Richard Greenberg, Best Play, The Assembled Parties: Working with this amazing group of kind, intelligent, dedicated, stupendously gifted and unfalteringly generous people has been one of the great experiences of my professional life. And then to get nominated for it – that's just fantastic.
Joseph Robinette, Best Book of a Musical, A Christmas Story, The Musical: Well, we were watching TV this morning and saw that the musical itself had been nominated. They only dealt with the shows that were nominated and the acting nominations, so we still didn't know, and then we got an email from our publicist, Brett Obermann, who said congratulations, and that's how I found out. My first reaction was I find it hard to believe, and then I decided to believe it. Felt pretty good about that. As I've had time to kind of dwell on it a little bit, I really feel—and I mean this, it's going to sound like a cliché, but—this award, both the musical and the writing award and the music award is a tribute to everybody who had anything to do with this show. It was just a fantastic producing crew—the director, the choreographer, the actors, the designers, everybody. This is really for them because it was a real team effort from the get-go.
|Photo by Joseph Marzullo/WENN|
Douglas Carter Beane, Best Book of a Musical, Rodgers + Hammerstein's Cinderella: I've got two shows this season. I was up all night, tossing and turning, couldn't sleep. And, I wasn't worried about me. I was worried about everybody else. Then you gotta get up and get the kids off to school, and I was sitting there having my bagel and my cup of tea, and I watched NY1, and I just have a little tablet and pen, and I check 'em off as it happens, and I quick email or text friends as they get nominated, so the word gets out. Then, Lord willing, by 11 o'clock, crawl back into bed and go to sleep. That's my day! [Laughs.] I came up with this philosophy last year that if you get nominated or win something, you have to be really happy and enjoy it, but if you don't get nominated or win something, it can't matter. So it was sort of like, "Oh! The Nance didn't get nominated for Best Play, but [there were] Best Book and Best Revival for Cinderella! And, oh! There's Nathan [Lane]!" It happened so fast coming at me—all this information—and every one of those nominations have a story behind it. Ann Roth is nominated for Best Play for Costumes. She's in her 80s, and she's never won a Tony Award, so it's like, "Ann! You better win this!" And then it's Santino [Fontana] and Laura [Osnes]—working with them—and Vicki [Clark], and getting Vicki to fly. And, Nathan—getting his schedule together for The Nance. It was all so crazy and wonderful. It's very exciting. It's a very exciting roller-coaster ride.
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