneth Posner and Peter Nigrini, “Beetlejuice”

Best lighting design of a play
Neil Austin, “Ink” *WINNER
Jules Fisher and Peggy Eisenhauer, “Gary: A Sequel to Titus Andronicus”
Peter Mumford, “The Ferryman”
Jennifer Tipton, “To Kill a Mockingbird”
Jan Versweyveld and Tal Yarden, “Network”

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