By Robert Simonson
24 Apr 2014
|Photo by Joan Marcus|
The Tony Administration Committee, a group of 24 theatre professionals (ten designated by the American Theatre Wing, ten by the Broadway League, and one each by the Dramatists Guild, Actors' Equity Association, United Scenic Artists and the Society of Stage Directors and Choreographers) will meet for the final time this season April 25. At this meeting, the fates of the final shows that opened this spring — as far as their eligibility for various Tony Awards categories goes — will be decided.
For old shows like Violet (1997), Lady Day at Emerson's Bar and Grill (1986) and Hedwig and the Angry Inch (1998), this meeting holds little drama. The producers of their shows largely know what decisions will be handed down regarding their productions. This is because the Tony Awards' rules regarding eligibility of revivals are quite clear. They read, in part:
The key phrase where the above-mentioned shows are concerned is (A)'s "popular repertoire." Hedwig, Violet and Lady Day will likely be considered as being part of the popular repertoire of produced titles and thus considered revivals.
Life wasn't always this straightforward for productions of old plays experiencing their Broadway production. In the early decades of the Tonys, new plays produced in New York were largely produced on Broadway, so the first time that Broadway staged them were generally the first time critics and audiences laid eyes and ears them as well.
The separate Tony Awards for Revival of a Play and Revival of a Musical were first introduced in 1994 in response to an increased number of revivals of both kinds on Broadway. Prior to that, plays and musicals were bunched together in one category, first called "Reproduction (Play or Musical)" (1980 to 1986) and then "Revival" (1987 to 1993).Continued...