The Good, the Bad and the Tonys
AW, come on, it wasn't all that bad, was it? You can't just dismiss a Broadway season that gave us the paranoiac fire of Tracy Letts's "Bug," the boundary-dissolving empathy of Lisa Kron's "Well," the genteel subversiveness of A. R. Gurney's "Mrs. Farnsworth." What? Oh, that's right. None of those plays were on Broadway, were they? And none of them are eligible for Tonys.
So let's focus on Broadway, that vibrant intersection of art and commerce, whose achievements are being honored on June 6 at the Tony Awards ceremony. And on Broadway, audiences of the last year had the good fortune to immerse themselves in . . . oh, let's face it. What Broadway dished out felt mostly like last night's bath water — tepid, stagnant and definitely used before.
For at least two decades, it has been hard to argue that the Tony Awards, restricted to shows produced in Broadway houses, celebrate what is truly the best of American theater. This year, I can't imagine that anyone is even going to try.